Red Sky – Solo Musica A Riempirmi Gli Occhi EP

 

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What can we tell you about Red Sky? Well he is a masked guitarist/rapper from Milan, creating a web of creative adventure and imaginative sound. From the founding of his solo project in 2011, he has released one album, one single, and three EPs, each earning increasing acclaim and attention. In the third of those latter propositions, the latest release, he has also revealed a simply fascinating and magnetic new direction in sound and intent. The Solo Musica A Riempirmi Gli Occhi EP is a transfixing and compelling exploration which embraces the artist’s broadest landscape of imagination and flavour yet.

Red Sky initially began as an instrumental rock proposal and swiftly drew close attention with the Tra l’ombra e l’anima EP in 2011, awareness increasing with the release of debut album Origami the following year. The Origami RMX EP in 2013 kept the growing buzz around Red Sky going but revealed little of the new adventure and shift of intent to emerge in forthcoming songs and music. Solo Musica A Riempirmi Gli Occhi is the witness to and evidence of the exciting evolution and change in the Red Sky’s invention. Its six adventurous incitements merge the instrumental rock essences which lit its predecessors with new stirring strands of electronic imagination and rap bred enterprise. It is a captivating union which offers an open familiarity in some ways but fresh invention throughout.

It all starts with Il Prezzo, a short and riveting piece of atmospheric sound and persuasion. The piece magnetically shimmers from its first endearing touch, stroking ears with increasing potency as electronic and guitar crafted radiance embrace the imagination with a sultry ambience. Spoken vocals add to the brewing drama, though being delivered in Italian leaves their narrative and emotion unknown for us less enabled linguists. It is an engrossing entrance though which is continued by the following tempting of Cadono Giù (Freestyle N.1). A symphonic whisper coats its start but swiftly the song is a lively romp of electronic revelry and feisty rock flames. Equipped with irresistible spicy hooks and flowing synth bred flights of warm enterprise, the track immediately has ears and feet involved, gripping the imagination just as potently with its subsequent agitated adventure. There is a feel of The Kennedy Soundtrack to parts of the song whilst its sonic weaves embrace rich melodic and gothic metal theatre and vivacity, and with the sparkling guitar imagination having a whisper of Squidhead to it, the track easily enthrals.

Front     Il Flauto floats in next, its opening flirty radiance skirted by darker shadows. It is a union which continues to court each other as the song develops, each aspect increasing in texture and depth as more instrumentation and creative intrigue gets involved. Vocals are also a prominent proposal within the track, their presence punchy and expressive within the thick melodic blaze around them. Rap and metal are no strangers in music and in the song they bring a recognisable offering yet within the maze of its fusion of imaginative symphonic and folk metal with classic and electro rock; everything takes on a whole new and invigorating adventure.

Next up is Neve which features the soaring tones of Ideogram vocalist Martina Ambruosi. It begins its rise with a sinister and cinematic melodic drama, keys providing a catchy and portentous coaxing that simply basks in emotion as a growing tapestry of sound and ideation blossoms around them. Red Sky and Ambruosi do not exactly duet in the song but entwine their vocal deliveries around that of the other, a highly flavoursome union matching the expressive and provocative music boiling up around them. Though not quite as gripping as its predecessor, the song is aural theatre impossible to tear away from.

A mellower croon of sound provides the mesmeric breath of Stelle, music and voice a warm hug on the senses as delicious strings and sparkling electronic endeavour provides visual colouring for the. The track entrances thoughts and appetite with sublime mastery before making way for the closing Finchè Morte Non Ci Separi, itself a fascination of diversely textured sound and exotic invention. Showing a worldly landscape which is constantly evolving through mysterious calms and raging symphonic blazes, the piece is as expansive as it is deeply intimate and an absorbing end to a thoroughly bewitching release.

Also featuring the scratching skills of Dj Zero Tx on certain songs, Solo Musica A Riempirmi Gli Occhi is one of those encounters which take you by surprise and easily breed a keen hunger for more. The new twists in sound and experimentation from Red Sky have created an impressive exploit loaded with the potential of even greater creative emprises ahead.

The Solo Musica A Riempirmi Gli Occhi EP is available now via Ronin Agency.

http://www.redsky.it/   http://www.facebook.com/redskyofficialpage

RingMaster 25/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

False-Heads – Wear and Tear

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Proving that their impressive introduction in outstanding debut EP Tunnel Vision last year was no fluke, UK alternative/psyche rockers False-Heads now unveil its successor the Wear and Tear EP. In fact such its magnetic manner and devilish invention, the new release makes its predecessor feel like just an opening teaser to its glory, a rather tasty one for sure, but the prelude to the outstanding and masterful adventure now igniting the passions. Consisting of four attitude cored incitements of noise and psyche rock unafraid to weave in just as warped essences of pop, alternative rock and more, Wear and Tear is a confirmation and wake-up call to the creative might and potential of another seriously exciting band within the British music scene.

Hailing from the East London area, False-Heads is a band which needs little time to grab attention with their imagination gripping sound, swift evidence provided by EP opener Wrap Up. Its first breath comes with a spicy and fuzzy wind of persuasion and energy, a raw guitar courting of the ears soon backed as potently by a heavy and predatory bassline and crisply delivered beats. The trio of Luke Griffiths, Jake Elliott, and Daniel Delgaty have within the first seconds of the track, coaxed eager attention which only strengthens as the song relaxes into a cleaner climate of sound still driven by that initial throaty bass temptation and just as magnetic vocals. Now firmly into its stride, the song unveils a confident swagger but also an appetite to explore heavy rock riffery, stoner-esque grooving, and noise rock imagination, all teased with post punk like infectiousness. It is a fluid and unpredictable adventure keeping ears and thoughts on their toes and emotions high.

False-Heads-Wear-Tear-artwork-450x444  The thick flavours and enterprise fuelling the song continue into the grungier Twentynothing, a proposition opening with a Nirvana like enticing but soon evolving into an intimate design of melodic expression and melancholy wrapped rhythms. Any moment is just that in the passage of the song, and it swiftly moves into an embrace of a more Melvins meets Asylums like tenacity and imagination, though still circling that early magnetic grunge bred hook. As all the tracks there is a glint in its creative eye, a devilment which relishes teasing familiar spices and twisting them into fresh and infectious uniqueness.

The following Snatch is the same, a proposition drawing from recognisable flavourings but disfiguring them with ingenious revelry for something new and distinct to False-Heads. Persistently the band seems to be compared to The Pixies, not as obvious a reference for us until you hear this one song. It strolls along with a virulent swing and addictiveness which could easily be Frank Black composed, serenading with minimalistic charm and just the right amount of causticity to the guitars and dour monotony to the rhythms. Around it though, sounds and textures seduce and flare up, creating a web of intrigue and volatile enterprise which swiftly and inescapably inflames ears and the passions.

It is another sensational offering upon Wear and Tear leaving closing track Nothing In There some work to do to end the release on a similar height. It is fair to say it fails, but only just as it mesmerises the senses with its dark drone of sonic incitement. Like a post punk/shoe gaze proposal held in a post rock atmospheric embrace, the song is simultaneously cold and sultry with noise seduction and psyche rock provocation as open and riveting as the other textures mentioned. It is a fascinating and compelling end to an irresistible provocation of body and mind.

False-Heads left a lingering and convincing impression with their first EP a year ago but have more than overshadowed it with Wear and Tear. There are a few bands which trigger the deepest, intensive excitement in the grand landscape of emerging bands right now and of those that do, False-Heads stand to the fore.

The Wear and Tear EP is released March 23rd on Hi4Head Records and available at http://false-heads.bandcamp.com/album/wear-and-tear

https://www.facebook.com/FalseHeads

RingMaster 23/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

Lupen Tooth – Strawberries & Cream

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Whether escaping a dank graveyard or bred within the toxic touch of a silvery full moon, Lupen Tooth is a proposition which once bitten by their horrorpunk ferocity, swiftly becomes a ravenous and lingering incitement. Certainly that is the case with the UK trio’s new EP Strawberries & Cream, five tales of corrupted flesh and demonic seductions making up a devilish and magnetic assault of punk fuelled rock ‘n’ roll.

Hailing from Bristol, Lupen Tooth consists of bassist/vocalist Tommy Creep (also owner of indie label Graveyard Calling), guitarist Klum, and drummer Nick Naylor. Their sound seemingly draws on inspirations from the likes of Misfits, Crimson Ghosts, and Blitzkid but also recalls essences of older schooled punk rock which is in many ways where the band stands out from the horrorpunk crowd. Essences of bands like The Ramones and The Damned hint throughout their songs, never an over powering suggestiveness but colluding with the band’s own raw sound and horror fuelled invention to create something organically compelling. It starts from the opening track of Strawberries & Cream, increasing in potency and enticement with each passing song until ears, imagination, and psyche are infested and consumed.

a0506917967_2    Opener Coffin Pallor instantly leaps at ears with a muscular bassline, concussive beats, and abrasing riffs. It is an imposing entrance only given greater force by the dual vocal assault of Creep. Their tones are vibrant yet solemnly monotone, a great mix as cold as the air circulating the track’s narrative and as addictive as the anthemic drive of the song. The bestial bassline from Creep prowls and flirts deliciously with the sonic flames coming out of the strings of Klum’s guitar, whilst everything combined brings small thoughts of US punks The Panic Beats.

The harsher heavy metal breeding of Moonlight Fury erupts next. Driven by the wolf inside, the song is soon a volatile punk stomp creating a dirty and magnetic stalking of ears. It does not quite have the spark of its predecessor for personal tastes, but still tears through the senses with a pleasing abrasiveness which triggers greater passion once it dips into a primal passage of bass sculpted and sonically infused preying of the senses. The track keeps the earlier installed appetite for the release fully engaged before Zombie Doll crowds and preys on the listener with its earthy riffs and brooding rhythms. It also just misses the final factor compared to the first and following songs in majorly igniting emotions but with a great caustic lure of vocals amidst stabbing beats it has satisfaction full.

The EP kicks up another gear with Bury You Deep, a psychotic romance engaging the imagination with a torrent of ear scrubbing riffery and an intimidatingly predatory bassline. Its chorus is simplicity but inescapably addictive, Misfits again coming to mind, whilst the rhythmic and sonic threat of the encounter worries and bruises the senses with horrorpunk rabidity.

The release ends as it started with another gripping peak and a track centred round a death inviting casket. The Coffin Is My Home which from its initial minimalistic vocal and guitar coaxing becomes a snarling and fiercely simmering rage of hostility and creative predation. It is a thoroughly thrilling enticement, with a prime hook within the verses which reminds of a well known classic punk offering but so far has irritatingly defied recognition. Maybe it is our imagination but nevertheless it only adds to the bewitching bait on offer from the best track on the EP.

There is no sweetness with Strawberries & Cream it is fair to say but plenty of mouth-watering and highly enjoyable horrorpunk bloodlust. Lupen Tooth is not a band to provide seducing flights of melodic beauty or thought involving technical intrigues, but for raw and honest, not forgetting instinctively exciting hell bred rock ‘n’ roll, they are a great soundtrack to your nightmares and horrific deeds.

The Strawberries & Cream EP is available now digitally and in various CD packs @ http://lupentooth.bandcamp.com/

https://www.facebook.com/lupentooth

RingMaster 23/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

The Senton Bombs – Phantom High

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If there is one thing predictable about UK rockers The Senton Bombs, it is that they will persistently offer feisty dirt encrusted, punk fuelled rock ‘n’ roll. You can always assume a fresh fiery breath driving each and every offering unleashed by the Blackpool hailing quartet too. It has so far been that way since the band’s first album, Sweet Chin Music of 2009, and it continues with new EP Phantom High. Consisting of five diverse songs all bred from punk ‘n’ roll aggression and carrying a hard rock swagger, the encounter is quite simply an attitude loaded stomp of raw and feverishly flavoursome rock ‘n’ roll.

Formed in 2004, The Senton Bombs has been a regular draw of praise and increasing attention thanks to their passion driven live performances and trio of albums, of which Chapter Zero in 2013, brought the thickest wave of acclaim yet. You know what you are going to get with the band; sounds and songs which devour the energy out of the body and feed the instinctive rocker in us all, but equally each of their releases to date has pushed the band’s music and invention in bold strides and ahead of the band’s fourth album later this year, Phantom High is exactly the same. It suggests a new strength of diversity emerging in their songwriting but similarly an even more potent roar and snarl of the rock incitement which sets them apart from most.

The EP opens with its title track, and from the initial sonic scythe of sound, swiftly has ears, feet, and emotions engaged in its adrenaline soaked charge. Vocalist Joey Class uncages his recognisable and alluring tones almost as soon as riffs rub invitingly on ears and rhythms jab with eager intent. Guitarists Damien Kage and Johnny Gibbons proceed to weave a bait of aggressive riffery and spicy enterprise as the track continues its contagious stomp, a solo especially tangy on the ear, whilst drummer Scott Mason and the bass lines of Class sculpt a frame to it all which is anthemic as the roar of the song itself.

10520105_10153295061197281_6683385127408093904_nThe track is an irresistible persuasion and straight away matched by the similarly outstanding Lights Over Phoenix. Whereas the first song was a riot of dirty hard rock and aggressive punk tenacity, the first single from the EP is a more pop punk seeded infection. Small but potently coaxing riffs are aligned to the equally mellower delivery of Class’ sandy tones, a tempting entrance which instantly has ears keen and toes tapping. Bass and beats need little prompting to add their punchy contributions soon after whilst the guitars flame and entice with gripping eagerness and temptation. A more restrained but no less addictive romp to the first, the track strides with unbridled infectiousness and tantalising enterprise creating an encounter sounding vaguely like a mix of Turbonegro and Hagfish, but ultimately all Senton Bombs.

   Black Chariot slows the energies down if not the enthusiasm for the release next. It is a blues rock spawned prowl, employing more classic and southern rock flavouring than anything they have bred before. The vocals are impressive, cleaner and clearer than those usually offered by Class and just as compelling, and  easy to hope they are used more ahead, but in tandem with the dirtier delivery.

The excellent croon of a song allows a breath to be taken by the listener too, enabling a restocking of energy before Passions of the Passive Aggressive unveils its own blues rock inspired bellow of aggressive and chest thumping, belligerent rock ‘n’ roll. Actually the song does not really explode at any point but through its taunting stalking of ears and urgent eruptions of intensity and scorching voracity, it again has limbs, neck muscles, and emotions inflamed.

Phantom High is finished off by the excellent Surf 6-66, again hard and classic rock thrust into incendiary punk ferocity. Think The Ramones embroiled with Mötley Crüe and you get an inkling of the lingering devilry bringing it all to a mighty close. The excellent song epitomises the EP as a whole, The Senton Bombs sound we have come to eagerly devour navigating new variety and insatiably captivating waters.

Phantom High is not a stop gap release before the band’s new album but a massive teaser of bigger and bolder things to come from the band giving further evidence that The Senton Bombs are one of those shaping a new heyday for British rock ‘n roll.

Phantom High is available from March 23rd via Holier Than Thou Records

http://www.sentonbombs.com/bio   https://www.facebook.com/thesentonbombs

RingMaster 23/03/2015

Copyright RingMaster: MyFreeCopyright

https://holierthanthourecords.bandcamp.com/track/lights-over-phoenix

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Oh Captive – Two Mirrors

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It is hard to supress a roar of frustration and disappointment when after enjoying a new and thrilling encounter from a band with all the tools and sounds to be a major presence in British alternative rock, they announce ‘on the eve’ of its unveiling they are to be no more. That is what has happened with Bristol quartet Oh Captive. Just a couple or so weeks before new EP Two Mirrors is released to light up ears and appetites, the band announced it had called it a day, though it might emerge to be more an internal evolution resulting in a name change and new direction rather than a full departure. Time will tell but whatever the outcome, they leave behind two impressive releases and a collection of vibrant and inventive songs, their latest the most captivating yet.

Formed in 2012, Oh Captive swiftly lit their local music scene and subsequently set about the whole UK scene with their energetic live presence, playing with the likes of Sonic Boom Six, UK Subs, Straight Lines, Max Raptor, Sharks, Blitz Kids, I Divide, Fighting With Wire, and Scholars along the way. Their sound has drawn comparisons to the likes of Biffy Clyro and Twin Atlantic, open and potent spices in the band’s debut EP Advance Creature, which was released in the March of 2013. It was a stirring and dynamic offering rippling with a potential which has been realised with sizeable success within Two Mirrors. The past year has seen Oh Captive supporting the likes of Marmozets and Arcane Roots, and make highly successful appearances at festivals such as Leopalooza and New Age, whilst media attention has grown as potently too. Now it may be over, but if so the band has gone out with a bang and ensured attention for their next exploits will be eagerly attentive.

Oh Captive - Cover Artwork   Two Mirrors opens with Recover, an instant ear grabbing proposition as vocalist Tim Kelly and a tangy rub of guitar combine a minimalistic but highly tempting bait to bring the song into view. It is not long before the heavy throated bassline of Tom Hitchins and the punchy beats of drummer Chris Hill leap in, accompanied by sonic flames cast by the guitars of Curtis King and Kelly. Immediately there is a drama to song and sound, light and dark textures colluding in an imposing but inviting web. Settling down a little for the continuation of the narrative from Kelly, the song increases its lure as it builds to energetic crescendos and an anthemic chorus. There are no major surprises in the melody soaked track but there is a bold invention to match its gait, which leaves expectations and predictability absent protagonists in the outstanding encounter.

The impressive start is backed with similar strength by Motion / No Motion. The second song is a rhythmically raucous stomp from its first breath with Hitchins offering a magnetic lure of a bassline. It is a dark coaxing surrounded by the concussive stick ability of Hill, a thick drawing of attention never wavering even as they are immersed in the sonic and melodic blaze of the guitars and the ever impressing tones of Kelly. There is something missing compared to its predecessor though, a small element just stopping it drawing the lustier satisfaction bred by Recover, but nevertheless the song has feet and imagination leaping in tandem with its resourceful enterprise.

Live Fast Don’t Last explores more of a croon for its creative shape and emotive intensity next. It has a slower flow and a more immersive canvas than the last songs with melodic tenacity and evocative expression from the vocals providing a deeper reflective colour and emotion to the encounter. It smoulders and tempts pleasingly as it shows another side and depth to the band’s songwriting and its creative realisation, though again cannot quite emulate the success of the first track and indeed its successor.

The EP’s title track brings it all to a lively and impressive close. Two Mirrors bounds along with another invitingly dark bassline aligned to eagerly swung beats, whilst their union is drenched in an anthemic energy and charm which the band seems to conjure at ease. Veined by richly enticing and tenacious guitar craft, the song makes a pungent end to a fine and enthralling release. If this is to be the end of Oh Captive, song and EP has seen them go out on a high and will leave fans saddened and newcomers kicking themselves for not discovering their promise and quality before.

The Two Mirrors EP is available from March 23rd through all digital outlets.

https://www.facebook.com/ohcaptive

RingMaster 23/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

The Kahless Clone – An Endless Loop

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Atmospherically and emotionally shadowed, An Endless Loop is an immersive and magnetically evocative slice of post rock/dark metal which lures ears and imagination into a soundscape of intimidating possibilities and melancholic beauty. The four-track EP from The Kahless Clone is a mesmeric exploration for thoughts, a sonically cathartic and emotionally imposing journey casting fascinating and lingering shadows on the senses.

The debut release from the Chicago hailing instrumental band, it is a transfixing proposition which simmers tenaciously rather than sparks a blaze in ears and psyche, yet infests and submerges the listener in a constant tide of mood driven ambiences igniting the keenest appetite. The Kahless Clone itself is the brainchild of Novembers Doom guitarist Vito Marchese, who created the band as a portal for his instrumental songs. He enlisted the help of bassist Andy Bunk, keyboardist Ben Johnson, drummer Garry Naples, and Zach Libbe on electronics, programming etc. for the recording of An Endless Loop. Recorded with and mixed/mastered by Chris Wisco at Belle City Sound in Racine, WI, the EP takes the listener to emotion drenched worlds of encroaching shadows and sombre beauty, providing impacting flights through seductively oppressive soundscapes starting with opener Leave This Place With Me.

The first track slowly emerges from the lapping caresses of a dark cloaked tide, the sea a calming yet portentous coaxing aided by similarly imposing breaths of keys and adjoining piano. Soon after, the piece cradles ears in melodic hands, guitars adding to the elegant beauty as electronic rhythms are courted by a ravenously and primordially snarling bassline and texture. Intensity ebbs and flows across the absorbing landscape of the track, taking the emotion and energy of the guitars and rhythms with it and as much as ears and emotions are fed, the imagination is equalled fuelled for its own dark passages of exploration by the sounds and atmospheric smog.

   I Can Feel Them, but I Can’t Remember Them relaxes air and thoughts again next, its morose yet warm entrance a bewitching collusion between a stark post punk bassline and the ever 10471599_846588275397987_8113942985732759572_nemerging and evolving melodic invention of guitar and keys. The bass of Bunk is persistently compelling bait and a reality check within the ethereal embrace elsewhere. It all eventually ignites in an incendiary and fiery eruption of caustic riffs and flaming sonic enterprise, though still sublimely submerged in the overwhelming celestial swamp of sound, before settling back down for an intimate and wistful close to match the song’s entrance.

The final pair of tracks continue the masterful persuasion and adventure expressed by the EP so far, Everything You See is Gone providing a more heavily rhythmic growl and menace to the forlorn atmosphere around them. It is as if guitars and keys have a pent up angst, ripening and festering inside, unable to break the gripping web of beats and bass predation which itself increases in enmity and temptation. There has to be an outlet though, and that dark emotion finally erupts in a tempestuous fire of mournful sonic endeavour and rampant rhythmic agitation. It is a glorious and epic confrontation, the best track on the release involving and enthralling the listener body and soul.

The closing A Somber Reflection, well its label describes it perfectly though not the creative drama and melodic, almost jazz like invention which seduces from within. It is a masterful end to a superb introduction to The Kahless Clone; a band that greed is already hankering for more from. An Endless Loop is also a release which unveils new depths and secrets with every listen, new essences emerging from within its invasive climates bringing fresh adventures with every partaking of its evocative terrains. For fans of progressive/post rock and instrumental dark beauty, this is a must.

An Endless Loop is available now on CD and as a name your price download @ https://thekahlessclone.bandcamp.com/

https://www.facebook.com/TheKahlessClone

RingMaster 18/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Deadworld – Self Titled EP

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Ever imagined what being clenched by the jaws of hell might be like? Well try the debut EP from US deathcore band Deadworld on for size. Their self-titled introduction may or may not exactly emulate the mouth of perpetual torment but it would certainly make the perfect soundtrack to its bestial and ravenous appetite. The four-track introduction to the New Jersey trio is a hellacious tempest of sound and psyche swarming enterprise. It is carnivorous, primal, and an increasingly compelling web of inventive malevolence and blackened raw seduction.

With three of its tracks recorded with Chris Fernandez, the song Astaroth recorded andengineered by guitarist/songwriter Jack Di Muro, and all mastered by Greg Pizzullo, the EP instantly goes for the jugular of body and psyche with opener Disgust. Well we say they go straight for the throat but initially the song emerges on a sonic boil of sound, one growing in weight and tension and subsequently exploding in a blaze of pestilential breath and guttural vocal toxicity. This is cradled in a furnace of riffs from  Di Muro and venomous rhythmic ferocity driven by the bass predation cast by Pete Buckley. The eruption settles into a savage stalking thereafter, the vocals of Emilio Alarcon a raw scourge shaped by excellent diversity striding purposefully alongside the corrosive riffery. It is the flirtatious shards of melodic and psychotic invention which spark and vein the tempest though which especially excite, their imaginative presence just the start of a creative adventure which does not impose upon and dilute the ravaging but certainly adds a mystique and enthralling twist to its brutality.

The excellent first taste of Deadworld is forcibly backed by Extremist next, though it is its successor Astaroth which steals the whole show. The second song is a lumbering prowling beast, its rhythmic punishing almost lightweight against the colossal intensity and rancor pervading the voice and heart of the encounter. As its sonic imagination and virulent hostility brings its vitriol to bear on the ears, you can almost feel it tearing down layer by layer the walls of psyche and senses, worming into the wounds and festering with toxic glee. It is nothing to the animus that is Astaroth though, the track one of those addictions you know you should flee but are lost to as soon as its claws sink into body and thought. As contagious as a plague and just as lingering, the track consumes and violates with sonic treachery and vocal maliciousness, already seizing the passions before condemning them to infernal addiction by unleashing a tempestuous fusion of diverse metal flavours and rabid intensity thereafter. The song lurches, lumbers, and charges with invention and jaundice, twisting it into unpredictable and contagious adventure.

The closing track, The Black Swan Event which features Bryan Martinez of Grimus, is a fury of sound and nature hell-bent on twisting the listener into a whimpering wreck through sheer creative animosity and a persistent savaging which again has no time to be predictable or content in feeding expectations. The song is still not majorly ground-breaking in its touch but certainly brings a fresh magnetism and ingenuity to its corruptive invention

The EP is a strong and potential drenched first offering from Deadworld, a band easy to assume is already making strong waves locally and within the US underground. Their EP has the promise and quality to lure even broader attention beyond those borders, so we all should expect to hear much more about Deadworld.

The Deadworld EP is available now via https://chugcore.bandcamp.com/album/deadworld-ep as a name your price download.

https://www.facebook.com/DeadWorldMusic

RingMaster 18/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/