Desert Suns – Self-Titled

Desert Suns band photo_RingMaster Review

Released in the Autumn of 2014, the self-titled debut album from San Diego quartet Desert Suns gets its deserved official worldwide re-release this January through a special collaboration between Ripple Music and HeviSike Records. For those missing that original limited run of 300 copies on vinyl through Birmingham-based HeviSike , its return is the chance to grab one highly flavoursome slab of stoner bred rock ‘n’ roll.

Formed late 2013, Desert Suns quickly drew attention with their first single Burning Temples which was released in the January of the following year. Seven months later and their six track debut album confirmed the initial potency of sound and imagination within that early single in a fiery and immersive blend of stoner and heavy metal, psyche and blues rock. The band’s sound, as at times their lyrics and song themes, demands attention without the heavy weight of it ever becoming invasively imposing, and within the Tony Reed (Mos Generator/Stone Axe) mastered album provides a powerful invitation to the listener, if without really wanting to take no for an answer.

DESERT-SUNS---DESERT-SUNS_RingMaster Review

Artwork-Jimmy Ovadia

Burning Temples starts things off, an initial sonic static the bed for heavier rumblings and clamorous energies before one hefty groove grows from within the low key tempest. It relaxes with an elegant shimmer to its lure and melodic spice to its touch as the dark bassline of David Russell aligns to his quickly alluring vocals though the forceful and agile beats of drummer Ben McDowell subsequently raises the intensity as the guitars of Woogie Maggard and Anthony Belluto twist and turn with magnetic grooves and riffs. As the track becomes a contagious blaze enslaving hips, ears, and imagination, it is easy to sense Black Sabbath and Deep Purple inspirations at play, the music masterfully and voraciously ebbing and flowing in energy whilst providing a continuous full-on sultry temptation.

After the incendiary climax of the first song has ignited ears and keen involvement further, the following Space Pussy shows it is even more ferociously enflamed with quick sonic and melodic intoxication. Raw and seductive flames soon live up to the suggested salacious exploits and skills of the song’s protagonist, their intensive heat casting a vociferous smoulder in sound and atmosphere which almost has the senses woozy, though sinew swung rhythms and a great gnarly bass tone provides a rapturous temper to that cosmic inebriety smothering ears.

The blues infested rock ‘n’ roll tempest of Passing Through gets ears excited all over again, its feisty swagger courting a virulent catchiness driven by tenacious rhythms and swinging grooves matched by the Ozzy-esque vocal temping of Russell. The track is irresistible, taking a great first impression of the album up another notch with its flirtatious enterprise and anthemic dexterity of music and craft. As across the album, there is something familiar to the Desert Suns sound but a hue only adding to the lure of its bordering on mischievous revelry.

A breath is allowed to be taken by the blues croon of Ten Feet Down as ears feast on a new twist in the landscape of the release. Blues and country rock merge to serenade as harmonica and guitar colour a salty portrait of suggestiveness around it, all colluding for a magnetic encounter before Memories of Home portentously pulsates into view and unfurls a lumbering beast of a stoner/heavy metal fuelled proposition. A scent of Fu Manchu meets Electric Wizard meets Kyuss looms up within the tantalising proposal, whilst mellow and soporific textures unite with the ravaging torrents stirred up by grooves and a hungry energy to create another hard to resist confrontation.

Run Through My Roots brings the album to a compelling close, its atmospheric soundscape and pungent rhythmic suggestiveness the prelude to another forceful and heavyweight enveloping of the senses. Once more romancing calms are seductive oases amidst increasingly volatile eruptions and predacious outbursts, their mesmeric caresses breaking ravenous outpourings of sound and emotion as the track offers a fascinating end to a thoroughly enthralling and enjoyable release.

Second time around, Desert Suns is not to be missed and already thoughts are eagerly turning to what comes next from the band, where they have imaginatively ventured since the creation of their album two years ago.

Desert Suns is out now through Ripple Music in North America on CD and Royal Blue vinyl and on Beer Brown vinyl in the UK through HeviSike Records with digital copies @ https://desertsuns.bandcamp.com/

https://www.facebook.com/desertsunssd  http://www.desertsunsmusic.com/

Pete RingMaster 20/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Mortuary – Nothingless Than Nothingness

Mortuary-photo_RingMaster Review

Formed in 1989, Mortuary has been a potent protagonist within the French metal scene, certainly since the release of their debut album Hazards Of Creation seven years later. The well-received release followed a clutch of demos and awoke the beginnings of broader recognition for their brutal death/thrash onslaught of a sound. Now the band release their fifth album in the ferocious shape of Nothingless Than Nothingness, a beast of a record which might not turn the extreme metal world on its head but definitely gives it a rousing roar to contemplate in 2016.

Since that first full-length, Mortuary has unleashed a trio of attention whipped albums in Eradicate (1998), Agony in Red (2003), and G.O.D. (Glorify Our Destroyers) (2010)whilst live their sound has scarred stages alongside the likes of Coroner, S.U.P., Obituary, Krabathor, Agressor, Hypocrisy, Hatesphere, S-core, and Severe. As Nothingless Than Nothingness rages against ears and sparks the imagination, the album suggests Mortuary is ready to entice a whole new wealth of appetites with its accomplished and maturely honed anthemic barbarity and step into broader spotlights.

Mortuary-cover-artwork_RingMaster ReviewThe initial industrial apocalyptic scenery of brief opener Only Dead Witness grabs ears first, its portentous air soon building into a muggy and intimidating confrontation led by the vocal scowl of Patrick Germonville. Amidst raw suggestiveness spread by guitar and bass, the stirring beats of Johann Voirin provoke a more energetic bellow of riffs and intensity before the scene setter eventually drifts off into the jaws of Empty. An unbridled onslaught from its first few breaths, the second track savages and incites as thrash and death metal collude in a punk infested rampage. The bass of Jean-Noël Verbecq prowls this with zeal as the track careers over the senses, sparking an infectiousness soon taken up by a variety of vocals and the sonic enterprise of guitarist Alexis Baudin.

For all its fearsome breeding, the song is ultimately primal rock ‘n’ roll more than matched in success and prowess by both Tube and Above. The first is a hornet’s nest of grooves and nagging riffs with rhythms just as unrelenting in their cantankerously violent way whilst its successor emulates the predatory toxicity with its own exhaustive and vicious barbarism aligned to a groove loaded tempting. As all songs, the pair reveals unpredictability to the addictively infectious elements colouring their walls of hostility and a creative adventure and craft which may get a touch overwhelmed by the tsunami of intensity but leaves the imagination as enthused as ears.

Through the crusty yet refreshing air and rabidity of Pleasuffering and the hellacious ride of U-Man Slept, K-Os Crawled, the album whips up an even more mouth-watering and debilitating storm. Both tracks come thick in rage and striking flavour blending enterprise whilst Yesterdead straight after has a touch of fellow French hardcore metallers Yugal to its brawling, punk infused trespass.

Song by song, Nothingless Than Nothingness just seems to get stronger and more compelling; whether from raising the ante in invention or by the wearing down of the listener and psyche and it continues with the searing rancor and sonic ferocity of K and in turn the hardcore festering enmity of Morbid Existence. The first of the duo also explores calmer, more ambience hued ventures within its diversely textured landscape of varied metal whilst another furious onslaught of passion rousing death punk ‘n’ roll has the listener in its inescapable grip in the second before the brutalising smog of sonic and rhythmic bad blood that is Kingdom surges through ears with the infectiousness that as much as anything marks out Nothingless Than Nothingness as something to eagerly devour. Once more the band push ideas and expectation avoiding turns within the aural tirade, keeping attention and appetite as intrigued as the sheer force of the encounter feeds bloodlust.

It is a mighty end to an excellent offering from Mortuary; an album to heavily please and leave pleasure thick whilst pushing the band further to the fore of extreme metal.

Nothingless Than Nothingness is out now via Goregeous Productions @ http://goregeousproductions.bandcamp.com/album/nothingless-than-nothingness

https://www.facebook.com/mortuarynancy

Pete RingMaster 20/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

The Lumberjack Feedback – Blackened Visions

THE-LUMBERJACK-FEEDBACK_RingMaster Review

As debut albums go, Blackened Visions from French instrumental progressive doomsters The Lumberjack Feedback is a colossus, though maybe that is not so much a surprise given the impressive and intensive tempest of their earlier offerings. The new album though sees the band exploring even more darkly provocative depths and uncompromisingly invasive textures in their sound and sonic suggestiveness. Blackened Visions lives up to its name with physically invasive ease; providing an inventive playground for the imagination and emotions to eagerly conjure within whilst at the same time luring ears into dramatic landscapes.

The band’s first acclaimed EP Hand of Glory in 2013 set the template and intent of The Lumberjack Feedback exploration in composing and sound, it offering a highly ravenous and intrusive adventure which has only grown more compelling and creatively dynamic, not forgetting experimentally bold within Blackened Visions. Between these releases, the Lille quintet drew potent reactions with Ausstellung, a split release with We All Die (Laughing) and the live EP Noise in the Church, both in 2014. Fair to say though, that Blackened Visions sees the twin guitar craft and imagination of Simon Herbaut and Arnaud Silvert, the predacious bass trespass of Sebastien Tarridec, and the united and often duelling enterprise of drummers Nicolas Tarridec and Virgil Chaize, sculpting their most stimulating and immersive proposals yet.

Artwork_RingMaster ReviewThe band’s fusion of crushing doom metal with progressive and post rock explorations, all infused with tar like sludge and intensively fiery stoner-esque fascination, swiftly seduces and devours body and senses with the initial heavy throws of its opener No Cure (For The Fools). The track is a predator, laying down a sonic trail as menacing riffs lurk in the background before bringing it all to the intimidating fore led by the bestial instincts of bass and the united grouchy twang of the guitars. The track continues to crawl over and invade ears as it develops an equally gripping anthemic devilment to the combined but individual rapacity of the drums. There is a touch of Morkobot to the piece and equally in its raw character and volatile intensity, the scent of bands like Neurosis and Pelican, but whereas maybe in previous encounters they would be an overriding presence straight away Blackened Visions reveals a distinction solely from The Lumberjack Feedback.

The excellent start continues with the album’s title track. The melodic first touch and stormy air is an engaging but portentous melancholy fuelled invitation which only intensifies as guitars and bass entwine and creep around firm rhythmic pokes. There is a fearsome romance to the lure of the music too, even as things intrusively erupt and grooves become more sinewy as rhythms forcibly make their trespass. Darkness and invasive shadows always come equipped with a certain lure and so it is with the increasingly fiery and vitriolic landscape and indeed heart of Blackened Visions, song and album.

I, Mere Mortal steps forward next, another sonic coaxing the first contact from within which a rousing rhythmic incitement grabs the imagination and appetite. The anthemic potency of the drums is matched by a throaty bait of bass whilst a repetitive nagging from the guitars adds to the raw almost monolithic tempting enveloping the listener before spreading broader pestilential and ravenous sonic antipathy. The track is irresistible; a gloriously bruising call to arms led by, to simplify things, the thumping drama of rhythms and niggling persistence of guitar.

Karma to Burn like spicing lines Salvation next, melodic acidity which burns on the senses but sweetly entices ears and heart to its cancerous rock ‘n roll leading to intensely viscous doom and post rock spawned exploration. It is a flight into the beauty and hopeful calm found within acceptances of dark and merciless emotional and physical climates, and another song which leaves the body invigorated, thoughts stretched, and emotions exhausted.

A tapestry of drama and creative enmity follows with Dra Till Helvete, the track an addictive and mercurial beckoning turned sonic devourer leading body and imagination into the hellish depths of the underworld with rhythmic magnetism. As through all tracks, thoughts paint a picture and emotions flirt with more intimate realisation, every intrusive note and swinging beat a powerfully impacting and rabidly lingering incitement to be entangled in.

Mah Song (Horses Of God) completes the album, it a rumbling and lumbering beast merging expulsions of rock ‘n’ roll with psyche twisting post rock winds infused with danger lit melodic veins. It is a dramatic and compelling end to a demandingly impressive proposition. The Lumberjack Feedback has unlocked their most destructive and invigorating depths yet with Blackened Visions and it feels like it is just the beginning too; happy days!

Blackened Visions is out now via Kaotoxin Records digitally @ http://listen.kaotoxin.com/album/blackened-visions and as limited edition 500 copy DigiSLeeve CD with 100 copy collector edition 12″ LP on clear vinyl and 400 copy limited edition 12″ LP regular versions will be released during 2016’s second quarter at the Kaotoxin Shop.

https://www.facebook.com/thelumberjackfeedbackband    http://www.thelumberjackfeedback.com/    https://twitter.com/LumberjackFeedb

Pete RingMaster 18//01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Years Young – Hiraeth EP

YY_RingMaster Review

Like their sound, Years Young is a band which only grows on ears and appetite; the evidence coming with debut EP Hiraeth. With the UK quintet revealing more depth and adventure to their invention song by song, the six track encounter is an engaging proposition fuelled by rich emotion tinged in shadows and sadness, its songs equally coloured with provocative melodies and a rousing intensity. It does not explode in ears and thoughts but builds track by track into a captivating roar for a very solid introduction to the Lincolnshire band.

Formed late November, the band took their time honing a sound inspired by the likes of Biffy Clyro, Mallory Knox, and Don Broco, whilst building to a launch which would grab attention. Since emerging they have shared stages with the likes of Funeral For a Friend, Fearless Vampire Killers, October Drift, and TrueHeights amongst many and in the August of last year released first and well-received single Miracles. Now, as the band undertakes a UK tour, the Roni Szpakowski recorded Hiraeth EP provides an endearing invitation for national awareness to embrace Years Young.

Mastered by Brian Lucey, band and EP make their entrance with that early single. Miracles immediately drizzles an elegant melody over ears before riffs and rhythms align to a more forceful sonic coaxing as things grow into fuller view. It relaxes again as the potent vocals of guitarist Luke Colclough strokes ears, his warm tones matched by those of drummer Ollie Griffiths, but quickly builds in energy and intensity as the guitars of Danny Binnington and Colclough imaginatively entwine the vocals. It is a fine tempting given even more creative enterprise by the bass of Gary Butler, its bulging lures dancing with a smiling revelry at times and in other moments casting thick but magnetic shadows. Continuing to inventively entertain and prompt a keen appetite, the song only, as the EP, impresses more and more with each listen.

Hiraeth Cover_RingMaster ReviewThe following Finding My Feet swiftly shows a bolder and feistier energy but again it comes controlled and neatly hugged by melodic and vocal expression. The bass probes and rhythms poke as the song reveals its plaintive heart, guitars casting another imaginative web as the song invites attention before making way for the evocatively melodic and anthemically enticing temptation that is The Sign. As its predecessor, the song smoothly merges lively bounds and emotive reflections in an enthralling landscape of inventive textures and increasingly alluring twists, just with more resourcefulness and tenacity to its imagination.

Across the EP and in varying degrees, each song seems to incite a thicker hunger to explore more, whether through an accumulative effect of the strong songwriting and inviting sound or by songs like the dynamically and sonically enflamed Electric taking aspects of those before it to new levels of exploration as it does to the gentle but roaring croon of the highly enjoyable Paper Mountains. Both songs lay easily and evocatively upon ears and thoughts, a strong trait of the EP emulated in its closer and best track Sleeping Easy. Straight away there is an intensity and sturdy edge to the song, even as it serenades with fire fuelled melodies and vocal angst; an imposing drama which demands attention and stirs up the emotions.

The track is a great end to a thoroughly enjoyable first taste of the Years Young sound. It is early days and fair to say an individual uniqueness has yet to majorly emerge within the band’s music, but for a first flavour Hiraeth potently pleases and leaves a wish to hear more; a success many a band would like to have with their debut encounter.

The Hiraeth EP is out now via most online stores.

Remaining dates on the Years Young UK tour:

31st January – Scunthorpe, The Lincoln Imp (with Allusondrugs)

16th February – Huddersfield, The Parish

19th February – Rotherham, The Trades

4th March – Birmingham, o2 Academy 3 (with The New Blacks)

19th March – Leeds, Verve Bar

21st March – Sheffield, Corporation

http://www.yearsyoungmusic.com/   https://www.facebook.com/yearsyoungmusic   https://twitter.com/yearsyoungmusic

Pete RingMaster 18/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Dog Days – Heat

Pic_Christophe Dutoit

Pic_Christophe Dutoit

From its first inflamed note, the debut album from Swiss stoners Dog Days is a sonic mutt in season; a furiously rocking body of insatiable intent sculpted with sexily invasive grooves and a collusion of heavy boned riffs and rhythms. Consisting of eight instrumentally fertile slices of rock ‘n’ roll, Heat is also loaded with severely addictive hooks and immersive textures ensuring, in our experience, that a mating between release and the passions is inevitable.

Heat swiftly stirs up body and emotions from the off, quickly showing why the Fribourg trio of bassist Marie Riley, guitarist Vincent Yerly, and drummer Julien Vonlanthen are kicking up a potent buzz around themselves. Recorded with Sacha Ruffieux over two sessions of 5 days each at the Studio de la Fonderie, the band’s first album comes fuelled by the band’s intent “…to create an instrumental stoner album that shows our love for the sound we can generate with our instrument.

It begins with Saluki which instantly soaks ears in the thick fuzz of guitar and bass whilst a spicy groove nags and rhythms punch. As a sign of things to come, the air is seriously muggy which just adds to the swift drama lacing the virulence of dirty riffs and splintered grooves sculpted with repetitious persuasion. In no time though, the song is really swinging with fully fledged, intoxicating grooves escaping the stomping rock ‘n’ roll incitement. Fair to say, the imagination and appetite are hastily involved and as greedy as ears as the song from start to finish unloads a rich catchy tempest with a hungry swagger.

Heat Cover_RingMaster ReviewThe excellent start is superbly continued by Shiba and its heavily bruising and similarly contagious intensive boogie. There are no escaping essences of bands like Kyuss and Queens Of The Stone Age as a flirtatiously salty scything of guitar streaks through the brooding invasion of cantankerous bass and swiping beats, but with its gripping atmospheric theatre and ravenous intensity the track is uniquely a Dog Days beast.

Malamute wraps ears in sultry and evocatively sonic tendrils next, that persistently dramatic lure soon joined by the dark rumble of beats and a gorgeously carnivorous bass tone; it all springing a punk infused splatter of temptation as much post punk and noise rock as it is heavy punk ‘n’ roll upon ears. The track is instant slavery, a magnetic fusion of gnarly and sweltering contrast with one thing in mine, to seduce the senses whilst twisting them inside out. The pinnacle of the album, it is closely matched by the dark tempestuous trespass of Broholmer. Straight away, its invasive challenge prowls with leaden grooves and abrasing riffs tempered by the stirring up of a thickly and imaginatively layered lava-esque swamp like temptation leaving the body breathless and enamoured before Hovawart sonically shudders into view with pungent beats for company. There is tribal scented enterprise to the new track’s rhythms which continues to blossom and grip as the guitar caustically resonates and the bass links its own slightly bestial bait to the brewing storm of raw and mercurial suggestiveness.

Throughout new breeds of sound and invention are explored within the volcanic stoner genus of the album, Lancashire Heeler an incendiary groove train with creative rabidity to its infectious fire and thunderous trespass whilst Kyi Apso raps keen attention with its opening rally from Vonlanthen before Yerly and Riley nets that perpetually incitement in their webs of roasting and feral prowess respectively. As all songs within Heat, it is pure rock ‘n’ roll caked in tar like energy, set afire with sonic acidity, and given an off the meter voltage of raw aural electricity.

The album is concluded by the almost eight minute flirtation of Komondor featuring guest guitarist Sacha Love. The song is an uncontrollably bewitching proposal merging mesmeric surf rock with rich intoxicating melodic smoulders and sultry grooves; an exhilarating end to a release destined to be one of the year’s big highlights. Heat is one of those jaw dropping treats which are unexpected but quickly rapaciously devoured. The Dog Days bio calls the band’s sound “Stoner with a boner”; that tells you all you need to know.

Heat is released January 15th on vinyl and as a name your price download @ https://dogdaysband.bandcamp.com/releases

http://www.dogdays.band/   https://www.facebook.com/dogdaysfuzz

Pete RingMaster 15/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Third Sovereign – Perversion Swallowing Sanity

3rdS_RingMaster Review

The Asian metal scene is still a relatively untapped and certainly unrecognised landscape in the awareness of the majority on the outside, this despite the impressive bands and releases springing from it over the years. Through the fine efforts and passions of bands and labels/PR companies like Transcending Obscurity, a few things deservedly escape the shadows to earn strong attention and draw new ears and appetite to the region’s mighty underground scene. One such offering is the striking new album, Perversion Swallowing Sanity, from Indian death metallers Third Sovereign. It is an explosive thrash fuelled incitement bred from old school seeds of death metal blossomed into something as intensely fresh as it is enjoyably nostalgic, and another example of the potency within India’s metal scene as Third Sovereign back up to the legendary status they carry in their homeland and surrounding areas.

Formed in 2003 by a trio of musicians from Aizawl, the capital of the state of Mizoram, after they moved to Delhi “in order to expand their horizons”, Third Sovereign quickly earned a reputation for their bold and pungent take on death metal. Inspiration to their sound comes from the time bands such as Sepultura, Monstrosity, Cannibal Corpse, and Vader were the prime death metal driven scourges on the senses. 2006 saw the release of debut EP Horrified Visions with their acclaimed first album, Destined To Suffer uncaged the following year, as its predecessor upon Demonstealer Records. The Deprived Serenity EP continued the attention capturing success of the album with its release in 2008, whilst the single Sarcophaga was nominated in the Best Metal Song category at the Rolling Stones Metal Awards a year later. Leaping on to the now and the band is ready to unveil second album Perversion Swallowing Sanity, a release sure to ignite the most potent range of acclaim and spotlights on the band yet.

art_RingMaster ReviewAizawl based again, Third Sovereign intrigue the imagination with opening introduction Sakei Ai Hla, voices in threat or calling, hard to know, leading the listener towards and into the brewing tempest of Grave of Humanity and an irritable climate of intimidating riffs and towering intensity. A few moments more and the track is rampaging with thick spicy grooves entwining thumping rhythms and rabid riffs. As vocalist Vedant prowls proceedings with his grizzly guttural tones, thrash bred fuel flows to incite and power the increasingly gripping provocation masterly coloured by guitarist Benjamin and given compelling bulk by bassist Jonah within Reuben’s skeletal rhythmic frame.

Demonic and fiercely enticing, the excellent opener makes way for the incessant violation and nagging persuasion of Sarcophaga; the track a tempestuous onslaught as bestial as it is creatively endearing. Spiralling grooves and sonic imagination light the smothering weight of heavy riffs and brutal rhythms, their union a vicious contagion unafraid to spew toxically bracing tendrils of melodic enterprise.

Both Living This Hate and Slaughtered Mankind descend on the senses with nostril flared and muscles merciless; the first a barbarous consumption of ears littered with psyche gripping hooks and fiery grooves carrying as much venom as the bruising menacing around them. Addiction is as swift as an appetite for the quartet’s intrusive rabidity of sound and ideation, its successor showing this an achievement working across the board of Perversion Swallowing Sanity with its fierce animus of sound and hungry intensity.

From the waspish and predatory trespass of Devolution of Mortality and the more controlled predation guided prowl of Spawned with Guilt, band and album squeeze their grip on ears and thoughts tighter. Through their own individually truculent designs, the pair find a mutual savage beauty and character to threaten and enthral, theirs a murderous seduction emulated in the skilfully sculpted and emotionally untamed Holocaust of Preaching. The track is outstanding with its grooves, as in its predecessors, essential lures backed by the nimble and scorching prowess of the guitar and the merciless uncompromising tempting of rhythms and vocals.

There is no denying that Third Sovereign songs are as anthemic as they are vehemently hellacious; captivating incitements as ready to tear out your soul as incite an uprising. The insidiously hued Dark Black is crawling pervasive proof, working its way under the skin to ignite the passions into a greedy lusting for more before the military seeded rhythmic emergence of Burnt Epitome draws the listener into one final invigorating storm of raw malice and virulent death metal tenacity.

It is an immense end to an outstanding release from a band deserving the fullest attention. Third Sovereign is prime example of the depth within Indian metal alone; one of the leading forces we all need in our metal lives.

Perversion Swallowing Sanity is released January 15th via Transcending Obscurity India @ https://transcendingobscurityindia.bandcamp.com/album/perversion-swallowing-sanity-death-metal or http://tometal.com/

https://www.facebook.com/ThirdSovereign

Pete RingMaster 15/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

GET OUT. – Let Me In

photo by kim zangrando

photo by kim zangrando

Formed in 2014, GET OUT. is a Kingston, New York bred outfit showing a healthy appetite for a vast range of rock ‘n’ roll. Evidence comes with debut album Let Me In and its collection of tracks seeded in thick and varied essences from heavy rock, metal, punk, and plenty more. The result is a potent sound which gets straight to the point without distracting frills and a commandingly solid release providing increasingly thickening enjoyment.

With its members experiences in local, national, and international music scenes, GET OUT. has all the instincts and imagination to grab attention and get the body rocking. Scarab of Green quickly proves the point, the opener almost prowling ears with predation guided rhythms and fiery grooves before taking a lumbering stroll awash with spicy guitar coaxing from Ryan Rios and Jeremy Swift. Against more intensive and intimidating rhythms, it is an appealing start added to by the strong vocals of Morgan Y. Evans and blossoming further as the heavy rock enterprise of the song increasingly broadens in flavouring and aggression lined catchiness across its body.

Bloody Marys steps up next with sonic winds surrounding the rolling rhythms of drummer Greg Allen, this soon turning into an inviting mix of grouchy riffs and feverish grooves within a muscular frame stalked by an intimidating bassline. As its predecessor, the track has a hazy hard and blues rock air to its tone, the first of many hues spicing up the adventurous sounds within Let Me In, the metal fuelled Seven Heavens swift confirmation. From riff to rhythm, the song has a harsher intimidating edge to its body and attitude, nagging grooves and the thunderous bass of Colin Brown especially tasty against another strong lure of vocals. Sure to get anyone’s feet stomping and hips eager for the mosh pit, the track quickly hits the spot.

Album art by Chris Smith

Album art by Chris Smith

The melodically shimmering Master of Storms has similar success with its mellow croon and evocative melodies which lead to an alternative/melodic rock roar. As provocatively anthemic as anything on the album, it seduces and rouses the spirit with imagination before the sinew spun Chameleon strides in with a heavy rock swagger and bluesy climate. Carrying a rock pop scent to its infectious body too, the song stirs ears and appetite, though admittedly not quite as forcibly as the rampant rock ‘n’ roll of the album’s title track; Let Me In a robustly tenacious and energetically wilful stomp refusing to take no as an answer to its snarling infection.

The latter part of the album holds the strongest tracks, that particular highlight making way for another pair in the shape of the stoner-esque heated Moon Harvest and straight after, the great punk ‘n’ roll tearaway that is Faded. The first of the two is another slow gaited but intensively bodied proposition taking deliberately heavy steps across the senses whilst confronting ears with rapacious grooves and growling riffs aligned to scything rhythms. Its contagion drenched successor is simply a storming incitement of high octane riffs and attitude loaded rhythms guided by the ever impressing vocals of Evans and band. With the previous song to the pair, they make the best extensive moment within Let Me In, simultaneously revealing more of the diversity within the band’s sound.

The burning rock ‘n’ roll of Dagger Complex brings the album to a thumping close, its heavy rock a match for the offerings right before it with it’s in the face dynamics courted by virulent aggression and blood-pumping energy. It is a fine end to a release which, though for personal tastes Let Me In is a few flames short of the raging blaze it might have been, gives full enjoyment and you cannot be much greedier than that.

Let Me In is available from January 15th on iTunes and through the GET OUT. bandcamp.

https://www.facebook.com/getoutrock    http://getoutband.com

Pete RingMaster 15/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/