Hot Moth – Small Fires EP

hot moth_RingMasterReview

Just passing their first year as band, UK rockers Hot Moth have just released debut EP Small Fires. It is an introduction which simply demands attention, three slices of alternative rock woven with just as potent essences of math and punk rock. A further progressive intent does songs and release no harm either, another vibrant texture in a sound which is yet to find its true individuality but has little problem, on the evidence of Small Fires, in making a memorable impression on ears and enjoyment.

Hailing from Brighton, Hot Moth is made up of vocalist/bassist Matt Sparkes also of The Farrah Joy Quartet, guitarist Matt Metcalfe, and drummer Freddie Hills who also hits the skins for another great band from the town, The Slytones. Formed March 2015, Hot Moth has drawn comparisons to the likes of Biffy Clyro, Oceansize, Reuben, and Mars Volta, which listening to Small Fires is often easily understandable. Creating captivating roars equipped with hungry riffs, anthemic rhythms, and strong vocal enticement, the band also has a subtlety to their sound which sees them able to almost serenade the imagination one moment and creatively bully it in the next.

cover_RingMasterReviewThe release opens with Rhino and an initial scaly lure of riffs which soon opens up into a formidable but inviting collusion of rowdy rhythms and sonic enterprise. The entrance of Sparkes’ excellent vocals and expression brings a momentary mellowing which quickly builds again into the same feisty proposal the song leaped in on. Ebbs and flows in intensity skilfully continue as the track provokes and entices with increasing prowess. There is a touch of Freeze the Atlantic to the song, a grittier snarl which works well with the melodically fiery textures that combine with Hills’ dynamic and addictive rhythms.

The impressive start continues with I Miss The Missed, a slightly less energetic proposal in many ways yet makes up for it with the emotive suggestiveness of vocals and melodies. There are plenty of dynamic crescendos involved in the track’s landscape though, evocative eruptions around the tenacious and agile enterprise of Hills and the melancholic tone of Sparkes’ bass. As with the first, there is an instinctive catchiness which permeates everything from the growly swing of the bass to the crisp beats and the potent weave of imagination shared by Metcalfe’s strings. Closing on a boisterous finale, the excellent track leaves a want for more as it makes way for EP closer Levelling The Tales.

A funk infested slice of metal aggravation and melodic infectiousness, the final track is a fiercely beguiling adventure playing like a blend of Reuben and I Plead Irony with the progressive touch of Porcupine Tree. Once more contagion soaks every unpredictable twist and rousing turn with a tapestry of flavours and energies in tow. It is a union of imagination and resourcefulness creating the EP’s best track as it completes a thrilling first listen to a band with the potential to make great strides within the UK rock scene. Available as a name your price download, Small Fires is one extremely easy proposition to recommend.

The Small Fires EP is out now @

Pete RingMaster 13/04/2016

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Plutonium – Born Again Misanthrope


Born Again Misanthrope is one of those great releases which maybe initially leaves ears and thoughts unsure but with deserved attention works its way deep into the psyche whilst proving to be one highly magnetic proposition. The nine-track engagement, with a tone and character living up to its name, is the recently released third album from Plutonium, a one man project from Sweden and an encounter which crafts and in turn captivates with a voracious theatre of raw and dramatic shadows.

Carlsson, more often known as Mr J,. is the creator of Plutonium and a sound which imaginatively merges extreme industrial and black metal, though that over simplifies the sonic adventure within certainly Born Again Misanthrope. Hailing from Karlskoga, the project emerged in 2003 with an early demo appearing the following year. Three years on and debut album One Size Fits All was unveiled with successor Devilmentertainment appearing four years on. With hindsight investigation of those releases, it is easy to assume Plutonium has drawn potent attention and support over the years, even if yet to find itself breaking into the broader spotlights beyond its homeland. Born Again Misanthrope though, might be the key; certainly it is the most imaginatively accomplished and unique proposal from Plutonium yet and given the time a sizeable magnet for ears and eager attention.

The album opens with its title track and a militarist nagging of beats which subsequently sparks a similarly toned parade of riffs. From there blackened toxic grooves spring upon ears and appetite as the dark rasping tones of Mr J. almost crawl through the enveloping muggy landscape. It is a ravenous confrontation unafraid to allow a seduction of melodic calm to join its persuasive trespass of ears and imagination. The collusion of industrial and extreme metal is a hellacious tempting with post punk and progressive twists icing on the pestilential cake. As suggested earlier, it provides a thick challenge initially, taking body and thoughts aback with its unconventional design and aggravation but over plays the song really blossoms into one dramatically compelling affair.

It is a journey and achievement which pretty much applies speaks for the album too, and second song Cortex Vortex whose intrusive invasion is at first a boldly unsettling incitement. Taking time to acclimatise to its creative animus of rabid intensity and a ravenously tantalising sonic undercurrent though, the song emerges as another captivating protagonist of the senses. Its unpredictability is as enjoyably ripe as the diverse strains of styles woven into the corrosive theatre of sound and intent; a soundscape as prone to melodic and avant-garde intrigue as it is emotive despair.

For personal tastes it is when tracks venture into that wrong-footing and seriously diverse scenery that they truly come alive and remove themselves from more recognisable black metal dilemmas. The Inverted Panopticon Experience is such an offering; though instantly taking a hold of the appetite with its death march of debilitating rhythms and corrosively wiry riffs and grooves, it is the industrial and sonic imagination that elevates its stature and lure even though its dominant incessant stalking of the senses never abates.

Casque Strength has that same nagging quality too though this time with a warmer melodic hue to its worrisome nature. Straight away it is working the senses though it holds it back somewhat as a great industrially coloured atmospheric mist descends before returning to its unbridled niggle soon after as the vocals offer venomous predation through it all. Already a virulent strain of persuasion, the track only grows in potency as an enthralling, almost indie rock bred melody and accompanying hooks perpetually vein the venture whilst sparking a bold swing to the torrent of sonic tempting.

One of the clear pinnacles of the album it is followed by the shadow rich drama of The Masque of The Green Demon. A sweltering reflective ambience envelops ears as guitars slowly spread their sultry lures whilst drawing on stoner and sludge bred qualities as the song bracingly shimmers on the senses. Vocally Mr J. never veers from his black metal inspired delivery yet it works perfectly with the heavy rock ‘n’ roll of the fiercely enjoyable track for arguably the most unique moment on the album.

The harsh cold landscape of Renuntiationem comes next; the track a wasteland of warmth and hope that spawns a dark and sombre hued drone laced with just as melancholy rich elegant melodies. It is a provocative and mesmeric flight of sound and emotion that, as many, flourishes with every listen, though time the outstanding Electric Barbwire Crown of Thorns has no need of. From its first electronic/metal seeded assault, the song has ears and appetite enthralled with a web of sonic enterprise within an industrial tirade of noise. Swiftly though, the song twists and turns through inventive detours and imagination fuelled escapades as addictive and infectious as hey comes. Along with Casque Strength and The Masque of The Green Demon, it is reason enough to check out Born Again Misanthrope and Plutonium.

The short instrumental of Alice in Plutoniumland (Two Minute Hate Part III) sparks the imagination next, playing like the haunted soundtrack to a psychedelic kid’s tale set in dystopian X-Files spawned surroundings. It is an ever giving piece for the listener to play with before Confessions Of A Suicidal Cryptologist aggressively leaps on ears and emotions with its furious smog of intensity and cancerous animosity. Fair to say though, the album closer has its own enthralling moments of boisterous catchiness and brazen rock ‘n’ roll endeavour, not forgetting atmospheric synth woven incitement.

The track provides a formidable and potent end to a thoroughly enjoyable adventure which simply becomes more impressive over time. With certain moments of majestic ingenuity backed by further creatively rousing craft, Born Again Misanthrope is a proposal that extreme and industrial metal fans especially should definitely explore.

Born Again Misanthrope is out now @

Pete RingMaster 13/04/2016

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Bask in Feathers: Introducing Rooster Cole

Rooster Cole pic

If like us you have been impressed and excited by Brighton band Black Black Hills, you might just get a tingle, again just like us, at the thought of a solo project from the band’s frontman Mark S. Aaron. When the man in question got in touch telling us about his new solo project Rooster Cole, there was an immediate intrigue and excited eagerness to find out more and once we had embraced the first two songs from this new adventure, there was little option then to share. As expected from previous exploits there is an elegance and grandeur to the sound of Rooster Cole but equally it has an intimate presence skirted by wonderfully invasive shadows. Nick Cave springs to mind as a comparison in many ways but truly the project has a uniqueness which seduces from the first note and syllable.

As mentioned Mark S. Aaron was /is the frontman to Black Black Hills, not too sure on their state of being right now to be honest, a band which has supported the likes of Twin Shadow, Maps & Atlases, and The Vaccines. Their sound also found good acclaim from the likes of Edith Bowman, Nick Grimshaw, and Huw Stephens, with their single Far From My Arms chosen by Lauren Laverne as one of her show’s MPFrees of the Day and placed on the Radio 1 playlist. Rooster Cole sees Aaron step out alone with a pair of captivating tracks as his first temptation. Still to play live as he works on further songs with a single and video planned for later this year, Aaron is already brewing up some hungry attention and it is easy to see why with the magnetic charm of his first offerings.

The two songs marking Rooster Cole’s emergence are More Than You and The Waiting Place, two sultry evocative persuasions which simply entrance the imagination as potently as the ears. More Than You moves into view on a breeze of jangling guitars and a broody bass tone, all gentle and restrained in their gait but rich in their expressive hues. Once the distinctive tones of Aaron open up the narrative’s croon a thicker emotive embrace cradles thoughts immersing the listener into a smouldering climate of heat and incitingly suggestive seduction. The song is still tempered in its urgency yet has a sway and swing which makes feet submissive but once the epic voice of sound and vocals in their varied delivery clasp the chorus, new incendiary heights and tempting depths are opened up. The song is simply glorious, its broad shoulder of sound expansive yet intimately caressing with lyrical and vocal enterprise. With keys bringing further colour rich flavour to the song it alone sparks a hunger to keep Rooster Cole under close attention.

The Waiting Place is a slower bewitchment, a piano led walk through resourceful scenery of discord kissed melodies, percussive kisses, and the noble come sombre yet emotionally incendiary vocals of Aaron. The song is covered by a red skied emotive climate, its potent vivacity a tempering lure to the shadows unfolding within the irresistible tale. There is an essence of Helldorado and Saint Agnes to the track at times and of the Dennis Hopper Choppers too, but all mere comparative spices in the ingenious design of Rooster Cole.

Though not official releases the two songs are available from Rooster Cole as free downloads from, an offering it is easy to loudly recommend all treat themselves to. Using the pair as inspiration, the suggestion that Rooster Cole will be a name on the lips of the country and in the ears of a legion of feather enthusiasts on a future horizon is unavoidable.

RingMaster 26/03/2014

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Escape The Justice – Abscond EP

Escape The Justice

We cannot claim that post hardcore band Escape The Justice is exposing yet anything startlingly new for the genre on their debut EP Abscond, there is something invigorating and fresh about the Manchester quintet which makes them stand out whilst entrenching a promise and expectation that they will evolve into something unique and intensely potent. The six track EP is a striking and passionate affair which captivates from start to finish as it explores the band’s creativity. It uses existing armoury for sure but strips it down and rebuilds it with a heart and aggression that slaps the listener strongly on the senses for a richly pleasing and dramatic confrontation.

The band was formed in January of this year by vocalist James Holman, guitarist Tom Crane, and drummer John ‘Jay Kay’ Kendrick, all three formerly in Our Innocence Lost. Bringing in bassist Abe Shimmin and guitarist Jonny Gill, the band took no time in attacking their passionate and aggressive intent with a sound which initially was suggested at in the latter part of the founding three’s last band but has now  been expanded and taken to new boundaries. Recorded at Patron Sound and produced by Elliot Middleton (guitarist of I’ll Stay in Memphis) and then mastered by Joey Sturgis of Foundation Recording Studio, Connersville, Indiana, Abscond makes no pretence of its will and hunger and takes no time in engaging, seducing, and then ravaging thoughts and emotions.

The release opens with warm but senses alerting atmospheres as first track Ascension brews into view. Once settled in the ear 400726_474142499317563_1163921761_nkeys and guitars gently place their narrative on the table as the mellow tones of Holman tenderly make their embrace. It is not long though before his tones turn to a rapacious squall within the still smouldering invitation, beats and bass adding melancholic resonance around him. Turning up their intensive heat the band unleash sinewy textures to provoke further emotion before simmering again into a magnetic melodic seduction. It is a strong start which it is hard to say if a full track or introduction; truly it is neither but a compelling beckoning somewhere in between.

The following Austerity is bred from a short sonic lancing before turning into a corrosive blaze of rhythmic tenderising from Kendrick and acidic guitar fire from Crane and Gill, both taking their bite at the senses with intrusive twisted riffs and flesh sculpting sonic searing. It is an imaginative and violent piece of inventive confrontation with the great blend of clean and scowling coarse vocals as enterprising and impacting as the maelstrom of sounds.

Aegis takes its turn on the senses next, the song a torrent of predatory vocal deliverance and malicious sonic artistry. Like its predecessors it is also a thoughtfully composed and deliciously delivered blend of melodic temptation and aggressive rabidity but takes things further in its inventive shifting and shuffling of ideas and directions. Unpredictable and continually riveting it is an outstanding track which alongside Austerity stands as best on the release whilst again sparking the expectation of even greater things ahead on the band’s horizon.

The next up Addicted also steals the march on most other genre released songs, certainly this year, with its esurient energy and hunger, not forgetting accomplished musicianship and craft. Though not a song which stands out on the release itself as much as others, it is a fluid and unrelenting grit fuelled fury with a djent tendency to its attack and ferocity to its passion.

From the short ambience soaked instrumental Abeyance, the Abscond EP ends with the brutal Anoesia, a track which tears at the senses and chews vigorously at thoughts from its opening seconds. Like the others though it is not one to settle in a single guise or stance and expands into an excellence tempest of outstanding varied vocals, barbed guttural scrubs, and melodic alchemy within caustic maliciousness. It is a scintillating finale to an impressively striking release.

You still feel there is a way to go before the band find their truly unique voice but Abscond suggests it is just a formality. For fans of the likes of Memphis May Fire, Heart of a Coward, and Of Mice and Men, Escape The Justice has all the potential and skills to become a major presence in UK rock, and with the Abscond EP being offered for free Download for just twenty four hours from 12 Noon on Saturday June 22nd it would be stupid no to join their rise from its very first steps. Find out more at


RingMaster 21/06/2013

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From eager seeds to mighty sounds: the rise of Savage Henry


The musical journey for Colorado band Savage Henry and its members has been long and undoubtedly exhausting for a group whose seeds began with a group of teenagers who started out on a musical quest in 1994 as the band On Second Thought. The musical exploration and venture of the Denver band is still an expanding and growing experience with already plenty of highlights but as 2013 opens its welcoming arms the feeling that Savage Henry is standing on the precipice of a deserved wider reaching recognition is a strong warm wind in their creative skies.

From that summer the original members of the band from the those first days and those who joined as Savage Henry emerged in 2004,  earned their musical spurs through releases and hard work leading up to the band’s introduction through the album All In the following year. With a line-up of vocalist Damon Guerrasio, guitarist Stu Miller, bassist Ryan Morrow, drummer Mike Rice, and keyboardist Jeremy Lawton, the band found the impressive record strongly received record upon its debut in July 2005 at the legendary Red Rocks Amphitheater (part of the Film on the Rocks series) and showed the creative prowess and imagination of the songwriting was back to its creative best with extra instinctive flourish and rock passion to the new songs, though less of the previous ska and reggae teasing, though it still whispered loudly at times. Constantly rippling with great tracks like the wonderfully engaging Daisy, the tantalising Alive & Kickin’ where the band switches feet and styles with consummate ease and skill, and the feisty Monkey, the biggest highlight of the album, the release incorporated many essences and flavours into its pulsating passage The last of the three mentioned offered a potent Squeeze like warm rock pop beauty, just one compelling example of the thoughtful diversity within the release. It is a record which re-ignited the emotions the first album of OST sparked and more, its varied and riveting array of ideas and sounds going a long way to helping the band find themselves with again plenty of radio attention which included performances at Denver rock stations 93.3 KTCL and 99.5 KQMT amongst a full on charge of gigs and shows, over 175 including sharing stages with the likes of Cowboy Mouth and Better than Ezra to name a couple.

Changes in personnel occurred in 2007 with bassist Morrow joining fellow Denver band, Black Blood Orchestra and drummer Rice turning to solo projects. Replaced by John Jeffers and Mike Boyd respectively and with the additional joining of second guitarist 2009 Savage HenryGlen Esparza, the band sculpted another striking evolution to their sound for next album Step Lively which was unveiled in 2009. Again the even stronger rock voice of the band ignited the passions whilst the pop and ska breezes added extra relish to their increasingly potent music. From its very start with the magnetic Shot In The Dark and the immense Broken, the album is a wonderful storm of sinewy riffs and thumping rhythms entwined with a heated melodic majesty as well as a seamlessly fused intelligent caress of emotive and golden elegance in songs like Melody and Call On Me. The release also found a rich vein of pop punk to ignite certain songs as in the excitable and brilliant Unrequited and the equally scintillating Vice. Without doubt the album is the band’s finest moment to date and the strongest of many reasons why you feel the band is standing on the verge of breaking into that worldwide recognition.

Since the album the band has continued to make an impression on the radio and live, as well as having their song 300 Miles which SH_1was inspired by a terrible bus accident with a Fed Ex truck during a tour of the mid-west, licensed by Eddie Bauer and First Ascent ski clothing company to use in a video to advertise their clothing around the world from 2010-2011.The past year was noted for a video produced by the band’s passionate P.R. Manager Hal Jester, for the track Hero which was written to honour fallen soldiers and those that have made the greatest sacrifice for us, as well as generally a growing intensity in the media through blogs and radio play with the likes of Their increasing presence thanks to the online drive of Jester has put the band in a prime position to make 2013 a major landmark in the eighteen year history of the band whilst news of new songs in the works has already raised the appetite and anticipation of all those to have discovered the band and their great sounds so far.

Savage Henry is a band everyone should get acquainted with and surely will over the coming months.

Pete RingMaster 02/02/2013

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Those Dirty Words: Sitting Pretty

Last year saw the promising Sitting Pretty EP from UK rock band Those Dirty Words get more than a few people excited with its quartet of eagerly driven rock n roll. It marked the band as one to not only watch but enjoy immediately with their straight forward and honest rock music. If you missed it do not panic as the band has released their debut album under the same name. It consists of the four songs which made up the EP as well as four new songs to further enrich the standing of the band. It is a release which leaves one enthused with its almost live feel and as a band with a great reputation for their shows and hardworking ethic that is a sure plus.

The quintet from Clitheroe, Lancashire since forming in 2010 have unmistakably honed their craft and style to become one of the most accomplished musicians and bands in the UK even if acclaim as yet is still more reserved than they deserve. The sharing of stages alongside the likes of The Quireboys, Waltari, and Jettblack as well as their own gigs and tours has as mentioned given them a great stock throughout the UK and Europe so with this great album and luck now could be the moment they make the next step forward.

The album opens with Devil’s Disguise, an eager and rippling feast of carefully carved grooves and melodic enterprise cruising along strong muscular riffs. The song whilst not lighting the same fierce fires as later tracks is a more than powerful start and showcases the impressive talents of guitarists Ricky Blenk and Mark Duckworth, their play expressive and at times startling. Vocalist Paul Tierney too stands out but then he does on all songs, his vocals and delivery an impressive weapon to further drive home the excellent songwriting and sounds.

The following Overdrive was the standout songs on the original EP and has lost none of its might though is challenged for top honours more consistently on the album. With an openly wanton groove to tease and test ones resistance the song enflames the senses with a dirty anthemic rock n roll energy driven by the excellent drums of Tom Rice. A track to rile up any barroom or stage the song is a classic, maybe not overly original but as honest and deeply pleasing as the day is long.

The slow burning Shadows brings forward a more reserved and impassioned side of the song writing to great effect, the song slowly warming the ear with passionate strokes from guitar and vocals whilst the bass of Jimmy Swan add a moodiness to enhance the emotive atmosphere brewing within the song. As the track slowly evolves it mesmerises the ear to then wake it up with a fiery blaze of incendiary melodic interplay and blistered intensity before intermittently immersing within its subdued breath again. It is a great song and something different to expand not only the release but the craft and prowess of the band.

The brilliant Stranglehold is a rampaging mix of Motorhead and Thin Lizzy, a track which fires up the pulse rate and heart to leave one wanting more of the same which the following Crash & Burn is more than happy to provide. With a bluesy swagger the track stomps with a reserved yet heavy presence to again ignite only the most heated of responses. These two songs alone show that though the band may not be too intent on creating new pastures for the genre they use existing tools and ideas to inspire the strongest and most compulsive rock sounds.

    Darling…You MUST Behave? and Hate Me continue the great ride. The first has a catchy heart and infectious hook which is impossible to resist whilst the second with Swan bringing an extra predatory presence is an agreeably dirtier weave of darker shadows and intent. Once more the guitar play is outstanding without being indulgent and adds a sure richness to the track.

The closer What You Do like the opener did not exactly leave the strongest impression compared to the other songs first time around and nothing has changed here. The song is strong and easily digestible but pales against what are now even more great tunes to grace its side.

Downloadable for a name your own price from Sitting Pretty is a must have for all hard rock/rock fans and Those Dirty Words a band poised to hit new heights.

RingMaster 25/07/2012

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The Bone Orchard Show 34

The Reputation Radio Show has a well established recognition and notoriety for finding, championing and promoting the best of the independent artists and sounds around the globe. Unrelenting and tenacious the promotions company/radio show is acknowledged as the prime source for finding the best talent of all genres with the introduction of the same followed closely. The intense and heavier world of sound is discovered and unleashed through The Bone Orchard, a show where anything with muscle and a riotous tendency is eagerly presented. From all forms of metal and industrial/harsh electro through punk and psychobilly on to noise and psyche with all in between, The Bone Orchard bears their individual shadowed fruits eagerly.

This past week saw the latest episode bringing six of the most impressive and exciting bands around as well as bringing a debate on some aspects of music. Hosted by the blue hued Pete Ringmaster and Reputation Radio Show CEO and mastermind Johnny Summers, the show cleared the sinuses and lit up the ears of all those with urges to match and compliment the great sounds played.

Opening with the traditional opening intro provided by Mr Strange of The Shanklin Freak Show, a band the hosts would talk about at length within the show giving the audience the latest developments from their carnival, the show immediately treated the eager crowd to a track from the debut album Defaced from UK rock band The Self Titled to be released June 18th. Mr Nobody is a stunning track, a metal and rock fusion with stirring vocals from frontman Mark Campbell over a brew of inventive and powerful sounds. With an insatiable thirst for gigging and an equal demand wanting them for shows, The Self Titled are one of the best bands in the country right now, their sharing of stages with the likes of Forever Never and Sarah Jezebel Deva as well as acclaimed festival appearances, leaving nothing but devoted fans in their wake.

Next there was a burst of real punk rock from another band from the UK in the mischievous bruising shape of Dirt Box Disco. With self declared influences ranging from Kerbdog, The Damned  and the Ramones to The Bonzo Dog Doodah Band and Showaddywaddy, the quintet from Burton on Trent make music which is honest, feisty, and insatiably infectious. The contagious track played, I Am Rock n Roll, was an exclusive from Legend another album to be released June 18th. The song played and the album the song comes from is one which revives the true 1977 spirit of punk meshing it with rock sounds as anthemic and voracious as you could wish for.

Before a lively debate about bands including cover songs in their live sets which saw the hosts at opposing lecterns but ultimately ended in the blue man being right, so he claims, things became intensified with the devastating aggressive sound of Amongst Carrion. From South Wales the five piece metallers woke up the airwaves with their track The Fear In Her Eyes taken from their latest EP We That Should Not Be. With a melodic groove recalling In Flames and the brutal riffage of an August Burns Red, the track easily declares the band as an emerging force in UK extreme metal. They have definitely moved on fully from their early days as a cover band, the point which inspired the following discussion.

Continuing the UK theme Leeds band Ourfamous Dead provided the next outstanding track with their forth coming single Claws At The Door. A rampant brew of hardcore, punk, and electro the song is the latest step in the vision of band founder and song writer AJ Reeves. Fresh off a UK tour with another Bone Orchard favourite The Sun Explodes, the quintet are a band on an accelerated rise pulling in acclaim and fans with each show and release persistently. Having supported the likes of The Blackout, Funeral For a Friend and Gallows, the band is fast approaching the point where others are eager to share stages with them.

As the final featured band of the night, US melodic metal band Vajra stunned and thrilled the listeners with their epic masterpiece Inside The Flame. Taken from their forthcoming album Pleroma, to be released in July, the song is a hypnotic and powerful example of the darkly melodic progressive rock fused with Eastern Indian influences which they inventively create. Led by the glorious voice of founder/producer/keyboardist/songwriter Annamaria Pinna, the band is one with a craft and imagination which is sure to find a feverish demand over the months ahead.

Closing out with Irish metallers iBURN, a band which is frequently requested since the debut of their song Where It Begins taken from their new EP of the same name, and another band which leaves you wanting more, The Bone Orchard dished up another formidable dose of new and impressive music. If anyone tells you there is nothing good or new coming out, place them in front of the podcast of the show, and they will soon be put right by this group of bands alone.

With the show primed to unveil more outstanding artists and sounds across the weeks ahead you can catch this, previous and future shows over at The Bone Orchard page at The Reputation Radio Show site as well as watching a selection of videos from a host of the bands featured on the show.

Get in touch with the show via

RingMaster 16/06/2012 Registered & Protected

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