Calico Jack – Panic In The Harbour

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If you are planning to take to the high seas in order to undertake devilish pursuits, a check list will include a sturdy vessel, lush beard, a potent weapon and of course a jolly roger. You might also need a suitable soundtrack too and that is what Italian metallers Calico Jack can offer in highly enjoyable fashion. Recently signed to the Ronin Agency and working on their debut album for a release later this year, we thought a retrospective look at their previous EP Panic In The Harbour was in order, especially as it is now getting another thrust into the broader world and inspires potent anticipation for the band’s first full-length.

Hailing from Milan, Calico Jack was formed in 2011 by brothers Toto (rhythm guitar) and Caps (drums), the pair taking the band name from Captain John Rackham’s nickname, a notorious English sea raider who sailed across the Caribbean Sea during the Golden Age of Piracy and famed for inventing the pirate flag, the Jolly Roger, and for having two notorious pirate women is his crew: Anne Bonny and Mary Read. Fusing classic eighties heavy metal with Scandinavian folk metal and creating exploits inspired by Anglo-Saxon sea shanties and folk songs, the band swiftly grew in personnel, releasing their first demo Scum of the Seas in 2012. Panic In The Harbour was unleashed a year later to great responses at home and around Europe. Now with fresh interest in release and band, and that impending full-length, the line-up of Toto, Caps, Giò (vocals), Melo (lead guitar), and Dave (violin), is ready to had a very potent year.

COVER - Front     As soon as opener Where Hath th’ Rum Gone? whips up attention with a lure of bow across strings you get a rich inkling of what is in store, and once thumping beats hit and riffs gallop with riotous devilment, the Calico Jack sound and its character is in full blaze. There is no escaping an Alestorm reference or of Running Wild but equally there is a healthy spice of a Korpiklaani in its revelry, a dirty Adam Ant essence within its colourful nature, and the punkier metal of Kvelertak to its roar. The grouchy guttural vocals bring the intimidation whilst swashbuckling exploits are driven by violin, hooks, and anthemic rhythms, not forgetting just as magnetic group shouts. The dark addictive tones of the bass also only add to the compelling adventure and though it is fair to say that there is a great familiarity to the band’s sound, equally it makes for a fresh and feisty proposition.

The opening enjoyable contagion of the ale sodden proposal is immediately matched by House of Jewelry. It makes a more imposing entrance, riffs and that increasingly captivating throaty bass colluding for a magnetic and aggressive coaxing. Vocals and the heavy drum swipes built a hostile environment but one coloured by the spicy flame of violin and the instinctive swagger and swing of the emerging encounter. Again you basically know what you are going to get but it does not stop the blend of classic and folk metal creating an infectiously captivating escapade for ears to devour and the imagination to eagerly run with.

Grog Jolly Grog is another drinking song you just instinctively raise your tankard to whilst rocking your body with the raucous sway and volatile attitude of the addictive festivity. It also brings a whiff of old school punk to its hooks and raw abrasive riffery, nothing dramatic but an appealing scent explored more in the closing Deadly Day in Bounty Bay. The final song is the most adventurous and inventive on the EP though that imagination is certainly beginning to show its flair and temptation towards the end of its predecessor.

     Deadly Day in Bounty Bay opens with lapping waves on a shore and a single tempting of guitar. The ever alluring bass soon adds its voice to the emerging narrative of raw riffs, salty violin seduction, and melodic winery. The start of the track has ears and imagination gripped but it is when it takes a breath and returns with a virulent bait of lively beats and contagion fuelled bassline that the incitement really comes alive. Everything from the gruff vocal delivery to coarse riffs, the jab of rhythms to teasing hooks has an irresistible infectiousness to them, one bred with a post/punk tenacity which is more Clash/ Damned bred than anything. In fact at times it is easy to suggest the song is the folk metal equivalent of The B52s’ Rock Lobster.

Ending with its best track but only thrilling ears from start to finish, Panic In The Harbour with its re-emergence to fresh attention is a recommended appetiser to the upcoming album from the band. If it can live up to the anticipation now inspired we will see, but we will bet no gold against it.

The Panic In The Harbour EP is available now from most online stores.

http://calicojacktheband.altervista.org/  https://www.facebook.com/pages/Calico-Jack/269653663086210

RingMaster 12/04/2015

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/

 

Éohum – Revelations, Aurora of An Epoch

 

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The debut album from Canadian metallers Éohum is a fascinating proposition which manages to startle and surprise whilst simultaneously ticking every box on a personal want list from any weave of music. It is as if they instinctively knew what turned us on and explored those elements with relish. It is fair to say that Revelations, Aurora of An Epoch will not find the same level of reaction from everyone but it is hard to imagine many not breeding some kind of appetite for it and the band’s creative adventure.

The Montreal based and 2010 formed, Éohum (pronounced ee-o-um) is the creation of guitarist/bassist Jeremy Perkins, a “traditionalist and spirit oriented” band embracing a black metal breeding with anthemic grooving and doom cultured atmospheres. Equally in songs inspired by poems written by Perkins on the current state of humanity, rich elements of death and progressive metal are woven though not quite as dramatically and excitingly as the almost exotic roars of French horn which also inflame the album’s earlier tracks. The band’s live line-up sees Perkins joined by guitarist Sylvain Dumont and Annie Perreault on French horn/trumpet as well as bassist James Heymans, drummer Simon Bambic-Mackay of The Agonist and vocalist Barrie Butler. For the album though, Perkins enlisted the help of friends alongside himself, Dumont and Perreault; guests which include vocally Matt McGachy of Cryptopsy and Nick Wybo (ex-Vinyl Hero) on drums. It all sounds a fluid and unpredictable canvas the band works from and certainly flows over into the music and character of Revelations, Aurora Of An Epoch.

The album surprises and fascinates from start to finish, increasing in stature and success with every listen as more of its depths are revealed. The opening Leaving Harbour is maybe not quite the same but only because once the sultry scenery around a vocal piece of scene setting prose narrated by Lana Edwards is absorbed and appreciated, the tendency in every subsequent listen is to cut to the chase which begins with the next track Rooted Deep Within. An eruption of battlefield mayhem hits the imagination first but is soon swallowed by the imposing muscular and portentous intensity of death spawned riffs and rhythms. That alone grips attention but with the heralding horns blown by the lips of Perreault, an epically honed atmosphere makes its suggestive intrigue known before the track explodes into a virulent pestilential charge of venomous grooves and scarring riffery. The tempestuous instrumental track is like a hellacious dawning, one of danger and excitement employing wrong-footing experimental twists and progressive ideation.

Eohum Revelations Album Cover copy   The piece simply grips and inflames the imagination, not to mention ears, before Equatorial Rains takes over with a more temperate climate and confrontation. A deliciously throaty and resonating bassline from Perkins seduces ears and appetite straight away, swiftly aided by the flames of brass from Perrault and the caustic enterprise sculpted by the guitars. The breaking blackened malevolence and uncompromising rabidity in gait and aggression brings further appetising flavours and textures to the ever moving volume of sound and invention, as does the ferocious and cleaner rasping tones of McGachy. It is a formidable and relentlessly eventful provocation feeding ears and emotions potently with those horns the icing on the emotive antagonistic cake.

     Defined Sacredness comes next, opening on a predatory prowl of rhythms and riffs, each almost more theatrical in their stance than vicious but only helping lure the listener into the waiting slightly demonic narrative of fierce corrosive sound and rage bleeding vocals. Stabs of brass and heavy sighs of horn colour the hostile persuasion further, their toxic hues as virulently alluring as the riveting presence of McGachy.

The album’s title track has body and thoughts enthralled from its first breath; a roar of French horn announcing the tempest to come like a war cry, casting a challenge to be met before the song swiftly begins savaging the senses with sheer malicious contagion and intensity. It is a call continuing through the superb track, those golden flames of the horns an inescapable web of seduction within the destructive and to be honest equally addictive torrent of scarring grooves, abrasing riffery, and merciless rhythms. Bracing and arousing, like an anthem bred in hell, the track is a hymn for the lost and bellow for the despoilers, and quite breath-taking.

In many ways this is where Revelations, Aurora of an Epoch goes in a different direction, or certainly a less provocatively adventurous one. Wiser Every Sunrise which features Phillip Rieder on vocals is a collusion of heavy, groove, and death metal with hardcore/punk belligerence. Strangely familiar for unsure reasons, the enjoyable track is a brawling and volatile slab of animosity but even though it has ears and satisfaction heartily contented it does not live up to the previous tracks, feeling slightly out of place alongside them, which also applies to a lesser degree to Thus Spewed Thy Infectious Reign, a death spawned ravaging with a doom fuelled gait guided by an unpredictable creative menace. As its predecessor, the song only leaves good thoughts, inspiring them to contemplate the end of days/humanity but also hankering for the glorious horns and imagination seeded swing of earlier tracks.

Closing on Give Us O’ Rain, another piece of prose sung by Lana Edwards, Revelations, Aurora of An Epoch provides one predominately unique and intoxicating introduction to a band you can only imagine getting bigger, creatively grander, and more impressive over time. As suggested it might not light everyone’s fire as ours but if the likes of Emperor, Dimmu Borgir, Trepalium, and We All Die (Laughing) for example spark your juices, then so will Éohum.

Revelations, Aurora of An Epoch is available now via Mycelium Networks @ https://eohum.bandcamp.com/album/revelations-aurora-of-an-epoch

https://www.facebook.com/pages/Éohum/821823887910583

RingMaster 09/04/2015

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/

St. Aria – August 21 EP

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Last year, like for a great many, attention was pricked by We claim this aria, the debut EP from Swedish band St. Aria. It was a potent and potential laden offering which at times strikingly sparkled and in other moments simply provided an enjoyable proposition without lighting fires. It did though ignite an appetite for the band’s inventive ideas and the next stage in its evolution. That next chapter has arrived with the release of the August 21 EP, an evocative and vivacious encounter building on the qualities of its predecessors and realising the previously untapped but hinted at qualities of the band’s sound. Consisting of five adventurous and lively propositions, the EP is the sunrise of a sound and band coming of age, but still with more to come and discover.

St. Aria is the creation of lyricist/composer/keyboardist Alexander Platon, a project formed in the late 2000s which after a hiatus when Platon joined The Borderline Saints, returned in 2012. Taking inspirations from the likes of Evanescence, Within Temptation and Nightwish and guided by the intent to create emotionally resounding rock ballads, the Platon linked up with vocalist Jimmy Ferhm, also of The Borderline Saints and producer Emanuel Svensson to resurrect St. Aria. Initially it was just to remake a couple of the band’s early songs but such the interest in its members and fans things evolved. We claim this aria was the debut release and saw the three enlist numerous session musicians for its creation and subsequent live appearances. The EP certainly awoke good interest but as suggested earlier everything has grown and leapt forward with August 21. Firstly St. Aria is a complete and stable quintet, Platon and Ferhm joined by Oliver Sandberg (drums), Erik Jönsson (bass, vocals), and Jacqueline Hansson (vocals), whilst musically the raw edges and arguably success tempering aspects of the previous release have been resolved and woven into songs simply revelling in melodic beauty.

St.Aria - August 21 (Cover art)   The EP opens with the spellbinding Black Rose, a song which instantly has ears and imagination involved through the evocative keys of Platon, and increasingly seduced by the siren-esque tones of Hansson emulated in potency by those of Ferhm. Rhythmically the song is reserved yet striking enough to support the expressive narrative of vocals and piano as they colour the song with feisty elegance. It is a catchy and welcoming start to the release matched by the contrasting shadow wrapped presence of Deception which follows. Led by the mellow yet angst lined tones of Ferhm, the song cradles ears and thoughts in a provocative embrace of emotional balladry. The drums of Sandberg create a brooding drama behind the core refection of voice and piano, an almost epic shadow aided by the equally haunted lure of Jönsson’s bass, whilst all combined leaves attention and pleasure easily entranced.

A great bass growl opens up Here With Me, its darker presence soon smothered by the radiant light of keys and the paired vocals of Hansson and Ferhm. The song has a much lighter smile to its tone and character than its predecessor, a hope fuelled romance flowing through the nimble fingers and invention of Platon and the increasingly enjoyable vocal union, though all attributes reach new heights in the outstanding Hopeless Case. Strings and voice align to a tantalising tinkle of keys to seduce the senses from the song’s first breath and immediately has the appetite licking lips. As it opens up its energetic embrace, a country spicing and folkish revelry joins the inescapable infectious persuasion on offer whilst the duet of voices spills melodic contagion. Thoughts are conjured up of The Only Ones single Fools which saw the band and vocalist Peter Perrett link up with Penetration’s Pauline Murray in a mouth-watering duet, and though musically different, the textures, charm, and catchy quality is similar and just as impressive on the EP’s best track.

August 21 closes New Dawn, itself on a par with the previous song through the ever reflective and impressive vocals where this time Hansson leads the temptation with her seductive delivery. Shadows are never too far from the surface in most St. Aria songs, and here bass and keys bring a complimenting emotive shade to the golden tones of melodies and harmonies, a blend emulated in the lyrical prowess of the track. It is an enthralling end to an excellent encounter in which St. Aria has breached a new plateau in songwriting and sound. The band has pushed itself and sound to fulfil early potential and more, but now with a suggestion that there is even more within them to come it is fair to say there are exciting times ahead for them and us.

The August 21 EP is available now digitally @ https://itunes.apple.com/se/album/august-21-ep/id971640265?l=en

http://www.ariamusic.se/     https://www.facebook.com/ariaswe

RingMaster 09/04/2015

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/

Vie Jester – Etches In Aether

Photography by Jess Santana

Vie Jester may be a new name and unknown quantity to you right now but if they continue producing offerings like Etches In Aether, they will soon become a heavily talked about and devoured proposition. Progressive and hard rock, alternative and melodic metal, they and more are all woven into the attention and imagination grabbing tracks five track proposal, a skilled and exciting tempest of diverse sounds uniting in one seriously compelling and thoroughly enjoyable encounter.

Vie Jester hail from L.A. and consist of vocalist/guitarist Kyle Edward Guerrero, bassist/vocalist Jaime Salas, and drummer/vocalist Cliff Conway. They cite influences such as Tool, Mastodon, Mars Volta, Kanivool, Soundgarden, Deftones, Queens of The Stone Age, Pantera and many more in their own creativity, that list alone hinting at the diversity of the band’s sound. 2013 saw the release of the three-track debut EP Cognisense, a seemingly well-received entrance by the band, but just the groundwork for the impressive Etches In Aether to now take things further

vie jester cover   The EP swiftly has attention and appetite for its sounds awake and hungry through opener Saint. Electro like rubs tease initially, stimulating the imagination with their spicy textures as a mellow sigh of vocals caresses the senses. It is a striking and intriguing start soon leading to a bedlamic expulsion of voice and sound which in turn unlocks the heart and might of the song. A great throaty bassline emerges as even more flavoursome vocals add to the great start whilst rhythms strike with potent jabs and sonic enterprise continues to flirt with ears and thoughts. Equipped with a virulent chorus and an evolving array of creative spicery, the Tool meets Pigeon Lake sounding like track is simply outstanding, a glorious opening to the EP and broad introduction to the band.

Hollow Graffiti has it all to do to match such an immense start but is soon holding its own with another sparkling electronic like essence from the guitar of Guerrero setting things off. With a brooding yet feisty tone to the bass of Salas and punchy beats from Conway, the song casts its own unique and gripping creative narrative in sound and lyrical persuasion, more swift evidence of the variety filling the EP. Vocally the three unite to create Queens of The Stone Age sounding harmonies, inspirations again open but continuing adventure and ideation at the melodic heart of the song is a sonic exploration all Vie Jester.

The following Meridians enters on a prowl of a gait, its rhythmic muscles and intensity heavy but soon tempered by the colourful designs being unveiled by guitar and vocals. The song is a transfixing mix of imposing shadows and colour rich light in texture and character, the dark nature of bass and drums encroaching on the flames of the melodies and the warm seduction of the guitar igniting the track’s portentous corners. More of a slow burner than its predecessors, despite making an immediate thrilling impact, it grows to be another pungent example of the band’s potential and already established invention.

A mellower and almost jazzy climate wraps Dig It next, its air sultry and hazy whilst its core is a rich blaze of melodic intensity and vocal emotion. As in all the songs, there is also an infectiousness which oozes from every groove and rhythmic enticing but also from the more experimental aspects of songwriting and sound. It too takes a little more time to find the same place in thoughts and passions as those before but undoubtedly succeeds over time.

As it started Etches In Aether ends on a pinnacle, the release bookended by two major triumphs around nothing but exciting endeavours. Amplify slips in without any major declaration, almost worming its way into ears and affections sneakily but in no time has both enslaved. Vocals and melodies flame with intensity throughout its body whilst the bass discovers a grouchy snarl which only adds to the increasing drama and lure of the song, which itself is a temptation growing within ears and emotions with every note, harmony, and spark of imagination.

If any of the names referenced as inspirations above grab then Vie Jester should be a must investigation, though as Etches In Aether shows, you should not expect to hear anything particularly similar either. The band has its own creative agenda and one, as suggested earlier, with the promise of major rewards if more exciting releases like this are unleashed.

Etches In Aether is available now digitally @ https://viejester.bandcamp.com/album/etches-in-aether and physically via http://www.viejester.com/store

http://www.viejester.com/     https://www.facebook.com/viejester

RingMaster 09/04/2015

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/

 

 

 

 

Bite The Shark -Tantrum EP

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It is fair to say that the first Bite The Shark release, the three track First Blood, suggested that British rock ‘n’ roll had a new protagonist to breed some real excitement over. Now the Manchester trio return with the explosive Tantrum EP, a roaring, stomping encounter not only making that previous loud hint a reality but thrusting the band to the forefront of incendiary revelry. Consisting of five ferocious and mischievous punk ‘n’ roll anthems, Tantrum simply leaves bodies breathless and emotions blazing. Every exploit within its raucous walls is the host of volatile sounds, feisty imagination, and adrenaline soaked devilment; all providing a virulent contagion conducive to naughty habits and unbridled enjoyment.

Formed a couple of months past a year ago, Bite The Shark swiftly lit an eager and vocal local following which spread as potently and easily with the release of First Blood last year. Luring in acclaim and keen online radio attention with the Romesh Dodangoda (Motörhead, Bullet For My Valentine, Twin Atlantic) recorded release, the threesome of brothers Adam and Edd Langmead alongside Rory O’Grady have been kicking up a storm on the live scene too, the weeks leading up to the release of Tantrum alone finding the band rampaging round the UK on tour with Drop Down Smiling and Fake The Attack. Again recorded with Dodangoda, Tantrum is the band’s next mighty temptation on the nation, one with the qualities and tunes to ignite the UK rock scene.

Rock & Roll in the Soul hits ears first and lives up to its title instantly. An opening guitar hook makes the first rich connection, matched within seconds by an equally tempting heavy bassline. The song soon hits its stride with raw riffs and punchy rhythms led by similarly feisty vocals, a mix alone enough to have feet and emotions bounding along with its persuasion. Add a ridiculously compelling chorus and the first anthem of the EP is stirring up imagination and thrills. Imagination and diversity are never far from the forefront of Bite The Shark songs, as well as lyrical provocation, and both are as rampant as the thick sounds within the tremendous opener.

10897961_327152687479870_8976137320647029148_n   Good rowdy times continue with Little Fishy which follows, guitars brewing up a voracious and abrasing blaze within which vocals romp and mischievous ideation plays. With its mid-point merely a glimpse in its future, the song suddenly twists around from its initial stampede and begins prowling, indeed stalking the senses with predatory invention before returning to a frantic onslaught which in turn slips into a catchy TV show theme tune finale. The track is just irresistible just like Shiny Shoes straight after. Soon showing a heavier ferocious nature of its own to its riffs and rhythms, the song reveals an essence of classic rock entwined with power pop in its punk romp. Once more grooves and hooks breed addictiveness whilst vocals and fierce melodies offer searing magnetic hues.

There is no chance of a breather at any point within Tantrum either, each song a full on tempest of infection fuelled incitement as evidenced again by the outstanding Killzone. From the opening twang of riffs, ears and body are ready to accept the suggestive rampage in waiting The track’s entrance is almost a limbering up before chest beating rhythms and fury lined riffs explode in a steamy onrush. It is not a hell for leather charge though, hooks and band harmonies a tasty tempering to the aggressive foot to the floor energy offered, but it is certainly a seriously rousing slab of rock ‘n’ roll.

The release closes with Sleep when You’re Dead, though the CD also includes Burn em to the ground and Burn and Gas & Air which made up the bulk of the previous release. Drawing on blues rock spicing for its melodic essences, the track as its predecessor, is a balls to the wall rocker leaving no room for abstinence from joining in with body, voice, and energies. It is a glorious end to a spectacular riot of punk ‘n’ roll tenacity, a song unafraid to explore new depths and areas of songwriting and sound whilst the release simply bellows that Bite The Shark is one of the bands with the potential to take British rock ‘n’ roll into a new heyday.

The Tantrum EP is available now digitally @ https://itunes.apple.com/gb/album/tantrum-ep/id962681213 and on CD via http://bitethesharkmerch.bigcartel.com

http://www.facebook.com/bitetheshark   http://originaljunkie.wix.com/bitetheshark

RingMaster 09/04/2015

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/

Killer Refrigerator – The Fridge and the Power it Holds

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We all know that technology is taking us over, but an on-going war between it and man, well easy to have doubts there. That was until this computer began deciding alone when it was going to connect to the internet and my iPod began mashing up songs randomly like a manic DJ to mess with the psyche. Of course if we had all listened to Killer Refrigerator previously battle plans would be drawn up and war cries in place. Thankfully they have returned with second release The Fridge and the Power it Holds at the right time, to awaken all and help turn the conflict back into the hands of humanity.

From Ohio, Killer Refrigerator is the side-project of Cody Coon, the guitarist/vocalist of death thrashers UnKured. Recognising man’s slavery to iPhones, toasters, blenders, every appliance imaginable; a dependency seeded from the aftermath of surviving an attempt to wipe out humanity a Millennia ago by the omniscient refrigerator Lord Freezus Christ ( You may laugh but think about the panic and fever which breaks out when you lose your phone), Cody and Luke “Java” Sackenheim decided to rebel against the appliances in 2014 and formed Killer Refrigerator, releasing debut album When Fridges Rule This World as their first assault and warning soon after.

Drawing on cult movies such as Microwave Massacre, Terrorvision, and Basket Case alongside their belief that appliances want to destroy the world, the band create a bedlam of sound and psychological ferocity from a vicious tangling of every extreme flavour that they can conjure, with much more besides. The Fridge and the Power it Holds EP provides seven tracks of almost indescribable but thoroughly thrilling confrontation, and sets up the battle front perfectly for upcoming second album Refrigeration Plague.

TFATPIT_OPTIMIZED     For all the theatre behind the intent and creativity of the band, Killer Refrigerator has a skilled and inventive sound which if you can ride its unpredictable tsunami, blows ears and imagination away, with the passions in quick succession. Straight away The Fridge and the Power It Holds is rich evidence as opener Terrorvision erupts into life with a web of sonic enterprise sculpted by guitars. A muscular and skittish rhythmic accompaniment adds to the initial coaxing before it all colludes with a dark bassline and a salacious mix of senses scorching vocals for a hellacious punk lined ferocity. Not reaching a minute and a half in length, it is a searing and striking start swiftly over shadowed by the excellent Slaystation. Predatory in its first breath, almost sizing up the listener as it dangles a discord kissed bassline and sonic lures from its rhythmic spine, the track is soon driving for the jugular on a tide of thrash bred riffery and ruinous vocal incitement. Squirming around this, acidic flavoured melodies and progressive nurtured endeavour fascinates, leading ears towards an unexpected Nintendo-core interlude before exploding again into the creative and rasping sonic fury the track started with. As mentioned previously, the band’s sound is an unrelenting and evolving maelstrom defying real description but with avant-garde and mathcore tendencies as prevalent as death and grind endeavours, it is a one compelling and intoxicating assault, deranged manna for the imagination.

Shower Thrashing Death toys with folk metal influences before turning into a carnivorous rampage of thrash/death seeded lavatorial rampage announcing the coming of the “toilet gods”. The bass simply seduces within the grimy scenery whilst vocals announce the demise of all with an outstanding mix of vocal deliveries which range from hardcore angst, grind squalls, to Patton-esque crooning. One of the pinnacles of the release it is matched by Killer Refrigerator VS Godzilla, the big fight off between two merciless goliaths. The track stomps with heavyweight rhythmic feet and fiery climactic endeavour, guitars scything across the battleground with sonic rapacity whilst vocal war cries breed a warped anthemic support.

The insidiously enthralling Slave To The Easy-Bake comes next, a scourge of sonic grooving and melodic flaming spun around a simple but gripping bassline. Of course this does not tell the whole deranged psychotic story of the song, every aspect from vocals to guitars, beats to imagination a distorted intrusion to fear or greedily devour.

The EP’s title track steps up next and after battering the listener senseless through pummelling beats, goes on a brutal and feverish march of searing grooves and scarring riffery. It holds back at one point to intensify its weight and drama, before regaining momentum but with an even more destructive and imposing trespass of the psyche. Deathcore, thrash, mathcore, and psyche rock are all in there running amok with the ideation and raw adventure of the band, the outcome another mouth-watering violation.

   The Fridge And The Power It Holds closes with bonus track To Hell With Cancer, one of the most grouchy siren-esque enticements you are likely to hear this year. Ravaging air and ears around a funk bred devilry, the track is a carnival for the mosh pit and a thrilling, uncompromising call to arms.

Lyrically and musically The Fridge And The Power It Holds is so much fun but equally a serious slam of extreme incitement which might have a theme bred from a truth stretched to cultish proportions, but delivers it as a unique and irresistible tempest. It is probably not going to work for all but if it does click an explosive thrilling time is guaranteed.

The Fridge And The Power It Holds EP is available as a name your price download from April 7th @ https://killerfridge.bandcamp.com/album/the-fridge-and-the-power-it-holds

As a backstory to their origins, the band recently released a 20 minute documentary featuring the hilarious exploits of Cody and his fellow fridge warrior Luke “Java” Sackenheim. The documentary can be viewed here: https://www.youtube.com/watch?v=8m1zCBvL4EU

https://www.facebook.com/KillerFridge

RingMaster 07/04/2015

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/

Shroud Eater – Face The Master

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If we are all going to burn in hell or be the playthings of the darkest forces then Shroud Eater may have come up with the perfect soundtrack with new two-track EP Face The Master. Like a demonic covenant between sludge, doom, and occult metal, the Florida hailing band’s sound is a web of ravenous melodic intent and riff laden ferocity. As evidenced on the new encounter it is also voraciously predatory, greedily devouring ears on its way to ultimately seducing the senses.

Face The Master follows the band’s acclaimed Dead Ends EP of 2013, an attention grabbing marker for Shroud Eater after the earlier exploits of a self-titled EP debut in 2009 and their well-received first album ThunderNoise two years later. Re-energised with a new line-up since that release, band and Face The Master roar from the first second never relenting until the last, easily showing why Shroud Eater has been compared to the likes of Kylesa, High on Fire, and Acid King but equally instilling another step forward in their own distinct and intensive sound.

SE_FtM_CoverFinal_Print     The EP’s title track opens with a sample from the 1979 TV movie Salem’s Lot, the voice of James Mason instantly luring in attention and imagination before riffs venomously cascade over the senses. The hellacious clutches of rhythms are similarly an inescapable onslaught, the hefty swings of drummer Davin Sosa primal bait and an uncompromising intrusion backed by the almost slavering bestiality of the basslines crafted by Janette Valentine. The riffs and rugged grooves expelled by guitarist Jean Saiz similarly show no mercy whilst both of the ladies vocals unite to savagely entrance body and emotions with hellish revelry. It is a thrilling and compelling mix, a track which is almost flirtatious with its searing melodic endeavour and danger loaded intrigue but as its sound a predator in character and intensity.

Face The Master is enough to wax lyrical about the EP but is swiftly backed by the brooding nature and consumption of House of Endings. If it is possible, the song is slightly lighter than its predecessor in that it has a more inviting swing to its gait, though that is tempered by the sonic bellows and the dark almost malevolent hearted tones of the bass. The guitar of Saiz sculpts a terrain of snarling almost rabid riffs which prowls song and the senses whilst simultaneously casting a spell of acidic and sultry melodic enterprise as intoxicating as it is piercing. The track, as the first, consumes body and thoughts, igniting and exhausting both with sonic invention and intensive energy respectively.

Shroud Eater maybe already drawing references to the metal giants already mentioned but on the evidence of the outstanding Face The Master, they will be standing by their sides very soon.

Face The Master is available from April 7th via Primitive Violence Records & Visual on regular and special-edition cassette, and digitally @ http://shroudeater.bandcamp.com/album/face-the-master

Upcoming Shroud Eater tour dates:

Wednesday April 22 – Savannah, GA @ The Jinx

Thursday April 23 – Raleigh, NC @ The Maywood

Friday April 24 – Philly, PA @ Kung Fu Necktie

Saturday April 25 – NYC, NY @ St. Vitus

Sunday April 26 – Washington DC @ TBA

Monday April 27 – Wilmington, NC @ TBA

Tuesday April 28 – Charleston, SC – “Tunnel of Lust” House Show

https://www.facebook.com/shroudeater   http://www.shroudeaterrocks.com/

RingMaster 07/04/2015

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