One Life All-In – Letter Of Forgiveness

 

As maybe for many others, American-French hardcore outfit One Life All-In have evaded the radars here up to this point but certainly now explode on screens with the release of new EP, Letter Of Forgiveness. Unleashing six tracks which rip at the senses whilst inciting ears and appetite, the release is a stirring and striking incitement ensuring the Cleveland based band will be given rich attention ahead.

Back in 2016, One Life All-In was formed as a side project when, after former The Spudmonsters / Run Devil Run vocalist Don Foose appeared as a guest singer on the Seekers Of The Truth album Oldskull Revenge that band’s guitarist Clem and bassist Franco invited him to join them in a new adventure. The following year saw the release of One Life All-In’s debut EP, The A7 Session; praise carrying reviews followed by tours across Europe the result of its success.

Now the quartet, its line-up completed by drummer Kevin Foley (Abbath, Benighted), have returned with the second assault on the senses and imagination, and we for one are now keenly giving them attention. Hardcore tagged, the band’s sound soon reveals itself a richer mix with alternative metal and rock essences entangling with punk within a forceful incitement, as uncaged by the EP’s opening title track.

Letter Of Forgiveness instantly erupts in a harassment of invasive riffs and concussive rhythms, its initial trespass soon a purposeful stride through ears with authority and attitude driving every note and stirring step. Straightway the multi-flavoured character of the band’s sound is an open incitement as too the strong presence of Foose’s vocals and the great earthy snarl of Franco’s bass. In truth every aspect of the track proved a magnet for ears, its fusion of metal and hardcore with a classic rock bent a thick lure we soon eagerly chewed on.

The excellent start to the EP continues with Cold and Struggles, it too an immediate attention grabbing enticement with a vocal holler as manipulative as the nagging sounds around it. The senses swiping swings of Foley allow no escape from a quickly found addiction, nor the hook laden enterprise of guitars and bass matched in tempting by the band’s singular and united vocal incitement. Hungry and inescapable contagious, the song soon took favourite track honours though seriously challenged throughout the release, its moments of Shelter like rapacity that extra telling temptation.

Sacred Heart is next up, a dark tide of riffs following rousing drums the opening gambit for attention, one soon rewarded by the track’s brewing cloud of intensity and lively imagination. Again Foose provides a potent weapon and lure for ears and thought, guitars casting a sonic web around him as rhythms stalk the senses with matching infectiousness. The track is a predator, a threatening arousal as irresistible as it is barbarous, that ruthlessness growing and erupting with contagious hunger as the track evolves.

Melodic invention is just as potent an aspect of the song and again an alluring hue, if less prominent, to the emotionally erratic and creatively psychotic Hey man!, an outstanding track which from start to finish of its brief but dramatic presence aligns provocative control and urgent frenzy in one gripping proposition.

The EP concludes with firstly 83rd dream, a weave of melodic intimation and vocal suggestion which brews its own particular tempest of sound and drama, and lastly Discharge. The penultimate song epitomises the ability and agility of One Life All-In to align contrasts and diverse textures in an equally mercurial landscape of trespass while its successor revels in the band’s dexterity in going for the jugular whilst inciting spirit and defiance upon world ills. It’s anthemic energy and fervour again echoes that of all songs within Letter Of Forgiveness whilst forging its own greedily devoured moment of utter enjoyment.

Letter Of Forgiveness has been described as the best thing to escape One Life All-In yet and with a hindsight listen to its thickly enjoyable predecessor we can only agree. Finally the band has erupted on our radar and left an indelible mark and we suggest, if you have not done so yet, giving the band a moment to score your hardcore appetites too.

Letter Of Forgiveness is out now; available @ https://onelifeallin.bandcamp.com/album/letter-of-forgiveness

https://www.facebook.com/onelifeallin

Pete RingMaster 04/07/2020

Copyright RingMasterReview

Lifecycle Interview

Hello and thanks for taking time out to talk with us.

Our pleasure, thank you!  By the way, my name is Scott Pustilnick (Bass, Keyboards, Vocals)

Can you first introduce the band and give us some background to how it all started and what brought you all together? LIFECYCLE is a hard-hitting Alternative Metal band based out of Jackson, NJ. LIFECYCLE features Asim Rizvi (4Karma), John Soden (Legion), Joe Viggiano (formerly Ataraxia), Kevin Hightower (formerly Noosphere), and  myself, Scott Pustilnick (formerly MCA recording Artist Familiar 48).

Have you been involved in other bands before? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

Everyone in the band has been in other bands to some degree.  Personally, I was in a band signed to MCA records (When that label existed).  All of us used our prior knowledge and hard work ethic to get the band off the ground.  The direction is a million times better with this band than with other bands.  Very focused!

What inspired the band name?

We actually had the song title “LifeCycle” picked out before we named the band, “LifeCycle”…A Black Sabbath – “Black Sabbath” kind of deal. As we wrote more music, we realized a lot of what we were writing focused around aspects of life itself. When we realized the motto of that song was on point with what we generally write about, a light bulb went off.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

I wanted to play with musicians that had the same vision. The vision is to write great songs that can appeal to a massive audience.  In addition, we love to entertain so finding a group of guys that are totally dedicated and are passionate about music was really important.  The band writes 3-4 minute songs that are have heavy guitar riffs but offer melodic vocals.

Do the same things still drive the band when it was fresh-faced or have they evolved over time?

The band is very new.  The debut single “Lifecycle” just dropped on all digital media stores.  We all still love each other! Lol.

How would you say your sound is evolving so far?

Due to the band being new, the evolution is tough to call out.  I can tell you that song writing is very easy with this band.  There is NO shortage of material and we constantly have new content ready to release.

Has the growth of the band and its sound from birth been more of an organic movement or more the band deliberately exploring  new things?

Completely organic, thank you tiny baby Jesus!  We have 5 members with 5 voices.  We write what is best for the song and if it isn’t broken, we don’t fix it!  The sound is natural and nothing is forced.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

The band has a real good formula for creating music.  I think the inspiration is really working together.  Everyone is very close and we really enjoy being around each other and having fun.  Due to this inspiration, the band decided to make a YouTube series that documents this fact.  The name of the YouTube series is called “A Day in the LifeCycle” and it can be found on our YouTube Channel.  People seem to love it and we have way too much fun making it.  New Episodes drop every 2 weeks.

Is there a particular process to the band’s  songwriting?

Most of the time, our talented guitarists (Kevin, Joe) bring killer riffs to the table. We then sit in a room and work out the music portion.  We feed off of each other’s ideas so I really believe we inspire each other during this process.  At that point, once we have a legit framework of a song, we listen and listen and listen.  It’s organic and it changes and gets tweaked.  We let the song dictate the path. This is really important for us.  If the song calls for a part, it’s getting done.  If the song doesn’t need a blazing fast shredder solo……it’s not part of the song.   Asim (lead singer) writes most of the words in the band and he is also a part of the creative process with the music.  The method works and we are very happy doing things this way.

Where are, more often than not, lyrical inspirations drawn from?

As for what LifeCycle songs are about……Music in general can mean different things to different people. One person’s interpretation of lyrics/ song can be completely different from another person’s. That is part of the beauty of music. So Asim will not typically like giving a song a definitive meaning because the way he sees it and writes it, may be interpreted another way by someone else. Doesn’t mean anyone is wrong, it’s just their perspective.  However, as a songwriter Asim typically likes to focus on aspects of life itself. Love, lust, greed, vulnerability, purpose, life and death are all common themes in our music, all served with a side of metal.

Give us some background to your latest release, that first single.

The debut single, “Lifecycle” dropped on 1/15/2020!  It’s everywhere.  You look at a digital store and it is there for the taking.  You can also grab it on Sound cloud or YouTube if you don’t subscribe to one of the big four.  The plan is to drop the acoustic version of “Lifecycle” at the end of Feb 2020 and then follow it up with the next single, “Burnout” mid-April 2020.  Constantly new content coming!

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

We enter into the studio one thousand present ready to record.  We don’t develop new parts during the recording process.  Here is why: we have recorded our song prior every time we write a new part.  Organically, we have a dozen or some versions from step 1 to the last step along with way , already recorded on someone’s phone.  By the time we get in the studio , we are ready to work and no longer write.

Tell us about the live side to the band, presumably a big favorite aspect of the band?

We’ll do it live!!! The band is super high energy.  No one just stands there and looks down at their instrument.  We see it with other bands and it doesn’t work for us.  The band is excited to play so when we hit the stage its go time.  Constant movement and having fun.  We do not take ourselves so seriously…..come see us.  We will make sure you have a great time and are not bored to death!

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands?

Yes there are opportunities everywhere I believe.  The secret is not only working hard but being smart about it.  Don’t waste your time with anything that is not moving the band in the right direction.  Think about it and have a plan.  Without a plan or direction, there is wasted time and that is the most precious resource we all have.

How has the internet and social media impacted on the band to date?

In a world where we all live our lives through the internet, how has it particularly aided the band?

It’s great! It allows people we have never met an opportunity to see the band, hear the band, laugh at the band, and either like or hate the band.  Our episodic YouTube Series, “A Day in the Lifecycle” is doing great and people seem to love it. Without YouTube, no one would be able to enjoy the comedy side of the band along with the behind the scenes footage of live shows.

Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

If bands struggle with the internet and social media, I would assume that they don’t quite understand one important thing…..This is a marathon, not a sprint.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Thank you!  We love writing and creating and playing our music for everyone.  If you REALLY want to learn more about the band, go to YouTube and pull up our YouTube series called “A Day in the Lifecycle”.  I know I mentioned it prior, but it’s a great way to see why Joe hates white bread, why Asim is sponsored by Hi-Chew, why John doesn’t talk and on and on. Thanks for the opportunity to talk!

-Scott Pustilnick (LifeCycle)

Check Lifecycle out further@ …

https://www.lifecycleband.com   https://twitter.com/lifecycleband   https://www.instagram.com/lifecycleband   https://www.youtube.com/channel/UCN4sHHIMmtMno__3t9wl4eA/featured

Pete RingMaster 27/02/2020

Enoch – Killing Starts Where Hate Begins

Originally released digitally back in 2018, Killing Starts Where Hate Begins from Enoch gets a deserved reboot this month through Soundmass, It’s return brings an additional new track and a gem of a live cut with it and if you missed it the first time around, we can declare the six track treat the perfect way to discover the potential soaked, ear grabbing sound and presence of the New Zealand band.

Formed in 2016, the Auckland hailing outfit fuse essences of groove, nu and alternative metal with their darker, predacious flavours for a keenly individual sound. It is a proposition which trespasses the senses whilst igniting the imagination. Part barbarous and part seductive with every attack between involved, as their EP proves, it is a proposal which crosses the familiar and unique to present something hard to ignore.

EP opener, Pieces, immediately demanded attention, the rapier like swings of drummer Ross Curtain landing with contempt as the song forcibly stirs with the bass of John Brodie beginning its grievous grumble. That alone has us more than attentive and with increasing focus as the guitar of Micheal Germon began unwinding its sonic wiring. Out the senses challenging start, rousing grooves wind around ears before, within a breath or two, the melodic tones of Lorraine Brodie complete the creative palette as the track’s imagination really takes off. It continues to prowl, severely growl, and harass but equally weaves a deviously infectious tempting which is echoed in the dual styled vocals of Lorraine.

It is an excellent start to the release which Reasons Why continues as it uncages its own twin personality of senses demeaning threat and eagerly fertile enterprise. Through her continually twisting and magnetic delivery Lorraine left her potent mark yet again, a highly pleasing incitement matched by the ever writhing grooves and the intense growling of the bass. Fair to say the track swiftly got under the skin before Stranger powerfully strides in springing more of the band’s ear devouring grooves. Bass and drums again unite in a quickly addictive provocation, the former’s low guttural snarl especially inflaming instinctive pleasure before guitar and voice weaved their melodic captivation around it. Germon’s basal growl easily fits with and contrasts the ever fertile delivery of Lorraine, his guitar casting acerbic lines just as rousing as the track reveals a new depth and adventure in sound and writing.

Loner provides more of the same in its own original way, contorting the air with its grooves as Lorraine provides vocal gymnastics with her throat backed by Germon’s voracious roar, every word and syllable either caressed or abused by her agility alone as guitar and bass again emulate the oral gyration with their own particular dexterity. With beats whipping the senses throughout, it too left a thickly pleasing mark while Bow and Be Devoured from its melancholic melodic start builds a steeled woven latticework of craft and imagination, one which preys on insecurities as much as it hugs them.

With Reason Why revisited for a live moment with the band, an example why their stage performance has earned them a potent reputation, Killing Starts Where Hate Begins simply left us hungry for more and eager to share the word.

Certainly there is still more to find in originality and imagination within their sound but Enoch already are a fresh breath for the metal scene and surely destined to be embraced far further afield than their homeland.

Killing Starts Where Hate Begins is out now via Soundmass.

https://www.facebook.com/enoch.nz

Pete RingMaster 28/01/2020

Copyright RingMasterReview: MyFreeCopyright

Tirade – Nothing Dramatic EP

Back in 2016, UK rockers Tirade unveiled their self-titled debut EP, a release suggesting the potential of “something truly distinct and unique in sound and songwriting” whilst making for a rather pleasing and infectious introduction. Three years on and the Manchester hailing outfit step forward again to realise much of that promise within the Nothing Dramatic EP, a collection of contagion loaded tracks which argue the intimation of its title.

Whether Tirade has brought the full potential heard in that first release to life in Nothing Dramatic we question as while getting caught up in the individual creative webs of its songs it is easy to feel there is still plenty more to be discovered within by the quartet but there is no escaping the new wave of imagination and craft let alone instinctive catchiness fuelling five ear grabbing, appetite sparking encounters.

Nothing Dramatic opens up with its title track and immediately had ears pricked with its initial spindly riff, a hook even more enticing as a mass of noise bred temptation brews up around it. Straight away an infectious coaxing is at play, becoming even more mischievous as the band’s alternative rock bred sound erupts with a devilish swing and melodic tempting. The vocals of bassist Jake Tilley are just as magnetic as the enterprise around them, his and drummer Stevo Somerset’s manipulative rhythms caging the inventively magnetic exploits of guitarists Josh Pearl and Alex Young. Blending muscular and forceful textures with more poised and seductive hues, the song sets a high bar for the release and a moment which remained our favourite though closely nudged throughout the EP.

No Time follows with a moodier temperament though swiftly boisterous energy steers its controlled but eager stroll as vocals, harmonies and emotive melodies wrap a darker rhythmic breath. That instinctive contagiousness to Tirade songs again needs no invitation to make its persuasion as a diversity of hues and imagination continue to shape the mercurial landscape of the ear hooking track.

Similarly To Be Honest brings a tapestry of ideation and flavours to court the imagination, the song twisting with individual craft and turning with united adventure before Burned Out springs an almost punk/new wave like dexterity upon its pop ‘n’ roll canter. Both songs simply grabbed ears and appetite, the first with maybe less imposing invention than within tracks around it but with ease none the less while its successor uncaged a virulent and resourceful proposition come trespass of creative audacity to set another major moment within Nothing Dramatic.

The closing Well Spent proved just as sharp and ambitious, familiar and openly new threads of imagination woven into another seriously infectious snare of sound unafraid to reveal calmer melodic caresses within a landscape of enticing drama and angular temptation. It is a great and striking end to a similarly impressive release which only left us wanting to hear more.

Tirade themselves admit the likes of Lower Than Atlantis and Don Broco provided an inspirational seed to Nothing Dramatic and definitely there are strong hues of both to its rousing holler yet again the band’s sound has an even stronger voice of individuality which if still not in full roar is heading the right way as suggested in their definitely and highly recommended encounter.

Nothing Dramatic is released August 30th.

https://www.facebook.com/TIRADEbanduk/    https://twitter.com/tiradeband

Pete RingMaster 30/08/2019

Copyright RingMaster: MyFreeCopyright

Unimagined – Friendless

Something wicked this way comes and it goes by the name of Friendless, the debut EP from US rockers Unimagined. Offering five rousing slices of the band’s “theatrical metal”, the release swiftly and increasingly had ears and imagination in the palms of its creative hands as it introduced a proposition we found rather easy to devour.

Hailing from St. Louis, Unimagined emerged in 2017 and soon earned a potent reputation and support across their local scene. Their sound is an animated mix of post hardcore and alternative metal; something akin to a n animated fusion of Pierce The Veil, My Chemical Romance, and At the Drive-In. It is a carnival of flavour and imagination honed into one melodically rousing and tempestuously seductive proposition which across Friendless never leaves a moment void of bold adventure and creative drama.

Too Dead To Dance sets the EP off and alone convinced there was something special going in within ears, its declaration subsequently echoed across its companions. The outstanding opener instantly had its hooks under the skin as the rich clean vocals of guitarist Caleb Freihaut align with the rapier swings of drummer Kai. The guitars of Jake Morgan and Nathan Simpson add to the emerging theatre with the waiting throat scathing roars of fellow vocalist Jarett Clark poised to erupt upon the already alluring mix. With every passing second the track simply escalated its captivation, the grumbling swing of Patrick Reuben’s bass adding further threat within the melodic enterprise embracing Freihaut‘s expressive dexterity.

It proved enthralling stuff and was soon matched by the imagination fuelling next up Something Borrowed, Something Blue. Its entrance is maybe less dramatic than its predecessor’s but with boisterous energy to its stroll and the crystalline caress of keys the song had little difficulty enticing attention, undisturbed focus rewarded with a tempest of aural drama and fiery invention brought with craft and imagination. The contrast of the lead vocalists works a treat in the creative maelstrom, the tenacity of the sounds crowding their magnetism simply rousing and as with all tracks every second, note, and syllable brings compelling persuasion.

The EP’s title track follows, Friendless. strolling in with a certain swagger as its theatre of sound and intimation quickly casts its narrative. Raw vocal prowess provides a scathing trespass within the swiftly thick theatre of enticement, the song almost bullying with its melodic wiring and muscular manipulation. Eventually its pressure becomes a senses harrying assault but one tempered by the melodic elegance of keys.

The final pair of She Was Scared Of Storms and Lemons & Sodomy simply escalated the bountiful character and prowess of the EP. The first of the pair is a serenade with fire in its belly, a pyre of creative animation and endeavour which had the body bouncing and appetite lusting while the second from its inescapably seductive melodic teasing erupts in a kaleidoscope of inflamed passion and resourcefulness ; both fascinating stages for the fertile craft and imagination of Unimagined.

As Friendless reaches new borders it is easy to expect and assume Unimagined will be launched into keener spotlights. The EP is a thrilling beginning to a proposition with still so much more to discover within their depths and imagination; something else to be eagerly excited over.

Friendless is out now via Standby Records; available @ https://standbyrecords.merchnow.com

https://www.facebook.com/UNimaginedBand/   http://unimagined.standbyrecords.com

Pete RingMaster 21/06/2019

Copyright RingMaster: MyFreeCopyright

House Of Hatchets – Reach

Having heard rather good and promising things about UK outfit House Of Hatchets there was genuine intrigue and a sense of real anticipation facing the band’s debut album, Reach. Across ten slabs of multi-flavoured alternative metal, the encounter swiftly revealed all the answers to any questions posed and yes the Edinburgh quintet pretty much live up to the ‘hype’ and potential offered.

Reach also quickly established that the band’s sound is a kaleidoscope of styles and textures, each track a twist from another revelling in familiar flavours and unique enterprise and all emerging as something as individual to House Of Hatchets as you can imagine or wish. A hindsight listen showed that the seeds and hints were already firmly sowed in the band’s 2017debut EP, The Grind and now in full bloom within Reach. As with that earlier encounter, the band has linked up with Romesh Dodangoda (Bring Me the Horizon, Bullet for my Valentine, Monuments) upon their first album, a release in full rousing voice from its first breath.

Moth Song starts things off, looming in from the distance on a sonic thread with soon reveals its melodic intimation. Finally face to face with the listener wires of guitar entangle with restrained but muscular rhythms, a confrontation which relaxes a touch as the voice of Chris Allison joins in and erupts in full temptation as the track instinctively bounds through ears. Even then it is a mercurial attack, ebbing and flowing in intensity and aggression as its unpredictable nature colludes with enterprise and an impassioned heart.

It is a great start to the release driven by the rhythmic powerhouse of drummer Frazer Parker and bassist Pete Cook; their muscle complemented by craft as echoed within next up Epitaph. Similarly the prowess of Allison’s delivery and tones are a potent essence in the track’s adventurous stroll, the guitars of Jamie Parker and Lewis Wheeler writhing and creating around all with sonic and melodic dexterity. As all tracks; it too is an offering which revels in its mix of metallic and melodic strains which teases of others yet never shares anything less than individuality.

The voracious instincts and contagion of The Sick And The Damned follows with its web of styles and adventure across a melody rich and unapologetically infectious exploration. A relentless temptation within which guitars seduce and sear, rhythms tempt and assault and vocals singularly entice and unitedly arouse before Lilith unveils its own sonic landscape of beauty and tempestuousness. For all their ravenous appetites and imposing trespasses, there is an instinctive poppiness to songs which is no better highlighted than with the creative and fiery cauldron of this excellent proposal.

Uprising leaps upon the listener next, its nu-metal essences colluding with crossover instincts as the song jabs and incites before sharing its full melodic anthemic roar. Hooked on its lures in quick time, the track only escalated its persuasion by the twist and turn, placing a firm hand on best track honours though quickly rivalled by subsequent incitements such as the following Burn. Ferocious in breath and intent as extreme and melodic metal merge, the track provided an invigorating and thrilling incursion to challenge its predecessor.

There is a somewhat calmer nature to Open Ocean, a melodic tide in sound and voice infesting whirling sonic eddies to break up an otherwise fierce maelstrom of emotion and intensity. It is a skilfully woven mix which if not quite matching up to other tracks just captivated before Black And Blue brought its tempest of sound and imagination to accost the senses. Virulent in every trespass shared, it too made a potent play for favourite song with the outstanding Asylum making another compelling declaration soon after with a voracious onslaught of thrash fuelled adventure.

Last One Lost brings things to a close, the song a beguiling melodic metal croon come insurgent storm with richly persuasive power in its voice and heart as the album makes a final turn in its constantly changing sequence of enterprise and adventurous sound.

House Of Hatchets is a band demanding and deserving of closer attention and their first album one which you can only see bringing that greater recognition. For all the great releases heard across a year few truly ignite real excitement levels but Reach is one.

Reach is released June 21st; available @ https://houseofhatchets.bandcamp.com/album/reach

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

Pete RingMaster 21/06/2019

Copyright RingMaster: MyFreeCopyright

TREP – Lucian EP

Since forming two years back, Welsh metallers TREP has earned potent support and reputation across South Wales. Now they are hoping to spark similar reactions further afield with the release of their debut EP, Lucian and with it offering up five slices of imaginatively woven alt-metal it is not too hard to expect decent success in the intent and hopes of the Cardiff based trio.

Lucian revels in the band’s mix of classic and modern alternative metal, its character nurtured in melodic dexterity and rousing choruses gifted with individual craft. Freshly breathed and individually natured it also embraces inspirational hues of bands such as Muse, QOTSA, Mastodon, Tool and Breaking Benjamin; the first pair openly spicing the EP and its song’s inventive flavouring.

The first of two EPs which together unveil an elaborate story with themes looking at “dystopia, a dictatorship, and the use of technology for a chance at a better world…but at what cost?” the swiftly fascinating Lucian opens up with the single Silence the Crows. Immediately a guitar cast wire entangles ears, winding around their flesh with intimation and dexterity as rhythms gather their bait and in turn the quickly captivating vocal blend of guitarist Rhys Evans and the supporting tones of bassist Sam Green and drummer Max Hill steps forward. There is a flirtatious touch and lure to the song from its first breath but equally a snarl in its melodic almost deceitful smile, an edge which is as much threat as it is sonic enterprise as Evans guitar reveals greater flavouring and invention by the passage.

It is easy to hear why the song made a more than decent lure to attention when released as a demo in 2017, and is now flourishing in the band’s growth in sound and the surroundings of the EP; its rich presence matched by that of next up The Time You Have Lost. There is something familiar to the track which only adds to its swift lure and bold enterprise whilst welcoming an array of melodic and sonic hues to its creative breast. Arguably even more virulent than its infectious predecessor, the song equally has its own volatile instincts which just add to its drama and increasingly captivation.

The EP’s best track is followed by the equally enticing It’ll Never Happen. Rising on a calmer breeze of sound and attack, it strolls with inescapable catchiness but all the while is brewing up the next twist and turn which then breeds another moment of fluid but unpredictable adventure. Maybe more of a grower than its predecessor despite its swift persuasion, the song rises to set down one more highlight of Lucian before another potent bloom in Architect spins its own dextrous and resourceful web around ears. Classic metal spicing accompanies its rise, Avenged Sevenfold coming to mind a little as the song broadens its tempting but also there is something to it which carries an eighties rock/new wave flavouring. It is an essence which teased within earlier songs but is a rich scent here even if a direct comparison still evades our ears.

The outstanding Better World brings the release to a close, the song an alluring mix of melodic metal and stoner infused rock ‘n’ roll with rich grooves and versatile rhythms offering to references to the likes of Mastodon and Red Fang. Again the great vocal mix of the trio is a magnet within the captivation of the sounds set on casting their own adventure and eager temptation.

Impressive from the off and only increasing its stature and potency over time and listens, Lucian is a striking and rousing first proper introduction to TREP; so much so we are already greedily anticipating the next chapter in the sonic story.

The Lucien EP is out now; available @ https://trepmerch.bigcartel.com

https://www.facebook.com/TrepBand/

 Pete RingMaster 21/03/2019

Copyright RingMaster: MyFreeCopyright

Down To The Bunker – Misery

A growling, snarling beast of a release, Misery is the debut album from Swiss quintet Down To The Bunker and an encounter which marks them out as one richly promising, indeed already impressive proposition. Offering up nine tracks of alt metal predation merged with heavy rock contagion and hardcore dissonance it all delivered with potent technical prowess and an uncaged heart, the release is one wake-up call to and declaration of intent from one rather exciting outfit.

Formed in 2012, the Genève hailing band has worked through years of line-up instability as it searched for the right personnel. It is a time though the band equally used to explore and hone a sound which is as unpredictable as it is varied and adventurous. A self-titled EP in 2015 drew keen attention though its support live was a struggle with again a changing line-up trespassing the next steps for Down To The Bunker. Now though things seem to have settled and with the band’s strongest line-up to date, the stability relishing result being the striking Misery.

Embracing a sound which sees the likes of Tool, Korn, Rage Against The Machine, Meshuggah, Gojira, Promethee, and Code Orange amongst its inspirations, Misery is an album which arouses as it challenges. Almost every moment has attention glued to its lures, the thrill of the unexpected rearing its head throughout an encounter which twists the familiar into its own pattern of fresh imagination and invention. Certainly there are moments where it ebbs and flows in the intensity of its temptation but there are few if any moments where it allows the listener to impulsively drift off elsewhere.

From the opening bait of first track Mother, the album was burrowing under the skin; sonic lures straining against the speakers urgently wanting out. The guitars of Matt and Jerem continue to bait the senses as heavier and darker strands join them, the bass of Arnaud a predatory taunt alongside the considered but imposing swings of drummer Léo. Completed by the fine tones of vocalist Jo, the track swiftly grows into a formidable and compelling incitement, imagination and unpredictability increasingly fuelling its enterprise and inescapable persuasion.

The increasingly magnetic and impressive start is easily continued by the album’s title track. It too springs from a seductive sonic lure if one which lances the senses rather than caresses them. The emerging web of guitars ensnared ears with swiftly nagging and devious intent; a strength of coercion matched in voice and rhythm. There is a touch of Mudvayne to the track at times which does it no harm or indeed the atmospheric winds which bring haunting melodies amid seemingly calm but dark aural intimation.

With the twisted canvas of The Asylum a refreshing bedlam of sound and individual craft shaped into another tantalising captivation come threat and the, at times, even more creatively unhinged and similarly fascinating Chrysalis, there is no let up on attention and enjoyment. Each track lured and trapped both with a creative greed which alone marks Down To The Bunker out, a dexterity in thought, songwriting and adventure which equally infests next up Ethics. As with all songs, it is a writhing collusion of sonic vines and metallic dissonance matched in vocal and lyrical dispute, and like each a blend of the barbarous and seductive as a cast of styles and flavours join up to ignite the band’s imagination and sound. There are moments of deceptive and corrupted calm which maybe disrupt the flow and impact of the track but it is that unexpected ideation which also makes it as potent as anything within Misery.

Through the intimately reflective and melodically evocative Waves, a quest with its own underlying snarl, and the sonically invasive and haunting Lost In The Desert, there was no let up on bold enterprise and striking intimation. The latter is like a senses suffocating limbo which slowly but surely reveals it’s waiting demons and distortions resulting in an experience which gloriously tests and provokes.

a final pair of bonus tracks in Machine and Alive brings the album to a dramatic and imposing close. The first and another major highlight of the release openly wears familiarity in its holler yet it would be hard to say it is anything other than a Down To The Bunker creative clamour while its successor prowls, pretty much crawls through ears with a great mix of heavy grunge and rapacious metal bound in melodic volatility.

It is a great end to an album which just pleasures and grows more impressive over time. In their seventh year Down To The Bunker will be making their first introduction to a great many with Misery but it is easy to believe they will be no strangers to them and major spotlights hereon in.

Misery is released February 22nd via Tenacity Music; available @ https://tenacity-music.bandcamp.com/album/misery

https://www.facebook.com/DownToTheBunker

Pete RingMaster 20/02/2019

Copyright RingMaster: MyFreeCopyright

Chasing Dragons – Faction

There is no doubt there has been plenty of eager anticipation for the debut album from British rockers Chasing Dragons, especially since the release of their last EP, Faction: Prologue, a couple years back. It was a kind of teaser for the band’s first full-length, unsurprisingly called Faction, which built on their earlier offerings and successes whilst peering into a whole new landscape of sound and imagination, indeed intimation now fully explored and expanded within the new encounter where we would suggest, the Chasing Dragons sound has come of age.

The time since the last EP has also seen the Leeds outfit truly establish themselves on the UK live scene with a big reputation to match, Chasing Dragons sharing tours and stages with the likes of Stone Broken, The Qemists, Skid Row, SikTh, InMe, Diamond Head, Aaron Buchanan and The Cult Classics, Courage My Love, Skarlett Riot, Theia and many more. Featuring nine new songs along with re-recorded versions of the three tracks from the Faction: Prologue EP, the album swiftly ignites attention and imagination with opener Factionless. Part intro part full intimation, the track stretches up from its initial arousal on the ever striking tones of vocalist Tank. Like a flame within unsettled atmospherics, her potent presence is a rich lure and spark for the outstanding piece’s subsequent shadow bound predacious stroll. Portentous yet virally inviting, the track masterfully erupts before making way for the melodically inflamed How The World Went Black. Guitarist Adam quickly spins a web of metallic temptation woven with melodic rock enterprise whilst the track bites through the determined beats of Katie, they courted by the dark rumble from Murf’s bass. Progressive hues emerge as the song evolves, technical craft lining its invention as all the while Tank radiates with her powerful and impressive delivery.

Amongst the band’s influences stand artists such as Halestorm, Avenged Sevenfold, and Bullet For My Valentine, all open spices to the band’s individual recipe as proven again by the melodically vociferous roar that is Parasite and the dramatic exploits of Like Gravity. The latter is a tempest of textures and flavours carrying a volatility which accentuates its warmth and elegance rather than devours them. As many tracks, it is a proposition which grows by the minute through new twists and avenues, all unpredictable and each an imaginative turn along the track’s magnetic journey.

 Through the equally tense Bareknuckle Lover, the mercurial attack of the track as alluring as it is resourceful, and the lively emotive roar of For Kingdom For Glory, Chasing Dragons continue to add fresh adventure to their release. The second of the two in some ways promises more than it delivers, certain inventive moments not exploited as much as personal tastes wished yet is still a gripping snare of sound.

The calmer climate and croon of This Time Is Ours allowed a breath as it simply enthralled though it too has a sprightly nature which eventually catches fire with Adam casting another striking blaze veined with mazy temptation before the riveting Devil In Her Eyes wound eager attention around its tantalisingly creative fingers and in turn The Connection takes ears on a saunter through gothic lined shadows and emotionally suggestive caresses before subsequently erupting into a furnace of muscular sonic theatre. The second of the trio is especially irresistible, every moment a clever thread into the next unexpected and virulent turn of the song though then pretty much matched in glory by its successor.

As the classic seeds of the similarly impressing I’m No Devil (I’m Just A Girl) catch fire within its metal/heavy rock drama and Whitehorse teases and fascinates, the album continues to reveal new aspects in sound and craft; the latter’s haunting opening passage an especially mouth-watering incitement for ears and imagination which hints at new corners and corridors for the band to explore ahead.

We Are The Wall concludes the release, the track a ravenous onslaught of sound and intent driven by rapacious rhythms and coloured by wiry grooves and rich melodies as Tank for a final time powerfully incites thoughts as she potently roars.

It is a fine end to an equally ear-catching album which as suggested declares Chasing Dragons at a new level in songwriting, sound, and performance, a plateau teasy to suspect the metal/rock world will be unable to ignore.

Faction is available now across most online stores.

Chasing Dragons November 2018 Faction Headline Tour

 2nd – Manchester – Satan’s Hollow – support Ward XVI, Soul Desire, Fear Me December

3rd – Croydon – Croydon Rocks Fest

4th – Southampton – Joiners – support Novacrow + TBC

6th – Norwich – Brickmakers  – support The Killing Culture + TBC

7th – Birmingham – Hammer & Anvil – support Novacrow + TBC

8th – Nuneaton – Queens Hall – support Novacrow + Simai + Fleer

9th – Stamford – Mama Liz’s – support Synthetic + Black Hawk Down

10th – Wakefield – Black Mass – support Novacrow + The Sourheads + Seas Of Scarlet

https://www.chasingdragons.co.uk/   https://www.facebook.com/chasingdragonsuk/   https://twitter.com/xchasingdragons

Pete RingMaster 18/10/2018

Copyright RingMaster: MyFreeCopyright

Chandrian Kill – Bring Out Your Dead

Maybe there should be no surprise the craft and magnetism to the Bring Out Your Dead EP, the debut release from British outfit Chandrian Kill, but it still makes for a strikingly unexpected and attention entangling introduction. The band is the creative union of vocalist Nic Whitmore who previously fronted Number One Son and songwriter/guitarist Ted Clark renowned for his past creativity as part of Moesaboa and Life in the Making. Both men have been a potent part of the UK metal scene and are looking likely to continue so as Chandrian Kill.

Clark began writing for Chandrian Kill a couple of years back; in time contacting Whitmore and luring him back from his long break from music to develop and arrange the songs. This led to the duo entering the studio this past March to record the three tracks making up Bring Out Your Dead. Subsequently mixed and mastered by Brad Tuttle (Seventh Studios), the EP has emerged a riveting proposition with its weave of predacious melodic metal with the eager animation of alternative metal aided by more than a hint of the gnarly attributes of djent.

Bring Out Your Dead opens up with new single I Collide. Instantly voice and guitar link up in a rich melodic lure as darker rhythms keenly prowl. It is a warm enticement though swiftly showing its volatile nature as irritability surfaces through djent natured trespasses and rawer throated vocals. Similarly there is an increase of fire to the melodic enterprise as the pair creates a cauldron of contrasts and emotive intimation in the music alone, Whitmore’s ever alluring vocals sharing that internal conflict within the exploration of the external one perpetually working away through our lives.

It is a captivating introduction to release and band which is as powerfully backed by the calmer but even darker Filter Off. Its entrance is a sonic mist of sorts but soon spreading for the wiry melodic and rich vocal enticement of the track to involve ears and imagination. As with the first, shadows lurk and rise in vocals and sound as the track revolves its unpredictable spiral of emotive suggestion. The turns become more voracious and antagonistic as the song proceeds, each twist a new fresh proposal to get enticed by with an increasing appetite.

Remain Alive concludes the release, the track casting its own individually melodic flames within another tempestuous climate. Its turmoil though has a stronger temper in the melodic web of the song, keeping it relatively restrained throughout though it is always bubbling away trying to break free. It is a tension crafted by Clark which is emulated in the vocal dexterity of Whitmore, the pair creating a trespass as fearsome as it is seductive.

The first in a sequence of planned EPs, Bring Out Your Dead as forcibly pleasures as it mercifully captivates. The band’s sound has been referenced to the likes of Deftones and Stone Sour, and there are moments when Skyscraper (the great nineties rock outfit) flicker in thoughts, but truthfully Chandrian Kills have a sound individual to all and just as flavoursome as all mentioned.

Bring Out Your Dead is out now via Bar3 Records.

https://www.facebook.com/Chandriankill/   https://twitter.com/ChandrianKill

Pete RingMaster 10/09/2018

Copyright RingMaster: MyFreeCopyright