Goblin King – Blood, Drugs & Death n Roll EP

Set to send a bruising shockwave through British punk ‘n’ roll is Goblin King, a London hailing Death N’ Roll quartet primed to release their debut EP. Offering five ravenously dirty and intrusive slabs of heavy rabid trespassing, Blood, Drugs & Death n Roll is a primal cauldron of metal, rock, and punk; everything which makes for a great rock ‘n’ roll fury and battering.

Founded earlier this year, the foursome of King, Beast, Jester, and Sin have taken little time to make a thick impression with a sound said to draw on the inspirations of Entombed, Motorhead, Amen, GG Allin, Cancer Bats and more. It is a ferocious affair, on the evidence of their first EP, as ready to have you swinging from the light fixings as savage the senses you were born with; simply raw rock ‘n’ roll in glorious rampage.

The EP opens up with its title track, Blood, Drugs & Death n Roll an infestation of scavenging riffs and nasty rhythms careering through ears with an appetite for mayhem. Their animosity though springs a swiftly addictive groove and an infectious swagger matched in the gruff vocal style and energy of King. Hooks are as prevalent as filth sharing riffs, thrash and punk uniting in a contagious animus hell bent on having the listener stomping around with middle fingers raised. Those Amen and Motorhead influences are especially vocal but immersed in an insatiable tide of character and tenacity all of Goblin King making, a rich flavouring equally flooding the following, just as superb second track.

Titled Goblin King, it is the kind of anthem no defences work against; an incitement from its first breath which has body and spirit eagerly embroiled. Riffs and rhythms swiftly confront and infest, vocals soon adding their bullying tactics until it all erupts in a chorus only the deaf could escape being hooked on. It is a chorus taking a breath at its final throes giving greater clarity to one glorious bassline and tone which spines the whole tempestuous contagion. Some tracks are instinctively manna to ears and the passions, this lustfully one for us though hunger is left dissatisfied at its departure after barely three minutes.

The opening pair gives the rest of the tracks a hard task to match their united triumph but the likes of 667 and Eye Of The Storm make a potent rolled up fist of it. The first is a ‘milder’ proposal in relation to the scourges before it but still has an attitude and hefty swipe to its presence which has you warily launching your participation and an unpredictability which wrong-foots and sparks the imagination at certain moments. Its spicy assault reveals a far broader landscape to the Goblin King sound and writing than its predecessors, one equally as refreshing and it is intriguing for an adventure the second of the two also embraces in its multi-flavoured, metal infused punk rock charge if not quite to the same boldness. With the guitar a flamethrower of melodic craft and rhythms an incessant examination of the senses, the track is inescapable virulence.

Death Sti-XXX brings things to an antagonistic close, crawling all over the listener with irritability and creative spite; a discontent breeding another addictive groove, spikily grabbing hooks, and anthemic incitement. Admittedly, initially the song did not make the same strong impression as its companions but over time had body and appetite seduced just as tightly.

Blood, Drugs & Death n Roll is pretty much a physical interpretation of its title; an affair basking in its grubbiness and relishing its prowess of igniting the energy and spirit of those it preys upon. It may be greedy but we so want more of Goblin King and are already finding it hard to patiently wait.

Blood, Drugs & Death n Roll is released August 10th digitally and on CD @ https://goblinkingofficial.bandcamp.com/

https://www.facebook.com/GoblinKingOfficial/   

Pete RingMaster 02/08/2017

Copyright RingMaster: MyFreeCopyright

Bag of Nickels – Amen

art_RingMasterReview

Amen is the first release since US rockers Bag of Nickels returned from a recent hiatus and an encounter to work neck muscles and hips. Creating an indie rock sound with a penchant for infectious hooks and rousing vocals, the Wilmington, Delaware bred band is not stretching boundaries with their new offering but it is certainly a release to light the day and heart.

Coming together in 1995, the life of Bag of Nickels has seen several breaks as its members worked on side and solo projects and to defuse the effect of “the grind of playing shows, working 9-5s, and inner turmoil.” The band’s previous albums, Soul Change and Mantequilla, coincided with potent local success and the earning of a strong live reputation which in time has seen the band venture into North Carolina and play several shows in New York.

Amen suggests a band returning from a break re-energised and with intent and the energy to stir up ears and bodies. Produced by Dennis Prado and co-produced and mixed with Grammy-award winning engineer Mike Tarsia, the album immediately gets to work with Hold Your Form. Riffs and whining guitars instantly grip ears as rhythms beat out a captivating lure. The bass is a great throaty element too, its dark grooves contrasting perfectly with the infectious vocal delivery and throbbing nature of the song. It is a great start to Amen quickly engaging body and appetite as familiar yet fresh hues escape the band.

The following Impurities wears more hard rock like essences with its less urgent but as rhythmically empowered character. Again guitars weave a web of enticement combining whining grooves and spicy melodies for two minutes of nothing less than highly enjoyable fun before making way for the Mike Tarsia Remix of Trapper Keeper. Without matching the snappy nature of its predecessors, the song slips easily through ears into an already keenly waiting appetite to hear what is next within Amen, pleasing with every second as the variety across the album blossoms and continues with the equally satisfying funk seeded and blues lined heart of The Set Up.

The rawer rock ‘n’ roll of Liquidation Sale forges a new peak within the album, its feistier melodies and rhythmic incitement compelling as again vocals impress and draw greater listener involvement while rhythms entice feet to share their energy.  More potent with every listen it still finds itself in the shadow of the excellent Speedball, a slice of fiery rock ‘n’ roll with hungry riffs and swinging beats not forgetting another juicily heavy and flirtatious bassline. There is a whiff of Foo Fighters meets The John Baker Trio to the track but as throughout the album any familiar essences collude with the band’s own invention and for the main are not so easy to pin them down.

The gentler hug of the album’s title track is next, guitars and harmonies a warm breeze across the evocative textures of bass and drums, vocals again drawing the imagination with their expression and words. The song is an enthralling encounter, another highlight with a volatility which sparks and erupts to fine effect across the album’s most exciting time, a success which continues to its close.

Amen is concluded by firstly the exotically hued Refrain, another mesmeric and rousing piece of melodic incitement matching the might and imagination of the previous song, and lastly with the bewitching adventure of Sex. Carrying a great XTC feel in their English Settlement era to it, the track glides through ears, stroking the imagination with its folkish yet boisterous melodies as another rhythmic escapade enslaves body and spirit.

Strong and enjoyable from the start but simply irresistible in its closing stretch, Amen easily warrants close attention from bigger spotlights. As suggested Bag of Nickels might not be venturing into unknown pastures with their album and sound but both leave a thick pleasure and keen want for more behind, a success many other bands can only dream of.

Amen is out now @ https://bagofnickels.bandcamp.com/

https://www.facebook.com/BAG-OF-NICKELS-127836390586804/    https://twitter.com/bagnickelsband

Pete RingMaster 02/09/2016

Copyright RingMaster: MyFreeCopyright

Generation Graveyard – Lonewolves

Generation Graveyard Online Promo Shot

Preying on ears with the primal snarl of early Killing Joke, the punk fury of Amen, and the raw salacious bloodlust of Frankenstein Drag Queens from Planet 13, UK metal punks Generation Graveyard has become one of the eagerly talked about new protagonists of the European horror punk scene, and it is easy to see why with the release of new EP, Lonewolves. The band’s official debut release, it is a predatory assault on the senses and a stirring incitement to thoughts and emotions. It is hard to say that it is going to be the most startlingly original thing you will hear this year yet the London quintet unleash their venom and antagonism with a blend of flavours and impassioned vitriol to stand apart from the crowd and excite with undeniably ferocious potential.

Since its conception in the latter part of 2009, Generation Graveyard has earned a strong and impressive reputation through their live performances which has seen the band share stages with the likes of Misfits, Anti-Nowhere League, The 69 Eyes, Black Breath, Viking Skull, Warrior Soul, The Defiled, and most recently supporting Breed77 on their full UK tour. Fusing rich essences of hardcore, rock n roll, black metal, and crust into their metal punk voracity, the band’s next big step hits potently out in sound and lyrical intent, casting hostility amongst things at life and urban isolation, society and social upheaval, and substance dependence. As suggested Lonewolves is not reshaping a scene but it does make it impossible to ignore or resist the band’s fury.

The release immediately stands intimidatingly over ears, stirring thing up with caustic riffs and short sonic taunts whose acidic discontent is punctuated by occasional thumps of rhythms. The entrance of Abominate/Desolate is a Generation Graveyard - Lonewolves EP coverslow enticement which almost preys on its recipient before opening up a broader wash of guitar incitement around a sturdy stride. Once the drums start rumbling along with beats which seem to coax further the already impressive vindictive bass flirtation, the track takes to full hostile flight within its still stalking gait and the similar stance of vocalist Max’s grizzled growls. Dark addictive grooves and surges of scarring riffs continue to flourish within the brawling presence of the song, but it is the almost deceptively menacing bass and spiral of melodic guitar enterprise which leave the lingering impression of the strong and potent starter.

Things kick up another gear in attack and pleasure with Human Hive, the song scurrying urgently through ears from its opening breath and teasing attention with heavily poking beats within a maelstrom of sonic causticity. There is a more open contagiousness to the song than within its predecessor, a lure providing a dangerous and virulent seduction. Sonic groans and ravenous riffs stalk throughout the track’s rippling body, adding intimidation to the web of infectious persuasion and adversarial endeavour honed into one gripping confrontation. With Max offering a Casey Chaos like combativeness to his tones and the guitars an unrelenting and varied squall of abrasing enticement littered with thick hooks, the track ignites an already open appetite with ease.

The Empty strikes next, again a song making an initial quarrelsome impression veined by sonic bait clad in riveting invention and enticement. The track stomps and bustles with attitude and impatient ire, eager to start a fight or incite a riotous commotion. It is a pleasing and easy to embrace slab of unfriendly provocation but lacks the spark and quite simply the addiction forging qualities of the previous pair. Nevertheless it is another strong lure into band and release before the incendiary punk storm that is Deletist savages ears. It is as raw and as vicious as it gets on the release, every note and syllable a raucous enmity whilst the rhythms just puncture the body with their verging on malevolent antisocial attack. Like the last song it lacks some of the lures of certainly its successor but counters that with pure venom and hardcore punk voraciousness.

The title track takes over to steal best song honours, its Misfits like opening the doorway into the epidemically anthemic roar of the song. Rhythms and riffs spare little time to size up their victim, jabbing and raging respectively with the hunger and rabidity of a restless social uprising. Hooks and grooves play incessantly with the imagination whilst the group calls to stand up and roar simply provide the icing on the ridiculously thrilling cake. It is a great finale to an increasingly impressing release though certainly on the CD there is also a bonus track, the Stereo Juggernaut remix of Human Hive which offers a more than decent stomp to fling limbs to.

Lonewolves is a dramatically healthy and intensely promising introduction to Generation Graveyard, one easily showing why the fuss from those in the know towards the band. You feel though that there is much more to come and be explored within the band ahead than shown on the excellent release, which makes their future rather exciting.

The Lonewolves’, EP is available through all stores on Monday 21st July.

http://generationgraveyard.bigcartel.com

https://www.facebook.com/GENGRAVE

8.5/10

RingMaster 20/07/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

In Evil Hour – The World Bleeds Out

pic by Helen Templeton Photography

pic by Helen Templeton Photography

A snarling insatiably commanding beast of a release, The World Bleeds Out the debut album from UK punks In Evil Hour is a sensational blistering of senses and thoughts from a band who know how to craft virulently contagious and potently provocative songs. A blaze of essential fresh punk rock with a lyrical bite which takes no prisoners within incisive swipes upon politics, society, and the apathy and ignorance that pervades modern culture, the ten track release leaves a fully exposed and hunger driven passion in its wake, whilst In Evil Hour steps forward as another irresistible voice declaring that UK punk rock is again leading the world.

Formed in 2003, the quartet from Darlington takes seeds out of inspirations from the likes of AFI, Amen, Black Flag, The Stooges, Bad Brains, NOFX, Bad Religion, Sick of it All, and Rise Against to name a few, into their own flavoursome hardcore punk. It is a sound which is not unafraid to load itself with infection soaked hooks and riffs but as an additive to tempt rather than undermine the sinew lined directly evocative heavy punk attack they conjure. Released through STP Records, The World Bleeds Out is a savage yet anthemic confrontation which allows hope and temptation to be as rife and alluring as the aggressive and spiteful creative toxicity which stirs up and incites the imagination.

Opener Divide And Conquer stands eye to eye with the listener as the rasping growl of Alice confronts the ears skirted by crisp and a0645899867_2antagonistic rhythms and swiping raw riffs. The track is soon charging for the jugular of the senses with rabid beats from Mike whipping the song on whilst bassist Mark and guitarist Gareth create a vitriolic and persuasive mesh of caustic might. With anthemic vocals in league with an equally demanding instigator in the chorus, the song is an outstanding and powerful entrance into the album.

     Far From Home takes up the fury next with a splattering of rebellious beats sparking the rest of the song into an initial rage against the senses. It is a great start but one which is left behind once the song settles into an incisive stomp of rumbling rhythms ridden by the continuing to impress, with greater strength as each song steps forward, vocals of Alice. There is a Wendy O Williams essence to her delivery which only enhances the lyrical expression and song attack overall, something which the music seems to understand and find inspiration from, this track gaining ever increasing intensity and rapaciousness with every syllable expelled with brawling strength.

Both As Seas Rise and Where You’re Left continue the immense presence of the album if not quite to the earlier heights set, the first creating a sonic scrap with the ear in which there is only one winner, especially with the deliciously catchy swing and barbed melodic enticement through the guitar skills and vocal harmonies and calls. Its successor is a scorching flame of guitar scalding and rhythmic bashing again steered impressively and skilfully by the vocals singular and as a riotous union.

The lethal swipe of animosity that is Little Death is a fifty five second storm of magnetic viciousness, a hardcore blitz which thrills from its first uncompromising breath through to its last. It moves over for the mutually outstanding Help Me Out, an acidic spiral of heavy rock guitar teasing and taunting whilst the rest of the band adds their particular predacious craft and incendiary invention. A bruising rock n’ roll rampage which leaves the passions aflame with greedy appetite it provides one more stunning moment amongst a great many on the release.

The instantly compelling bass lure to The Terminal brings in another exceedingly agreeable altercation, the band arguably more restrained in its proposition though no less direct and imposing lyrically and in presentation. The bass continues to steal the show on the track, its finest and most potent moment on the album where at times it feels like it is given a back seat place in the production, whilst as now expected Alice draws attention with her striking presence which to be fair often puts most other aspects in the shade.

The excellent title track grazes up the senses and passions with its own individual exciting and imaginative spat whilst the brilliant I Lost Years, where bass and guitar find another plateau to tease a new rapture out with their impossibly addictive rough charms. A Dead Kennedys like hook steers the passions whilst the surrounding body of the song is a mix of Angelic Upstarts/UK Subs and Penetration/AFI. It is a terrific creative and raucous adventure cementing the depth and quality of band and album.

With Murder Murder closing up The World Bleeds Out with one final tempest of contagion drenched excellence, a blend of Bad Religion and The Duel coming to mind as it steals another wave of ardour from the emotions, In Evil Hour emerge as one of the most impressive emerging forces in punk rock, and not just in the UK. A classic album from an extremely impressive band, not much left to say.

http://inevilhour.bandcamp.com/

https://www.facebook.com/InEvilHour

10/10

RingMaster 17/09/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Reigniting passions and fight: An interview with Yap of One Minute Silence

PIC by Stefan Ferreira

PIC by Stefan Ferreira

 Like so many the return of UK rap metallers One Minute Silence bred a big sense of excitement for us when the band announced their return after a seven year absence a couple of years ago but it was the release of their first new material which came just a few weeks back that things took on real hungry proportions. The Fragmented Armageddon EP  was an absorbing and inciting confrontation that showed the band had lost none of the fire and fight inside its creativity and thoughts. Given the chance to find out more about the returning force we asked vocalist Yap about things like the cause of the ‘hiatus’, the spark that brought the band back, and of course the new EP as well as more politically shaped questions. Here is what he shared with us…

Hi Yap and thank you for sparing time to talk with us at The RingMaster Review.

I know we were not alone in having a strong twinge of excitement at not only hearing of the return of One Minute Silence but your first new release in a decade, the Fragmented Armageddon EP. Did you have any sense of the appetite for your return and hunger for new OMS sounds?

In a small nutshell – I went on a journey to ground myself, and came back grounded. I felt more focused as a person, more grown up.  I had ideas, but everything in the OMS camp is of an organic process, so it was just all about waiting to see what would happened when we regained our collective music head.

Can we first ask about the decision back in 2003 to put the band on the back burner? What was it that brewed and led you to that decision?

Like I said, I needed to go on a journey. I felt squashed in the music industry and in life in general. I was unhappy inside

Was it originally planned as a hiatus with thoughts to return at some point?

I had no thoughts of anything to be honest. I didn’t know what planet I was on, or where I was going. I just dropped the ring into the fires of Mordor and I left.

What filled the time of OMS’s member in the subsequent seven years?

All the guys kept their heads in music. Massy spent a lot of his time learning to produce his own sounds. And Glen, being the musical madman that he is kept himself busy mastering his mile. I subsequently went on to make a couple of albums that fell under the name Pink Punk. It was hardcore slam poetry produced by John Hendicott.

So what triggered your return in 2010 and was it an idea which found a receptive response with you all?

PIC by Stefan Ferreira

PIC by Stefan Ferreira

It was a slow burner in regards to us finding our flow again. We were all fresh in our heads, but on different roads musically. It was just a feeling burning in my belly that I wanted to explore I guess, and the guys felt the same way. It was very refreshing for us in many respects too though; being away from it all for so long and so on. It didn’t feel stale is what I am saying.

Always being a band to provoke and bring political and world issues to the attention do you think the time away brought a new and inspirational fuel to your personal and the band’s fire as much as anything musically seeded to spark your return?

Back in the day I was a young man carrying a lot of internal anger, and this shaped the sound of my words. I feel I am a better fighter now mentally as I carry no anger in my soul. This gives me more focus, and so I hit harder and better than ever before. It has allowed me to throw punches in the Zen sense, and direct my words with more precision if you like.

As the new songs on Fragmented Armageddon shows you do still have that fire in the belly not only musically but lyrically and politically but do you think it is much harder now to make an impact on the younger generation with so many seemingly seduced by the inane reality shows culture and the force feeding of primetime blandness musically and entertainment wise into their psyche?

I think there are a lot of blind people out there, but as the recent student marches have shown, there is also a healthy awakening. I think people are ready now more than ever for the truth. People need to be. The ship is sinking after all, and no one can shout conspiracy when the water is almost above their nose.

Why do you think each subsequent generation over past decades arguably lost the instinct to question and fight the wrongs of society, as the likes of bands like yourselves, Amen, RATM, UK Subs, Refused, Flogging Molly etc. have not lost their snarl and passion to inform and bring things to attention.

Generations have always been a mixed bag. Some listen and take action against the corruption of the day, while others march the line.

Do you think the unrests you pointed at and we are seeing across the globe will eventually translate into something similar in size in the so called more democratic countries like the UK and wake up the sleeping generations?

Chaos is coming. The four horse men are saddling their horses. It’s only a matter of time. We can’t stop what’s coming now. All we can do is our very best in the face of it. Millions will die. There’s nothing anyone can do about that fact. All we can do is keep promoting the truth until we find balance as a species. It’s a long road.

922931_561590037195380_1533141906_nBack to the music, Fragmented Armageddon contains two new OMS tracks, Fruit From The Lie and Pandemic Schizophrenia which immediately squashed any doubts that the band may have lost any of its potency creatively and passionately. Did you have any similar questions of yourselves about that aspect when first reuniting and writing?

To be honest I felt we were ready to write our best music.

There is also open evolution in your invention and sound bringing in new flavours and imagination to the songs, what inspirations or new ideas have you explored this time around with your songwriting and music?

I am glad you noticed. I am a more rounded person now in every respect. I have been out on the circuit trying to bring some of my philosophical ideas into the world arena. I believe I have new ideas that will help open the world of philosophy to a brighter day. My work in linguistics and psychology has brought me to a new door in my head, and once it opened everything changed. Obviously my lyrics would be an extension of my new broader perspectives.

Did the different musical ventures the band’s members investigated in the ‘time off’ also bring fresh avenues for your imagination to contemplate with your new material?

Yes, in many ways. I have a much broader understanding of sound now, as do all the guys in OMS.  However, trying to incorporate our new ideas took time.

Are the two songs a strong representation of what your next album will feel and sound like, can we get excited yet?

Yes, they are a good indicator. We have many great songs in the pipeline. All we need now is the finance to get it all together. Time and timing as Massy likes to say.

Have you approached the song writing and recording of the songs any differently to your previous albums and EPs?

In some respects yes, and it other respects no. It’s very hard to corner it.

Your line-up contains new drummer Martin Davies, how did you link up with him and what has he brought to the band which is not openly clear on the tracks for us outsiders?

Martin has been working with Glen for the last few years, and so Glen brought him to the bands attention. We knew from the first best he was our man. It’s quite astounding to listen to him in action in the studio. There’s nothing he can’t do on the kit.

You are currently working on your new album so can you give any spoilers for us about it?

PIC by Stefan Ferreira

PIC by Stefan Ferreira

It will represent the zeitgeist of our times.

Other than the album what is on the near horizon of One Minute Silence?

We are waiting to see where the wave will take us. It’s all easy and in good flow. We are just a bunch of happy people, and if we get to finish another album, well then great. If we don’t, I will sit in fields pondering the universe regardless.

Once again a big thanks for chatting with us.

Have you any last thoughts you would like to leave us with?

We were touched by the response we got on our return. We hope we find our way back to the live stage. We hope we find our circle in the pit. Peace to all.

Thanks Pete.

Read the Fragmented Armageddon EP  review @ https://ringmasterreviewintroduces.wordpress.com/2013/06/16/one-minute-silence-fragmented-armageddon/

Pete Ringmaster

The Ringmaster Review 23/07/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

The New Sheriff – BlackSwanSongs EP

new sheriff

Having been more than impressed by his previous projects, their distinctly different sounds lighting some potent passion, vocalist James Scott-Howes has stepped forward again with another unexpected but equally intriguing project in the shape of The New Sheriff. From the soulful mischievous  hip hop enterprise of Great Imitation through the startling experimental haunting adventures of Shrikes, Scott-Howes and his lyrical prowess has engaged and pushed the envelope of himself and listener but the post hardcore squalling intensity of The New Sheriff may just be his most disruptive and challenging moment yet. The Leicester based band is not all about him though, the frontman joining the accomplished and imaginative skills of guitarist Tom Whitmore, bassist Ollie Jones, and drummer Mark Abbott for a combined force which ensures attention is all theirs whilst they bruise and intrigue thoughts and senses.

With influences taken from the likes of Touche Amore, Pianos Become The Teeth, Defeater, La Dispute, At The Drive-In, and Refused, coverthe quartet create they own abrasive confrontation which takes its debut upon the BlackSwanSongs EP. The four track tempest of emotion and sonic spite is a raw and uncomfortable listen but a richly compelling and provocative one, and in no mood to take it easy on the ear from its very first tempestuous breath. Opening track Pinky Swear approaches with strokes of jangling guitar before big boned rhythms thump out their intentions alongside the dark growling bass. The combination has no problem in sparking the appetite as they set the platform for the caustic scowling attack of Scott-Howes to work senses and thoughts. As expected his lyrical stance and stylish script is magnetic but his delivery initially throwing assumptions off balance. Being used to his rapping and word crafted explorations the acidic and abrasive vocals shock and take a while to get used to but soon make the strongest persuasion. The song itself swipes and intimidates the ear yet within its full intensity, the sonic colours of the guitar casting a rich tale upon the muscular satisfying canvas.

Eternity Means Eternally steps forward next, well barges forth, with again a forceful almost rabid hunger. There is a punk grazing to the provocation especially in the group chorus which breaks out whilst the grizzled bass voice is a ravenous predator within the welcomingly wearing assault of guitar and vocals. The drums of Abbott cage and pummel the listener with excellent maliciousness especially entering its climax, and overall though the track is firmly seeded in post hardcore there is more than a whisper of the punk hardcore assault of Amen to its threatening lure.

The following Bitter Magicians restrains some of its intensity for an evocative weave of expressive guitar sculpting and less confrontational but more potent vocal suasion, the hard spoken delivery of Scott-Howes offering more clarity which certainly has essences of his previous band without losing the already in place spite or venom. As with all the songs there is no escaping or hiding from the power and intensity of the band which the EP closer In Heliotrope We Burn equally ensures. Moving from where its predecessor left off, the slower clear tones of sound and voice welcomes the ear into the impending storm of corrosive emotion and sonic spleen bred creativity, the track an inciting finale to a strong and impressive first encounter with The New Sheriff.

BlackSwanSongs suggests the band is still in the process of evolving and defining its sound and unique voice to stand out amongst a torrent of emerging post hardcore band but it is rife with promise which ignites real anticipation for their future creativity…a band to keep a close eye on indeed.

https://www.facebook.com/TheNewSheriffOfficial

8/10

RingMaster 03/05/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Blood Tsunami: For Faen

BLOOD TSUNAMI03

    Norwegian thrashers Blood Tsunami have returned with a beast of an album in the ravaging For Faen, a release which makes up for the time the band was away whilst thrusting the Oslo quartet forth with a new ferocity and enterprising design to its sound. With blood raging through its veins and a furnace borne hunger, the release brings a spiteful devastation of thrash metal and a freshness which has been missing from many other recent genre releases.

Blood Tsunami was formed in 2004 by vocalist/ guitarist Peter Vegem who had spent the previous years in punk rock band Hellride. Turning to thrash metal the project ran through a few line-up changes in the first couple of years but equally found permanent members in guitarist Kristoffer Sørensen and drummer Bård G. Eithun to drive the band forward. Two demos were released in the same period with the second leading to the band signing with Candlelight Records/Nocturnal Art Production with who their debut album Thrash Metal appeared in 2007. Critically acclaimed the album brought the band good awareness from around Europe where they toured to further strong responses and recognition. Second album Grand Feast For Vultures followed in 2009 and was a stronger even more impressive riot of invention and power, though soon Blood Tsunami hit problems. After losing out on a slot on a full European tour with Absu and Nachtmystium in the summer of 2009, bassist Peter Boström then departed leaving the other members with a lack of inspiration and energy for the band. The remaining trio started up new punk metal band Mongo Ninja, putting Blood Tsunami on a kind of hiatus, which in twelve months or so toured relentlessly and released three albums with Indie Recordings. Though the quintet was drawing strong acclaim and success the founding trio began looking at Blood Tsunami again and brought it back to life during 2012 but now infusing the punk essences of their last endeavour into the thrash devastation of their resurrected project.

Bringing in Carl Janfalk on bass to complete the line-up alongside Vegem, Eithun, and Sørensen, the band recorded a six track demoFor Faen cover 1400 in 2012 and then set about searching for a label which emerged as Indie Recordings who put out the Mongo Ninja albums. For Faen meaning Devil, though it is also used in Norwegian in the same way fuck is used in English (so the title could mean For The Devil or For Fuck’s Sake), takes no prisoners from first violent note to last, offering an unrelenting siege upon the senses with equally compelling rewards. Previously the band drew on melodic Swedish influences and NWOBHM riffs for their more progressive creativity but now have moved to short biting song structures and a punk snarl to leave a much longer lasting and potent effect in the shorter violent songs.

As soon as the thumping drum call of Eithun opens up first track The Butcher of Rostov, the passions are immediately set on alert especially with the swiftly joining inviting sinewy riffs adding their keen persistence on the senses. In full flow the track unveils a swagger kitted out with a delicious sonic grove before unloading a full ravage of crippling rhythms, flash tearing riffs, and an even more insidious grooved venom. Vocally Vegem has re-ignited the delivery he used in Hellfire and it adds the perfect rasp and belligerent growl to the intensive attitude driven sound. The song thrills with a blend of Slayer, Amen, and Kreator and makes a towering persuasion for release and the new direction of the band.

Next up the bestial Dogfed chews the ear with the savagery of a pack of wolves, its incisors rippling with primal malice whilst its sonic saliva sears with irresistible acid; in barely one and a half minutes it has thoughts racing with deep satisfaction. Its mighty presence is equalled in their own individual bruises by The Rape of Nanking and In The Dungeons of the Rats, tales of war crimes and blood curdling horror which capture the imagination lyrically as much as the sounds succeed in earning full submission of the passions.

To be honest every moment of the album leaves nothing but sheer pleasure in its wake and though maybe the release is not ground breaking it is undoubtedly one of the best thrash cored releases in a long time. Further pinnacles in a plateau of highs come through the colossal rampage of Metal Fury and the unbridled ferocity of The Brazen Bull, both subsequently eclipsed by the ardour igniting Unholy Nights. The song is a classic in waiting, a heart pillaging scourge of fiery sonic mastery within a tempest of marauding riffs and wall demolishing rhythms.

The return of Blood Tsunami has given thrash, if not aggressive metal as a whole, a new thrust of vibrant and destructive energy and in For Faen, an album which thrills on every level.

www.facebook.com/pages/BLOOD-TSUNAMI/43036996206

8.5/10

RingMaster 11/03/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

www.audioburger.com