Exes For Eyes – Of Strength And Sorrow

Since the release of their previous album in 2014, Canadian metallers Exes For Eyes have been on a hiatus of sorts but now they have returned with a new collection of tracks which not only enhance their established reputation but push it to a loftier height. Of Strength And Sorrow is a fury of bold adventure and eager enterprise, a release also relishing a greater diversity and imagination in the band’s sound whilst making for one striking encounter.

Ontario hailing, Exes For Eyes was borne from the musical vision and creativity of Dave Sheldon (ex. Man With Target, Annihilator) and the lyrical conception of vocalist Big James (Stab.Twist.Pull, Endast, Authors). Previous well-received releases proved an enticing cauldron of multi-flavoured metal endeavour with a progressive bent but the time between the previous Tongues Like Figure Eights and Of Strength And Sorrow has seen it grow, mature, and immerse in greater imagination without losing almost feral instincts.

Their new album opens with the outstanding Build, Work, Dream, Create; a track which if standing alone in major temptation would have brought the full-length strong praise. One of our favourite moments of the year so far, the song immediately launches itself with an irresistible groove within a barbarous but effortlessly contagious surge. It is eager enticement which continues to tempt and manipulate as vocals expel their intent and prowess with raw emotive discontent. The track is superb, groove and death metal essences colluding in its tempestuous roar, every second a cauldron of virulent enterprise and ferocity.

It is a thrilling start which Memories That Last follows and backs with its own inferno of rapacious sound and ear grabbing imagination. More uncompromising by the minute the track provided a quickly testing and swiftly rewarding proposal as imagination fuelled its every invasive throe before the song drifted away and the predatory presence of The Metal forcibly prowled. It was an initial stalking which subsequently erupted into a ruthless trespass, its stroll continuing to menace and bully as the band’s imagination flourished and shaped one enthralling assault marked with individual prowess.

Nothing Ever Satisfies in contrast provides a calm but just as enticing invitation, at least initially as the guitar’s melodic coaxing soon becomes a cyclone of resolute sound and voice around another irresistible collusion of grooves and hooks. A rival for the opener, the track continued to enthral and arouse as its turbulence fed off the mercurial volatility in its heart and roar; submission to its creative appropriation willing and inevitable.

Featuring Trey Xavier of In Virtue, The Fire Inside My Head entangled ears in another spiral of wiry grooves and rhythmic motivation straight after. It is an opening which intensifies by the breath, vocals adding to the attention grabbing pestering before the sonic wind drops and the bass brings its funk instincts to bear. That is just the invitation to a new progressive sigh of imagination laced with a slight Hed(PE) hue and another alluring aspect to the fascinating encounter. With keys providing perpetual intimation throughout, the song’s tempest ignites again; the cycle repeating with richer temptation.

Through the fierce yet melodically elegant Set It All On Fire and The Savage Self with its savagely contagious trespass, album and band only accentuated their expectation squashing prowess; both songs relishing the progressive bent in the songwriting and imagination of Exes For Eyes. It is also fair to say that both songs as most around them flourish with closer and continued attention, new textures and layers of enterprise emerging from within their masterfully sculpted furores, next up I Miss My Friends (Too Many Of Them Are Dead) reaffirming that quality as its solemn and melancholic beginnings inspire a melodic pyre of dexterity and guile within a voracious if mercurial landscape of uncompromising encroachment.

The likes of Hold On with its two chaptered proposal, the first as respectful and catchy as the other is invasive and confrontational, and the resourcefully animated True Self Reckoning ensure the album’s grip remained tight, their successor, Love, with Pepe Poliquin of BornBroken guesting matching their strengths with its own contemptuous strike, one which at times is melodically seductive and progressively illuminated.

Of Strength And Sorrow concludes with firstly Get The Fuck Out Of My Head which as keys haunt from its first sigh while rhythms simply enticed, both continuing to enthral as emerging drama and dark deeds rise, emerged another excellent track within the album. Methuselah follows one stirring moment with its own rousing presentation of invention and imagination, in many ways summing up the variety and adventure of the band’s sound in its own capricious multi-flavoured and dramatic body.

Though Of Strength and Sorrow had us hooked from the start it is right to say that the depth, layers, and expanse of its qualities and persuasion was only greater tapped with subsequent ventures into its increasingly and imposingly impressive body. Quite simply, Exes For Eyes are back and creatively deadlier than ever.

Of Strength and Sorrow is out now and available @ https://www.exesforeyes.com/

Pete RingMaster 20/08/2019

Copyright RingMaster: MyFreeCopyright

The Kreoles – Next Stop, The Madness

Rock ‘n’ roll obviously comes in numerous shapes and hollers and for us it is when that kind of diversity finds a home within one single encounter that we find the strongest fascination. The sound and new album of Italian outfit The Kreoles is one such proposition; an encounter bred upon a fusion of varied rock and metal flavours with a healthy punk ‘n’ roll roar for extra goodness.

Next Stop, The Madness is the third album from the Como based band which was founded by producer, songwriter and guitarist Ivan McSimon in 2011 and originally was a quartet with female vocalist Valentina Merlo. With a pair of well-received albums in the 2014 released Touch The Sun (Valery Records) and two years later Psycho (Sliptrick Records), the band revealed the potent sound which has only become more individual to The Kreoles ever since. 2017 saw the foursome reduced with Merlo leaving and McSimon adding vocal duties to his prowess within the band and as McSimon subsequently began working on the new album alone, he brought in bassist NIc Angileri and drummer David Cuomo to complete the line-up with no doubt their backgrounds in numerous styles adding to the rich mix within Next Stop, The Madness.

With Jeff Waters from Annihilator additionally providing a host of solos across its tracks, the album swiftly had ears seriously attentive with opener Shiver. A swirling melodic flume escapes a guitar straight away, rising eagerly from within the wall of sound carrying it. As quickly the song twists into its rock ‘n’ roll stride, riffs and rhythms almost stalking the listener as McSimon’s vocals stroll their tempting. Already the band’s sound sets down its individual character though there is an essence which reminds of Russian rockers Biting Elbow to the song and indeed many of its companions. Equally the track revels in heavy metal and progressive rock attributes; every second one of simple captivation as the song sets the album off in fine style.

Day After Day follows, bursting from the speakers with relish as swinging rhythms collude with sonic and melodic tenacity. Its spirit and energy never dips across another stretch of alluring enterprise, McSimon steering the adventure in voice and craft, and even in the moment of relative calm there is a vigour which prevails. With a solo which just beguiled, the ear gripping track makes way for the equally magnetic It’s Time to Go, a song with a dark lining to its drama and melodic intimacy to its creative narrative. As within its predecessors, keys add another compelling and tantalising ingredient to keenly devour.

Both Deep Inside with its robust dynamics and infectious intricacies and the more classic rock/metal bred Take Off hold ears and appetite firm, each a host of catchy and at times voracious enterprise while All Alone savours its metal breeding from its first breath as again classic hues unite with fresh textures and a punk infused ferocity. All three add their own independent imaginations and personalities to the album, the steely web of the last especially striking before We Make the History shares its potent balladry.

The album’s title track follows on an enthusiastic canter, once more the band aligning metal threads to a hard rock styled canvas to effortlessly ensnare attention. Though some tracks roused the passions more than others, every song within Next Stop, The Madness left a pleasure sparking mark, this one no less than any other with its multi-flavoured roar.

The album concludes with firstly the imaginative and stylish thunder of You Can Be Sure and lastly the bold rock ‘n’ roll of The Rain. Neither song quite sparked the ardour of many before them but each left a lingering mark and rich satisfaction which only drew ears keenly back.

Next Stop, The Madness certainly pleased straight away but it is with plays and time as more of its tapestry of melodic colours and varied flavoured textures came forward that it really impressed. So quite simply, The Kreoles is one of those bands which, as indeed their new release, should definitely be checked out.

Next Stop, The Madness is out now via Sliptrick Records across most stores and @ https://www.thekreoles.com/shop/

https://www.facebook.com/thekreoles/   https://www.thekreoles.com

Pete RingMaster 05/08/2019

Copyright RingMaster: MyFreeCopyright

Xentrix – Bury The Pain

It cannot be mere coincidence that plenty of the most striking and indeed enjoyable thrash bred encounters in recent times have come from bands which emerged in the genre’s youthful days, subsequently departed and have made potent returns in recent years. British thrashers Xentrix are another falling into that category and now lighting up the senses with a thrilling new proposition. Bury The Pain is the band’s fifth full-length, a release revelling in the many familiar throes of thrash metal but essences shaped in the band’s own inimitable character and imagination.

Formed by guitarist Chris Astley in 1985, Xentrix left their mark through their 1989 Roadrunner Records released debut album Shattered Existence, continuing to ingrain it upon the UK metal scene with following releases and a live force which saw them share stages with the likes of Testament, Sacred Reich, Annihilator, Sepultura, and Tankard. After three more well-received albums, the band went on hiatus before returning in 2013 and lighting up that year’s Bloodstock festival. With new vocalist/guitarist Jay Walsh leading the attack alongside the equally potent forces of guitarist Kristian Havard, bassist Chris Shires and drummer Dennis Gasser, Xentrix has again simply created another stirring strike upon the senses with Bury The Pain.

The album unleashes its title track first up, Bury the Pain luring attention with melodic wiring around a bubbling predation of sound. By the tempting chord rhythms brew their aggression, eventually sparking tides of rapacious riffs amidst their own voracious intent. Walsh’s equally tenacious tones steer the trespass, the song continuing to involve melodic and rousing enterprise within the virulent offensive.

Cover art Dan Goldsworthy

It is a great start to the album swiftly matched and eclipsed by the fiery discontent of the outstanding There Will Be Consequences; an anthemic protagonist stirring up the spirit with its gang hollering and nagging dynamics. Accelerations in physical and vocal antipathy only add to its prowess and persuasion before Bleeding Out casts its own melodically woven web of enmity upon ears; a netting to creative and bodily irritability which is just as menacingly compelling.

Both The Truth Lies Buried and the following Let the World Burn tighten the grip of the album, the first emerging from elegant melodic intimation to ravage with control and imagination with its successor hen accosting the senses with a far more untamed demeanour and truculence for matching success and captivation. It is magnetism just as potent within The Red Mist Descends, another track rising from a classic melodic coaxing to uncage creative hostility and viral animosity. As suggested there is plenty within all tracks which is bred from familiar trash ingredients but as this trio epitomise alone, each launches individual and magnetically enterprising propositions.

It is dexterity and fertility just as open and strong within the predatory instincts of World of Mouth, the song a seriously nagging assault of pleasure, and similarly the addictively harassing exploits of Deathless and the Divine. Feral bordering on bestial, the latter leaves no tantalising stone of hostility unturned as not for the first or last time individual craft and imagination unite.

The final pairing of The One You Fear and Evil by Design provides a closure as striking as the album’s beginnings. The first is another which initially tempts with melodic radiance, this gentle caress the lure into a hellacious onslaught of sound and intent providing a multi-textured and flavoured tempest to indulge in. The closer in turn invades with animalistic nostrils flared and creative acrimony freed, savaging and seducing with matching rancour especially within its latter raptorial prowl.

It is a fine end to one mercilessly stirring release. Xentrix are heavier and more ruthless than ever before and at their most compelling with Bury The Pain laying down another mighty notch for British thrash metal.

Bury The Pain is available now through Listenable Records; available @ https://www.shop-listenable.net/en/268_xentrix and https://listenable-records.bandcamp.com/album/bury-the-pain

https://www.xentrix.co.uk/   https://www.facebook.com/xentrixmetal/   https://twitter.com/xentrixmetal

Pete RingMaster 25/06/2019

Copyright RingMaster: MyFreeCopyright

Verni – Barricade

There is nothing better than a song which has you swinging from the rafters hollering and roaring. When you get ten in one ridiculously rousing collection it borders on bliss and that is exactly what the debut album from Verni uncages. The first offering from the solo project of Overkill founder and bass player DD Verni, Barricade is one unbridled raucous anthem sprung from individual hurricanes of rock ‘n’ roll incitement and easily one of the most pleasurable offerings of the year.

An ever prolific songwriter, Verni as a project arose from a growing collection of songs which did not fit either Overkill or DD’s side outfit The Bronx Casket Co. To add extra spicing to the mix, he proceeded to approach a host of musicians to guest on them resulting in the album featuring a plethora of guitarists including Jeff Loomis (Arch Enemy), Angus Clark (Trans Siberian Orchestra), Jeff Waters (Annihilator), Bruce Franklin (Trouble), Mike Romeo (Symphony X), Mike Orlando (Adrenaline Mob), Steve Leonard (Almost Queen) and Andre “Virus” Karkos (Dope) as well as former Overkill drummer Ron Lipnicki. Putting all those lures aside, Barricade is a cauldron of temptation in its own right whether it swings with rock tenacity, trespasses with metal nurtured ferocity or snarls with punk driven belligerence.

Immediately opener Fire Up opens its sonic jaws, attention was not just lured but gripped as grooves drive a rapacious onslaught of rock ‘n’ roll.  A tease of Verni’s thrash instincts unite with hard rock vivacity, riffs and rhythms colluding to create their own thick lure alongside the creative web of the guitars. DD’s vocals are a matching draw, it all stirring up quick involvement from body, voice, and neck muscles. No breath is spared as the song charges through ears spilling lust poking hooks and grooves as gang shouts holler and individual flare across the track ignites.

The following Miracle Drug is equally as virulent in its catchiness and energetic hard rock cast dynamics if taking things down a gear gait wise. But a single gear it is as the track still flies from the speakers with zeal and enterprise before Off My Leash has the body bouncing with its contagiously predacious animation. Punk and grunge infest its metal lined rock bred swagger, another collusion of flavours which seeds something truly fresh and viral. Unexpected twists only add to its relentless and unbridled tempting.

Like a wound up dervish, (We are) The Broken Ones strikes next with guitars scything across earthy rhythms as vocals inspire eager participation while Lost In The Underground embroils classic rock exploits in punk ‘n’ roll contagion to romp and stomp with the listener. Both tracks not only hit the spot but shatter it to incite a lustful union.

Through the darker thrash spun drama of The Party of No and the southern gothic drama of Night of the Swamp King the album only tightens its grip. The first has a definite Anthrax meets Dope feel to it while the second is atmospheric intimation and sonic theatre soaked in stoner intoxication; their successor, We Were Young, adding to the album’s blossoming variety with its classic rock balladry. The latter is a track we would not normally take to but courtesy of the devilish prowess of DD Verni we were firmly hooked.

The album closes up with firstly of Slow My Ride,​ a fervent entanglement of alternative metal and hard rock, and in turn the classic metal meets anthemic rock outing of Heaven Calling. It is probably fair to say neither lit the fires within as those before them but each escalated the undiluted enjoyment of Barricade, a pleasure which has only grown by the listen.

​We are sure we will not be alone in hoping DD Verni continues to write tracks which do not fit his main projects because as much as those projects fully satisfy another Verni encounter is already the subject of hungry anticipation.

Barricade is out now via Mighty Music on CD, digitally and on Ltd white vinyl.

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

 Pete RingMaster 17/10/2018

Copyright RingMaster: MyFreeCopyright

Mason – Impervious

We are not going to kid you by saying that it is the most unique album you will embrace this year, though bold adventure it certainly does not lack, but you will have to go a long way to find something as seriously rousing and simply enjoyable as Impervious. The new album from Australian thrashers Mason, it surges through ears with rabid energy and unbridled aggression and proceeds to raise the ante groove by searing groove and hook by virulent hook.

Bursting from the Melbourne music scene in 2007, Mason openly embraces the Bay Area thrash scene and the obvious protagonists in the genre’s general eighties borne assault and consumption of world metal. A self-titled debut EP of 2011 was followed by the band’s first album two years later, Warhead which included guest guitarist Jeff Loomis (Arch Enemy, Nevermore) sparking far wider attention the way of the quartet. Its success was matched by that of second EP, Unmerciful last year and a live presence which over time has seen Mason share stages with the likes of Harlott, Havok, Accept, Revocation, Toxic Holocaust, Accept, Mutank, and Annihilator and play across Asia, Europe into Canada. Impervious looks and sounds like the key to the locks of the biggest spotlights and awareness, a tempest taking little time to get down to persuasive business.

The portentous lead of intro Eligos lures the listener straight into the waiting clutches of Burn. Within seconds it is careering through ears with predatory riffs and rhythms as vocalist/guitarist Jimmy Benson stirs things further with his eager snarls. Swiftly you can hear the touches of bands like Testament and Kreator in the song’s assault but only to enhance its oncoming and subsequently relentless irresistibility. Creative twists and turns come with a definite Mason identity to further entice and excite whilst the chorus amidst it all is manna for rock ‘n’ roll instincts. The track is superb, a rebel rousing, bone shaking treat setting the tone and adventure of things to come.

Tears of Tragedy is just as rapacious in energy and aggression next, the spiky tones of Benson as inspiring and tempting as his and fellow guitarist Grant Burns’ exploits. The rapier like swings of drummer Nonda T. and surly tones of Steve Montalto’s bass similarly stir spirit and appetite, their at times almost primal presence hungrily driving the sonic enterprise and assault of the song.  With fiery melodies and descriptive sonic weaves webbing the encounter, it is another stirring slice of full throttle thrash to match its predecessor.

Both tracks hint at an even bolder adventurousness and individuality in the Mason writing and imagination which is more pronounced within next up song, The Afterlife. It too has top gear in full use but wraps it in a melodic and technical prowess which is almost overwhelmed at times by the song’s ferocity but a constant impressive pleasure throughout. It too has a chorus which gets under the skin within one round of its anthemic call while pushing the album’s already lofty heights on again.

The album’s title track follows; its tone almost barbarous as it sizes up its victim before consuming the senses with ravenous riffs, biting rhythms, and sonic animosity, this all bound in a virulent contagion which infests the psyche with ease. Individual flair again is as open as the animosity within the song’s irresistible presence before Cross This Path descends like a pestilential horde upon the senses. Saliva and venom drips from Benson’s tones, violence from Nonda T swings as the track carnivorously chews on ears. It is a predation superbly tempered by the sonic dexterity of Burns and Benson, though every tendril spun and melody uncaged certainly sears the senses.

Sacrificed has plenty to live up to as successor to its mighty predecessor and with its sonic webbing and thunderous air gives it a potent shot if without quite making the last few steps. Nevertheless, the track captivates as it pushes evidence of an even bolder appetite unafraid to experiment imagination within the Mason sound and potential before Hellbent on Chaos savages and entices in equal measure. It too might lack the final sparks of earlier companions, such their heights and not its shortcomings, yet has body and spirit inescapably hooked on its creative scourge.

The album concludes with the apocalyptic mayhem of Created To Kill. With words unleashed in rapid fire to match the concentrated trespass of riffs and rhythms, the song devours the senses. The bass of Montalto is a murderous ingredient in the suggestive patterns of the guitar, its predacious intent as darkly inviting as the flying beats and rabid riffs are insatiable.

It is a stunning end to one outstanding encounter which will surely put Mason on the metal map with a forceful bang. The future of thrash metal is in good, old school inspired, but increasingly bolder and imaginative hands.

Impervious is available now

http://masonofficialmetal.com/    https://www.facebook.com/masonofficialband/    https://twitter.com/masonthrashband

Pete RingMaster 10/10/2017

Copyright RingMaster: MyFreeCopyright

Running Death – DressAge

The new album from German thrashers Running Death is one of those encounters you just cannot help going back to and with increasing zeal. Inspirations to the band include the likes of Megadeth, Testament, and Annihilator, traits audible within DressAge but their sound has much more in its armoury ranging from eighties heavy metal and rock to similar era speed metal.  It all comes in varying degrees within a certain thrash bred stomp and all colluding in one virulently infectious and catchy slab of muscular rock ‘n’ roll.

The band’s debut album of 2015, Overdrive, ensured the Bavarian are no strangers to eager praise or a host to new waves of fans and things can only escalate with the release of DressAge.  The album wears a grin on its creative face from its first breath and carries a mischief which gives its tracks a real feel of aggressive fun. It opens up with Courageous Minds, a track swiftly involving the listener in its lively gait and nature as rhythms thump and dance upon the senses whilst the guitars of Daniel Baar and vocalist Simon Bihlmayer spin a web of enticement. It is not long before the track is rigorously strolling through ears, the beats of Jakob Weikmann swiping as the voice of Bihlmayer growls in a quickly engaging affair which if not quite gripping the imagination as firmly as subsequent tracks certainly gets things off to a rather pleasing start.

Dressage is next, surrounding ears with an almost predatory web of textures cored by the throaty bait of Andrej Ramich’s bass. The anthemically driving rhythms of Weikmann quickly have the instincts to stomp hooked, the song taking mere moments more to eclipse its predecessor and really get the album rocking. Baar’s melodic enterprise is technically and sonically impressive and never diluting the natural roar and flow of the thrash fuelled encounter before a gasp of time brings the matching strengths and incitement of Delusive Silence upon an appetite already beginning to get a touch greedy for what is on offer.  Fusing a great mix of melodic warmth and metal irritability, the track only blossoms its weave of adventure and varied sounds keeping expectations wrong-footed and the imagination hooked.

Next up Heroes Of The Hour wraps ears in a wiry weave of melody and creative snares before revealing a more predator side through jabbing beats and antagonistic bass. They are in turn aligned to swinging grooves, a revelry soon infesting the aggressive and infectious tendencies of the song as another highlight is crafted before Duty Of Beauty bounces upon ears with a catchiness which borders on poppy. Those eighties influences spice all tracks and certainly impregnate the boisterous rock ‘n’ roll of the fifth song which also has a touch of Danish rockers Grumpynators to it.

Through the bulging contagion and biceps of the Motorhead scented Numbers and the motorbilly fuelled Beneath The Surface, fresh heights are continued and pushed, both outstanding tracks as compelling in tone and character as they are in individual craft while Anthem of Madness has neck muscles working and the body romping with its voracious instrumental theatre.

The album closes with the pair of Safety Second and Refuse To Kill, the first a fiery ballad which haunts and snarls in equal measure as guitars conjure a tapestry of evocative suggestion around just as strong vocal expression. It is a song which simmers upon the passions compared to other tracks but rapidly grows to be just as persuasive with each rerun of building body of energy and adventure. Its successor has a darker edge to its air, a song close to stalking ears as it fills them with rapacious rock ‘n’ roll cored by the most crotchety slice of thrash metal upon the album.

Cloaked in the fine work of Mexican graphic artist Joel Sánchez Rosales, DressAge is a proposition which merges something familiar with something forcibly fresh, the outcome a record which inspires only enjoyment and an eager energy to get involved. We will not say it will be a regular album of the year nomination but it will be one metal roar we will be keenly joined in love for.

DressAge is out May 26th via Punishment 18 Records and @ https://runningdeath.bandcamp.com/

https://www.facebook.com/runningdeath    https://twitter.com/runningdeath1

Pete RingMaster 25/05/2017

Copyright RingMaster: MyFreeCopyright

Fallen Angels – World In Decay

Fallen Angels Band Photo 1_RingMaster Review - Left2Right Steve-Brad-Erik-Carl-Matt - cropped

Creating a compelling maelstrom of energy and familiarity, US thrashers Fallen Angels back up their acclaimed second album Engines of Oppression, with another tempest of aggression and craft in the masterful shape of World In Decay. The Seattle based quintet once more openly weave the inspiration of genre masters and originators such as early Metallica, Testament, Slayer, and Megadeth into their equally classic metal hued sound, and again the band uncages a proposition which only excites ears and appetite. It is fair to say that in many ways you know what you are going to get with a Fallen Angles encounter, but not in what shape or gripping design it comes in. The same applies to World In Decay, an album with few major surprises but a torrent of things to drool over.

With their 80’s thrash and 70/80’s heavy metal influenced sound, Fallen Angels has increasingly and persistently lured strong attention, establishing themselves with fans and media as a proposition ripe with contagious and aggression driven adventure. Equally the band is a dab hand at entangling it all with a modern take on melodic and imagination sculpted textures, as first shown through 2008 debut album Rise From Ashes and even more so in Engines of Oppression three years later. World In Decay is more of the same but also equipped with an even fresher breath of craft and maturity equating to Fallen Angel’s finest moment yet.

Produced by Grammy award winning producer Michael Rosen (Forbidden, Testament, Death Angel, Flotsam and Jetsam, Tesla, Vicious Rumors), World In Decay erupts into life with The Hammer’s Blow and an instant onslaught of spicy guitar and rampant riffs from Erik Hanson and Matt Be Rot. They coax from amidst intensive rhythms led by the swings of drummer Steve Spitzbart, the track an uncompromising lure before brewing into a more welcoming creative blaze of flying grooves and hooks over the magnetically growling bass of Carl Larsson and around the vocal roar of Bradzilla which quickly emerges as the ringmaster to the rampage in furious motion. Thoughts of Exodus and Annihilator spring up from the growing tapestry of fierce enterprise engulfing ears, whilst the melody toned side of the song dabbles with folkish/Celtic flirtation at times, the whole thing ensuring the album gets off to a stirring start.

Album Cover - Fallen Angels - World In Decay_RingMaster Review   The first single from the album, Nightmare comes next, its darker and more predatory character swiftly igniting the imagination whilst discord lined sonic enticement has ears seduced before it all momentarily halts for riffs and rhythms to collude and unleash a ravenous charge. That Metallica whiff is a rosy hue within the raw and incendiary landscape of the song, but as everywhere it gets honed into something maybe enjoyably familiar but leaves expectations scrambling for success. The song potently backs up the might of its predecessor before Forsaken Existence kicks things up another gear with its inventive and melodically emotive presence. From the opening breath, the track is a maze of twists and provocative craft before settling into a leaner surge of bruising enticement, though it in turn is soon wrapped in more sparkling invention and sonic colour which go on to entwine for the remaining length of the fascinating offering. The track is irresistible, at its heights when exploring a diversity of styles and pure contagion when just bullying air and ears.

Leading the Blind is another proposal prowling the listener from its first touch, riffs and rhythms as good as stalking the senses as an intoxicating seducing from Hanson spreads tantalising beauty around the bestial heart of the song. As in the last, it simply grows in weight, creative strength, and addictive resourcefulness with every passing chord and rhythmic swipe. The vocals alone enthral and within the gripping drama of sound, it all results in one of the pinnacles of World In Decay, through a triumph superbly supported by Fire At Eden’s Gate. Whereas the last song was beast like, its successor is a caress of classical hued melodies and mesmeric string craft from the guitarists, only the firm rhythms providing any hint of the dark intent of the song within its impressive entrance. They soon get their way though and spark an uncompromising confrontation led by the great grouchy tones of the bass and the ever ready to grapple delivery of Bradzilla. The track never uncages its fullest fury or violence though which only adds to its commanding air, but once in full stride, it never allows an easy or unrewarding time to brew either.

The weighty stance and sound of Into The Abyss keeps things burning brightly though it lacks the same spark as the songs before it. Its body is almost subdued in energy at times in comparison, saving it for the sizzling crescendos which do escape across its evocative length. The individual skills and united craft of the band again only impress though so that the song is only ever pleasing, a quality also applying to The Hour of the Time, another which does not impact as firmly as others, certainly initially but only grows into ears and in stature through every excursion through its web of flavours and tenacious execution.

The album ends on a lofty high with Mortis Ex Machina, the song a rousing anthem from its opening roar and with a volatile nature casts a thoroughly bewitching instrumental landscape punctured by recurring and ferocious vocal incitement aligned to skilfully rabid rhythms and riff driven fury. Talking of instrumentals, the album actually finishes on a mesmeric untitled offering which like an epilogue to what came before leaves ears and thoughts enraptured and eager to experience the release all over again.

World In Decay brings the best of familiarity and fresh endeavour together like an old friend carrying a whole new persona, whilst Fallen Angels as reinforced themselves with the album as a band not yet able to turn the trash/metal scene on its head, but one easy to get a bit greedy over.

World In Decay is available from August 4th via Cyberdyne Records.

http://fallenangelsthrashband.com/     https://www.facebook.com/pages/Fallen-Angels-Thrash-Band/336737539688752

RingMaster 03/08/2015

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://www.reputationradio.net

 

Titans Eve – Chasing The Devil

Titans Finals print-1_Reputation Radio/RingMaster Review

Photo Credit : Shimon Karmel

Not only reinforcing an already potent reputation, Chasing The Devil from Canadian metallers Titans Eve pushes their presence and sound powerfully forward whilst sharing the open declaration of this is who we are, this is what we have for you, enjoy! Fusing a broad flavouring of metal with a thrash bred heart, sure enough it is a hard to resist offer but also a proposition which ignites the imagination and emotions to giving modern metal a very good name.

Hailing from Vancouver, Titan’s Eve emerged in 2008 having been formed by lead vocalist/guitarist Brian Gamblin and his guitarist/vocalist brother Kyle; drummer Casey Ory joining them straight away and bassist Jesse Hord subsequently completing the line-up. Taking their time honing their sound and lighting up a local fan base, the quartet really began waking up the Canadian metal scene around 2009/2010 with a tour across Western Canada followed by debut album The Divine Equal. Extremely well-received and acclaimed, the release also led the band to recognition further afield and a two month tour across North America in 2011. Their strong emergence continued the following year, starting with supporting Korn and the creation and release of second album Life Apocalypse, which in turn was followed by playing with Anvil, touring with Kill Devil Hill, and supporting Arch Enemy on their European Khaos tour. The album followed its predecessor in luring strong praise and attention upon Titans Eve, something Chasing The Devil now will definitely replicate and most likely take to new levels. Recorded with producer and engineer Eric Mosher, and mastered by Jeff Waters of Annihilator, Chasing The Devil takes the expected aggressive and uncompromising sound of the band and ignites it with arguably their most melodic and creative spicing yet…the result one gripping and thoroughly enjoyable tempest.

Titans Eve-Chasing The Devil_Reputation Radio/RingMaster Review     Opener We Defy drives in from a distance first, healthily brewing riffs closing in before upon arrival triggering punchy rhythms and a highly flavoursome guitar enterprise. Once united it all settles into a muscular stride driven by crisply landed beats and a dark hearted bassline, the guitars spinning a web of thrash riffery bound in melodic and groove metal imagination. It is a pungent blend with the final potent ingredient being the snarling delivery of Brian’s vocals, his tones more sandy than gravelly but a great texture and attack for this and all songs. The album starter continues to grow and expand in invention and sound as its proceeds, never relinquishing its core anthemic contagion and blatant aggressiveness but filling ears with potent persuasion.

The immense start is continued by War Path. The second track is similar in style initially but soon unloading uncompromising beats and a surge of hungry torrential riffs, though they both pale against the excellent predatory bassline which really begins stalking ears after an early blaze of band vocals. There are essences of bands like Exodus and Testament to the song, as in many, but equally a weave of nu, groove, and heavy metal which only helps turn the encounter into one of the pinnacles of the album. The song is a benchmark for the release emulated with regularity starting with the following No Kingdom. A melodic caress draws in ears and appetite first before things get intensive and antagonistic, the drums unleashing a barrage of thunderous bait as the guitars drive ferociously and seduce melodically through another persistently shifting design. It is a fascinating proposition though it never goes far enough in its hostile voracity or sonic ingenuity for personal tastes, something which could be said of the whole album. It is as if the band is trying too hard to balance the opposites instead of giving them their reins, but nevertheless the song just hits the sweet spot as its successor.

Another Day is the most bestial song on the album yet, vocals and its sonic nature a barbarous confronting of the senses in turn coloured by the raw and bracing alignment of caustic riffing and imposing rhythms. A fiery solo sows seeds for further melodic endeavour as well as the tenacious, almost punk metal like surge of incitement which flares up. It is a song ensuring ears and appetite only get greedier for sound and album, a hunger equally inspired by the title track and in turn The Grind. The song Chasing The Devil brews a rich old school character from its tantalising and evocative melodic opening, the track weaving a tapestry of classic and heavy metal strands into a canvas of darker bred and fuelled flavouring. Thoughts of Judas Priest meets Machine Head are prompted as the track continues to ignite ears and imagination, through its more modern enterprise hints of Mudvayne too. They are all alluring hues colluding for another peak of the release instantly equalled by the second of the pair which from the initial carnivorous tone of bass, is simply a primal tempting sparking lustful attention. With its prowling voracious persuasion of sound, the song easily lives up to its name, its riffs a ravenous persistence on the senses and the swings of Ory an unrelenting intimidation. There is no lack of addictive grooves and sonic colour either, each lining the incitement with irresistible hooks as the encounter steals the whole show.

The album is completed by firstly the bewitching instrumental Stranded, where harsh cold and melancholic emotions are lit and conjured by a seduction of acoustic expression, melodic reflection, and stringed beauty. Dark shadows and keys crafted elegance only add to the mesmeric narrative before The Endless Light steps forward to bring the album to a fine close. The track is a maelstrom of sounds and skilled resourcefulness as raw and magnetic metal collude in a thrash powered and diversely cultured storm of dark hearted and captivating fury.

Chasing The Devil is a treat of a proposal, further evidence of the exciting craft and might of Titans Eve with only the suggestion that it was not as bold as it could or at times suggested it might have been a passing thought. It certainly provides a seriously enjoyable adventure for metal in 2015 and that in our book is a big success all should take a punt on.

Chasing The Devil is available from June 12th @ https://titanseve.bandcamp.com/album/chasing-the-devil-2

http://www.titanseve.com/   https://www.facebook.com/pages/Titans-Eve/53568260495?fref=ts

RingMaster 12/06/2015

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://www.reputationradio.net

Dark Century – Murder Motel

all-templates.cdr

A release which can just as easily raise a wide grin as it can an urge to go violate something, Murder Motel is an exhaustive and exhilarating corruption from a band clad in imposing and compelling devilry. Dark Century comes with a potent buzz behind them and their new album easily reveals why as it ignites ears, imagination, and a greedy appetite for their fusion of death, thrash, grind with a viciously healthy course of hardcore. It is a release which has plenty in it to feed expectations but also comes with a just as rich soak of originality to thrust The Canadian quintet into a spotlight of its own.

Formed in 2001 by guitarist Martin Gendreau, Dark Century has built an impressive reputation and presence over the years around Montreal and beyond. It is a time sign-posted by their excellent and well-received debut album Days of the Mosh as well as a live presence which has seen them alongside the likes of Aborted, Misery Index, Quo Vadis, Rose Funeral, Exhumed, Fleshgod Apocalypse, Goatwhore, Origin, The Faceless, Battlecross, Fuck the Facts and many more as well as light up numerous festivals. With a new line-up Dark Century return with their monstrously towering new incitement, an album which puts the band on a new plateau. Produced by Chris Donaldson (Cryptopsy, Mythosis, Erimha, The Agonist, Derelict, Neuraxis) with Gendreau, Murder Motel is a storming onslaught from start to finish, a ravenous bestial proposition veined by incessantly riveting imagination and unpredictable twists.

     In Our Veins starts things off and is soon careering through the same network of the listener with riffs grazing every surface they can find and rhythms voraciously pummelling the senses. It is a ferocious start which aided by the raw thrust of the vocals and that rhythmic tsunami, only intensifies its assault the further into its destructive arms you sink. Drummer Steve Burns is exceptional from the off but also is the stringed ravishment from Gendreau whilst the slightly varied and excellent caustic tones of vocalist Leather King and the predatory bass incitement of Francis Lafrenière equally steal their share of attention and acclaim.

The fine start hits another gear with the following title track where again a mere breath is taken before a disorientating rhythmic assault and bass grilling consumes the senses. Little time passes neither before a swagger and violent swing to the track wraps its irresistible temptation around a by now rampant appetite, the track lurching over and provoking the emotions with mischievous designs and violent intent. Here as with a few songs there is something familiar to the proposal offered but it only eases the accessibility of the track for the eagerly offered passions. The solo from Erik Fernet-Evans is a plume of intrigue and drama to colour further the potent canvas of the song as it drifts away at its end for Torticolis to seize its portion of attention. Rabid and intensively imposing, the track grips with carnal intent and flesh savaging sounds, its breath toxic and riffery a torrential assault driven harder by the severity of the Burns’ rhythmic spite.

Knees might already be buckling at this point and senses cowering in fear but hunger for more is insatiable and fed healthily by the brief but intensive predation of Ice Breaker and the fearsome rage of new single Kill The Crowd. The latter’s touch is as violent and scarring as anything heard before on the album but is aligned to a masterful persuasion of heavy metal coaxing and hardcore ravaging. Add the irresistible swinish grind twists and vocals plus the teasing cowbell, as well as the horde chants and you have another irrepressible capture of thoughts and emotions, but one exceeded even more by the brilliant Dead Birds. It is one of those addictions impossible to shrug off with the track from its anthemic rhythmic entrance stamping its authority over ears and excitement, crowding and preying on the senses with primal riffs and vocal voracity. It is just one of the structures ready to subjugate the passions, a heavy intensity laden consumption taking its sizeable portion of the adventure under its control just as firmly as the underlying but easily detectable excitable grooves have their appealing say.

   The four second Trio du Bûcheron comes next and there really is little to say about it. Neither working as an intro nor making any impact being so short, it is just there before both Cholestérol and Chloroforme cast their severity over ears. The first is another merciless gorging of the senses with piggish vocals, hellish rhythms, and a sonic weave of skilled enterprise igniting the otherwise pleasing if underwhelming song, in comparison to previous maelstroms. Its successor is similar in its presence, formidable and undeniably impressively crafted but failing to spark the same rapture. Nevertheless both keep band and album in solid control before the closing pair of firstly Mosh Test Dummies and the closing Gore On My Snare ensnare ears to inflame responses all over again. The first of the final two initially stalks and stares venomously at its recipient, its approach reserved but only for a deceptive moment as the song soon uncages its sinews and rigorous ingenuity to smother and savage all before its predatory strides. Its companion is pure blistering barbarity, everything from riffs to rhythms and vocals to creativity a masterclass of bloodlusting malevolence. It is demanding physically and emotionally making a scintillating conclusion to a tremendous provocation.

The album comes with recommendations that fans of bands such as Dying Fetus, Cannibal Corpse, Six Feet Under, Hatebreed, and Annihilator will get a hot flush from Murder Motel, but we suggest anyone with a lust for inventive and revelling extreme metal will find Dark Century a new best friend.

The self–released Murder Motel is available now @ http://darkcentury.bandcamp.com/album/murder-motel

www.DarkCentury.ca

9/10

RingMaster 19/04/2014

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

 

 

Brain Dead – Menace From The Sickness

BrainDead-Band

Rupturing the air with an exhausting fury of old school bred thrash, Italian metallers Brain Dead uncages second album Menace From The Sickness to escort the senses into a more than decent if arguably expectations filling aggressive escapade. Inspired by eighties Bay Area thrash metal, their name coming in homage to Exodus, band and sound incinerate the ears in a rage of intensively predacious riffing and uncompromising sonic rabidity. Invention and originality is subtle at best but across the eleven track charge it is hard not to be swept up in the passion and adrenaline of the band.

Hailing from Ivrea, a small town near Turin, the quintet formed in 2000 and from the release of their first demo, Rage of Thrash in the September of 2001 were soon making an impression beyond a local fanbase. Two years later second demo Double Face made an even bigger impression soon built upon as the band played the biggest Italian metal festival Gods Of Metal after winning a national competition, the band earning the chance to share a stage with Slayer, Testament, Carcass and many more. Debut album The Deep Of Vortex was unleashed in 2008 with Brain Dead flourishing at an array of festivals such as Hellbrigade Fest, Zone Fest, and Metal Thrashing Mad Fest from then on. The new album released via Punishment 18 Records as its predecessor, sees a line-up of band founding members vocalist Felix Liuni, guitarist Daniele Vitello, and drummer Daniel Giovanetto, alongside guitarist Davide Ricca who joined last year and bassist Alberto Rossetti who stepped into the band earlier this year, sculpting an album with the armoury to take the band to another level of awareness. Menace From The Sickness will not thrust the band to the frontline of thrash metal but should at the very least make their name a recognisable enjoyment.

The Fallout starts things off, the intro a dawning warzone providing an apocalyptic explosion which is becoming a regular BD_Coverbeckoning in metal it seems, before being thrust aside by the outstanding Land Of Cunning. Riffs and rhythms are assaulting the ears from its first seconds whilst a stringent groove twists the senses around its bony fingers. A persistent repetitive lure marks the track deliciously whilst the vocals of Liuni make a compelling varied persuasion with a snarl and twang to his delivery that only draws in further an already emerging appetite to match the strength of the charging sounds around him. There is little which is unsurprising or new to the attack but it matters little as the track niggles and erodes defences with skill and venomous intent. As anthemic as a stripper leading karaoke night, it is a mighty start with only its quite hefty length being a slight complaint, something which does grows to more of annoyance across other song as some feel unnecessarily stretched.

The following Eye Of The Cyclone continues the impressive start, intensive energy and imposing weight accompanying the surge of rhythmic rapaciousness and carnivorous riffing. Brain Dead was inspired originally by bands such as Exodus, Annihilator, Testament, and Slayer, bands you would expect and imagine from the ferocious and skilled storms of the first two tracks and from that maybe unsurprisingly the second song again offers nothing which is ground breaking but instead supplies a predation which is fully contagious. Throughout guitars weave an impressive and incendiary blaze of adventure within the tempest to add variety and resourceful suasion whilst the drums and bass have neck and limbs on a rhythmic string from start to finish leaving them exhausted and content.

A great bass enticement opens up Another Way, its menace and seduction soon wrapped in an equally thrilling thick wash of guitar enterprise and rhythmic caging. From the magnetic opening the song settles into a more restrained yet virulently aggressive infectiousness sculpted with great craft and beefy hunger. Though the song never manages to recreate the strength of its striking start it again it makes a full enslavement of the imagination and passions before handing over to Evil Dead. From this point on the album loses the potency it holds to this moment, tracks though still voracious and skilfully crafted beginning to merge into each other without an intensive focus. There is a slight punk breath to this again over long track which catches some attention whilst the gripping drum attack of Giovanetto marks the next up Razor’s Edge before the more than decent melodic instrumental The Mission makes way for Pay For A Better Life to be able to rummage through the ears with another skilfully crafted predatory fire but with creative flames which avoid scorching the emotions.

Though they do not inspire the same heights of enjoyment as the early songs on the album, which is a disappointment which cannot be ignored, every track upon Menace From The Sickness as shown by the title track, as well as the final raucous pair of Final Truth and Total Despair, are sizeable slabs of vigorous lusty squalls of thrash metal to find satisfaction in. Brain Dead have plenty of promise if seemingly not wanting to carve new depths for the genre and their album definitely makes a pleasing confrontation if without igniting any fire, well after the first trio of impressive songs, but in the end you are thinking there is much more to come which was missed upon this album whilst admittedly still fully enjoying its rampage.

https://www.facebook.com/pages/Brain-Dead/45127691823

7/10

RingMaster 02/12/2013

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