Zedi Forder Superium – Judgement

As if one Zedi Forder album was not enough to be excited over, the trio has a second to grip attention in the shape of Judgement; though this is an entirely different proposition to explore, a twin project going by the name of Zedi Forder Superium. Self-described as “The sledgehammer to Zedi Forder’s scalpel; two sides of the same coin,” this openly unique alter-ego is a far fiercer trespass on the senses and imagination, a fury of sound and thought which soon proved just as striking and compelling as its counterpart.

Whereas the second Zedi Forder album, Isolation, exposed and explored “a sense of feeling separate and apart from the various communities and industry elements that dominate most of the music world”, Zedi Forder Superium takes on the whole world and its corruptions and toxicity which the Woking, UK hailing trio of drummer/vocalist and primary song writer Chris Kerley, guitarist Wayne Clifford, and bassist Rich Tomsett describe as “a fury from the voice of a calculating arbiter that looks to right the wrongs of the world, of all scopes and sizes, one at a time”.

As a mechanical toned voice casts accusations and lyrical reprisals across Judgement, there is something of The Day the Earth Stood Still meets V for Vendetta to the character of the album while musically it is bred in the varied metal and raw rock instincts of the band. As the opening Anthem Of Justice reveals it is an inclination which does not deter melodic enterprise and bold imagination. Instantly the track is buzzing around ears, its hornet like riffs harrying the senses and a quickly formed appetite as beats jab and its bassline weaves. That machine-like vocal incitement is swiftly in the centre of the creative dispute, staggering its potent challenge as Kerley’s predacious rhythms dance. Equally bass and guitar share certain rapacity in their touch and enterprise, the combination as varied in flavour as it is barbarous in touch.

Wherefore Art Thou follows, its initial attack Skindred like but soon stalking the listener with its own bold intensity, style, and a swing which had us bouncing. Alongside the mechanical proclamation, Kerley aligns his own distinctive melodic tones; that seemingly the spark to increased imagination and diversity within the song which by now bears at times a bit of an Anti-Clone like hue.

Next up is Knock Knock and immediately it nags ears with riff wired temptation, an accompanying trespass tempered by floating harmonies and melody bred grooves though they in turn are preyed upon by a virulence of voracious rhythms and the sonic toxicity of the guitar. The track is as irresistible as those before it, proving even easier to be greedy over while Fight Evil With Intolerance is almost sermon like in its rise and injurious in its intent yet, as within all tracks, proves a supportive and rousing incitement physically and provocatively.

As Slippery Slope entangles ears and imagination in its remorseless intimation and implacable dynamics, only tightening its grip across striking twists and devious turns, and Noisy pushes all the right buttons with barbarous and ruthless prowess, Judgement only confirmed its impressive and addictive presence, Awake backing both up in creative kind. It too prowls and stalks the listener, a sonic predator embroiled in the voracious instincts of groove and alternative metal but wrapped in a progressive veil of fertility.

Completed by the melodic melancholy and shadow escaping sure hand of Quell My Beating Heart, beauty shimmering off every surface it bears, Judgement was total captivation. Easily fans will know its source from the craft and songwriting behind it and Kerley’s distinct tones yet the album and indeed Zedi Forder Superium itself has risen to find uniqueness amidst inescapable dominance.

Judgement exclusively released May 11th @ https://tricore.bandcamp.com/ with a “PAY WHAT YOU LIKE” pricing.

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Pete RingMaster 14/05/2020

Copyright RingMasterReview: MyFreeCopyright

Borders – Purify

Described by the band as years in the making, Purify bares all the intensities, angst, and determination which you can assume accompanied its journey. The debut album of UK metallers Borders, it is a cauldron of emotion, passion, and sonic dissonance delivered with an energy and prowess which demands and indeed commands eager attention.

Lincoln hailing, Borders has been busy luring keen praise and support since their pretty much first days but especially since the release in 2017 of their second EP, Diagnosed. In many ways it was a potent teaser to Purify though the album swiftly reveals it is a massive leap in craft, imagination, and adventure whilst building on the striking groundwork of its predecessor. Live the band is renowned for its dynamic and power soaked presence, one definitely captured within the imposing, often infectiously corrosive, and always compelling tempest of Purify.

The album is a ravening cyclone of varied metal bred styles and textures, a fusion as hostile and brutal as it is skilled and unapologetically captivating. Led by the magnetically bold and versatile tones of Jordan Olifent, the ten tracks making up Purify entice as they devour, arouse as they punish. Opener 731 quickly shares the virulent nature and ferocious intent of the band’s sound, the dexterity in its making as open as the song sidles up to ears from a distance, quickly teasing and enticing with a web of lures from guitarist Gavin Burton. Soon it is dominantly striding forth, the rhythms of bassist Tom Britton and drummer Daniel Hodson inciting and biting as Olifent’s raw throated squalls infest ears and song alike. Continuing to ebb and flow in its aggression whilst concentrating its lyrical observation and emotive intensity across an ever twisting landscape, the song is a powerful start and draw into the heart of the album.

It is quickly eclipsed though by the following Wake Up which from its first breath is seducing and ravaging the senses; djent and death nurtured enterprise colluding with sonic and melodic taunts as vocals again bring a great fusion of attacks to the feral trespass. No prisoners are taken in word and sound with every syllable and note a virulent incitement before Damage Everything jabs and swings at the listener with its own individually contagiousness enmity. It too outshone the song before for personal appetites, an Anti-Clone-esque essence adding to its voracious character and grippingly unpredictable tempest.

The even darker and heavier climate of Bad Blood follows, melodic toxicity uniting with physical ferocity as easily as harmonic backing aligns with Olifent’s flesh scarring causticity. At times there is a portentous calm to the atmosphere of the track, one bringing greater discontent to the breath of the track before its instinctive animosity is embraced and twisted into another major highlight of Purify in the rousing crossover/ extreme discord of War. The track epitomises everything potent in the Borders sound, melodic and bloodthirsty enterprise fused in another savagely inspiring provocation.

As Demon’s Reach, with its equally barbarous and adventurous infestation of imagination and craft, and the hardcore lined Nothing To Lose consume and ignite attention and appetite, Purify only tightened its grip and fascination with next up A World Apart adding yet another creatively fierce and esurient peak to its impressive landscape.

Purify is definitely as album which caught and hooked our ears from the off but provides so much more pleasure and revelation with further attention, each play unveiling another layer and texture to the character and individuality of tracks as proven by the predator that is Faded. With every listen fresh nuances are revealed to its surface blood thirst, melodic and sonic rapacity woven with increasing craft and imagination highlighted by the play with its briefness accentuating its feral magnificence.

Closed up by the boisterously crawling exploits of Walking Dead, a prowling unrelenting devourment of the senses and the political chaos of today, Purify just consumed the spot. The lengthy time of its making has no doubt brought many frustrations to the band but used as further fuel to the rage against the toxic state of the world which has inspired the heart, imagination and skill within one mighty beast of an album.

Purify is out now via Long Branch Records and available @ https://borders.bandcamp.com/

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Pete RingMaster 21/05/2019

Copyright RingMaster: MyFreeCopyright

Death Blooms – Self Titled EP

Recent single I’m Dead was the hint of a new emerging force in British metal, the self-titled debut EP from Death Blooms is the confirmation. It may be their first full introduction to and nudge on the nation and beyond but the four track roar of ferocious multi-flavoured alternative metal is a wake-up call demanding attention.

We had marked down the fresh breath and sound of Anti-Clone as the future of UK metal but now alongside them we have to suggest will be Death Blooms. It is not that the Manchester/Liverpool bred outfit’s  sound is strikingly unique at this moment in time but everything about it blossoming from their equally potent songwriting is, as the EP, feral excitement and compelling dynamism soaked in the potential of truly great things ahead.

With shows alongside the likes of Dope, Skindred, Raging Speedhorn, and Anti-Clone under their belts, Death Blooms are on a charge which the new EP can only add extra fuel and gears to. The release simply grips ears with its opener Hate:Die.; challenging and thrilling them from its first rabid breath as vocalist Paul Barrow roars over an intrusive trespass of sound. Riffs nag as hooks collect around the primal stabs of bass and Mel Stewart’s swinging beats. Quickly hitting its predacious stroll, the track devours the senses but equally seduces them with melodic flames and unpredictable moments of relative restraint. Barrow continues to snarl from within the web of sonic enterprise cast by guitarist Ad Lucas, the bass of Ben Grimsley as dark and threatening as the backing vocals almost crawling across the psyche.

It is a stunning start to the EP, essences of early Mudvayne, Spineshank, and indeed Anti-Clone coming to mind as it ignites body and spirit before passing its willing victim over to the waiting infectious animus of Last Ones. With a seriously catchy chorus breaking up yet managing to inflame or at least accentuate its ferocious confrontation, the song similarly impresses while recruiting eager involvement in its contagious tempest.

Two songs in and Death Blooms confirm their instinctive ability to align virulent infection loaded temptation with primal animosity, latest single I’m Dead further evidence with its rabid energy and rapacious urgency. Vocals bark and riffs hit the body with spiky endeavour, the bass a primordial flirtation alongside the biting jabs of Stewart and all colluding in a hungry storm of antagonism and flirtatious craft given greater strength by the hardcore hollers of the band. As the opener, the track is superb and easy to understand its success in stirring up real anticipation for the EP and the spotlights already pressing upon the band.

Closing things up in fine style is Sick, another scourge of resourceful metal harrying and arousing the senses and spirit. Its plaintive cries lay earnestly upon the maelstrom of grooves and riffs, every hook linked to a voracious rhythm, each imposing beat bound in sonic coquetry.

It is fair to say that Death Blooms find adventure in every idea and note thrust upon a quickly willing victim to their might and imagination. With a deluge of submissions to be considered by The RR it is hard to find the time to return to many encounters for just pleasure, but Death Blooms and their galvanic treat of an EP has joined that short but potent list; they should be on yours too.

The Death Blooms EP is out now through iTunes.

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Pete RingMaster 24/05/2017

Copyright RingMaster: MyFreeCopyright

The Last Ten Seconds of Life – The Violent Sound

tltsol_RingMasterReview

Having beat up on and seduced the US metal scene, Pennsylvania hailing The Last Ten Seconds of Life are abut to do the same to a global attention with new album The Violent Sound. It is a success not too hard to imagine almost expect as the release unleashes twelve brutal alternative/nu/groove metal furies that just grip and excite ears and imagination. The band’s sound has plenty more in its arsenal of flavours and temptation but a mix of Korn, Mudvayne, and Britain’s own Anti-Clone is a fair indication to the downtuned tempest the Mansfield based quartet uncage.

Formed in 2010, The Last Ten Seconds of Life has risen through the local and national US metal scene, earning a potent reputation for their fearsomely impressive live shows and releases like debut album Know Your Exits of 2011. The past year though has seen the band evolve their sound into a whole new and striking adventure with new vocalist John Robert C. coming in, his irritable grouchy growls and impressive broader versatility seemingly, on the evidence of The Violent Sound, just bred for the band’s evolution in songwriting and imagination.

Engineered by Grant McFarland and produced by Carson Slovak (August Burns Read, Texas in July), The Violent Sound is the first offering from the new line-up and pretty much goes straight for the jugular as Little Black Line opens things up. Its initial lure though is the clean tones of John Robert, enticing within brewing discord honed tempestuousness which blossoms into a predatory stroll that as good as stalks the senses. The harsh rhythmic tenacity of drummer Christian Fisher is bound to the barbarous groove and tone of Mike Menocker’s bass, both a formidable invasion of ears as the guitar of Wyatt McLaughlin creates a sonic smog of portentous temptation.

Though the song never brutalises, its intent and weight takes no prisoners, setting the listener up for the intensive examination of The Drip. That Korn-esque texture to the band’s sound swiftly seduces ears within the encounter, interrupting a primal trespass equipped with scything grooves and vocal antagonism around rhythmic animosity. The track is glorious, another aural predator further impressing in melodically bred moments of emotive resonance before Bloodlust lives up to its name in tone and emotion. It is a savage uncompromising affair but again one with twists into unpredictable and sinister passages which even if only brief draws the imagination further into the violating tempest.

cover_RingMasterReviewThe following Six Feet is just as diverse in its attack and simply imperious, its volatile climate and grievous intensity skilfully contrasted by the melodic and harmonic swoops upon ears; the two colluding in bewitching espionage before the track is back devouring all before. As much death metal seeded as any of the flavours previously suggested, the track is a carnal incitement igniting an already keen appetite with the album’s title track reinforcing its increasing hold. The Violent Sound roars with sonic spittle lying upon vocal ire as rhythms pounce with animalistic predation, a vicious stalking leading to the calmer melodic and cleaner vocal enterprise of the band which is as virulently infectious as anything escaping the crushingly relentless ferocity.

A Marilyn Mansion air accompanies the flirtatious swagger of Casanova, an irresistible track with all the grooved swerves and salacious moves of a venomous pole dancer while Bag of Bones worms into the psyche with a niggling groove prone to discord fuelled expulsions of sonic unpredictability. Around it, the track brews another fury which buffets and abuses the senses, every swipe and incursion eagerly welcomed as the track swings like a hungry hound with a creative deviousness just as eagerly abound within successor Switch, a volatile fusion of metal and heavily boned rock which either licks at the psyche like a demonic lecher or presses in on the senses like a murderous vice.

That sanguine essence is even more prevalent and zealous within next up Blind Faith but equally the band’s harmonic imagination is a rich lure, so much so that you do not know whether to bow to its seduction or run for the hills, the former ultimately the only reaction to the brilliant protagonist.

It is a success and creative endeavour matched by that within Wise Blood, The Last Ten Seconds of Life again creating a concussive, sublimely seductive siege of ears and senses, trapping the imagination with exotic grooves and spicy melodies amidst vocal dexterity before Social Suicide casts a paradox of contrasting textures which simply captivates with ridiculous ease.

With the groove entangled, sinisterly shadowed Last Words completing the ferocious proposition, The Violent Sound is destined to push The Last Ten Seconds of Life firmly into the broadest metal scene. If not, there is something seriously wrong.

The Violent Sound is released by Siege Music on October 21st.

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Pete RingMaster 20/10/2016

Copyright RingMaster: MyFreeCopyright

Anti-Clone – The Root Of Man

Anti-Clone_RingMasterReview

If asked at the start of the year which was the one release we were most anticipating in 2016 there would have been no pause of thought involved in saying the debut album from UK metallers Anti-Clone. They had us addictively hooked into their own distinct nu-metal bred, psyche twisting sound from the outstanding Hands Sewn Together EP, which had its highly successful national release back in 2014. Its tracks were a regular part of our podcasts too, finding the same eagerness across a horde of other shows and stations with the mainstream media soon waking up to the band’s emergence in turn. Now two years on and quickly following reputation cementing and pushing performances supporting Mushroomhead and Sanguine on certain dates of their recent UK tour, the Boston hailing quintet are poised to unleash The Root Of Man.

The question was never going to be would the album live up to expectations seeded in the last EP and the hefty fuss around the band, that just seemed to be a given in thoughts, but would their music have grown and evolved enough to make them a real contender to stir up the metal scene beyond the UK as earlier songs suggested. Well, the answer is found within the first few tracks of the eleven song incitement alone. Together they give a rousing confirmation with their creative roar, only being forcibly backed by the rest of an album which in some ways continues where the Hands Sewn Together EP left off but immediately shows a craftier and imaginatively more exhilarating, not forgetting broader, weave of styles and flavours in its boldly sculpted songs. The Root Of Man is Anti-Clone on a new mature imagination drenched plateau from songwriting to sound to presentation. There is inventive confidence and fierce adventure at every turn as the scent of inspirations from the forefathers of the nu-metal scene are again embraced, twisted, and honed into openly fresh textures within the band’s own fascinating experimentation.

art_RingMasterReviewFormed in 2011 but really finding its creative mojo once the current line-up was in place a couple or so years later, the Lincolnshire band soon sparked a hungry and swiftly growing fan base for their dramatically addictive sound which reached its first pinnacle in the Hands Sewn Together EP. Live too, the band has grown to be one of Britain’s prime incitements, sharing stages with the likes of American Head Charge, Kindred, ESO, Breed 77, Sworn Amongst, Maplerun, Evil Scarecrow, and Bloodshot Dawn amongst many along the way. Linking up with EP producer Matt Hyde (Machine Head, Trivium, Fightstar, As I Lay Dying and Slipknot) again for The Root Of Man, the quintet of brothers Drew (drums/ programming) and Peter ‘Mr Clone’ Moore (vocals), Conor (guitar) and Liam Richardson (guitar), and Mike Bradbury (bass) are seemingly poised to set their place at the head table of the UK and indeed European metal scene.

Dually looking at “the beginning of the human race, starting with Eve committing original sin which resulted in us being cast out of Eden” and symbolising the band’s beginning as a band; “These are the roots that we are planting to fully establish ourselves as our own entity, to establish ourselves as Anti-Clone“, the pledge music funded The Root of Man immediately grips ears and imagination with its title track. It is a brief but inescapable lure into the album, an as expected apocalyptically ambience clouded scene setter which is soon crawling portentously over the senses as steely bass and toxic grooves wrap the enjoyably familiar tones of Mr Clone. Its dark tempest rolls straight in to Deracinated which seamlessly draws ears into its own animus of intent and creative rapacity. Straight away an industrial toning merges with the schizophrenic nu-metal prowess which flows from the band, Society 1 meets Mudvayne like essences adding to the imposing character and trespass of the fearsome magnetism on offer. Ebbing and flowing in raw confrontation, the track bewitches ears and stirs up the appetite, setting them in an unfamiliar and disorientating yet welcoming blend of old school aired modern imagination for a seriously rousing slab of predacious incitement.

SwitchBlade growls at and brawls with the senses next, vocals from Mr Clone and the Richardson brothers almost pestilential in their psyche invading animosity as the sounds around them rise and fall with constant inhospitable adventure. Melodic calms and percussive invention are just as potent lures in the agitated imagination and landscape of the song; all colluding to savage and spellbind before A Sight For Sewn Eyes prowls ears with Fear Factory/Spineshank tinged ingenuity. As replicated across the whole of the album, every moment of the song brings greed breeding drama to the listener, Mr Clone showing his clean melodic tones are as fiercely agreeable as the rawer psychosis fuelled side of his vocal character. The song persistently twists and turns from the start before reaching a bedlamic crescendo that never truly departs once erupting as the song leaves on a groove bound web of suggestiveness.

With a constant range of peaks across its landscape as momentous and memorable as the Alps, B9 adds another with its Manson-esque textured slice of predatory heavy metal whilst Twisted Neck entangles ears in the intoxicating vines of toxic grooves which wrap a calmer melody hued serenade beneath a thickly tempestuous and predatory climate of sound and personality. Both tracks present a tapestry of styles and textures, the first also flirting with steampunk like elements where, not for the last time, Anti-Clone have a touch of the now sadly demised Shanklin Freak Show to them. Its successor flirts with a colouring which is more 6:33 meets Dog Fashion Disco though as always, it is hard to pin down a flavour such the Anti-clone ingenuity as they align spices to their own enthralling ideation.

A great punk metal hue seeps into the riveting and mercurial soundscape of Mechanical Heart, the track as welcoming as it is fearsome with sinister keys and avant-garde devilry lining another almost rabid mix of nu and industrial metal carrying at times more than a whisper of death metal to it. Compelling to the extreme, the track simply wants an apocalypse based Hellraiser movie to grace to see its majesty totally fulfilled, though fair to say there is no time to linger in thought with any song during the album as here Feed The Machine steals attention instantly with its vocally anthemic and physically bracing proposal. Repetition in word and sound within the track is a glorious igniting of instincts; that simplicity employed in another rich weave of roving grooves and a cantankerous rhythms skilfully sewn into an irresistibly unpredictable but dramatically galvanic onslaught. Like early Korn in some ways and Slipknot in others, the track still stands distinctively tall as another unique Anti-Clone ravaging of the senses and passions.

ComaSpace brings a moment of relative calm and the chance to catch breath next though unsurprisingly it too has irritability to its tone and dark imposing edge to its atmosphere. Vocally Mr Clone entices ears with a clean delivery as melodies merge acoustic and more aggravated hues into the Deftones spiced offering. Again the band has ears and appetite enthralled, though even being another impressive moment within The Root Of Man, it gets overshadowed a little by Astaroth. The band’s new upcoming single, the song is sonic slavery; the reason mosh pits and lustful reactions were bred into life. As barbarous as anything on the release and the most virulently contagious assault too, the track has everything you need to know about Anti-Clone and whether they are the tonic to your personal musical passions.

Completed by the grisly presence and voice of Sentinel, a sonic inferno of psyche burrowing riffs and grooves amidst an insatiable and concussive tempest of sound and attitude, The Root Of Man is the declaration of a new major force in UK and undoubtedly European metal. Anti-Clone is set to be one of those guiding their journeys over the following years whilst with this superb release, the band has placed themselves right there in stature alongside a great many of those who have inspired their adventure to date.

The Root Of Man is released 29th April  via PHD (Plastic Head Distribution) with more information @ http://www.anticlonehq.com

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Pete RingMaster 04/04/2016

Copyright RingMaster: MyFreeCopyright

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Anti-Clone recording debut album with Matt Hyde (Slipknot, Machine Head)

New_AC1-ringmasterreview

Following a highly successful tour with Skindred and the release of their EP ‘Hands Sewn Together’ – Lincolnshire, UK nu-metal band ANTI-CLONE have announced they are now back in the studio recording their debut album.
Working with acclaimed producer Matt Hyde (Slipknot ‘All Hope Is Gone’ Machine Head ‘The Blackening’) Anti-Clone’s next release is set to be a big evolution for the band.
“This debut album will be our first official footprint on the music industry. The EP was an early test, an experiment and we’ve learnt so much from the whole process. As soon as we started writing for the album earlier this year, we knew immediately we wanted Matt Hyde involved” said frontman Peter Moore.
 “The step up in musicianship and song writing is immense” said Hyde “and as a producer you can’t ask for anymore than the band to be willing and open to trying new ideas.
Anti-Clone pushes themselves and it’s no surprise that they have gained a lot of fans along the way. I can’t wait to have the record completed, there is no doubt in my mind that 2016 is going to be a big year for them.” 
Big words to live up to? Not really when you look at Matt Hyde’s work to date, which includes Slipknot, Machine Head, Bullet For My Valentine and Trivium.
And he’s not the only one to see the potential in Anti-Clone. Skindred frontman Benji Webbe praises the band for their live shows “Anti-Clone have the full package! After having them support Skindred for 2 weeks, I saw them deliver an amazing performance night after night. I believe with the right direction they could be a ruling force in British metal!” 

“Expect the unexpected” says Moore “This album WILL be the birth of Anti-Clone.” 

The debut album is set for release in 2016 (date tbc) via Pledge Music and PHD (Plastic Head Distribution).

Anti-Clone’s Pledge Music project:

Skindred – Volume

Skindred_RingMaster Review

Skindred need no introduction we are sure; a band rising from the ashes of the also one of a kind Dub War in 1998 and proceeding to enslave ever since the imagination of initially the UK metal scene before expanding into broader territories with their unique sound, ferociously compelling releases, and a live presence second to none. We make no apologies for declaring the band as one of our all-time favourite passions since those early days of both of vocalist Benji Webbe’s bands or for over enthusing over Skindred’s massive new release Volume. Admittedly it is hard to say that this sixth full-length from the band is their best album to date, an already invested lust for their sound and previous releases preventing that full declaration, at least just yet, but Volume is without doubt the most concentrated tempest of Skindred blockbusters so far. Stocked with creative bitch slaps perpetually building to momentous choruses and tidal waves of voracious sound, it is simply one gloriously riotous and anthemic beast.

The album at times seems like it is inspired by and drawing on essences of past albums, whilst tenaciously forging its own identity within the sculpting of fresh mountains of inventive noise. Volume is no slave to nostalgia though, except the kind which always comes with a sound truly distinctive to one protagonist, but it does spark the fierce kind of excitement first found in the creative claws of Babylon and later the likes of Roots Rock Riot and Union Black. The fact is for fans every release has got us hot under the collar, even, for personal tastes, the less potent Shark Bites and Dog Fights having truly irresistible moments, but the Skindred fusion of metal, rock, reggae, and electronica has been honed into its most inimitable and ferocious shape yet for Volume. Certain plateaus at certain times have been breached by the band over the years, and by drawing on all their years of creativity and aligning it to new experiments of imagination Skindred has hit their newest with Volume.

623_Skindred_RGB_RingMaster Review     The successor to last year’s Kill The Power, the album opens up with Under Attack, a song instantly smelling of Skindred from its warning tones and Webbe’s vocal prowess alone. In no time song and sound is into a recognisable swagger and intimidating prowl, riffs and rhythms a battlefront of contagion and muscle led by the expectantly gripping vocals. Just as you think you have a hold on it though, the track slips into an atmospheric croon and seventies funk twisting, returning to its tenacious canter for a dynamic and fiery finale.

It is a great start but just a teaser of bigger and bolder things to come, starting with the album’s title track. A flirtatious start sparks the predacious tone of Dan Pugsley’s bass and the scything strikes of guitar from Mikey Demus, they leading the song in a slightly schizophrenic shuffle as warm and melodically alluring as it is at times grouchy and emotionally rabid. With the skills of Dan Sturgess conjuring, twisting, and distorting throughout as the rapier swings of Arya Goggin ebb and flow in viciousness, the track is a fire of intensity and enterprise with a (Hed) P.E. like spicing especially tasty.

Hit The Ground is another fiercely animated flirtation straight after, rhythms a cantankerous dance as throaty bass and spicy guitar endeavour get entwined by the prowess of electronic suggestiveness within the thick air of the Skindred trademarked song. A roar to wither the senses and incite a rebellion, energies are aflame by the song’s end but given no time to regroup as from an enticing lure of drums, Shut Ya Mouth has feet and imagination leaping around like a puppet. Talking about Volume, Webbe said the band wanted to emulate their renowned live sound more than ever in the release, and for sure Shut Ya Mouth epitomises that success especially when almost physically feeling the vocalist’s ire and confrontation alone in face and ears. Musically the track also has a hint of fellow UK band Anti-Clone to it, who we know has also supported Skindred live, inspiration going both ways maybe?

The scent of Southern rock spices up guitars upon The Healing next whilst vocally and rhythmically it swiftly turns a ska flavouring into an incitement of heavy rock ‘n’ roll. Biased we maybe, but it is hard to offer many frontmen up as rich and explosive in presence and tone as Webbe in full roar, and not for the first or last time upon Volume, he whips up air and energy with ease, unsurprisingly repeating the feat with Sound the Siren. As beats go on an addictive dance, guitars tunnel into the psyche with their nagging groove whilst the bass just oozes dark hues as the vocals romp and stroll anthemically through ears. The track is superb, a kaleidoscope of sound and ideation as unpredictable as it is virulently incendiary; Skindred laying down another template to inspire others.

A calm of sorts as Saying It Now emerges, allows a breath or two to be swallowed but soon Goggin is back working a web of infectious and dramatic rhythms as a sonic ambience aligns to the mellow delivery of Webbe. Each passing minute sees Pugsley’s craft get more predatory and skirting grooves become sharper as the track’s intensity simultaneously escalates, it all subsequently erupting in a furnace of energy and passion posing as the chorus.

The body is soon flung around as Straight Jacket breaks out its agitated contagion next, another slightly deranged imagination gripping verse and listener, building to a colossal chorus which is simply anthem from head to toe. It is that fierce and volatile temptation around it though that turns ardour lustful, that and the ingenious evolution of its mania.

No Justice strides commandingly in on a chorus of band roars, ska seeded hooks and poppy riffs emerging from that great stormy entrance to help the track into a buoyant canter with eruptions of searing sonic flames and vocal rapacity. Becoming punkier with each burst of verbal defiance and rebel rousing creative outburst, greed for more escalates before it steps aside for the just as irresistible Stand Up. Loaded to the gills with sinew lined grooves and swordsmen like rhythms jabbing and swinging with zeal, the track equally growls and bellows with bestial and invitingly defiant prowess.

Completed by the reflective fire and sonic tapestry of Three Words, again the band at their emotive best, Volume is a maelstrom of Skindred invention and power. It is a heavyweight confrontation in a year of big successes; a creative ‘bullying’ that just gets the ears throbbing, body aching, and passions roaring.

Volume is out October 30th via Napalm Records.

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K1600_Skindred Volume 2015 Europe Dates_RingMaster Review

Upcoming Tour Dates:

04.11.15 UK – Southampton / Guildhall

05.11.15 UK – Norwich / UEA

06.11.15 UK – Nottingham / Rock City

07.11.15 UK – Manchester / Academy

08.11.15 UK – Newcastle / Academy

10.11.15 UK – Glasgow / ABC

11.11.15 UK – Leeds / Stylus

12.11.15 UK – Bristol / Academy

13.11.15 UK – Birmingham / Institute

14.11.15 UK – London / Brixton Academy

15.11.15 FR – Paris / Glazart

16.11.15 NL – Tilburg / 013

18.11.15 DE – Cologne / Stollwerck

19.11.15 DE – Munich / Backstage Halle

20.11.15 IT – Novara / Rock N’ Roll Arena

21.11.15 IT – Scandiano / Corallo Rock Club

22.11.15 CH – Lyss / Kufa

23.11.15 CH – Zurich / Dynamo

25.11.15 AT – Graz / PPC

26.11.15 AT – Vienna / Arena

28.11.15 HU – Budapest / Akvarium

30.11.15 DE – Hamburg / Markthalle

02.12.15 SE – Stockholm / Debaser Medis

03.12.15 DK – Copenhagen / Pumpehuset

04.12.15 DE – Berlin / Postbahnhof

Pete Ringmaster 29/10/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

This Burning Age – Desolation

this-burning-age-ep3-desolation-band-photo-5th-day-records-2015_RingMaster Review

It has taken a while to get here but now inciting ears and emotions, Desolation proves the wait was more than worth it. The new EP from British electro rockers This Burning Age is the third in a four EP cycle which began last year. The three track encounter is a rousing and forcibly provocative proposition proving that whatever has happened and evolved in the time between releases, the This Burning Age songwriting and sound has potently grown through it.

The EP’s songs feel physically and emotionally fiercer than ever but equally more inventively woven from the depth of sound and flavours which have always marked the band’s sound and releases. Originally a solo project for vocalist/songwriter/guitarist Friday, the Birmingham band emerged on the live scene as a full line-up after the release of debut album A Muzzle for the Masses. Wanting to take its heart and success to live venues, Friday enlisted guitarist/keyboardist Jon Farrington-Smith, bassist Davey Bennett, and drummer Christian Jerromes (since replaced by Jack Josypenko) to the band, with the years since seeing This Burning Age play with the likes of Fearless Vampire Killers, William Control, Heights, and Hundred Reasons amongst many.

this-burning-age-ep3-desolation-5th-day-records-2015_RingMaster Review   The band’s sound fuses essences of post-punk, industrial, Synth-pop and post-rock to really simplify its tapestry, with influences arising from bands such as NIN, Interpol, Rammstein, Sonic Youth, and Smashing Pumpkins. It is a fusion which potently gripped attention through the first pair of releases in the four EP project. Both Supplication and Devotion revealed an evolution in the band’s sound with a fresh thick web of textures to that within the band’s album, whilst exploring the theme of love and sex in their destructive form across their songs. That growth has continued with Desolation, its tracks inspired by a look at death and the human condition. As to the timeline of songwriting between the EPs we cannot say but there feels a new maturity to the band’s latest EP which not only seriously ignites ears but offers the potential of even bolder and deeper things ahead.

First song up on Desolation is Tatterdemalion, a quickly voracious and rousing proposal but one just as quickly slipping through an unpredictable and tempestuous landscape of intensity and creative resourcefulness. From its initial fuzzy flame of riffs, imposing rhythms stir the blood with just as potent scything grooves getting involved. The song hits a commanding stroll before relaxing into a prowling gait lit by a great steely twang of the bass. This ‘restful’ passage in turn welcomes the distinctive tones of Friday, his expression and emotion as open as ever as keys glow with simmering but bright temptation around him. Fiery expulsions of energy and heart then drive the soon to break chorus, its ferocity lingering to add richer hues to subsequent melodic and slightly restrained moments. For the main though, the track is a cauldron of inventive twists and turns, an array of styles colluding in a striking blaze which at times pokes thoughts of bands like Joy Division, in others of the likes of Pitchshifter and Smashing Pumpkins or Trent Reznor and Anti-Clone.

The outstanding start makes way for Drown In Silence, a song which leans more or certainly quicker to its industrial and electronic rock side as lively cascades of punchy rhythms and suggestive synths fall upon ears before dissipating for the emotive reflection of voice and atmospheric melodies. Calm before the storm, the track is a furnace of emotive energy and heart but again thick intense shafts which share time and the imagination with increasingly volatile and ferocious crescendos, all these keen essences uniting in an explosive and dynamic climax to another increasingly contagious persuasion.

As striking and irresistible as they are, the first two songs are slightly over shadowed by the closing Ab Aeterno (From Forever), a mesmeric introspective unveiling from Friday in voice and emotion. A crystalline twinkle of keys light a creeping mist of evocative melodies from the song’s first breath, the vocals emotionally raw as guitars and stirring beats add their weight to the unfolding intimate drama. Like a mix of Bauhaus and very early U2 embraced by the dark ethereal craft of Nine Inch Nails, the song glows with charm and shadows, eventually igniting in a searing fire of sound and suggestiveness.

It is a transfixing end to a breath-taking release from This Burning Age, the band’s finest hour without doubt though you get the feeling even now that we have seen nothing yet.

The Desolation EP is out now via 5th Day Records @ http://thisburningage.bigcartel.com/

http://www.thisburningage.com/   http://www.facebook.com/thisburningage   http://twitter.com/thisburningage

Pete RingMaster 05/10/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

The Top Twenty Metal/Rock releases which most excited The RingMaster Review in 2014

In a year of some seriously and gloriously anthemic, not forgetting creatively inspiring releases The RingMaster Review picks out twenty metal and heavy rock releases covered by the site which gave us that extra tingle of excitement in 2014.

 

EYE_CoverArt_Kallisti

01. Empty Yard Experiment – Kallisti

https://ringmasterreviewintroduces.wordpress.com/2014/09/29/empty-yard-experiment-kallisti/

02. Escapethecult – All You want To

https://ringmasterreviewintroduces.wordpress.com/2014/08/19/escape-the-cult-all-you-need-to/

03. The House Of Capricorn – Morning Star Rise

https://ringmasterreviewintroduces.wordpress.com/2014/12/02/the-house-of-capricorn-morning-star-rise/

04. Hollow – Mordrake

https://ringmasterreviewintroduces.wordpress.com/2014/05/30/hollow-mordrake/

05. Voyager – V

https://ringmasterreviewintroduces.wordpress.com/2014/06/03/voyager-v/

06. Nexilva – Eschatologies

https://ringmasterreviewintroduces.wordpress.com/2014/04/08/nexilva-eschatologies/

Arcade Messiah Album Cover

07. Arcade Messiah – Arcade Messiah

https://ringmasterreviewintroduces.wordpress.com/2014/11/25/arcade-messiah-self-titled/

08. We All Die (Laughing) – Thoughtscanning

https://ringmasterreviewintroduces.wordpress.com/2014/01/14/we-all-die-laughing-thoughtscanning/

09. Goatcraft – The Blasphemer

https://ringmasterreviewintroduces.wordpress.com/2014/03/06/goatcraft-the-blasphemer/

10. Destrage – Are You Kidding Me? No

https://ringmasterreviewintroduces.wordpress.com/2014/03/06/destrage-are-you-kidding-me-no/

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11. Void of Kings – Stand Against The Storm

https://ringmasterreviewintroduces.wordpress.com/2014/12/23/void-of-kings-stand-against-the-storm/

12. No Sin Evades His Gaze – Age of Sedation

https://ringmasterreviewintroduces.wordpress.com/2014/08/22/no-sin-evades-his-gaze-age-of-sedation/

13. Dioramic – Supra

https://ringmasterreviewintroduces.wordpress.com/2014/09/15/dioramic-supra/

pigeon lake

14. Pigeon Lake – Tales of a Madman

https://ringmasterreviewintroduces.wordpress.com/2014/08/10/pigeon-lake-tales-of-a-madman/

15. Imbroglio – The Struggle in Pursuit

https://ringmasterreviewintroduces.wordpress.com/2014/04/16/imbroglio-the-struggle-in-pursuit/

16. ICOSA – The Skies are Ours

https://ringmasterreviewintroduces.wordpress.com/2014/07/25/icosa-the-skies-are-ours-ep/

17. Mars Red Sky – Stranded In Arcadia

https://ringmasterreviewintroduces.wordpress.com/2014/04/29/mars-red-sky-stranded-in-arcadia/

18. Anti Clone – Hands Sewn Together

https://ringmasterreviewintroduces.wordpress.com/2014/08/25/anti-clone-hands-sewn-together/

jwb walkingunderwaterpt2

19. Johnny Wore Black – Walking Under water Parts 1 & 2

https://ringmasterreviewintroduces.wordpress.com/2014/02/27/johnny-wore-black-walking-underwater/

https://ringmasterreviewintroduces.wordpress.com/2014/11/13/johnny-wore-black-walking-underwater-pt-2/

20. The Body Politic – Egressor

https://ringmasterreviewintroduces.wordpress.com/2014/09/17/the-body-politic-egressor/

Anti Clone – Hands Sewn Together

anti clone

If you thought nu-metal was a redundant flavour then hold on to your floral panties boys and girls because it is not only alive and viciously kicking but it has been twisted into a whole new glorious personality by UK geniuses Anti Clone. Genius is just what the Lincolnshire quintet is for not only has the band reaped the most flavoursome and essential essences of the genre and fused them with a healthy dose of varied other spices, they have bred those inspirations and accompanying familiarities into a fresh and new dawning. It is not the forging of a brand new ground-breaking exploit but without doubt the beginnings of a template destined to spark a fire in others.

Formed in 2011, the Boston band like so many went through a tempestuous time line-up wise before the two sets of brothers in Peter (lead vocals) and Drew Moore (drums/ programming) alongside Conor (guitar) and Liam Richardson (guitar) alongside Fraser Burch (bass) came together. The band from there were soon earning a powerful reputation for their live performances and sound locally which was emulated as Anti Clone spread their musical fury across the UK starting with a tour alongside Eridium last year. Since then the band has graced stages with the likes of American Head Charge, Sworn Amongst, ESO, Maplerun, Evil Scarecrow, and Bloodshot Dawn. Following the success of debut single 1984, the band’s Matt Hyde (Machine Head, Trivium, Fightstar, As I Lay Dying and Slipknot) produced Hands Sewn Together gets its national release and it is hard to see the British metal scene being the same ever again.

It only takes the first few moments of opener Take This Pill to turn attention and imagination on their heads and lay down bait which sets the seeds to a lingering ardour soaked reaction. Coarsely surfaced riffs size up ears first; their CDHSTSACtouch a rough rub before scythes of sonic enticement sears the senses through the guitars. With controlled yet punchy rhythms punctuating the initial lure to equally appealing success, Peter unveils his outstanding vocal expression, his deliver subsequently shown to be as inventive and varied as the sounds around him. The track continues to twist and flirt with the imagination and passions, elements of Korn making strong hints though maybe more so the song plays like a mix of Mudvayne and Fuckshovel with a rich dose of Drowning Pool incitement. That too is only a spice as Anti Clone proceeds to sculpt an antagonistic seduction which oozes originality and mouth-watering invention.

The simply outstanding start alone would be enough to wax lyrical about the promise of the band, but that potential is shown to be far more than just a future possibility by the following Here Comes The Flood. As different in character as it is similar in its creative alchemy, the second song completes the persuasion that release and band is something special. Charging from the blocks like Usain Bolt caught short, muscles and attitude bulging with every beat and note, the track is a carnivorous tempest of sinew driven temptation coursing with a (Hed) PE like anger and contagion. It is a riveting swipe at the senses which only intensifies its might and coaxing with an insatiable torrent of rhythms from Drew which in turn inspires guitars, bass, and vocals to collide in a breath-taking brawl of ingenuity. To be quite honest if there has been a better track unleashed this year it will have been something really sensational.

The furious drama of the track is equalled by that of 1984 though it comes as a more reserved proposition. The slow courting of vocals and drums stabs skirted by the excellent dark throat of the bass is another irresistible lure from the band. Behind it a seeping breath of portentous atmosphere is released but it is also a slow brew which hints and taunts before the guitars begin to stretch their presence and narrative with melodic enticing amidst a similar rising of passionate energy vocally. Eventually taking big strides rhythmically with potent hues of guitar enterprise on board, the song swells with an American Head Charge seeded adventure before repeating its magnetic sequence but with a fuller weight and evocative dexterity. Glorious in its harmonious reflection and raw in its impassioned protest, the track is a masterful.

The following System, which also features John Knight of Synaptik, makes a more controlled entrance like its predecessor but this time within an openly voracious frame of sound and intent. There is an intimidation to the track from its first breath though which ignites a sudden twist as the song escapes its compelling rein to surge with inventive nostril flaring into a riveting stomp of crusading rhythms and sonic tenacity. As all tracks it is also as unpredictable as they come, playing like an aural jigsaw which is unafraid to let its moves make rude and clunky interruptions to enhance further an already thrilling beast.

The EP ends with its most hostile offering, vocals and grooves from the first syllable and note a raw abrasion which develops its own infection soaked enticing. The Usurper is a brute of an encounter, a hostile and uncompromising protagonist which deceptively loads up with hooks and squealing grooves to seduce as it gnaws on the senses. Again it is another facet to the sound and presence of Anti Clone, no two songs on the EP sharing a whisper of ideation and undeniably none as ferocious and unrelentingly invasive as the closer.

Hands Sewn Together is pure joy, an encounter which leaves the majority of releases this year standing in its shadow whilst as declared earlier making for a standard setting proposition. Even though Anti Clone has only just started redesigning and warping British metal, it is impossible not to get truly excited about the band.

The Hands Sewn Together EP is available now @ http://www.anticlonehq.com/

www.AntiCloneHQ.com

10/10

RingMaster 25/08/2014

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/