Dead Asylum – Death Always Wins

It is hard not to be enamoured with the Canadian underground metal scene and the number of striking and very often seriously impressive bands it spawns so it is not a surprise to find another making a sizable addition to the list. They are Vancouver quartet Dead Asylum who through new album Death Always Wins leave no hiding place from their ravenous blend of melodic death and thrash metal with plenty more things on offer. It is a creative scourge relentlessly harassing body, senses, and imagination but rewarding each in return.

Emerging to the rear of 2011, Dead Asylum lured attention and praise in their second year with debut album General Carnage. Time since has seen their reputation especially as a live force escalate; the band sharing stages with the likes of Anvil, Toxic Holocaust, Warbringer, Exmortus, Soulfly, and Soilwork, as well as touring across their homeland into the US and play alongside bands such as Suffocation, Bison BC, and Holy Grail at numerous festivals. Now they have Death Always Wins to offer up, and straight away it shows itself one of those encounters which quickly has you thinking broader attention and opportunities are lying in wait for its creators. Time will tell if it bullies and seduces that success but certainly the album has stamped Dead Asylum down as a band to take real notice of.

Instantly the album consumes ears in virulent grooves and rapacious riffs, Defiance fuelled by a vocal animus as rhythms plunder the senses. The grievously magnetic vocal attack comes from rhythm guitarist Mike Lister and bassist Roger Mowat, their interchanging and entangling deliveries as venomously intrusive and compelling as the sounds around them. Thereon in lead guitarist Eric Morrison spins and spreads a web of grooves and melodic toxicity, his enterprise entwining around the punishing yet equally virulent and rousing assault of drummer Samantha Landa. Infectiously nagging and trespassing ears and imagination, the track is a superb arousal of the senses to explosively set things off.

The album’s title track is next, unleashing its own hungry grooves and barbarous beats within seconds as vocals share a cancer of expression and word. Death Always Wins equally conjures a labyrinth of melodic and sonic craft to expand its temptation, one flooded by a pestilential infectiousness based on a thrash breeding which is rabid and irresistible.

Somehow things become even more predatory within Between Me and the Grave, the track initially prowling with ill-intent before accosting ears in a primal surge of carnivorous riffs and grooves as Landa brings even greater malice and swing to her rhythmic trespass. At times there is something of the likes of Soilwork and Scar Symmetry to the encounter, the band’s Swedish death metal inspirations open if twisted into Dead Asylum’s own creative antipathy within this and surrounding tracks like Bury the Living; another corrosive barrage of invention and dexterity bred on imagination and unpredictability. Whether the Dead Asylum sound is truly unique can be debated yet as this song alone shows, it has a memorable character and adventure which sets it firmly apart from the crowd.

Forgotten Sacrifice with its senses niggling grooves and instinctive grudge fires up the passions yet again, the track a skilfully sculpted blur of hostility and sonic violence twisted by Morrison’s vitriolic grooves and entrancing citric melodies and further scarred by Landa’s intrusive rhythms and the vocal rancor of Lister and Mowat.

Through the bestial dance of Bred to Die and the malignantly seductive fire of Welcome, ears and appetite for extreme adventure are gripped, the second of the pair especially enthralling with its almost exotic charm and jaundiced tapestry of sound. Neither quite have the little extra which makes their predecessors so incendiary for the imagination but each adds a potent reason to acclaim the album before final track Inmate 666 seals an already done deal with its psychotically bred and insatiable invasion of thrash death rancor. The track is glorious, an exhilarating end to a mutually riveting release.

Dead Asylum will be new to many, after Death Always Wins they will surely be the lust for a great many more.

Death Always Wins is released June 2nd through https://deadasylum.bandcamp.com/album/death-always-wins

http://www.thedeadasylum.com/    https://www.facebook.com/deadasylum    https://twitter.com/DeadAsylummetal

Pete RingMaster 01/06/2017

Copyright RingMaster: MyFreeCopyright

Meshiaak – Alliance Of Thieves

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Formed in Melbourne, Australia and unleashing a debut that stirs up the instincts and passions like the first temptress/tempter encountered by awakening youth, Meshiaak have announced themselves as one essential proposition for all thrash metal enthusiasts. Alliance Of Thieves is one of the most formidable, exhilarating, and accomplished introductions sure to be heard this year; arguably no surprise with its line-up consisting of 4ARM’s Danny Camilleri and Teramaze’s Dean Wells alongside bassist Nick Walker and drummer Jon Dette who lists Slayer, Anthrax, Testament, and Iced Earth in his notable exploits. Together they have swooped into the heart of thrash and given it a fresh injection of imagination and creative energy; not exactly breaking its boundaries but providing the genre and more with a new compelling character to get excited over.

Recorded at the Green Day owned Jingletown Recording Studios in Oakland, California and mixed by Jacob Hansen (Volbeat, Pretty Maids, Destruction, Anvil, Aramanthe, Epica, U.D.O., Primal Fear), Alliance Of Thieves ignites ears with opener Chronicles of the Dead. Initial rhythmic stabs and a drizzle of sonic enterprise coaxes the senses, both soon part of a thumping persuasion which swiftly has ears and appetite eagerly awake. The vocals of Camilleri quickly grip attention too with the backing roars of Wells just as potent, while together their guitar endeavours create a web of inventive infectiousness around the equally gripping rhythmic thrust of Dette and Walker. The track is superb, whether winding teasingly around ears or driving through them like a ravenous juggernaut simply triggering spirit and instincts.

The first track also shows the melodic prowess and suggestiveness of grooves that Meshiaak are also able to conjure, the song a tapestry of intrigue and unpredictable invention which continues in the following It Burns at Both Ends and across the whole of Alliance Of Thieves. Whereas its predecessor has essences of Machine Head meets Testament to it, the second track quickly shares Slayer-esque hues once the listener has drifted through exotic climes into another tide of Dette’s addictive rhythmic craft as rabid riffs crowd around Camilleri’s imposing and rousing vocals. Calm and intensely hungry, the song is a beguiling mix of contrasts and energy, matching the inescapable persuasion and intensive quality of the opener.

art_RingMasterReviewThe dark and sinister I Am Among You follows, its initial lure setting the emotional scene before the band toy with the imagination with a Fear Factory/Metallica like trespass of the soul. Predatory and often demonic but from start to finish commandingly seductive, the track manages to eclipse the might of those before it, setting a new plateau within the album in pleasure and imagination before Drowning, Fading, Falling floats in on orchestral melancholy. Soon the mountainous beats of Dette and another brooding bassline from Walker are courting the sonic weave of Wells, together crafting another encounter which skilfully merges raw intensity with melodic tempers. A slow burner in relation to the earlier tracks, it grows into an easy to get greedy over threat, each listen, as with the album, revealing new layers and nuances within its storm.

Through the harmonic and emotionally plaintive At the Edge of the World, a song as musically vast as its suggested landscape, and the sonically antagonistic Last Breath Taken, band and album simply taken a tighter grip on the passions; both songs in their individual way casting lava-esque melodies amidst thrash fuelled intrusive intensity, though the first of the two is a ‘gentler’ tempting and outshone a touch by its rawer successor. The pair in turn gets outdone by the brilliance of Maniacal. Again Metallica is an open flavouring yet once more a spice to something you can only out down as unique Meshiaak.

The album’s title track careers through ears straight after, every second a ravishing crescendo of sound and creative instincts leaving bliss and exhaustion in its lingering wake. There is a hint of Anthrax/Megadeth to the impossible to resist proposal, Dette alone makes the hellacious partnership between band and ears worthwhile but mightily matched by the whole of the quartet here and across Alliance of Thieves, song and album.

The album closes on the shadowy balladry of Death of an Anthem where sultry melodies and a smouldering climate surround the again impressive tones of Camilleri. Its air and emotion though becomes more volatile with every passing minute as the track bewitches and brings easily one of the year’s finest releases to a superb end. As suggested earlier, maybe we should not be surprised the quality of Alliance Of Thieves considering its creators but any hopes and expectations you might have had for the encounter will surely be blown away with swift results.

Alliance Of Thieves is out now via Mascot Records @ http://www.mascotlabelgroup.com/meshiaak-alliance-of-thieves-cd.html and most online stores.

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

Pete RingMaster 24/08/2016

Copyright RingMaster: MyFreeCopyright

Titans Eve – Chasing The Devil

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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

Hellbent & Hammered – Death Rattle

Hellbent & Hammered Online Promo Shot

With far more deep rooted grooves than a wet weather race tyre and the torque to seriously send body and senses spinning, Death Rattle from UK metallers Hellbent & Hammered is a wake-up call for ears and attention to the band’s evolution and presence. Formed in 2004, the London quartet has certainly been through the usual obstacle bands come up against as almost perpetual loses and gains in the line-up create a turbulence to defeat most bands. Stability in that area has been found over the last three years or so and as the band’s outstanding and ferocious new EP reveals, Hellbent & Hammered has only relished in and flourished from that calm.

The band wears their inspirations on the sleeves of very note and viciously swinging groove it is fair to say but twists it into a rich flavour that appetites can only become greedy for. The accompanying press release cites Down, Lamb of God, and Clutch as a trio of references merging to fire up the band’s sound, and it really does sum up the potency and force of Death Rattle if not all the fury and raw enterprise fuelling each track on the encounter.

Since forming Hellbent & Hammered has been an acclaimed force on the live scene, blistering stages alongside the likes of Feed The Rhino, Godsmack, ANVIL, Godsized, Thunderhorse, Head-On, and Sons of Merrick along the way. Their groove metal has been an increasingly potent lure across the south of the UK from the start, but with the current line-up completed in 2011 when guitarist Junior Gouch linked up with vocalist Ryan Le Roux, bassist Dr. Jon Casey, and drummer Simon Bullock, the band has in a way shed a skin to their sound in creating an uncompromising and bordering on toxic strain of groove metal as evidenced powerfully by Death Rattle.

The EP’s title track opens up the seductive hostility, riffs and rhythms creating an imposing wall from its first breath before the first flirtatious groove entwines ears and appetite. There is Hellbent&H coverswagger not only to the increasingly tempting grooving but every mighty swing of Bullock, bassline of Casey, and the grizzled delivery of Le Roux. It is Pantera-esque in so many ways but with a blues toxin and the superb bait of Gouch’s inventive lures and craft, the song provides an invigorating freshness. The first predatory anthem of Death Rattle, the track stalks and overwhelms the passions with ease.

The gripping start is swiftly matched by Hung, Drawn & Quartered; the track showing a more merciful welcome for ears, if only by a hairs-breath, before turning out a relentless rapacious stride of abrasing riffs, crippling beats, and psyche searing grooves. As its predecessor, the song is inescapable in its anthemic tempting and the sonic binding of the imagination, whilst the searing solo of Gouch adds further toxic manna alongside a deliciously throaty stalking bassline which just lights the passions.

The gnarly yet beckoning tones of Le Roux hit the sweet spot too, and in third song All Consuming, which from another irresistible bass bred bait, launches a virulent and corrosive smog of torrential riffery and rhythmic slaughter, he unleashes a delivery of impressive grazing power and fury. The track itself is the most inventive on the release moving from a strong and appealing start into a fascinating cauldron of aggressive adventure and sonic spite.

The EP closes with Built That Way, a powerhouse of rhythmic muscle and sinew sculpted riffs roared over by Le Roux and the blazing enterprise of Gouch. It is an impassioned furnace of grooved causticity amidst a hurricane like energy, with plenty of inventive designs and melodic venom to ignite the imagination all over again.

The track is a tremendous end to a thoroughly thrilling release. There is a familiarity and originality to Death Rattle which aligns for the perfect recipe of grooved mayhem in undoubtedly one of our favourite propositions of the year. Hellbent & Hammered has found the spice to greater things going by their new incitement and the potential to sculpt plenty of major things ahead. A thunderous way to round off a great year of releases sent to us by Garry of SaN Pr, and we thank him for all his help and support, Death Rattle is a must for all groove and seriously anthemic metal fans

The Death Rattle EP is released on Monday 15th December through all digital stores.

http://www.hellbentandhammered.com/

RingMaster 11/12/2014

Copyright RingMaster: MyFreeCopyright

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Nigromante – Black Magic Night

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Initially breeding uncertainty about its presence, Black Magic Night the debut album from Spanish metallers Nigromante emerges as a rather captivating confrontation. It has flaws and at times struggles to make the fullest persuasion but equally it earns an appetite from the emotions which means it will be no stranger to regular attention. Unapologetically standing in the midst of N.W.O.B.H.M. and eighties US metal, band and album create a proposition which holds no surprises for fans of that era but plenty for them to get their teeth and neck muscles into.

Hailing from Madrid, Nigromante began in 2003 and over the years has become a sizeable proposition in Spanish metal if not yet breaking into a wider arena. Consisting of guitarist/vocalist Angel Muñoz and drummer Jorge Serrano and taking influences from the likes of Black Sabbath, Megadeth, Witchfinder General, Anvil, Motorhead, Venom, and Barón Rojo into their invention, Nigromante has bred a strong live reputation since forming and shared stages with bands such as Grim Reaper, Paradox, Midnight Priest, and Virus. Now after a trio of demos between 2004 and 2006, the band finally unleash a full-length encounter courtesy of Shadow Kingdom Records and though it is not exactly going to blow you away or set a new marker for old school heavy metal, it taunts and lingers long enough after the event to stand out and tempt a regular rampage with its accomplished rabidity.

It is fair to say that Black Magic Night does not start off with a bang, the first couple of tracks getting the job done and setting a2300647838_10the scene without raising any sparks in the imagination or emotions, though as it progresses the album addresses that with contagious enterprise. Nevertheless both the opener Heavy Metal Age and the following title track trigger and grab enough interest to allow the release to expand its presence. The first of the pair slaps the ears with heavy duty rhythms and charged riffs from the start, and though arguably forges a formula engagement satisfies as sinews ripple and sonic craft whips around the ears. The vocals of Muñoz also take a little time to adapt too, his grizzled tones strong but wandering with notes at times but again like the album they seem to blossom as the record progresses. The second track stomps in with nostrils flaring and riffs lashing the air whilst the rhythms of Serrano firmly steer the song. Like its predecessor it satisfies without leaving a lasting impression but it is impossible to deny its presence as again it does the job needed to ensure the listener stays on course with the album.

Things move up a level with In Nomine Pater, the initial melodic coaxing instantly soaked in strong potency whilst the familiar but infectious groove teasing behind the coarse vocals soon has the imagination and feet playing with its lure. That familiarity covers the whole song eventually but to a positive effect with comparisons to Anvil a definite overriding but not displeasing thought. The track twists and tempts with the guitar and bass almost wanton in their appetite to thrill and seduce the imagination. Muñoz is a skilful musician and though he like Serrano never gets or takes the song into intricate areas it is easy to see the craft and potential at work.

     Saturnalia of Blood with its predatory riffs and preying basslines provides an appetising moment similar in appeal to the opening pair before making way for the moments the album excels, starting with False Idol. The track is a masterful prowl of ears and imagination; guitar and bass stalking from the start whilst the drums punctuate their goading with forceful probing. It is a mighty start which explodes into greater heights as ridiculously addictive grooves and rapacious energy swarms all over the senses. Again there is something recognisable to the song, if indefinable, but with not for the first time a great breath of thrash urging on the intent and a magnetic cast of melodies and hooks lining up to incite the passions, the song is a scintillating provocation. It is immediately matched by the following pair of Syndicate of Crime and Soy Un Macarra, the first equipped with a Cape Crusader like toxicity and antagonistic predation plus a more than punkish snarl whilst its successor takes those same elements in a different guise and to greater infectious intensity to create a punk/metal track which would not feel completely out of place in a playlist from Fuckshovel or the Ruts. The songs steer the album to much greater heights whilst showing that the band has the capability to fuse plenty of elements into their classic metal assault.

     Satan Death Squad is another to walk the release’s highest plateau, the song a more standard old school metal slab of muscle but one with riffs and sonic intrigue which continues the hold on the imagination and emotions forged by the previous encounters. Definitely the quartet of songs takes the album from being an ok release into a beast which demands continued attention. Closing on Summoning Spell an underwhelming short instrumental, Black Magic Night from a shaky start turns into an album you just want a little bit more of again and again. It is not a classic or likely to threaten your favourite aural tipples but its pleases and entertains at times as if it reads your every want from a metal release and that is always well-worth checking out.

www.facebook.com/nigromante.heavymetal

8/10

RingMaster 07/01/2014

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