Hollow Leg – Murder EP

hollow-leg_RingMasterReview

With a new drummer on board, John Stewart (Bloodlet/Caribou King) replacing departed founding member Tim Creter, Florida doomsters Hollow Leg unveil a their two track trespass this March. An individual grumbling fusion of the doom/sludge fuelled metal the band has already been the subject of acclaim for, the Murder EP reveals a new fresh roar and growth in that proposition and, as suggested by its press release, emerges “the band’s strongest material to date”.

murder-final-cover_RingMasterReviewMixed by Sanford Parker and mastered by Collin Jordan, Hollow Leg starts its proposal with Raven. The initial volley of firm beats almost stalks the listener as the song makes its first move. A momentary breath then follows, opening the way for dirty riffs and scowling vocals to lay their hand on the senses as rhythms bring their heavily sinew bound incitement to bear on the blues scented, sludge fuelled consumption of ears. Shifting through the gears back and forth in attack, the track quickly becomes a grumbling treat; essences of the likes of Eyehategod, Weedeater, and Crowbar making tempting hues in the band’s provocative web of sound and texture.

The following title track is just as generously flavoured but veering towards the more stoner-esque side of their sludge/ doom collusion. Tangy grooves are swiftly entwining rapacious rhythms and eager ears, riffs a bed of controlled antagonism beneath them as vocals carry a more open snarl to their character. Though generally a more energetic proposal, the song does slip into moments of  lumbering doom threat only increasing its intensity and bait as melodies gather in the shadows waiting to provocatively dance on a subsequent passage of lighter flirtation before things return to the predatory incitement it all began on.

Both tracks bring a fresh wind to an already in place appetite for Hollow Leg and their compelling sound found through debut album Instinct a fair while back, and a keener anticipation for what is to follow.

The Murder EP is released March 3rd through Argonauta Records on all digital formats with a physical release to follow later in the year.

 

https://www.facebook.com/hollowlegfl/

Pete RingMaster 03/03/2017

Copyright RingMaster: MyFreeCopyright

Filth In My Garage – Songs From The Lowest Floor

FIMG_RingMasterReview

Dripping melancholic animosity as physical and emotional dissonance invades ears and the imagination at every turn, Songs From The Lowest Floor makes a potent excuse for keeping creators, Filth In My Garage under close attention. The band’s debut album is an invasive slice of post hardcore driven incitement which is going to be hard to ignore, no matter to what degree its bracing and abrasive enterprise persuades individual tastes. With the unpredictability of noise and punk rock adding to its increasingly fascinating character, Songs From The Lowest Floor is certainly a striking ravishment, with a further potent line in hooks and daring inventiveness sure to grab plenty of eager appetites.

Filth In My Garage was formed in 2007, founded by guitarist Matteo, vocalist Stefano, and drummer Luca. As their sound grew and was honed, the band found it developing a post hardcore heart which went to subsequently flavour a trio of EPs, all catching local support which itself expanded with each encounter. Now with drummer Mauro, guitarist Jack, and bassist Simone alongside Matteo and Stefano, the Bergamo quintet looks ready to lure bigger spotlights their way with Songs From The Lowest Floor.

Released via Argonauta Records, the album opens up with Stampede and immediately ears feel like they are facing a gunslinger within a sultry western set sky. The instrumental slowly rises to its full height as sonic tendrils offer a smouldering tempting against portentous shadows which court the emotionally thick character of the opening. A spark for ears and imagination, the track slips seamlessly into the bruising rock ‘n’ roll of Black and Blue. It is a quickly persuasive incitement cantering along with an infectious gait and energy as Stefano’s hardcore seeded squalls uncage lyrical and emotional ire. As the song expands its sonic volatility, a veining of expressive melodies emerges to blend with a harmonic caress of vocals. It is a recurring moment in the tempest of the track, never hanging round but seeming to spark new adventure to the maelstrom of intensity around it.

FIMG_COVER_RingMasterReviewDevil’s Shape is as antagonistic and predacious at its start as the last was by its close, though it quickly shows, even if at times with subtlety, imaginative twists and turns within the tide of riffs and sonic discord. Rhythmically the track is an anthemic protagonist, stirring up eager attention even as things slow a touch as hostility rises. A calmer passage provides an oasis in the storm, it’s emotionally charged melodic calm drifting over the senses to beguile thoughts midway before its surroundings begin to bristle again and crowd in on the lure of clean vocals and warm melodies.

Grouchy riffs and gripping bass hues line the emergence of the following instrumental Greenwitch, though its air and charm is seeded in the album’s opening track. That predacious coaxing soon steers the piece through a mercurial landscape of sonic antipathy persistently skirted by the anthemic enticement of drums and bestially toned bass. As mentioned previously, the band’s sound is post hardcore spawned yet this song alone shows the great variety and weave of flavours the band skilfully employs and takes tenaciously into the prickly attitude of the invasively enveloping The Awful Path. The track is compelling stuff, impressing most, as does the album, when it without hint but coherently slips into seemingly unconnected detours of imagination and gripping adventurous sound; something personal tastes hope the band boldly explores more in the future.

Red Door is another swaying and slipping into the psyche with a spaghetti western scented melodic climate. Its sweltering air is more inviting than oppressive, and a rich embracing of ears and thoughts which paves the way for, in this case, a bullying of vocals and raw intensity. The track keeps its reins on its animus though, even as Stefano spills the lyrical discontent from within the magnetic endeavours of Matteo and Jack. Of course in time, the track frees itself into a fierce blaze but still retains rock ‘n roll contagiousness to its irritated animosity. Understandably references to bands like Poison The Well and Norma Jean come up around Filth In My Garage but here alone, you can find great reasons to mention the likes of Coilguns or Sofy Major as further clues to that moment in time.

The forceful and enthralling adventure is completed by firstly the truculent and increasingly addictive escapade of The Lowest Floor and finally the riveting drama of Owl Feather Band. The first bounds through ears leaving bruises and concussive residues in its wake; though it too has plenty of great contrasts through unexpected moments whilst its successor is a journey through a tapestry of textures and flavours within an equally evolving wind of intensity and aggression. Arguably the most imaginative and exploratory song on the album, it provides a fine end to an impressive first look, for us, at Filth In My Garage.

No album should be assessed fully on one or two listens and that certainly applies to Songs From The Lowest Floor. It is over time that it reveals an imagination and adventure which allows the band to intrigue and grab keen interest right now but will ensure, as it develops, they stand right out in a crowded post hardcore landscape ahead. Filth In My Garage is a band, as suggested earlier, it is going to be hard to ignore.

Songs from the Lowest Floor is out now via Argonauta Records and @ http://filthinmygarage.bandcamp.com

https://www.facebook.com/filthinmygarage

Pete RingMaster 08/03/2016

Copyright RingMaster: MyFreeCopyright

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Kayleth – Space Muffin

KAYLETH_band

Everything about Space Muffin, the new album from Italian rockers Kayleth is a spatial adventure; from the eye catching cover and lyrical exploration to the space rock coloured climate gathered over a stoner rock sculpted landscape, it is a flight through other worldly explorations. Equally that stoner and metal induced breeding gives songs and release a contrasting grounding which makes it as intensely imposing as it is celestially fascinating. Space Muffin, a fluffy name offering a slight deterrent before a note is heard, and Kayleth draw on recognisable influences it is fair to say, Kyuss and Orange Goblin for example. It is an open spice though which the Verona quintet entwine with again familiar space/psych rock seeded imagination to conjure something seriously compelling. The album might not be the one to really challenge your expectations but definitely it is a proposition to turn pleasure and a hunger for more up to the highest setting.

Formed in 2008, Kayleth has persistently lured an increasingly potent attention their way through their releases which started with Not Yet in 2006. Initially their sound was rigorously stoner-esque, with In the Womb of Time and Rusty Gold of 2008 and 2010 respectively, thick enticements of the broadening emergence of the band. Their sound has been on a constant evolution even from those early releases, but it was after The Survivor was released in 2012 and through the addition of keyboard player Michele Montanari that the band went on a new exploration into space/psych rock territories, investigation taken without leaving behind the stoner canvas which had already garnered the band increasing acclaim. The band and songs within Space Muffin seem to revel in this new horizon of imagination in their songwriting and sound, discovering like its premise, a new world to play in.

The heady heights and atmosphere of Mountains opens up the release, its muscular presentation an immediate wall of rugged riffs and pungent rhythms within a web of spicy grooves. Behind it the keys of Montanari seduce away, not making a major declaration yet but coaxing behind the scenes as the excellent grainy vocals of Enrico Gastaldo join the widening scenery of the song. Guitarist Massimo Dalla Valle matches the increasing lure of the keys with tangy grooves and acidic melodies, both aspects uniting in rich warmth as the bass of Alessandro Zanetti rumbles within their midst. Completed by the feisty and imaginative beats of Daniele Pedrollo, the song stomps and swerves with irresistible contagion; turning as the keys bring their interstellar KAYLETH_coversuggestiveness into an exotic temptress.

The excellent start is continued by Secret Place, a track loaded with an energetic stride driven by virulent grooves, rampant rhythms, and the potent vocals of Gastaldo. That Orange Goblin essence is a busty flavouring here but equally you can easily suggest a touch of Eagles of Death Metal to the vivacious appetite and energy of the song. It is ablaze from its first second and even with some clever twists and teasing from keys thereafter, never loses its lustful voracity. Imagination sparking invention is just as evident too and even more dramatic in the following Spacewalk. With samples and an on-going narrative offering a space flight with almost Robinson Crusoe like undertones, the track takes to the air with a magnetic shimmer and gentle melodic seducing. Thrusts of intensity led by caustic riffs and heavily swung drums pierce the beauty of the ambience drifting across the track, the burst bringing intermittent and eventually sustained tempestuousness to the bewitching encounter.

Both the intimidatingly sturdy Bare Knuckle with its mouth-watering rhythmic shuffle and sonic flaming against the charming ambience of the keys, and the soulful Born To Suffer have ears and imagination wrapped up in their designs and melodic colours. The first from a contagious ruggedness slips across sultry climes of sonic and provocative textures whilst the second with a blues toned melodic croon smoulders and entices with captivating charm before sparking with classic metal seeded enterprise. Neither quite matches their predecessors, though Bare Knuckle makes a thick challenge, but both leaves senses and thoughts riveted before Lies Of Mind flexes its striking musical and inventive muscles for a bruising and infectious slab of space rock toned rock ‘n’ roll. As most songs there are plenty of twists and unpredictable surprises employed, without going overboard, leaving ears and emotions greedy and equally a quite inescapable anthemic tendency.

   Try To Save The Appearances also has a broader rock ‘n’ roll character to its heavy persuasion, stoner and psych rock colluding in a tempestuous and wholly tempting charge which at times, as elsewhere on the album, has hints of Monsterworks to it as well as that of Karma To Burn. It is a glorious incitement leaving just the instrumental elegance and heated soundscape of NGC 2244 to bring the album’s flight to a tantalising close.

Space Muffin might have a weak title but within its walls it is one thoroughly enjoyable and invigorating adventure. Kayleth’s album does not truly surprise too often but leaves ears blissful and satisfaction over flowing, thus a release to heartily recommend.

Space Muffin is available via Argonauta Records now @ http://www.argonautarecords.com/shop/music-/47-kayleth-space-muffin-cd.html

http://www.kayleth.com/

RingMaster 03/02/2015

Copyright RingMaster: MyFreeCopyright

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Deaf Eyes – Self Titled

Deaf Eyes - Band

Started as a side project in 2013 of the experimental psych progressive metallers Incoming Cerebral Overdrive, Dead Eyes proves itself to be a distinct and formidable entity in its own right with its self-titled debut album. Colliding eight tracks of intense and thunderous post metal with senses and imagination, the instrumental band lives up to its intent of exploring “obscure experimental sounds and atmospheres,” and “a monolithic approach to hard and heavy riffs with a “delayed research” of alternative vibes mixed in a psychedelic mood.” That is quite a wordy description of what consumes and seduces within their album but one realised within the leviathans of sound and textures which transfix and immerse the listener from start to finish. The album is a beast of a proposition but equally a rigorously sultry temptress journeying through exhausting landscapes as imposingly cinematic as they are carnally ravenous.

The Italian quartet begins their voracious seduction with Black Canvas, and in no time thoughts and emotions are engulfed in the drama and almost savage soundscape of the track. Carnivorous riffs and even more bestial bass predation swiftly overwhelm the senses, backed by the intense weight and hunger of the swiping rhythms. Just as the track is immensely intimidating it also impressively takes the imagination into an evolving and challenging climate of sonic and inventive suggestion, across a terrain of danger and intrigue which erupts and snarls with skilled rabidity and riveting ingenuity. It is a demanding and irresistible experience with a contagion which is toxic and inescapable.

Its dark realms are shadowed by those of the following Mirrors, its specific turbulence and antagonism expelled in a barely milder tempest but one with flickers of light and melodic charm to its hostility. The bass has a growl to reverse a tsunami of ravenous beasts whilst guitars wield a sonic enterprise which binds with venomous potency whilst its infestation of infectiousness is Deaf Eyes - Coverimpossible to fend off or resist. It dark corners and shadows are no less merciless than its outright tempestuous climate as the song unleashes a sound which holds essences of the likes of Neurosis and Russian Circles to its breast as well as those of Morkobot.

A more celestial jeopardy is investigated in Orbits, though with all tracks the adventure unfurling is as unique to the listener’s thoughts as the sounds casting the canvas and sonic emprise inspiring them. The track is one of the less intrusive on the album but still a provocative maelstrom of seriously confrontational invention and enterprise, a description suiting both the tantalising exotic and evocative scenery of The Eyes Of Regret and the agitated majesty of Draining Sun. The first of the two descends into a cavernous and melodically infused sonic haze which is as emotionally expansive as it is ferociously unpredictable and inventively coloured. Its exceptional sonic and innovatively perilous emprise is equalled by its successor, the track a hypnotic dance of repetitive riffery and preying rhythms within a psychedelically hued blaze of disturbed sonic revelry. The track is scintillating, a corrosive waltz physically and emotionally which bewitches with cultish persuasion. The accompanying press release listed Goblin as references and of all the songs this with its haunted shadows and demonic colouring is the prime reason.

Red Desert Lullaby keeps body and emotions just as eagerly busy, its thick smouldering climate a wrap to perilous escapades to envision and a sonic rapacity to bask in whilst next up The Withered drifts into a sinister province of crawling shadows and haunted emotions. Their dark secrets converge around a rugged spine of bass and rhythmic bullying of ears and emotions, an ensnaring and violation of the senses setting thoughts and passions aflame. It is a glorious predator and portrait of lost and turbulent emotions, another binding and ingenious traverse of places most fear to contemplate let alone traverse.

The album closes with the just as dark and Luciferian Commiserate, a primal senses ravishing beauty which scars as it seduces. The bracing incursion into psyche and emotions is an enthralling end to an exceptional release, an album which is a playground for the imagination and trial by sonic fire for the senses. It is quite exceptional and provides a new excursion into the unknown for thoughts and emotions with every violating listen.

Deaf Eyes is available now via Argonauta Records @ http://www.argonautarecords.com/shop/music-/41-deaf-eyes-deaf-eyes-cd.html

https://www.facebook.com/deafeyesband

RingMaster 12/11/2014

https://soundcloud.com/deaf-eyes