Sixth Dimension – Přežít !

6th D

Since first submitting tracks for inclusion on our Bone Orchard podcast at Audioburger.com, Czech thrashers Sixth Dimension has been a regular fuse to strong responses and a hunger for more from the show’s listeners. Still relatively a secret outside of their homeland the band look set to amend that with the release of their new EP Přežít !, a four track uncompromising confrontation of raw and predatory thrash metal. With a sound certainly not stretching boundaries but giving the genre a stronger carnivorous and captivating presence, the Most and Teplice based quintet has uncaged their most potent and accomplished release to date with the new EP, one leading to hopes and expectations that the world will be hearing more from and of the band ahead.

Sixth Dimension was formed in 2002 and across the years as well has earning an impressive reputation for their sound and adrenaline fuelled live performances, has released a couple of well-received CDs in the aggressive forms of Respekt (Respect) in 2006 and especially  Nikdy nevíš kdy (You Never Know When) of 2012.  Earlier this year saw the release of the Live On Il Fest 2012 DVD, further confirmation of the strength and passion of the band live, but it is Přežít! (Survive!) where you suspect the trigger to fuller awareness of their force is to be found.

Opening track Skrytá Bezmoc steps from a crowd scene to immediately savage the ear with rapacious riffing from  guitarists Peter ‘Špirda’ Špiroch and Filip ‘Bombo ‘ Skoumal. They take no prisoners especially with the thumping rhythms of drummer Peter ‘Buchy’ Buchner stamping authority over proceedings and the bass of Jan ‘Johnnies’ Hirsch stalking the onslaught with a throaty growl.  It is a sizeable slab of intimidation compounded in menace by the caustic growling of vocalist Paul ‘Paolo Wiďuz’ Wieden. There is little to worry new invention with the track, but standing brutal and holding an adventure especially from grooves and a melody drenched solo, the song is an impressive and infectious lure into the band’s newest tempest.

The following Bezmoc (Věnováno Davidovi Kaplanovi) like its predecessor goes straight for the throat but with an even more vicious and hungry torrent of corrosive riffing and malicious rhythms. Taking little time to begin involving exciting melodic invention into the sonic design cast by the guitars, the track twists and turns whilst bombarding the senses with intensive heavyweight thrash antagonism. If you have not seen their live DVD this track alone give a mighty hint as to the band onstage and the force of their skilled provocation.

Third track Zkrat has an indefinable familiarity to certainly its opening persuasion and perpetually tempting groove, but soon immersed within the Sixth Dimension ferociousness and unbridled intensity it only works as extra bait to the thoroughly satisfying incitement. Drums and bass as on all songs create a sinewed sculpted frame which barges and pressures the senses into submission whilst riffs and especially the acid enriched solo at the song’s conclusion, only seed greater hunger to the already greedy appetite for the release.

The EP is brought to an end by the prowling brutality of Maska, the song providing a predominantly lumbering gait with the passion to expel shards of sonic ruin and melodic enticement from its intensive body. A mighty beast inciting senses and passions it brings the equally towering EP to an impacting conclusion, cementing Sixth Dimension at being their most creatively potent and muscular best. If this band has yet to assault your ears then there is no better introduction and intrusion to welcome than the excellent Přežít ! EP, European thrash at its rawest best.

https://www.facebook.com/sixth.dimension.5

8.5/10

RingMaster 13/12/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Project Silence – One Way To Hell

PS

    Project Silence is a sonic and invasive scourge from Finland which ignited a lasting passion and hunger in us for their presence through the album 424 which unleashed its extreme toxicity last year. The album was brawl of intense promise which shared a brutality and bewitchment that overwhelmed and seduced the passions. The band now return on December Friday 13th with new single One Way To Hell, a two track creative fury which confirms all of the intensive promise and stature of the previous release whilst stretching the band’s imagination and abrasive qualities even further.

Hailing from Kuopio, the band was formed in 2008 as initially a solo project of Delacroix (vocals, programming, keyboards),  who began brewing up a distinct dark aggressive design from ferocious essences bred in the likes of industrial metal, dark electro, trance, aggrotech, and black metal. A demo emerged soon after the project was unveiled followed to relative success by the single Voices the following year. 2012 saw the line-up of Mr. Sanderz (guitar), J (guitar), Silve R (drums), and Sturmpanzerjäger (bass) alongside Delacroix before debut album 424 was uncaged on the world to strong responses from fans backed by equally enthused critical acclaim from within the underground press alongside radio play on shows like The Bone Orchard at Audioburger.com. The experimental muscular confrontation of the new single takes the heights set by the album not maybe to new plateaus but certainly to intriguingly different and just as impressive corrosive adventures.

One Way to Hell emerges from an enveloping sonic mist; one soaked in menace and brewing industrial toxicity speared by one way to hell coverincreasingly intimidating beats and an asylum bred laugh. As soon as it has comfortably coaxed attention and intrigue from its recipient the band expels a squall of heavy duty rhythms and equally muscular riffs stalked magnetically by the shadow dwelling keys and malevolent vocal growls bred in even darker places. The track does not go for the jugular but instead bears its full weight upon the senses to immerse the whole of the listener and thoughts within a bruising and merciless yet seductive pestilence. With a deceptively contagious chorus and a just as virulently tempting swagger to its stride, the song initially does not make the same immediate impression as many tracks on the album did but with startling imagination and twists, like the excellent full stringed almost folky lure crafted by the guitars, the encounter evolves and increases its persuasion through its first and definitely across multiple returns. It is a slow burner in many ways but soon finds the flint to spark an enthusiastically hungry appetite for its bold adventure.

The track is accompanied by Death and Madness, an onslaught which carves a swifter impact on and submission from the passions to reinforce the thrilling potential and striking evolution of sound as presented in One Way To Hell. Production is less precise and clean on the second track which only adds to the throaty lure offered by the bass and mutually predacious guitar riffs punctured by just as threatening rhythms. Coursing with infection dripping grooves and rabid hooks, as well as dangerously alluring melodic seducing from the keys, the track is an epidemic of incendiary pestilence and destructive enterprise woven with threads of wanton beauty and classical elegance. Masterful and creating an even greater creative alchemy than its impressive co-provocateur, the song is a towering predator and excuse for all newcomers to check out the uncompromising might of Project Silence.

https://www.facebook.com/projectsilenceband

8.5/10

RingMaster 11/12/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Patriot Rebel – Two Worlds

Patriot Rebel Online Promo Picture

We have had a bit of a ‘crush’ on UK rockers Patriot Rebel ever since the band submitted a couple of tracks for our Bone Orchard show at Audioburger.com, songs receiving a persistent airing which is as much down to the greed of the listeners as much of the hosts. This meant anticipation for their debut release, the Two Worlds EP, was high and forcibly rewarded by a heavyweight riff clad storm of passionate breath-taking rock ‘n’ roll. The six track riot is bruising rock at its very best, a direct and virulently contagious confrontation which hits the target dead centre with flaring nostrils, menacingly flexing muscles, and a melodically crafted adventure fuelled by adrenaline.

The Nottingham has been breathing from around 2007 but it was with the coming together of current line-up of vocalist Paul Smith, guitarists Danny Marsh and Dave Gadd, bassist Will Kirk, and drummer Aaron Grainger in 2011 that the band began finding a potency and presence which really began commanding attention. Their sound is a tempestuous mix of alternative rock, grunge, and unpolluted rock ‘n’ roll thrust through the ear with a mountainous energy, drawing references to bands such as Stone Temple Pilots, Alter Bridge, and Shinedown and even more predominantly Black Stone Cherry and Velvet Revolver. With the distinctive tones of Smith and an aggressive sound which is unfussy but concentrated in its craft and effect, their live performances are no strangers to acclaim with the band since forming giving the likes of Tesseract, Jettblack, Skarlett Riot, Cornerstone, Earthtone9, Spirytus, and Violet a tough act to share stages with whilst equally leaving festival crowds aware and eager for their presence. Recorded with producer Matt Elliss (Black Spiders, Terrorvision, Skarlett Riot), Two Worlds is the next Patriot Rebel strike on the country and one you can only see placing the band on the frontline of UK’ s rock scene.

The self-released EP opens up with the imposing Propaganda, sinew driven riffs and equally predatory rhythms consuming the Patriot Rebel Cover Artworkears with intimidation and intrigue as Smith offers the song’s croon. The bass of Kirk is especially rapacious in presence and voice within the encounter adding to the almost oppressive initial breath, an introduction which soon explodes into a fire of sonic infectiousness with the chorus. It is one of those moments where you ‘recognise’ the stranger, the song a previously unheard persuasion which hits like an old friend and enlists an instant companionship from your own voice and neck muscles. The track like the EP is not sculpting brand new adventures it is fair to say but as it firmly proves here it rewrites existing invention into something most bands would seduce your granny for. It is a potent powerful start immediately matched and exceeded as the release rampages.

What Goes Around makes a gentler entrance at first, certainly stripping less flesh from the senses anyway until it erupts into a brawl of hungry riffs and punchy rhythms ridden again by the magnetic vocals. Its rich bait takes little time in laying down its lures, the chorus like calls soon seducing the passions with another epidemic of rioting toxicity. Rippling with melodic persuasion which burns heatedly as the track intensely barracks the senses, the song is a ferocious charge of insatiable energy and skilled temptation designed to grip its recipients by the throat and launch them into a torrent of submissive participation, physically and emotionally.

The following Goodbye is an emotively lined slower track which seduces with an intense almost melancholic embrace, guitars weaving an imaginative and impacting web of enticement around the almost reserved delivery of Smith. The song instantly shows why the band has been spoken of in terms of the likes of Alter Bridge though as it burns brighter and increases its melodic flames and muscular presence, Patriot Rebel go somewhere which for our mind those bands have only flirted with. The song smoulders and sears the air the further into its compelling depths you go, bass and riffs a thick haunted wash of intensity alongside vocals drenched in emotional expression. It probably takes longer than others to make its full declaration but with focus emerges as one of the highlights of the release, amongst a few to be honest.

Both Come Of Age and Holding On are songs we know well from the show and each leaves the already raging appetite with another full meal to devour greedily. The first saws the ear’s cartilage from its first second, carnivorous riffs snarling whilst Smith draws a vocal breath and lets rip with a sonic wail to match the spirals of scorched design from the guitars. The track is a voracious torrent of energy and enterprise, a maze of ideas and enthralling invention veining its stormy mass of intensity and predation whilst again an irrepressible addictive enterprise casts its spell on the passions.  There is a muggy air to the track but it only adds to its weight and intent leaving the listener gasping for air whilst waiting for its successor. The second of the two multiplies the weight and depredation of its predecessor before expanding it into a melody fuelled blaze of hard rock meets heavy metal passion. It is a glorious anthem of sound and intent which resourcefully ignites and enslaves the emotions into their fullest ardour, a track which dares you not to be calling out its finale in a mutual vocal union, a challenge you only will lose.

The release ends with The Storm, a track which in the wake of the previous onslaughts feels at first almost pale in comparison that is until it too corrupts the senses with a dramatic and perfectly sculpted furnace of sonic endeavour and vital melodic invention. It is an absorbing encounter to close off an outstanding release. It maybe their introduction to most but Patriot Rebel has immediately thrust themselves into a vibrant spotlight with Two Worlds, and they can only get better with is simply a mouthwatering proposition.

www.facebook.com/patriotrebel

10/10

RingMaster 07/12/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

The Toniks – Rise And Shine

298211_10151353433777610_2002698253_n

Listening to Rise And Shine the debut album from UK popsters The Toniks you cannot help at times thinking this is a band which has the misfortune to have missed their time slot in music history. Certainly they have a potent place in the now as their album shows but with songs ripe with sixties melodic and pop sensibility which sits easily within the pop mischief of Herman’s Hermits and the Englishness of The Kinks, and a new wave soaked infectiousness which is a close cousin to bands such as The Farmers Boys and Jim Jiminee, you can only imagine the Guildford quintet would have found a potent place those eras. In a never ending torrent of new and existing bands all fighting for attention, real and online, any band is in for a greater struggle than ever to just cross the gaze of fans though with Rise And Shine, The Toniks have given themselves a definite fighting chance.

The brainchild of vocalist/bassist Mark Taylor and guitarist Jez Parish, The Toniks has been making a solid ascent for quite a while now; their infection loaded pop songs gripping ears and emotions. With the current line-up of guitarist Tom Yates, drummer Colin Marshall, and Jessica English on keys alongside Taylor and Parish in place since last year, the band has continued to draw acclaim for their strong live performances, which recently has seen the band playing across Europe and in Canada. Since forming they have also gained support from the likes of Graham Dominy (Eurythmics, Razorlight, Imelda May) who provided them with free studio time after hearing their music. It has all added to a slow but potent rise which the album can only increase as it sweeps across greater numbers.

The band is no stranger to this site, The Toniks a constant on the playlist of shows from our associates Audioburger.com for the 1235338_10151581120132610_2076276580_npast few years. This meant that the album faced expectations but it is fair to say it pushed them aside to emerge an even more vibrant and irrepressible encounter than imagined. Produced by Dominy alongside Taylor and Parish and released on Smile Records, Rise And Shine goes straight for the feet and passions with its title track. The song is total contagion, from the moment the opening soar of harmonies and keys behind the mellow tones of Taylor stroke the ear it teases with a seducing wantonness which explodes into one of the catchiest tunes heard this year. Bred from the seeds of sixties pop, the song romps and strolls with a massive smile in its melodies kissed by brass spawned sunspots. The eighties reference is most apt and virulent right away as the starter has voice in league with its stomp and like the best pop songs, becomes an old friend within moments.

The following Won’t Let You Down is much the same in its individual character, guitars and keys coaxing the imagination as they craft hooks and melodies which sparkle as they tempt. The backing vocals of English along with Parish make a great compliment to the delivery of Taylor, her voices especially soothing and one hopefully the band employ more ahead. More restrained than its predecessor but still a catchy saunter to capture the imagination it easily continues the pleasing start as does next up You and I and Simple Things. Like the first pair they are songs very familiar to us but each finding a new freshness and energy to their suasion and presence through the new recordings and re-workings brought by the band for the album. You and I is a bouncy incitement of respectfully jabbing beats and cheery guitar swipes tempered by darker bass tones. It has a harder rock core to its bewitchment but one which submits to the inventive and sultry flumes of brass as well as the continually persuasive melodic weaves which lie around the addiction causing hooks. Its successor comes with a slower croon to its presence as well as a gentle caress vocally and musically. The bass stands potently to the fore of the song, its steady heavy presence seemingly given preference upon the song and actually works well adding variety to the simple but wholly effective melodic colour which engages the imagination and lures another belt of hard to resist involvement from the body.

After passing the charms of Weather quickly the album settles into a steady enticing with Figure It Out and Never Real, both songs a spark to fill the appetite further though a shade below the standards set. Going back to the first of these three, Weather is another ridiculously ear catching invitation to participate with and enjoy slice of pop which most will drool over but it has never found a place here, it one of those irritants which niggles though it is simply down to personal taste alone. Of the other two, the first builds from emotive keys and expressive vocals into a more than decent ballad which grows and expands as it plays out its narrative and the second a satisfying rock pop breeze, both providing healthy appetising treats to mull over and return to before making way for another highlight.

Secret’s Safe also hits the rockier depths of the band, a blues whisper to the guitars equally egging on the thumping rhythms and hard hitting vocals, though Taylor has a voice where snarls never rear their head to be honest. There is an essence of The Jam and The Motors to the energetic and rampant charge of the song, a pop punk quality which sets it to the top of the release, well until, after the thoroughly enjoyable and infectious There You Go, the outstanding Scapegoat steps forward. The scuzziest track on the album with a punk breeding to its creativity, the track is a riveting blaze of rock ‘n’ roll with all the contagiousness the band can conjure reaping the heat of the blues kissed guitar flames on top of barbed melodic hooks.  It is a magnificent track, The Tonik’s finest moment yet.

The closing Wonderful Then concludes the album with a classic pop song graced by mesmeric strings, the cello caresses especially delicious, and resourceful evocative keys behind stirring harmonies. It is a final reminder of the depths of the songwriting of Taylor and Parish and though you cannot talk of them in the same breath yet as Difford and Tilbrook there are some familiarities at times to the construct and melodic structures of songs.

Rise And Shine exceeded expectations to stand as one of the better real pop albums out this year. If The Toniks have yet to touch your ears their debut album is the perfect way to put that right.

http://www.thetoniks.com/

8.5/10

RingMaster 05/12/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

Mongrel – Snakes

Mongrel

The first release since the outstanding Reclamation album of 2012, US punk metallers Mongrel unleash their new single Snakes and continue to set new standards for themselves and aspiring rock/metal bands. Taking from their upcoming Evolution EP which is slated for an early 2014 release, the new track employs all the renowned and expected inventive and addictive aspects of the band but gives them a new fire to burn explosively within further exploration from the band and their songwriting. As anthemic and contagious as you would expect from the Boston quartet, Snakes reinforces the hunger of their fans for their bruising, riotous sounds whilst laying down plenty of bait to recruit new greedy hearts.

Formed in 2003 by guitarist Adam Savage, Mongrel has over the years evolved into a highly sought after live band and a formidably potent studio encounter with a wealth of releases strikingly marking their steady and continual rise. Since forming the band has laid waste to stages alongside the like of GWAR, Korn, Otep, Sepultura, Prong, Halestorm, Wednesday13, Fu Manchu, Dizzy Reed, and the Misfits numerous times as well as touring with others such as FEAR, Blitzkid, Trashlight Vision, and Michale Graves, all the time continually drawing acclaim. Equally from the start their releases have lit up the passions of fans as well as the independent airwaves, the band a regular on the likes of shows at http://www.Audioburger.com and The Bone Orchard podcast, but it is fair to say that the full potency and heart of the band exploded when they enticed vocalist Jessica Sierra into the fold, her snarling vocal beauty igniting something lying dormant in the band with previous frontmen. Through The New Breed of Old School and Declamation EPs on to Reclamation, Mongrel has grown and evolved into an intensive and magnetic force which Snakes only elevates further.

The single wastes no time in tempting the ears as the guitar of Savage skilfully strokes the extremities with his inviting riffs, its call soon a0370760246_2joined by a pulsating bass call from Michael Ariza and the crisp beats provided by drummer Mike Hogan. Settling into an open temptation, the power and thrust of the song is taken up another level as Sierra punches the lyrical intent forcibly and melodically into the imagination. All the while there is a reserved but persistent groove which wages seduction upon the senses throughout the song, it enticing greater passion and hunger from the listener and it is fair to say that at this point the single has submission already in its hands. This is not enough though it seems as the instigator then shifts seamlessly into an evocative and intimidating yet smouldering flame of sonic endeavour and emotive persuasion which has the band pushing their boundaries and ideas without losing their core energy and intensity. The moment is brief but potent and makes for a building step for the final adrenaline lit finale. There is a certain pop punk element to Snakes which arguably has not appeared before with Mongrel and it is a refreshing move brought with craft and adventure which avoids eroding any of the band’s confrontation and  inciting invention.

It is hard not to be excited and full of impatient anticipation for the Evolution EP thanks to Snakes, but the wait will be relatively short and the single ensuring the time is well fed with its incendiary exploits. A name your own price release at Mongrel’s Bandcamp profile, the single is the perfect invitation for those new to one of metal’s best ‘undiscovered secrets’.

http://www.mongrelband.com/

http://mongrel.bandcamp.com/music

10/10

RingMaster 29/10/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

Kismet Ryding – Look.See.Don’t.Trip EP

Kismet rhyding puc

UK rock band Kismet Ryding is brewing up a nice little potent buzz for itself these days and their new Look.See.Don’t.Trip EP shows exactly why. Consisting of six thrilling and enterprising blends of sixties psychedelic flames and prime garage rock with more than a whisper of blues and Brit pop for extra flavour, the release is a vibrant declaration of a band on a determined rise, an ascent which you can only assume will be swift with the quality of their EP as reference.

Formed in 2009 and consisting of brothers Josh (guitar) and Tom Humphreys (bass), Mike Freeman (vocals), and Jazz White (drums), the Grimsby/Cleethorpes band has built a rich reputation for their live performances and through their very successful debut single, Hangin’. The release of Look.See.Don’t.Trip is their next blaze upon rock and has already see some of its tracks drawing eager attention and acclaim, which its full release will only expand and accelerate.

The release opens with the riotous Last Night’s Stains, a track which has already received intensive radio play, especially with the radio shows at www.audioburger.com. Bold rhythms and mutually tempting grooves open up the song before the fine vocals of Freeman play within the erupting fiery melodic haze of energy and guitar persuasion. Instantly the track has laid down a seductive toxicity which has feet and emotions joining its romp whilst voice is not slow in coming forward and joining the riotous chorus too. Persistently addictive and littered with craft and lively imagination, the outstanding song offers a feel of The Black Keys at times but as a mere whisper within a sound which manages to come over as familiar yet distinctive to Kismet Ryding.

The following Coming Up grazes the ear with a caustic but appealing wash of guitar before settling into a respectful gait for the vocals to lay down their introduction. It is not long before the rhythms of White create another impressive web of enticement within the raw yet balanced energy and sonic heat of the guitar and probing throat of the bass, both provided with expertise by the Humphreys boys. Having the unenviable task of succeeding the excellent opener was always going to be a tough order and though the song does not ignite the emotional fires inside it is a more than appetizing piece of rock ‘n’ roll matched by Good Good Way, a gentler track in presence but just as accomplished. Sounding a bit like The Loud, the song like its predecessor is an easy and pleasing companion even if that is all it rises to at the end of its enjoyable time.

From here Look.See.Don’t.Trip lifts off again to rival the starter and at times surpass its triumph. Most Famous is first up coaxing the ear with a melancholic suasion from the guitar and bass as Freeman brings extra emotive expression to the senses. Intensive melodic and sonic heat is never far away and soon licking vociferously at the ear whilst alternating with more tender weaves of imaginative caresses. The song is a striking smouldering composition, layers and sonic textures bleeding into and coaxing thoughts and passions to spark off of its feverish heart.

The title track is another insatiable and irresistible stomp, rhythms and riffs taking no for an answer as they wrench passions  to their feet to romp within its sixties dance hall agitation, feet and body also enlisted just as rabidly and hungrily. Just over two and a half minutes of energetic and frenzied glory, with guitars and drums especially scything the air with virulent contagion, the song is demanding to be acclaimed best song though the closing Hope and Glory has other ideas. Arguably the most resourceful and imaginative song on the EP, it shimmers with electric sultriness from the start before expanding into a full furnace of sonic adventure and rapacious passion. Riffs show restraint without losing hunger and rhythms cage the ear in another commanding but respectful wall of steel, their appealing core making a canvas for the guitars and vocals to create a sizzling psychedelic hued melodic painting. A stunning end to an equally terrific release, Look.See.Don’t.Trip is a release which you need in your ear and daily soundtrack. Kismet Ryding has something special going on, it would be rude not to join in.

https://www.facebook.com/KismetRydinguk

9/10

RingMaster 06/09/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Top Buzzer – The Sprollie EP

tb

It has been two years since pop punksters Top Buzzer paraded their irresistible talents and mischievous sounds on debut album Outside Is a World, twenty four months or so full of impatience certainly in the past half a year waiting for more of their devilish goodness. Finally the London based quartet has returned to tease and rummage in our ears with a new energetic slice of punk rock devilment in The Sprollie EP. Consisting of four songs which in many ways continues where the album left off whilst bringing another fresh sail to their contagious flights of creative fancy, the release does not exactly surprise in any shape or form but as an encounter which leads the passions and body into a compelling dance of pleasure, it is one thrilling riot of enterprising infectiousness.

Hailing originally from Jersey and formed in 2011, the band has driven their own path from day one, creating their own label Back2Forward Records as they made their debut with The Hands Up EP and forging an impressive reputation for their live performances especially once they relocated to London. First single Remission and the aforementioned album took the band into the media awareness of everyone home and in the US from Kerrang, Rock Sound and Big Cheese in the written press, Kerrang, Q Radio, BBC Introducing, KROQ, and Marky Ramone’s Punk Rock Blitzkrieg show on the radio, and internet forging shows like Audioburger.com and The Bone Orchard. The new EP follows their stunning contribution to the 2012 Rebel On The Underground – A Tribute To X-Ray Spex compilation, a release in aid of the US charity Sweet Relief, and sees original members vocalist/bassist Dukey, guitarist/vocalist Becksi, and drummer/vocalist Welshy joined by newest member on guitar and vocals Soni.  Alongside the release of The Sprollie EP, Top Buzzer are currently playing European shows with Californian legends Face To Face and CH3 leading to their appearance at the Rebellion Festival. They have never been away really despite our opening line, with a wealth of gigs but something tangible in hands and ears for everyday use is what was yearned for and now satisfied by this delicious treat.

First to accost and light up the ears on the release is Mannish Girl, an irrepressible piece of pop punk with the distinctive Top Buzzer a0483369368_2stamp of irritatingly addictive hooks and tongue in cheek intent, though that part of the song’s anatomy does wander to lick at and incite everything from ear and senses to thoughts and passions. From the opening flurry of riffs and rhythmic beckoning the song launches straight into its tempting chorus which lays its lures in two parts before Dukey begins the simple and irreverently appealing narrative. Flames of grooves and melodic barbs swing out from within the hungry drive of the song, the guitar sculpted persuasion reminding of The Vibrators whilst the vocal mix and melodic suasion offers a mix of Baddies and seventies band The Flys from within something wholly Top Buzzer.

The following Look At You initially gallops into view with hooks and riffs open before finding a canter of fiery imagination ridden by the ever boisterous delivery of Dukey vocally and on bass matched in eagerness by the rhythms of Welshy and the great group backing vocals. There feels something different to those to be honest, whether that is the presence of Soni adding his tones we will find out in due course , but there is a great variety behind the lead delivery which captures the imagination as much as the heated guitar play around them.

We Are Merely Filters has the sense of early Buzzcocks to its initial impression, the again virulently infectious call of the song leading energies on a rampant swagger of invention and rascality. Midway the song slips into a blues/ska smelling stroll which for personal tastes pulls the charge of the song up into a near stall though its creation and craft is excellent, but back into the romping pace and energy which set off the track it leaves only the strongest taste and pleasure in its feisty wake.

Final track Wet Pets is one minute of Dickies like shenanigans, a burst of punk roasting with the anthemic heights of a bunny girl. It is pure bliss and completes another scintillating release from one of Britain’s best punk rock bands. The Sprollie EP is a real joy and rock ‘n’ roll at its infectious best, and as the release plays in greedy ears whilst writing another thought comes to life…maybe in all the best senses of the description Top Buzzer is the twenty first century reincarnation of The Leyton Buzzards…just a thought.

http://www.topbuzzer.co.uk/

9/10

RingMaster 29/07/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

Age of Menace – All Seeing Lie EP

???????????????????

Since forming in 2010, Australian metallers Age Of Menace has not only carved a formidable and striking presence within the underground scene of their country but also across the internet taking the band in the arms of eager acclaim further afield and numerous radio shows, especially The Bone Orchard at www.Audioburger.com. The quartet from Sydney has always had a snarl and creative rapaciousness which has set them apart from most and a virulent passion within their devouring potent sounds but with the release of their new EP All Seeing Lie, the band has unleashed a new growl and intensity to their songwriting and presence. The four tracks making up the release all prowl and chew the senses like sonic predators, their carnivorous riffs, cantankerous rhythms, and intensity sculpted vocals combining for  blistering slabs of aggressive invention and corrosive imagination. Age Of Menace has, since their previous release, evolved into a new bestial confrontation, one bringing stealth and deceptive contagiousness to the intent of sending senses and thoughts into the jaws of thrilling and scintillating aural danger. It is an exhilarating declaration of a band which is now a real irresistible force.

Consisting of vocalist Rob Smith, guitarists Pete Ross, drummer Adam Breakspear, and bassist Adam Barns who produced the band’s earlier releases and tracks before joining full time last year, Age of Menace merge a vicious vein of metal to equally impacting melodic rock temptation, the results music which chews and savages the ear and beyond whilst seduces them with addiction forming hooks and melodic enterprise to ensure only willing victims. There has always been an attitude and antagonistic edge to their music which you feel comes from the union of its member’s distinct personalities and their potent union and here too All Seeing Lie offers a new depth and intimidation which carves an even more indelible lure within the passions.

Opener My World charges at the ear from a distance, its emerging presence hiding a rabid appetite behind the coaxing guitar until aom002coverstanding eye to ear with the listener and ready to prey on their weaknesses. Once at its full height the song cages the senses with snappy firm rhythms and a deep throaty bass provocation whilst Ross teases with sharp and fiery melodic twists of sonic enterprise. Now in command it settles into an eager but restrained temptation of flaming guitar, moody bass taunting, and rhythmic caging from the drums, whilst all the while the excellent and expressive tones of Smith drive the lyrical heart and shadows of the song into thoughts and psyche with lethal effect. The track is a primal instigator bringing personal dark corners into play with its own evocative shadows yet at the same time is a deeply satisfying epidemic of infectious invention.

It is an impressive start soon matched by the next up Ritual, its imaginative poise and diversity an unrelenting intrigue enflaming another wash of heated ardour. Initially a melodic and dare one say mellow, well in comparison to other moments on the EP, embrace wraps its fingers around an awakening adventure whilst vocals as welcoming and warm as the sounds seduces from within the elegant coaxing. To ensure the sinister air is still there prying and lurking bass and drums rile up the atmosphere with intensive barracking, their voices opening the gate for another explosive stretch of savagery. Expectations assume this is a fury to stay but the schizophrenic will of the song returns to its earlier charm before again twisting it all up into a maelstrom of unpredictable excellence. As they are already renowned for, Age Of Menace craft the songs on the EP with skilled and expressive musicianship bringing the full essence and depths of their songs forward as a vibrant fire but again it is fair to say the release has evolved that texture too.

Creatures Of Habit and Start It Finish It, complete the release taking it to even greater thrilling levels. The first of the two flirts with the ear at its start, drums and bass dancing on its surface whilst the guitar taunts from behind their touch before it is all pulled into an intensive adrenaline fuelled adversarial goading, riffs and sinews searing with venomous energy and vocals sharing coarse whispers and blazing passion across the riveting stimulation. The song is a ferocious triumph which again is unafraid to catch the listener by surprise and shuffle its ingenuity into exhaustingly pleasing ways. It leaves a tall order for its successor to contend with but Start It Finish It does so with ease and aggressive excellence, the more rock toned riot a vehicle of unbridled galvanic energy and passion brewed into a brawling treat. If there is any niggle about the EP it is that it ends here once the song has finished ravaging and accelerated the now raging lustful hunger inside for much more.

    All Seeing Lie EP is outstanding and vigorously thrusts Age Of Menace into the major leagues of metal/rock crafting bands. They will be making impacting noises around the world from this point on one suspects and hopes; whether the world is ready for their fury time will tell.

The album is released June 14th find out more at www.ageofmenace.com

www.facebook.com/ageofmenace

9/10

RingMaster 13/06/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Grenouer – Blood On The Face

251139 - Grenouer - Photo 1

Russian metallers Grenouer have been regularly featured and devoured on our podcast The Bone Orchard at www.audioburger.com over the past couple of years so the news and chance to review their new album offered a rapacious hunger to the excitement. The band has left a striking presence with their evolving sound across the years and Blood On The Face continues that accomplished course with ease whilst opening up further suggestions of distinct explorations ahead. The sound is familiar to their fans, their melodic potency and sonic sculpting at its pinnacle, but equally it is a continuation of their now established intent and tempting with an invention and imagination which blends varied flavours and adventure for a deeply impressive encounter.

Released through Mausoleum Records, Blood On The Face combines the five tracks which made up previous acclaimed EP 251139 - Grenouer - CoverComputer Crimes with six new songs and a cover. Initial thoughts were that filling almost half the release with a previous one will disappoint fans but such the strength of those tracks with their new ‘revisited’ arrangements and more so the new compositions, it will be surely merely a passing niggle for most and for newcomers makes the perfect introduction. Produced by the team of Dualized & Eddy Cavazza (Mnemic), Anssi Kippo (Children Of Bodom), and Joonas Koto, the album is an absorbing and enthralling landscape of distinctive melodic metal. At times thoughts of other bands as inspirations make suggestions but Grenouer have a sound which is theirs alone and Blood On The Face a thrilling vehicle to share it through. Formed in 1992 by vocalist Andrey Ind and guitarist Alexander Motor, the Saint Petersburg based quintet have moved far on from their extreme metal origins, the years and releases since then drawing in and embracing a rich and passionate melodic heart to the precisely and inventively crafted songs. This their seventh album, has the opportunity to make a full declaration to the world of their might thanks to the new link up with Mausoleum, and one suspects their rewards will be just as plentiful.

A brooding intro opens up the release, Thunder Phase a dawning of a warm and provocative ambience filled with drifting vocal calls, before merging into the waiting title track. Thick riffs and sonic flames immediately erupt around the ear whilst the rhythms of drummer Michael Coroner cage it all with punch and strength. The ever impressive vocals of Ind unveil their distinct and impressive flames, his unique melodic and at times soaring range just as pleasingly supported by the backing tones of Motor and fellow guitarist Igor Buzzy. It is an intriguing and riveting blend which envelopes senses and thoughts whilst the throaty bass of Dmitry Daemon persistently adds the shadows and menacing depths which lurk and prowl the hot climate crafted elsewhere. The track is a restrained yet imposing start which opens up the album perfectly if without, in hindsight, reaching the subsequent plateaus breached later.

Both Sands of Silence and Midday Show induce greater involvement from the passions, the first with its plaintive yet seductive breath and vocals wrapped in fiery arms of melodic adventure and atmospheric emotion and the second of the two through vigorous and snarling riffs from bass and guitar which stalk and incite the ear around the again intense and emotive call of the song. It is like its predecessor a masterful expanse of imagination and enterprise with only the rapping insert later on into its persuasion taking a while to convince, the excellent song emerging as a mix of Absolace and Clawfinger.

The impressive quality and enjoyment continues and grows with each temptation masked as songs, the compelling Golden Years and the explosive Rejected igniting further lustful obedience before their creative and adventurous lures, whilst Fix Your Life/A Few Miles from Paradise finds a mix of the familiar and new which is honed into a fascination that is lingering and provocative, the keys exploring deeper invention and textured ambiences.

The most thrilling highlights in nothing but, come with firstly the predatory Brain Fever, one of those truly dangerous hunters which deceitfully lay out a welcome of melodic beauty and seduction before gnawing on senses and thoughts with corrosive riffs and crisp splintering rhythms. It is an outstanding song instantly matched by See No Sun and Last Stop. The first of the pair is a smouldering caress of a song, hazy atmospheres veined by a melodic beauty and sculpting which sways and kisses with every second of its sirenesque grandeur though it holds a carnivorous surprise too whilst the second is a reserved but forceful riot of rippling sinews and ferocious enterprise, simply an irresistible contagion.

Completed by a cover of the Stone Temple Pilots song All in the Suit That You Wear, this should be the album to bring Grenouer the recognition long deserved. Blood On The Face is an outstanding album full of refreshing invention, time for the world to wake up to the band.

http://www.grenouer.com/

9/10

RingMaster 28/05/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Drop Down Smiling – Sign Here EP

dds

In recent months one band especially has stepped into its own light within the UK indie rock scene and that is Drop Down Smiling, a quartet from Coventry which has shown an ability to create irresistible infections through intelligently crafted and passionate songs. Their new EP Sign Here is a four song declaration of that fact and confirmation of the growing acclaim and expectations being placed on the horizon of the band.

The members of the band met whilst in school and performed together under different guises whilst earning a stature and sculpting a presence which led the band to being recognised as one of the UK’s finest live unsigned acts by Kerrang radio and receiving a nomination for a Kerrang award, as well as signing to an independent label and seeing themselves supporting some major artists onstage.  This was followed by a three year hiatus as life took its part in the course of things before the band returned in 2011 as Drop Down Smiling and with a new sound, soon reigniting their creativity to again firmly grab attention, the band since finding themselves played and enthused heavily about on the radio shows at www.audioburger.com  as well as numerous other eager sites.

Sign Here follows the two track Jason Wilcock produced release Down From Your Skies which was well-received upon release CD front largish for webin 2011, its songs now making up half of the new EP which leaves no one in any doubt as to the craft and impressive invention of the band. Put On A Show opens up the record and passions, its initial engagement a tender caress of guitar within a hazy atmosphere which drifts down upon the ear and thoughts. Picking up its feet the song entertains crisp beckoning rhythms from drummer James Porter whilst the guitars of Mike Brown and Chris West drizzles some sonic enticement into the air, before expelling a big breath of vocal harmonies and the instantly compelling bass lures of Martin Dale. Once into its stride the outstanding vocals of West narrate an emotively textured embrace within the song with those harmonies again expanding moments with all wrapped in the fizzing electro sounds and accompanied by the excellent roaming presence of the bass. Across its length the track moves through gentle reflective persuasions and contagious energetic recruitment of the senses with a seamless formidable ease to leave a feeling of joy and breathlessness.

The impressive start is then surpassed by the outstanding Down From Your Skies, a song which primes the ear with again an ambient electronic wash before allowing its rhythmic sinews from drums and bass to sculpt an instantaneously caging ardour before the once more strikingly impressive vocals of West and group harmonies enflame the song and emotions fully. The track lures participation within its first chorus tease ensuring in no time there is a full involvement between listener and band which is never relinquished even when the track is exploring its borders with imaginative guitar enterprise and note bending invention. As with its predecessor, the song is the perfect alignment of snarling energy and almost raptorial riffs with pure melodic grace and unquenchable four part seductive harmonies, the combination a sound and encounter which is impossibly fresh and contagious whilst sounding like no other.

Time Slow Down reflects its title, its emotive breath a gentle weave with vocals bringing their own tender embrace to bear within the initially guitar carved restrained grandeur. Within a moment of its warm mesmeric opening the song shows another side to the band, one of many they are capable of conjuring within their magnetic songwriting and sound you would suspect, and leaves a potent fascination and invitation to fester keenly within thoughts and emotions. As it releases more of its heart the electronic dazzle of the song spreads its melancholic charms before the guitars expel an abrasive sign and get to work with an incendiary persistence side by side with the shadow offering impact of again the bass and drums. Without the virulence of the previous songs it instead attaches its hooks though emotional beauty and honed descriptive sonic imagination to breed just as potent a reaction.

Closing track Why Should We Change also opens with an electro brewed ambience and if there is any niggle about the release it is only that all the songs begin in relatively the same manner, not that they hold any real similarity from then on. The final song stands face to face with the listener, its sounds tall and boisterous whilst the vocals range from snapping at the ear with a nu-metal like attack to a smouldering melodic enticement. The song shifts and twists with unpredictability yet is a fluid and assessable treat, another sign of the band creating what is essentially pop rock far beyond the majority of other bands. Occasionally as here the tracks with their catchy insatiable temptation belie the creativity breeding their lure but only a few returning ventures are needed to unveil all the quality and depths of the band and sound.

Drop Down Smiling will be on the lips of the masses one can only surmise on the evidence of their Sign Here EP but why wait when that excellent feast is waiting to be devoured.

http://www.dropdownsmiling.co.uk/

http://dropdownsmiling.bandcamp.com/

9/10

RingMaster 08/05/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com