Duckeye – PUCE

Three years after uncaging their most roguish, fiendishly dishonourable album yet, and their most irresistible in Songs From The Gunt, Australian reprobates I Am Duckeye have just unleashed an equally diabolical successor in Puce. Looking back across their previous three albums, EPs and singles, it is no secret that the band’s unpredictable fusion of punk, virulent metal, voracious rock, and unapologetically questionable humour has grown thicker and heavier in enterprise and weight. Now though the Melbourne outfit has dived headlong into the charnel house of noise and sludge flooded animosity whilst still embracing that initial breeding of sound and emerged with one challenging, raveningly feral, and compelling beast of a release.

Whether to mark this twist of direction in sound, though it is still very recognisable I Am Duckeye, the band has slimmed the band name down to simply Duckeye though they still use their full name everywhere else it seems. Being lazy we will use the shortened version as on Puce, a release also seeing another reduction, in the bands line-up. Duckeye has slimmed to the irrepressible trio of vocalist/guitarist Sam Haycroft, bassist Jules Medor, and drummer/producer Sean Bailey, a threesome unplugging the floodgates of sonic voracity whilst humour wise too, they have bred a fresh trespass. Certainly Puce does not hold back with a tongue hungrily pushing the cheek but it aligns to a deliberately caustic and social scowl on the world and people fuelling the chaos today; maybe some will say it is mischief which has grown up a tad but yes it still brings a ready childish grin to the face with regularity.

It is probably fair to say that Puce does not have songs which virally leapt from the speakers into our particular devilment as many of the band’s previous infestations yet all make for a fiercely memorable moment and all have attributes which just got under the skin and into our lustful appetites. Across the album riffs mercilessly trespass, grooves wickedly entangle, and hooks ensnare with nefarious ease and throughout the band’s punk metal instincts erupted to inflame ours.

Puce first erupts with Docks, Haycroft’s lone guitar casting steely strokes at ears with his just as untamed tones quickly stepping forward to its side. Then as swiftly the track stretches its muscles and strides forth, rhythms almost gleefully and definitely venomously dancing on the senses that grooves keenly infest. As suggested earlier, the contagious sound is as individual Duckeye as fans would hope but it is a new monster with no qualms about parading seductive enterprise within its voracious incitement.

In contrast to the excited gait of its predecessor, the following Stab Flats crawls over the listener; doom and gloom soaking its prowl as noise and sludge coated aspects collect in its magnetic bowels. Eventually it escapes its chains to angrily cavort through ears, with it a new wave of ravenous flavours and styles carnivorously clawing at the listener. Reverting back to its predacious drag of its irresistible Birthday Party hued sonic body it makes way for the equally examining exploits of Headlights, the senses caught on its sonic glare whilst the body is bouncing to its barbarous manipulation. Again at times there is an echo of eighties post punk to its corrosive toxicity but once more it just spices up that Duckeye uniqueness channelling through song to the pleasure it sparked.

It is often enjoyment loaded with punishment as witnessed in Dead End, the track just short of two and a half minutes of bestial incitement churning up the senses and every esurient lust you have inside through punk and dense extreme metal fired savagery. Addiction to it was inevitable with our appetites here, the song bordering cannibalistic as it devours its own virulence with just as captivating barbarity.

The lengthy trespass of the following Tree Puncher is more familiar Duckeye, initially luring attention with their established creative mischief but it too its soon flexing its grievous dexterity, the song a kind of bridge between Puce and the band’s last outstanding full-length. By its departure though, the track is all predator and simply corroding the senses, indeed disintegrating them with sonic scorching though they are soon brought back to life by the animated dissonance of Defeated. It is a song with post metal winds which absorbed if not aroused initially but then it goes and throws wicked grooved interruptions of lusty ire to raise the temptation and pleasure by multiple degrees

Both Sense and Finger deviously got under the skin, the first with its delicious initial gothic Bauhaus-esque hues and more so with its metal forged punk ‘n’ roll carousing and the second through its classic metal wired, stoner sludge stroll; again virulence flowing through netting of infectious veins.

The final pair of tracks on the album proves themselves just as unscrupulously tempting; Dead Eyes with its cold stare and predacious prowl masterfully wily and persuasive, villainous rock ‘n’ roll at its notorious best, while Blue Hand leaps on another wealth of fresh flavours to ignite its enterprise woven web.

Together they provide a richly gripping conclusion to an album which assaults and invigorates second by second, thrilling with every passing trespass. Puce only gets better and more addictive by the listen too so maybe this is the moment the world catches a dose of the I Am Duckeye virus; it would be a better place for doing so.

Puce is available now @ https://iamduckeye.bandcamp.com/album/puce

https://iamduckeye.com/home   https://www.facebook.com/iamduckeyeofficial/   https://twitter.com/home

 Pete RingMaster 09/05/2019

Copyright RingMaster: MyFreeCopyright

All the means TO AN END

With a persistent taste for Australian metal in any guise we recently had the pleasure to check out Melbourne outfit To An End, talking with guitarist Matt Turner and vocalist Al Gammie about the band’s origins, their current album, opportunities and much more…

Hello and thanks for taking time out to talk with us.

Can you first introduce the band and give us some background to the beginnings of the band?

(Matt)To An End comprises Al on vocals, myself on guitar, Yiorgs on bass and Shane on drums. The band initially began as a project where myself (Matt) and Al wrote all of the songs and completed a full album studio recording. Then, it was easier to find band members once the album was completed and we could show people exactly what we were all about.

Were you involved in other bands before? If so has that had any impact on what you are doing now?

Each member has been in various bands over the years but we really feel like this is the band we have been waiting for. We can’t wait to get our songs out as far and wide as possible! This band has elements familiar to each member, but is quite different if compared to our previous bands side by side.

What inspired the band name?

The name was one of many for consideration at the time. It was quite difficult to find something that firstly, wasn’t already taken and secondly, sounded good and was decent as a logo. We think ‘To An End’ ticks the boxes!

Was there any specific idea behind the forming of the band in regard to what you wanted it and your sound to offer?

As the band started out as a project it was really a matter of just starting the recording process and seeing where it would all end up. There was room for genre jumping and just having fun with it. Once the album was done, we were absolutely certain we needed to be an active band playing frequently…and here we are!

Do the same things still drive the band from when it was fresh-faced or have they evolved over time?

Given we all have a history of playing in other bands and we aren’t too ‘fresh-faced’ anymore ha-ha, the band is definitely serving our passions and we are driven to make sure it’s fun for us and our fans. Anyone who comes to see us live will see all of that translate on stage!

Since those first days, how would you say your sound has evolved?

We just released our debut album in November 2018 so we are still promoting that. In the background we are writing and doing demos for another album which we are excited about. There will be evolution and only time will tell to see where it all ends up.

It is an organic exploration within the band sound wise or you setting out to try new ideas etc.?

We are flexible musicians, so I think we’ll always have a mix of melody/heavy and soft/loud over the course of an album. There will definitely be some more evolution and experimentation for the next album.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

Our individual music tastes range from Journey, Pantera, Glassjaw, Faith No More, Tool, Slayer, Meshuggah to 80’s rock to death/black metal. As a band, we feel we’ve been influenced by heavy music with melody so there are elements of Metallica, Killswitch Engage, Stone Sour, Sevendust and Disturbed. Personally, I’ve always gravitated towards song writers and great riffs so my heroes are Metallica, Pantera, Lamb of God, Alice In Chains, Tool. Way too many to mention though!

Do you have a particular process to your songwriting?

The songs will usually start as a completed demo and then we let the song evolve naturally in the rehearsal room with all of the individual personalities and play styles shining through.

Please give us some background to your first album?

We think we have a great collection of songs on the debut album Redefine and there is certainly something there for everyone whether you are into rock and/or metal. We have some heavy songs like our single Wasteland, plus Hear No Evil which features a killer guitar solo from Christopher Amott (formerly of Arch Enemy) to more rocking songs like Fracture and Left Untold. There is also a piano/acoustic song as well that closes out the album.

…And an insight to its themes?

(Al) The instrumentation and feel of the song really dictates to me where I need to go lyrically and I feel we covered a lot of different ground on the album. There are songs like Fracture and Wasteland – the world is becoming more and more confusing, turbulent and extreme – I wanted to remind people that they have a voice and need not conform. There’s the horror film-inspired Out Of My Hands which touches on violent imagery, although is tongue-in-cheek also. Of course there’s plenty of pent up aggression to express throughout, and the personal moments like From Grace Until Demise and Collide are where I can get deeper and more sombre rather than just yelling in key!

You talked about demos in the songwriting process, so you a band which goes into the studio with songs pretty with their character set or prefer to let it develop as you record?

(Matt) We’ll go into the studio fully prepared and ready to go. I think being well rehearsed is key, given studio time is costly. Plus the more efficient you are in the studio, the more chance you have trying a few ideas on the fly.

Tell us about the live side to the band, presumably a favourite aspect of the band?

With our live show, we aim to be tight and on point musically but not at the expense being too clinical in our playing and not enjoying ourselves. We hope that the crowd enjoys our music as much as we love playing it. That back and forth energy is contagious.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands?

Whilst the heavy music scene in Australia would be considered to be small in relation to the US and Europe, there are super dedicated fans who are enthusiastic about the scene and music in general. I think it is hard for a new band to make a mark no matter what, but we are fortunate to be located in Melbourne where there is a thriving live music scene and plenty of opportunities to play in front of new people. We also love playing regionally and interstate where there are always people willing to come out and support local music. Every band was local at one point, so we are more than happy to get out as much as possible and we are fortunate to team up with other amazing bands to put on local shows.

How has the internet and social media impacted on the band to date also? Do you see it as something negative or positive overall?

The internet and social media has allowed a low barrier to entry to get music out to people however, the challenge is navigating through such a crowded space. It is difficult to break through it all however I think the positives outweigh the negatives. As a new band we are able to share our videos, live clips, our album, photos, interviews, reviews etc. at the click of a button which allows us to connect with fans really easily. I would say determining a bands worth through how many Likes they have and dismissing a band just based on a particular number next to a thumbs up icon is unfair….but it is a reality. We think that the connection to the fans is the most important thing and we’ll just concentrate on being the best band we can be within our control. Hopefully when people hear our music we’ll get inundated with all those Likes ha-ha!

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

We just want to say thanks for the support and opportunity for chatting with us and hope your readers will check us out on all digital platforms (Spotify, iTunes, Google etc.) just search To An End Redefine. Also, you can check out the video to our debut single here: https://youtu.be/KodUFu2shKw

More details available at our Facebook page and https://toanend.com/

Questions Pete RingMaster 04/05/2019

Copyright RingMaster: MyFreeCopyright

Roaring from the heart: talking with Wildheart

Uncaging melodic hardcore which commands attention, Wildheart is a band from Brisbane, Australia that is beginning to make a potent stir. The recent release of their new EP offers all the reasons why. With big thanks to the band we looked to discover more; talking beginnings, evolution, that latest encounter and more….

Can you first introduce the band and give us some background to how it all started?

We basically all came from other bands that had broken up or fizzled out, so us being the members who were still keen to create music came together and started writing music. We didn’t really have any particular genre in mind, we just wanting to create music that was heavy, melodic and powerful so we started writing and recording our first EP, A Thousand Days.

How has being involved in those other bands before had any impact on what you are doing now?

As mentioned before the band came together from other bands breaking up. The only thing we all wanted to begin with was the have more diversity in our music. So bigger choruses, more clean sections and really work on our songwriting and structuring.

What inspired the band name?

It was the first name we didn’t all hate ha-ha. The name was the last thing we did before releasing music and playing shows. There were plenty of words getting thrown around and ‘heart’ got said a lot and then someone came out with ‘Wildheart’ and kinda all agreed on it. It didn’t connote any particular genre which we liked; all our friends dug it so we just ran with it.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

Not so much when we started. But I think now that we’ve been around awhile now we really focus on things that matter to us, so a lot of songs deal with personal issues such as anxiety and depression, issues of abuse or

So how has the driving intent of Wildheart evolved over time?

When we first started we were just super focused on playing as many shows as possible and just enjoying being in a band and playing live. I think now we are definitely doing everything with intent and looking at the pro’s and con’s and making sure we’re making the right decisions to keep us moving forward.

Since your early days, how would you say your sound has similarly evolved?

We’ve definitely gotten heavier and I guess…darker. But I’ve always strived to keep that core sound in there…Big choruses and lush clean parts.

Has it been more of an organic movement of sound or more the band deliberately wanting to try new things?

I’d say it’s more organic. Line-up changes have played a part and I’ve taken on the majority of writing duties so I definitely have a particular style but one thing I’ve been very focused on working on my songwriting and giving each song a distinctive flare and something that people will remember, not simply just throwing as much ‘cool sounding’ riffs into the mix.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

I don’t think I can pin point anything in particular. Sometimes I think of a riff at work, sometimes watching another band live can inspire me, not so much musically but it can push me to work harder and push myself harder. Sometimes I’ve even walked out of a movie with creative ideas.

You mentioned the songwriting earlier; do you have a particular way or process to your writing?

Usually it just starts with me hashing out ideas then I’ll move onto demoing the songs and sending them to the rest of the dudes to get their take on it and we just go back and forth then eventually we’ll start jamming them in the rehearsal space until we’re happy with how everything is coming together.

How about the lyrical side; where do you predominantly draw the inspirations?

I think just personal experiences. Real thoughts that have come from whatever the lyric writing is dealing with at the time, or if there has been a particular topic weighing on someone’s mind. Occasionally we have come up with a concept before any music or lyrics came together. Above/Below being a good example. We wanted to write two different songs one being more upbeat and melodic and one just being super dark and heavy and then we though to tie that into the experiences of someone dealing with bipolar disorder.

Give us some background to your latest release.

We Are is the best music we’ve created and released as a band. We knew we wanted to write darker and heavier songs whilst staying true to our original intentions of simple writing powerful melodic music and just building on top of that.

Could you give us some insight to the themes and premise behind it and its songs?

We knew we wanted to delve a little bit deeper, obviously the music itself is darker so the lyrics in turn go that way as well. Everything we wrote about all comes from personal experience or events that we’ve thought about or been subjected too. Songs such as Solitude are very much about dealing with anxiety and a lack of self-worth and uncertainty, Void is about substance abuse, Calloused is about trying to move on from heartbreak. Then as a comparison Grief is basically a f*!k you to anyone who has taken advantage of their position and made unwelcome advances or gone as far as to assault someone, be it in a band or within the workplace. Essentially Then you have the title track We Are which takes a more worldly and more exploitative approach looking at things happening around us such as the general sense of oppression that is occurring in modern society, be it because of one’s race, gender or gender identity or more closely aligned with the lyrics “the top one percent” seeking to suck away any financial stability we might have, especially the younger generations.

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

Final state for sure, I’m generally a pretty relaxed dude but that’s one area I’m super OCD about. I like to leave room for some experimentation in the studio and sometimes something you thought worked doesn’t so you change it up, but the core song structures are always down pat before we go in.

Tell us about the live side to the band, presumably the favourite aspect of the band?

We’ve always been proud of the fact that we always give it our all live and don’t hold back, and blown a lot of money on gear. Good guitar tone is everything.

It is not easy for any new artist to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands?

100% you just have to work hard for it, and don’t expect everything to just fall into your lap. One thing that is super important is to “own our local” Play as much in your home town as you can as people will remember your name and people in the industry will take notice and actively look to seek your band out.

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success if in a climate where people are not buying music or is it more that bands struggling with it are lacking the desire to keep it working to their advantage?

Social media marketing is a hard one, it’s always changing and evolving but it’s become an integral part of how we reach people these days. But at the end of the day I believe if you write good music, play tight live and put your self-out there you’ll see some headway eventually, it’s very easy to compare yourself to others within the realms of social media so always take a breather and remember to focus on your own journey.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the reader

If you haven’t already checked us out please do and if you have thank you so very much! Hit us up on Facebook and Instagram to stay up to date as we have plenty of rad stuff lined up for the next few months!

Check out Cinders further @ https://www.facebook.com/pg/wearewildheart/   https://wildheart.bandcamp.com/

Pete RingMaster 07/11/2018

Copyright RingMaster: MyFreeCopyright

Matty T Wall – Sidewinder

It is easy to get the feeling that Matty T Wall is a well-respected and keenly supported artist in his Australian homeland, his new album carrying all the intimation and just as simple to expect its fine body of songs to push the man towards far broader international attention. Sidewinder is an imaginative and inventively accomplished proposition bred in the blues and its roots but Wall is an artist also unafraid to embrace an array of other flavours modern and past. This makes for a release which captivates and surprises with regularity; a record which is a real pleasure to join.

With bassist Stephen Walker and drummer Ric Whittle alongside, Wall creates a tapestry of genres and styles with his openly creative and individual playing. His guitar spins tales as potent as his voice, evidence immediate in album opener Slideride. The instrumental in seconds had ears gripped, the fuzz of guitar and tease of keys provided by Gordon Cant instant devilry inciting body and imagination as the track’s devilish stroll erupted into life. Flames of horns from Steve Searle just added to the manipulation, the song a swinging rousing slice of enterprise kicking the album off in magnificent style.

It is a start kept lively and potent by the album’s following title track. Blues and hard rock unite in a song which swiftly has the body bouncing, Wall’s vocals a rich ingredient in its growing engagement with ears. It has a traditional air to its flavouring but united with bold enterprise from modern imagination providing something unashamedly familiar but keenly fresh.

As suggested earlier, there is an eclectic character to the album no better epitomised than by the following Something Beautiful. A cover of the Troy “Trombone Shorty” Andrews track it is a glorious slice of pop shaped rock which just radiates temptation from the magnetic vocals to the uncomplicated but flirtatious tease of guitar and the understated but potent moody hues of the bass. It is a superb rival to its predecessors for best album song and in turn matched by another cover in Wall’s version of Sam Cooke’s Change Is Gonna Come; itself a firmly captivating take on a great song with the strings of Jonas Petersen an added pleasure.

Can’t Stop Thinking shares its seductive prowess next, the fiery vines of Wall’s guitar compelling heat to the darker stroll of the bass and the crisp raps of Whittle’s beats. Cant’s organ is a link between the shades, a suggestive glaze and temper to the song’s electric jazz fire. From its relative calm, the rock ‘n’ roll of the excellent Shake It had the body bouncing with ease straight after, its blues intoxication a boozy but defined incitement firmly rivalled by Going Down. The latter is a version of the Don Nix classic originally recorded by Moloch in the late sixties. It is a song given numerous outings by an array of acclaimed artists over the years and Wall’s ballsy rendition ranks high among them.

The jazzy flirtation of Aint That The Truth is a mellower but no less enticing turn in the album’s adventure; a song which lured participation in voice and hips as easily as it had ears hungry for more. Its summery swing was unadulterated temptation setting up the appetite perfectly for the rawer antics of Sophia’s Strut. Whether it was or not, the instrumental feels like an improv slice of fun taking the listener into the charged surroundings of an old school blues club, the track rocking out with Wall’s open craft and its inherent devilment.

The groove woven Walk Out The Door is an even more compelling moment in the release with its fusion of funk, jazz, and blues rock a spark to losing inhibitions as another pinnacle within Sidewinder emerged with style and relish. Bred from essences drawn from across the decades, the track swiftly proved addictive on its first listen before compliant ears were just as drawn by the intimate balladry of Leave It All Behind and its delicate melodies, evocative vocals, and the melancholy draped magnetism of strings.

The album concludes with a cover of the Chris Thomas King song Mississippi Kkkrossroads, Wall adding to its hip hop/electric blues credentials with his own rock ‘n’ roll instincts. It is a great end to an album which has increasingly impressed and aroused. Matty T Wall might be a new name to a great many outside of the Australian rock scene but not for much longer if Sidewinder gets the attention it undoubtedly warrants.

Sidewinder is out now via Hipsterdumpster Records across most online stores.

https://www.mattytwall.com/   https://www.facebook.com/mattytwall/   https://twitter.com/mattytwall/

Pete RingMaster 13/08/2018

Copyright RingMaster: MyFreeCopyright

Naberus – Hollow

Around seven years after emerging upon the Australian Metal scene, Naberus released their debut album, The Lost Reveries. It was a well-received offering earning critical praise and confirming the Melbourne outfit’s potent presence within their national metal landscape. Now the quintet has unleashed its successor in the shape of the ravenously resourceful and compelling Hollow and it is fair to say the band has hit a whole new level.

The Lost Reveries was the band’s sound at the time at a pinnacle, one which was heavily influenced by melodic death and thrash metal, a mix honed over previous tracks and EPs since day one. Whilst Hollow also revels in those hues it reveals an embracing of a far broader template including essences of groove, nu, and technical metal. Everything about the new album is a growth from its predecessor, one which maybe will be a step too far for some original fans but will surely recruit a whole new tide of fresh appetites. At fourteen tracks it is a bulky proposal for sure which flirts with overstaying its time but one which pretty much constantly holds its strength and lure throughout before leaving with a bang.

Mixed by Henrik Udd (Bring Me the Horizon, Architects, A Breach of Silence) and mastered by Ermin Hamidovic (Architects, Periphery, Devin Townsend), Hollow launches at the listener with the outstanding Slaves. Immediately the guitars of Dan Ralph and Dante Thompson entangle ears with their sonic wires as the vocal snarl of James Ash harries ears. Djent spices infest the intensive blaze as other flavours collude in its rapacious web around the scything beats of Chris Sheppard and the predatory growl of Jordan Mitchell’s bass. Familiarity and individuality merge in its intensive roar, they all going to make a savagely raucous yet skilfully woven captivation.

The following Space To Breathe is just as swiftly imposing but inviting, taking a less invasive stance initially as its elements settle before uniting in its own ferocious trespass. Ash’s vocals again impress with their not vast but strong diversity within the emerging rich tapestry of sound. There are essences of bands like Spineshank and Static X to the track at times but equally it lusts after death and extreme metal textures with the same fervour and invention before the superb Split In Two uncages its own similarly but individually woven tempest. Harsh and melodic strains in both vocals and music make an easy union as the imagination in songwriting incites their drama, the track continuing the explosive success of the first pair ensuring that Hollow is already a riveting proposal.

Both Shadows and Webs nag the senses whilst seducing attention; the first a sonic harassment as adventurous as it is predatory with its successor, deceitfully calm at its start, a subsequent cauldron of fiercely simmering intensity with scalding eruptions and a persistently bubbling enterprise. True uniqueness could be said to be less potent within the two yet everything about them and all songs is as fresh and inventive as you could wish, the album’s title track further evidence. Its enmity is a harsh fury from the start, searing trespass and rhythmic lashing entangled in the sonic imagination of the guitars and the collage of vocal incitement. It makes for a dramatic and dynamic assault which just hits the spot like a sledge hammer.

Through the likes of the belligerently tenacious I Disappear, the corrosive reflection of The End and Seas Of Red with its almost feral tides and melodic fire, the album continues to delve into malice, aggression, and different degrees of variety in their individual characters. It is fair to say that the latter two of the three did not ignite the same energy of passion and acclaim as those previously within Hollow yet all easily enticed and pleasured before The Maze had ears lost to its creative course. Living up to its name, the thrilling song is a tangle of grooves and melodic vines within a formidable confrontation, each tunnelling through song and psyche alike.

My Favorite Memory similarly springs a spiralling union of endeavour within its dark catacomb but its mercurial exploration of emotion and sound quickly develops its own individual presence while Fading with far more savage jaws challenges and erupts upon the senses with enterprise and inventive dexterity, every member of the band creating a simultaneous threat and temptation within the track.

The album is closed up by firstly The Burrow and finally The Depths, both tracks leaving thick enticements in their wake for a swift return with the closing incitement within Hollow a labyrinth of irrepressible grooves and sonic wires through a lusty trespass of vocal and rhythmic animation. The track is another major moment within the release possibly its greatest following so many lofty peaks.

As a whole Hollow is a refreshing and rousing offering from a band deserving thick attention hereon in. Yes with so many tracks it might be a stretch in one go; a couple of times songs almost merging into each other in certain ways but each is an imagination and pleasure sparking assault in their own right and proving Naberus one exciting proposition.

Hollow is out now through Eclipse Records.

https://www.facebook.com/naberusband   https://twitter.com/NaberusOfficial

Pete RingMaster 10/07/2018

Copyright RingMaster: MyFreeCopyright

The Ugly Kings – Promised Land

With their debut album slated for release early next year, Australian rockers The Ugly Kings recently provided a rather flavoursome teaser for it with Promised Land. Offering two tracks cast in the band’s “power blues” sound, the EP weaves a temptation as atmospheric and haunting as it is bold and fiery, both songs rich in a potential suggesting that forthcoming full length just has to be checked out.

Formed in Melbourne in 2011, The Ugly Kings draw on the inspirations of bands such as Led Zeppelin, The Doors, The Black Keys, Muddy Waters, BB King, Black Sabbath, Dead Weather, and Royal Blood for their sound. It is a mix which brought the band’s mini-album, Of Sons, praise carrying attention in 2015 and now makes a striking invitation within Promised Land.

Though you can quibble whether a two track release is an EP or single, there is no denying Promised Land inescapably grabs ears and appetite with its title track. An opening sultry stroke of guitar courts the imagination though it is the instantly striking tones of vocalist Rusty which really hook attention; his potent presence backed by the imposing drama brooding beats of Andy. As further elements unite, the song raises to yet another level, hitting a majestic stroll which initially is almost predatory before becoming a celebratory fire of energy and suggestion.  Its masterful cycle repeats, increasing its hold on body and imagination second by second; the guitar of Christos creating a web of fiery temptation as the bass of Nick makes a grumbling, almost irritable trespass easy to greedily devour. Imposingly infectious and skilfully manipulative, the track is glorious and reason alone to explore that future album.

Even so, personal tastes just took to companion song, Wash Me Of My Sins, with instinctive lust. Like an aural equivalent of a flickering sepia hued film, the song shimmers with the twang of guitar and those ever compelling vocals. Its slow crawl is a shadow wrapped enticement more rejoice than funereal leading to an energy fuelled, spirit arousing canter which still embraces a reserved intensity in its dark country/psych rock canter. With a harmonic tapestry of voices around the ever compelling presence of Rusty, the song seduces listener involvement and imagination with sublime ease; just stealing best song honours and uniting in suggesting that the next encounter with The Ugly Kings is not to be missed.

Promised Land is out now and available @ https://theuglykings.bandcamp.com/album/promised-land

https://www.facebook.com/TheUglyKings/    https://twitter.com/theuglykings

Pete RingMaster 31/10/2017

Copyright RingMaster: MyFreeCopyright

Voyager – Ghost Mile

There is no denying the eager grin which broke upon faces here when the new Voyager album was sent through, having been seriously tempted by the band since their second album uniVers in 2007 and lustfully hooked through their fourth and fifth in the acclaimed shapes of The Meaning of I and V. The later in 2014 set a plateau it was easy to wonder if the Australian band could eclipse thereon in. Hopes and a quiet confidence have just been realised with the release of Ghost Mile, an album which brings a truly fresh breath to progressive metal as instinctively catchy and virulent as it is technically and inventively imaginative.

The success of the Perth quintet’s last album saw the band invited to perform at major festivals such as ProgPower USA, Euroblast Festival in Germany, and the ProgPower Europe Festival in The Netherlands as well as sharing stages with the likes of Deftones, Opeth, Leprous, Protest The Hero, Nightwish, Epica, Oceans of Slumber, and Coheed and Cambria. Voyager ended last year touring Australia with Deftones and Karnivool and being further invitations to play Euroblast and Progpower EU this year, the latter as headliners. Now with Ghost Mile driving things, it is hard to imagine 2017 being anything other than a really busy adventure, one no doubt littered with praise lured by their stunning new album alone.

Mixed by Matthew Templeman and mastered by Simon Strutters, Ghost Mile opens up with Ascension. A golden melody kisses ears first with the warmth and intrigue of a dawn sun, its suggestive air tempting the imagination before bolder rhythms add their bait. Djent teased enterprise is soon joining the blossoming affair, their steely tenacity paving the way for another caress of elegance around the radiant tones of Danny Estrin. As magnetic as ever, his presence is swiftly joined by sturdier textures whilst being the ringleader to an irresistible infectiousness soon fuelling the chorus and body of the evolving encounter. With the suggestive heat of his keytar matched in craft and magnetism by the guitars of Scott Kay and Simone Dow, the song is pure captivation, only increasing its potency as breaks of predacious intent and aggression escape.

The quite stunning start is quickly continued by the equally outstanding Misery Is Only Company. From the off, it has a harder core to its presence, a latent but open intensity which lines jagged riffs and the brooding air of Alex Canion’s bass. There is no containing the instinctive catchiness within songwriting and imagination though, the swinging beats of Ashley Doodkorte inciting similar boisterousness in the resourceful and technical enterprise across the band. Deftones’ Chino Moreno recently likened Estrin’s voice to Duran Duran’s Simon LeBon, something at times easy to agree with and indeed at times the song has something of the British outfit to its pop sensibilities, infectiousness aligning with more predatory essences to masterful effect.

Next up Lifeline initially lays another sunny shimmer on the senses, its progressive aptitude soon courting metallic rapacity though as melodies radiate and vocals warmly croon. Relaxing into a gentle stroll, there is still a constant snarl to the guitars and bass which breeds alluring unpredictability and waiting volatility, the latter never truly having its moment but keeping the calm honest whilst giving the progressive/ pop rock adventuring a threat. As with its predecessors, physically involving the listener is a quick given and with increasingly lust.

The provocative nature of Fragile Serene seduces next, its climate a mix of melancholy and joy with one addictive hook at the heart of a fusion of rich temptations which almost swarm over the senses into the imagination before To The Riverside carries the same fantasy off in its evocative piano led flight towards the waiting more capricious embrace of the album’s title track. From the first second, Ghost Mile has an agitated eagerness which infects body and spirit, the carnivorously laced bass growling beautifully within the fiery but composed roar of the track. Like sonic and melodic alchemy, the song turns four minutes or so into a cauldron of heavy and light, dark and luminous adventure; contrasts uniting rather than battling for the album’s pinnacle.

What A Wonderful Day pretty much sums up the feeling during its three minutes plus, its pop nurtured rock ‘n’ roll as contagious, additive, and arresting as anything heard this year so far. Its warm dance though does have predacious overtones lurking in its shadows, their semi-vocal presence more realised in the tenebrous texture of the following Disconnected, though it is never devoid of the light and vibrancy instinctive to the Voyager imagination. With industrial breath seeping into the track’s progressively nurtured and invasive metal challenge, there is nothing to deter a quick and full submission to its rousing and often caustic incitement.

The enchanting fascinating of This Gentle Earth simply beguiles next, the union of piano and vocals alone sheer seduction and only escalated as rhythms probe and drama floods every rising texture and tendril of contagion sharing sound; an infectiousness belying the emotional reflection of disconnection.

The album finishes with the fiercely charismatic As The City Takes The Night, a track growing from an absorbing tango into a blaze of heart and intensity which smoulders, simmers, and boils across its eventful reflection without ever seemingly taking the same route twice. As the album, the song is a fascination giving more and more with every listen, rewards including pure pleasure.

Expectations of Voyager are always high because of previous triumphs but again left short by an album which will take some shifting from being one major contender for this year’s greatest moment.

Ghost Mile is out now via Nova Distribution across most stores.

http://voyager-australia.com/   https://www.facebook.com/voyageraustralia   https://twitter.com/voyagerau

Pete RingMaster 17/05/2017

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