Moments – Outlast EP

With potential as vocal and uncompromising as their snarl, Belgian outfit Moments release their new EP this month. Containing five hungry and irritable tracks, Outlast is a ferocious attack of hardcore and metal which manages to be a swiftly striking incitement of impressed pleasure and a slow burning cauldron of even richer promise.

Hailing from Tessenderlo, the quintet emerged in 2011 and has increasingly forged and earned a potent reputation and following at home and more recently across Europe with their live presence. They have shared stages with the likes of Bury Tomorrow, While She Sleeps, Our Last Night, and Stick To Your Guns as well as played numerous festivals such as Groezrock, True Spirit Festival, Summerblast, Cerberbrus and Rock Herk to great success. Now they are ready to poke at bigger attention with Outlast, a release declaring the possibility of a new potent force in hardcore town.

The EP makes an instant impact with its outstanding opener What If. As a busy street scene surrounds ears, the sonic trespass of guitars brews, swiftly taking over the landscape with wiry grooves and rapacious riffs. Dries Monsieurs’ vocals are just as quickly invasive and impressing, his ire coated roar supported by equally caustic tones and sounds from across the band. A raw yet infectious scent reminding of The Ghost of a Thousand carries appetite and imagination off into the irritable heart of the track, the hooks and grooves of guitarists Jeffrey Beutels and Kristof Fransen addictive as the imposing swings of drummer Benjamin Hendrickx simply bite upon the senses. It is a stunning start which is never quite matched again within Outlast but tenaciously and enjoyably supported by the likes of next up All It Takes.

The second song harries ears with an initial scrub of riffs, drums throbbing upon impact to match the resonating tone of Gert-Jan Vandervoort’s bass. If the first song it was a lingering threat, in its successor a predatory declaration is made yet with a catchy grooving as enticing as anything conjured by voice and guitar elsewhere. Harmonic backing to the throat scraping attack of Monsieurs is a great contrast to the antagonistic charge driving the song as too the citric melodic enterprise aligning with the sonic trespass abrasing the senses.

As the EP, the song simply grows in strength and enjoyment with each listen, a quality shared by all and indeed next up Crossroads which maybe did not quite hit the mark as fully the first few times around but blossomed to be another definite pleasure. It does not quite have the individual traits of its companions but employs more recognisable hardcore bred threads in a bold and heated metalcore spiced union of harsh and melodic craft.

Our Faults, Our Failures is a bracing tempest of emotion and sound straight after, it’s scalding sonic web as intensive as the rhythmic harassing and vocal animus of raw emotion and displeasure. It too is a grower reaching loftier heights with time whilst revealing open potential of bigger and bolder things with Moments. The band has been suggested for fans of artists like The Ghost Inside and Hatebreed, this track gives all the reasons why whilst still creating its own highly agreeable character again adding to that promise.

Outlast closes as it began, with a track which commands a quick appetite and hunger for its punk and metal quarrel. Riffs and hooks collide with the senses, sonic tenacity further searing the damage as rhythms create fresh bruises with every attack. It is addictive stuff, vocals almost cursing listener and world in tone alone, the bass showing a mutual discontent in its texture and grumble.

Moments is a band on the rise, Outlast a release which leaves a lingering scar and together a pair creating another reason to anticipate hardcore nurtured noise becoming especially exciting sometime soon.

Outlast is released May 26th.

https://www.facebook.com/momentsbe

Pete RingMaster 26/05/2017

Copyright RingMaster: MyFreeCopyright

Bear – ///

As the list of essential 2017 releases already looks like it has the potential of being a substantial one establishing itself at the head is the third album from Belgian metallers Bear. Primarily tagged as math/technical metal, the Antwerp based quartet swiftly show within their new intrusive roar that their sound is a kaleidoscope of imposing flavours. Within the release hefty strains of everything from progressive and heavy metal to nu-metal , hardcore, and metalcore accost the imagination It is a ravenous web aligned to more voracious grooves than found within most lifetimes of similar genre participants and one hellacious treat of a trespass for ears, senses, and pleasure.

Formed in 2010, Bear awoke attention with their self-released 5 track EP Abstractions; its initial success continued through a digital release with Conspiracy Records and a full re-release via Let It Burn Records who followed that up by uncaging debut album Doradus in 2011. At the same time, the band was invading the UK with their raw sound, touring there with While She Sleeps while headlining their local festivals while the year after the album’s release they went on to support the likes of Periphery and entice major plaudits with appearances at  festivals such as Euroblast and Groezrock. Signing with Basick Records in 2013 brought second album Noumenon into greater acclaim whilst live a trio of UK tours with The Colour Line, Black Dogs and Carcer City and further festival triumphs only helped to firmly establish the outfit within the European metal scene.

The biggest spotlight is now sure to be tempted with the release of ///, from its claw slashed title to its ursine assault of sound, the album is an inescapable beast of character, aggression, and invention mauling the listener from its first breath with opener Blackpool. Its first gasp brings a senses eroding surge of guitar and Maarten Albrechts’ furious vocals, a colossal onslaught weighted further by the lethal swings of drummer Serch Carriere and the grievous tone of Dries Verhaert’s bass. As the corrosive tide continues scything riffs and squalling grooves escape the already impressing exploits of guitarist Leander Tsjakalov, his creative weave in turn sparking greater variety in the vocal roar of Albrechts and band. Like a blend of Meshuggah, Slipknot, and Society 1, the song bullies and seduces, opening up more unpredictable twists and compelling exploits with every passing wave of imagination.

The tremendous start continues with Hounds, its primal and rhythmically dynamic entrance enough alone to grip ears, the subsequent net of grooves and technical espionage as well as continuing vocal variety an ever tightening vice of creative temptation. With lighter but just as dirty heavy rock hues adding to the raw infectiousness, the track snarls and ferociously dances with the senses; bruising and teasing them before the band’s latest single Masks emerges from its own dusty smog with a Rob Zombie-esque stomp soon sharing invasive grooves amidst a dissonant cauldron of technical and off-kilter ingenuity. Whereas its predecessors pretty much tore at the senses, Masks taunts and flirts, if with instinctive rapacity and ruthless persistence. Every second is a tempest of intrigue and adventure, each moment a ravishment of ears leaving sheer greed for more in its wake.

It is a hunger swiftly fed and further provoked by Childbreaker, the song initially a blaze of intensity with waspish grooves buzzing around brawly rhythms but soon exploding into an invasive tempest of attitude and barbarous sound though still a storm bound in a virulent infectiousness as devious as the ferocity around it. Predatory in every aspect, the track devours with every breath, a quality no less forceful within next up Knives Are Easy and its maelstrom of technical and instinctively quarrelsome enterprise. The combined creative voracity of Tsjakalov and Verhaert is seemingly encouraged by the irritable jabs of Carriere and Albrechts’ grizzly tones and just as intrusive when the charge turns into a prowling examination of the listener. It is a stalking which cannot sustain its lust for long, the song ending on the same assertive thrust it began with.

The Oath entangles the senses in its own agitated and kinetic almost gladiatorial frenzy next, harmonies and melodic seduction enticing from within the cyclonic ambush and having their own moment of inescapable persuasion like a warm oasis at the eye of an increasingly psychotic storm. With every element combined, it is a fearsome bewitchment with the animalistic growl of bass irresistible, delicious bait continuing as 7 strolls into view carrying a maze of meandering anxious grooves and sonic psychosis. Becoming more brutal and intense with each passing moment, it equally breeds a captivation of harmonic and melodic seduction, the union of extremes as catchy as it is wanton. The song is a helter-skelter of invention and craft, fiercely glorious leaving exhausted ears in bliss and easy prey for the slow menacing prowl of instrumental Klank before Raw has them consumed in another eddy of feverish craft and unbridled discord abound with swirling contrasts and volatile textures all woven into one mouth-watering dispute.

The album is completed by the just as argumentative and creatively pugnacious Construct.Constrict and finally the physically and emotionally subversive Adjust.Adapt. As distinct in nature and body as they are united in bristling attitude and laying a sanguinary touch upon the senses, the pair stretch and open up new realms in the Bear sound; the closing song especially charming in its harmonious siren-esque heart within another truculent body.

There is simply no weak spot within ///, not even a moment when the album slips a foot let alone falls from of very early established pedestal. Quite simply the album and indeed Bear for newcomers is a must!!

/// is out now through Basick Records across most online stores.

http://www.bearpropaganda.com/band/   https://www.facebook.com/bearpropaganda    https://twitter.com/bearpropaganda

Pete RingMaster 12/04/2017

Copyright RingMaster: MyFreeCopyright

Deadite – The Damned

cover_RingMasterReview

After a fine year for the label, Hamburg based Undead Artists have got its successor off in fine style with the release of The Damned by Belgian horror punks Deadite. The album is a multi-flavoured roar blending strains of psychobilly, rock ‘n’ roll, and other ravenous textures into horror fuelled punk rock. It makes for a tantalising and captivating proposal becoming more compelling with every listen.

Hailing from Hamme, the quartet of Scarecrow, Wolfben, EvilOnly, and Von Nekromance have persistently stirred attention and eager support at home and further afield but for a great many The Damned will be an introduction; one sure to keep their ‘secrecy’ no longer.

From the cinematic Intro, the release roars into view with The Shadows and a surge of classic rock ‘n’ roll chords. It is the lead into a stomping charge of senses whipping rhythms and toxic grooves as vocals melodically growl. Psychobilly and horror punk collude as the track throws its lustful energy and sounds around, making for a potent start to the album though soon eclipsed by the outstanding Age Of Violence. With belligerence oozing from every note and vocal breath, the track’s nagging riffs and attitude loaded bassline alone seizes the passions, raw vocal antagonism and rhythmic trespasses reinforcing its punk rock lure as spicy grooves ignite.

The album’s title track steps forward next, its brooding climate and Tiger Army like air quickly seducing ears and imagination. Vocals too have a calmer presence and resonance which just adds to the haunting charm and atmosphere of the encounter resulting in the release stepping up another notch in impressiveness again.

Cored by a tangy hook, Collector grabs the appetite straight away next, its Rezurex/Plan 9 like stroll simultaneously menacing and infectious and the swinging relentless beats a greed inducing pressure while the following Show Me Some Love has a touch of Batmobile meets Misfits to it. The song is an equally predacious and virulent persuasion to the former with rhythms once more an irresistible infestation of body and instincts.

Pussywhipped shares its fifties breeding with relish after them; country seeds open within the excellent old school stomp before Empty Heart romances the senses with its sultry melodies and vocal croon. Rhythms and riffs insert the tenacious energy which instinctively flows from the band with Calabrese spiced enterprise playing around their eagerness throughout. The pair alone shows the variety in the Deadite sound, a diversity not always making big steps but certainly providing a broad and flavoursome adventure to get hooked on.

That bait continues through the feistier muscular throes of Damnation and the predatory prowl of The Taker, another track sparking references to the likes of Calabrese and Tiger Army within its own bold character. The Mark Of Cain after them though is proud to wear its inspirations boldly, the song a mix of Misfits and Samhain and also easy to breed greed for.

Roadkill is a grouchy assault of punk and hard rock whipping up rich satisfaction next, its success matched by the similarly punk driven Same Shit Different Day offering a minute and half of intrusively catchy rock ‘n’ roll before Cursed brings the whole pleasurable time to a close with its smouldering psychobilly serenade.

It is a great end to an impressive and richly enjoyable release; not quite a classic but not far off from a band with the potential for such a genre igniting proposal in their growing imagination.

The Damned is out now through Undead Artists @ https://undeadartists.bandcamp.com/album/the-damned

https://www.facebook.com/pg/deadite138   http://www.deadite.be/

Pete RingMaster 02/03/2017

Copyright RingMaster: MyFreeCopyright

Nervous Mothers /Art Of Burning Water – Split 7”

cover_RingMasterReview

Creating a union of ferocity sure to see walls tumble and bodies scarred, SuperFire and Vleesklak Records are joint unleashing a Split 7” featuring the raw hardcore animosity of Nervous Mothers and Art Of Burning Water. It is a four track fury taking no prisoners as it rages and abrases the senses. It is also a thoroughly agreeable slab of carnal punk from two bands not too hard to fancy hear plenty more from.

The first three tracks upon the split come from Belgian quartet Nervous Mothers. More about the Antwerp hailing quartet of Bart, Hans, Jim, and Rik we cannot find but opener Op Nul reveals all needed to keenly welcome the band to ears. A sonic wash with intimidating hues opens the track, a vocal sample soon wrapped in steely tendrils of guitar as beats prowl within the brewing animus. There is also a great resonance within the stalking of ears, a dulled yet throbbing essence from the bass which sparks the appetite even more before spiteful voice and song descend with raw animosity on ears.

Following track, Born is similarly set up but swifter into its sludgy punk infestation of the senses with vocals and vicious rhythms to the demanding fore. Though the opener remains the band’s pinnacle, its successor is a rapacious and invigorating trespass as it leads into the thirty second tempest of Waves. The grizzly growl of the bass steals the show but with a frenzy of rapier beats, flesh scorching riffs, and sheer vocal spite, the song is a short, blunt, incitement of punishment and pleasure.

The final song is provided by UK based Art Of Burning Water, a trio described in its bio as “a steroided immigrant noise punk outfit that does not need to be loved to live.” Being musically liked is probably not on the agenda either but as Oppressor soon prompts, embracing their sound is not too hard as Geith, Kunal, and Mike craft it to worm under the skin and venomously blister the senses. Rhythms are hypnotic, the guitars toxic, whilst vocals spill rancor with every syllable; a blend which just hits the spot as it nags, intimidates, and stirs up another twang of hunger in the appetite.

Both bands are new to our ears and now the source of plenty of retrospective attention via their bandcamp profiles. As for their Split, that is another infestation of punk violence to heartily recommend.

The Nervous Mothers /Art Of Burning Water – Split 7” is out now via SuperFi / Vleesklak @ https://superfirecords.bandcamp.com/album/split-7-11

https://www.facebook.com/nervousmothers   http://nervousmothers.bandcamp.com

https://www.facebook.com/aobwmusic   http://artofburningwater.bandcamp.com

Pete RingMaster 08/04/2016

Copyright RingMaster: MyFreeCopyright

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

The Scrap Dealers – After A Thousand Blows

TSD_RingMaster Review

After A Thousand Blows is the absorbing debut album from Belgian band The Scrap Dealers, a quintet unafraid to merge distinctive sounds into one immersive experience. As shown by their latest release, it is an imaginative collation of flavours which maybe not be always forcibly unique quite yet but certainly offers a fresh and fascinating captivation for ears and imagination.

Formed in 2012 in Liège, The Scrap Dealers initially emerged with a garage punk sound, releasing their attention grabbing debut EP Red Like Blood two years later. At that point though, the band began embracing a more psychedelic rock driven direction in sound; kraut and shoegaze influences amongst many similarly woven into their new explorations. Towards the end of 2014, a second offering in the shape of a self-titled EP was unveiled, the impressive release making a potent bridge between the band’s old and new blends of sound. After A Thousand Blows is another resourceful step in the evolution, but an encounter at times still enjoyably showing the rawer rock ‘n’ roll instincts the quintet of Hugues Daro, Régis Germain, Justin Mathieu, Cédric Georges, and Bruno Lecocq began with.

Recorded, mixed, and mastered by Allan Snon and Jeremy Alonzi, and released on Belgian DIY record label JauneOrange, After A Thousand Blows opens up with the instantly atmospheric Walking Alone. From its first portentous rumblings, keys and guitars entwine in a sonic mist sharing dark shadows and melancholic ambience. As bold beats enter the affair, a lighter hue begins to blossom; the catchiness of rhythms the eventual spark to warm melodies and a sultry glaze around the darker essences which remain as potent as ever. The vocals equally have a harmonic glow to them, thoughts of My Bloody Valentine and Curve emerging as the song continues to shimmer yet there is a strain of alternative and psych rock which only adds more character to the gripping start to the album.

The following I’ll Never Be Like You also emerges with a singular coaxing of sound but does not hang around before unveiling its own psych pop adventure with a persistent catchiness which infests everything from voice to guitar, bass to drums, and indeed the listener. As shown by its predecessor and all tracks to come, there is a drama in the songwriting and music of The Scrap Dealers; an intriguing undercurrent which has the imagination as hooked as firmly ears are enthralled by the virulence of sound. Here the magnetic but predacious tone of the bass is a prime instigator; enticing shadowy clouds and emotive dilemmas whilst offering addictive bait of its own backed by flirty beats and the evocative tapestry cast by the guitars.

A scent of the band’s garage rock origins comes with She Doesn’t Wanna Leave Your Mind, the track a slimmer, compared to the thicker immersions of the earlier songs, but no less emotive embrace of ears. Its raw and fuzzy textures easily engage and stir attention though the sinister air and volatile breath of Keep My Silence Safe soon puts it in the shade. There is no escaping an enticing essence of The Jesus and Mary Chain to the excellent encounter, especially as its dark invasive entrance slips into another magnetic stroll lit with psychedelic colouring and pop rock revelry. From the dark there is light, a switch of mood and texture which all the tracks seem to be built upon no matter which contrast they start from, and no more alluring than within this siren of a song.

The surf rock laced melodic rock romancing of That’s What We Call Love takes over to keep ears greedy, its tangy nature and whiff of discordance tantalising as it engagingly seduces. As potent as it is though, the ten minute adventure of I Lost My Faith in no time steals all attention from its companion. The closing track has the psyche rock mesmerism of The Horrors and the melodic enticing of Slowdive woven into its own distinct and seductive landscape of enveloping shadows and immersive beauty. Maybe a tad too long for personal tastes, the song is a riveting close to a thoroughly enthralling release, whilst The Scrap Dealers are a band who, as their sound continues to evolve, is on the path to being a potent part of the psychedelic and shoegaze landscape.

After A Thousand Blows is out now via JauneOrange in conjunction with Sick Fuzz Records, digitally and on vinyl and tape @ https://thescrapdealers.bandcamp.com/

http://thescrapdealers.tumblr.com/   https://www.facebook.com/TheScrapDealers

Pete RingMaster 23/02/2016

Copyright RingMaster: MyFreeCopyright

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