She Must Burn – Self Titled EP

SHEMUSTBURN_RingMaster Review

It is a ferociously voracious cauldron of intent, a ravenous tempest of corrosive intensity and imagination, and one of the most riveting and exciting debuts to be uncaged this year.

The release is the self-titled debut EP comes from UK metallers She Must Burn, a London sextet creating a bit of a forceful stir and it is easy to hear why with this raging encounter. Theirs is a furnace of sound and flavours woven into a metalcore seeded canvas infused with further ripe essences of symphonic and black metal with rich gothic overtones. It is a searing maelstrom laying siege to the senses which just as quickly impresses as the songwriting and craft behind it. From rabidly varied vocals to debilitating blast beats, right through to symphonic beauty, the band’s music is a vicious yet poetic kaleidoscope of contrasts and textures cast into fascinating and thrilling soundscapes fuelled by intimate malevolence. It is a startling encounter as proven by a release which just gets bigger and stronger as subsequent listens lure ears deeper into unpredictable and gripping layers of invention.

She Must Burn emerged in 2014, brought to life by guitarist/producer Terry Clarke to realise his musical vision. With a line-up completed by vocalist Joseph Louis Sinclair, keyboardist/vocalist Aimy Miller, guitarist James Threadwell, bassist Kyle Bird, and drummer Rhys Andrew Cooper, She Must Burn have already made a thick impact on the British metal scene live. Now it is the turn of broader stretches of national ears to feel their potency ahead of UK tours supporting Cradle of Filth this October and Heart Of A Coward across November with their first EP.

SMB - Cover Final_RingMaster Review     The encounter opens with the brief but technically and evocatively potent Ascension, its celestial melodies and ambience shadowed by a portentousness which erupts as the track evolves into the fearsome and equally enticing Possessed. From its first breath, guitars create a web of virulent hostility and enthralling enterprise upon which rhythms descend with bestial ferocity. Add the great raw and scarring vocal assault of Sinclair and hell has opened its doors, yet this is masterfully tempered and entwined with the flowing radiance of the keys and the equally alluring siren-esque voice of Miller. Across the song’s body dark and light, destruction and beauty unite, not in conflict but in a blackened and symphonic drama which has the imagination as enslaved as ears and appetite.

As shown again by the following The Misery, the She Must Burn sound is a creative and physical bedlam but one with ingenuity and control which makes everything seamless and complimentary in their collusion. In the hands of another it would most likely unravel into an incoherent stream of ideas but as the third track engulfs and trespasses in ears, there is nothing random and uncontrolled about the sonic adventures cast by She Must Burn. Predatory and seductive, the third song writhes and violently twists under the drive of the increasingly varied and impressive delivery of Sinclair but within the entrapping call of synths and their expressive dark elegance. The song constantly evolves though, never allowing thoughts to settle and expectations to get a glimpse as its infectiously busy and creative turbulence offers more rewards and layers with every trip into its maliciousness.

Into Light opens with a classic but again unique symphonic/gothic croon from the keys and voice of Miller, its warm caress prowled by brooding shadows which increase in intimidating agitation as the short song continues to shape the imagination with its melodic flame. That ruinous furnace finally erupts in Wish to Exist, its metalcore animus in full voice at the beginning but again merged into a subsequent compelling tapestry that snarls and tears at the senses whilst embracing ears in the most majestic of melody rich and emotive reflections.

The album is invigoratingly completed by the equally rabid and bewitching Eclipse, where dark and insidious rancor frees its vicious animus in perfect company with entrancing elegance and immersive beauty. It is at this point on the first listen, and only proven time and time again, that the success of the She Must Burn sound is realised to lie not so much in the corruptive or beauteous extremes, as skilful and important as they are, but how the heart of the song in rhythms and riffs for example, serve both the bases they blossom upon simultaneously and equally. It is a perfect fusion the band has honed which they then colour and shape to their imagination’s content.

After yet another fevered listen of their EP it is very easy to claim that She Must Burn are going to make a big impact on the metal scene.

The She Must Burn EP is out now via Ghost Music.

Pete RingMaster 06/10/2015

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Human Bodies/Leather Chalice – Split

HB cover art_RingMaster Review

In a union to scar the psyche and corrupt the senses, Broken Limbs Recordings have unleashed a 7” vinyl split release between New England hailing Human Bodies and Leather Chalice, a hellacious proposal of pure black metal malevolence and rancorous hardcore viciousness. These are two bands building a potent name for themselves and they do their reputation no harm wit this intensively rabid encounter. The four-track EP is painfully corrosive and fuelled by creative hate, but if that is your recipe to bliss, then this is an encounter demanding keen attention.

Human Bodies_RingMaster Review     The first two tracks come from the Boston foursome of guitarists/vocalists Terzakis and Gabe, bassist Jason, and drummer Dan, collectively known as Human Bodies. The band began in the October of 2013 as a studio project, developing over time into a fuller line-up and live presence to go with the well-received No Life cassette EP of last year. Just off of a successful full US tour, Human Bodies entangle ears in a rhythmic web as their first offering on the split, Only the Sigh feistily prowls into view. Energy and intensity continue to rise as a bestial bassline colludes with sonic hostility where guitars are ravenous and vocals raw intrusive squalls. It is an uncompromising attack yet has a swing and swagger to it which welcomes body and attention as much as its sonic trespass tries to defile them. It is lethal contagion and an outstanding start to the release which runs straight into a similarly alluring violation in the caustic shape of Malice Prepense. Repetitious beats and riffs again entice and spark a healthy appetite whilst a doomy cancerous breath smothers the listener to simultaneously temper the virulence but increase the potency of the whole malicious incitement.

Leather Chalice is the solo blackened punk project of Jann from Ramlord, who brings inspirations from Venom, Discharge, and “depression and Leather Chalice_RingMaster Reviewtotal defeat of the human spirit by modernism” into his ruinous tempests of blackened punk loathing. Good Intentions (Coming Home I) is his first offering, an abrasion of erosive and raw cancerous morbidity which is as fearsome as it is sonically compelling, whilst Last Gifts of Worship (Coming Home II) takes all the enmity of the previous song and twists it into an even harsher and surprisingly catchy enticing. Of course that infectiousness lies beneath a tsunami of ill-will and rancorous intent which to swim through is as painful as it is rewarding.

Only The Sigh might have emerged as just the favourite track here but between them Human Bodies and Leather Chalice uncage four dangerous and highly enjoyable onslaughts which fans of black metal, hardcore, and violent post punk should take a deep breath and dive deeply into.

The Human Bodies/Leather Chalice Split is available now on Ltd Ed 7” vinyl via Broken Limbs Recordings in co-operation with Prison Tatt Records.

Pete RingMaster 23/09/2015

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Barús – Self Titled EP

Barus_Cover__RingMaster Review

Let us introduce you to Barús, a death metal band from Grenoble in France. There is little more we can offer you about the band except from quoting their bio. “Barús evokes a weight, a burden. Through music, it reveals an introspective state of mind: A grain of sand lost in the vastness…A questioning of all things…Death.” What we can say is that their self-titled debut album is one potential swamped and seriously compelling proposition you should take a look at.

Sometimes you get an inner twinge of something special in the making when being introduced to a band or release and that certainly applies to Barús. Through four rigorously challenging and thickly satisfying tracks, band and release provide a journey through the darkest, hellish climates and depths. They are burdensome, uncompromising songs which are as fearsome as they are imaginative. Tracks which all the time lyrically and musically question thoughts, instincts, and the senses. The band has been labelled as progressive death metal and though you can sense why with the invention fuelling unique songs primarily Barús’ sound is a malevolent cauldron of death voracity with black malice and doom oppressiveness.

The release opens with Tarot and a chaotic tempest of intensity and energy driven ravenous sound. Everything is in rabid turmoil, only settling down a touch with the addition of the grievous tones of the vocals. In time as searing grooves entwine fierce riffs and rhythms, an order as such comes over the track whilst still flirting with a bedlamic soundscape of ideas and textures. Contrastingly the vocals grow more psychotic, emotionally tarred roars bellowing and stalking the senses as the guitars spin a jagged djent seeded violation and seduction through ears. The track is breath-taking, an energy sapping, body staggering onslaught and quite irresistible.

The following Disillusions is equally as tempestuous at heart and in presence but with a more restrained character initially, though that line is blurred with every predatory torrent of riffs and scything swing of rhythms. The listener soon finds itself in an aural coven, one lorded over by savage guitar enterprise and vocal malevolence, but also a landscape which perpetually wrong-foots and fascinates. A mellow embrace midway comes with great clean vocals but it is merely a demonic deceit, the track soon casting a spell of sonic voracity and emotional malefaction. Emulating the first track, it is an exhilarating trespass on the senses and psyche; the two alone making Barús a seriously potent proposition for extreme metallers to check out.

Chalice is simply a stalking of the listener and a continuation of the raw sorcery brewing in its predecessor. Spoken commands and chants swiftly evolve into a ruinous transgression, the music from an initial almost anthemic enticing exploding into a cancerous animus of noise and intent. Again though the band fluidly and impressively disorientates and spellbinds through the merger of extremes and contrasts, the collusion of vitriolic and melodic beauty. This is where those progressive tags are suggested, though Barús offer it in the most barbarous form possible.

The EP closes with Cherub; a doom laded crawl of an incitement which as you may suspect grows and blossoms into a viscerally sonic profanation of sound and air. Though not quite matching the previous three tracks in impact, the track just absorbs attention as it devours the soul to provide a final raw treat to fear and greedily embrace.

Barús have made a mouth-watering entrance upon the extreme metal landscape with their first EP, and if this is the sign of things to come, even without the natural evolution and maturity that assumedly will follow becoming involved, the French band is going to be a major favourite with a great many.

The Barús EP is available now as a name your price download at the band’s Bandcamp profile.

Pete RingMaster 09/09/2015

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Sibiir – Swallow & Trap Them

sibiir_web_RingMaster Review

Sibiir is a quintet of experienced musicians from Sigh & Explode, Jack Dalton, Do You Love Melena? and Call:Vega who decided to unite in 2014 to get together and craft some heavy and intense tunes that would reflect their mutual love for the heavier and darker side of music.” It is safe to say on the evidence of their two track debut Swallow & Trap Them, intent has been brewed, explored, and rabidly achieved. A fusion of hardcore ferocity and spite, atmospheric black metal trespass, and murky post metal despondence, the band’s sound and release swarms the senses with carnivorous intent and suffocating malevolence. Yet in its depths there is an instinctive contagion which flirts from within the raw tempest, a compelling lure which just pulls you further into the savagery.

sibiir_cover_RingMaster Review    Swallow & Trap Them is one of those proposals which will alienate as forcibly as it enslaves, not easy to imagine the encounter leaving too many in the middle ground undecided on their take on the fury. That intensity just adds something to a release though, an imposing take it or leave it air virtually demanding a reaction of some sort and certainly the two tracks from the Oslo band enforces that question.

The title track comes first, bestial rhythms and just as feral riffs descending on ears in horde like fashion. Already there is hostility which has the senses withering, even more rapidly once the throat shredding tones of Jimmy Nymoen sear air and song. That initial torrent of barbarous bruising continues throughout but to it guitarists Tobias Gausemel Backe and Steffen Grønneberg spin sinuous sonic enterprise and intrusiveness speared by the predatory call of Kent Nordli’s bass and the quite simply lethal swings of drummer Eivind Kjølstad. It is a maelstrom of energy and rancorous emotion but one unafraid to seed infectious hooks and addictive textures that ebb and flow across the volatile and continually evolving canvas of emotional and physical punishment.

You cannot say that second song These Rats We Deny is a lighter affair but from its first breath it has virulence to its character and smog of noise which just grips from the first second and never releases its hold even as the track throws itself through tortuous scenery and malevolent climates. Bands like Nerv and NVRVD come to mind during the fierce incitement, though it is hard to think of many fuelling their corrosive turbulence with the insidious addiction forging seducing that both tracks carry but These Rats We Deny especially exploits. Finally embalming ears and appetite with the juices of allegiance through a glorious chorus of anthemic band roars, the track and release leaves a big grin on the face and spark for lust in the passions.

You might suspect that Sibiir touched the sweet spot in personal tastes for us and will definitely do so for a great plague of others. These are the first two songs written and recorded by the band and let us hope not the last conjured by the get together of talent, for Swallow & Trap Them is nothing short of violently majestic.

Swallow & Trap Them is available from September 4th via Disiplin Media.

Pete Ringmaster 04/09/2015

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Kyy – Travesty Of Light

KYY cover_RingMaster Review

Though blossomed in the heart of traditional Scandinavian black metal, there is no escaping the rock ‘n’ roller in the sound of Finnish metallers Kyy. It has a rousing quality which tempers yet equally accentuates the dark and creatively ravenous instincts of the band’s music which brews a toxicity living up to the meaning of their name, which in English means viper. The invasive evidence relentlessly roars from the band’s debut EP Travesty Of Light, four tracks of insidious black ‘n’ roll to breed a healthy appetite for.

Formed in 2013, the Lahti quintet fuels their music with the “sole purpose is to spawn an antithesis to existence of universe and to serve the Great Unknown.” The tracks making up Travesty Of Light were recorded towards the end of last year with E. Wuokko and came to the attention of Saturnal Records who signed the band up for its unleashing this month, a release coinciding with the same day the band’s first steps into the live scene, starting at Rooster Death Fest in Lahti.

The EP opens with Death – The Great Liberator and an immediate consumption of ears by thick riffs and challenging rhythms escorted by venomous vocal squalls. Already there is a devilish swagger to the track and subsequent scythes of steely sonic bait from the guitars, their lurking presence and occasional expulsions icing on the toxic cake of corrosive intensity and drama clad and hostile enterprise. The track continues to swamp the senses like waves of the sea across its harrowing length, at times a relative calm soaked in melancholic rapacity escaping whilst for the main of its body, the song is an undulating tsunami of inhospitable emotion and ravishing but eventful destruction, physically and emotionally.

Everlasting Fire follows and quickly exposes its rock ‘n’ roll attributes. Whereas its predecessor was a more ‘formula’ black metal affair, the second song instantly rocks like a horned goat in heat but infusing it with an increasingly intrusive and caustic soaking of blackened animosity and sonic brutality. It’s less than three minutes also flirts with understated but unmissable, almost siren-esque, whispers and tendrils of acidic post punk spicing which incite thoughts of bands like Sex Gang Children.

The EP’s title track crawls in next, its melodically honed citric vines of guitar veining a lumbering body of rhythmic punishment and raw intensity. As in the previous pair, vocals are varied but even more diverse and compelling to match the epically hued musical narrative of the encounter. With great choral chants across the band and the song erupting into a corruptively magnetic canter at times, it is a theatre of suggestiveness and imagination all on its own.

Travesty Of Light is brought to a close by Immaculate Serpent King, another track stalking the senses and imagination with shadowed gripped grooves, belligerent rhythms, and a spread of vocals as harrowing as its canvas of sonic and emotional pestilence. Once more there is an instinctive rebellion to the song, a rock ‘n’ roll roar which only enhances and inspires every festering tempting of the elements uniting for the excellent violation.

We are not going to say that Travesty Of Light is going to be the best black metal encounter you will come across this year or that Kyy is going to reshape the genre’s landscape in the future, but both has the potential and right now create one of the most enjoyable raw metal offerings over past months.

The Travesty Of Light EP is available from August 17th via Saturnal Records.

RingMaster 17/08/2015

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Nihilistinen Barbaarisuus – The Child Must Die


There is a raw elegance to physical and emotional desolation, and primitive beauty in stark ravenous climates and landscapes. The same can be said of The Child Must Die, the new album from Nihilistinen Barbaarisuus which involves all across seven cold and uncompromisingly atmospheric soundscapes. The band’s previous releases have already explored similar ravenous climes, but as good as they were they all dramatically pale up against the Philadelphia duo’s new offering.

Nihilistinen Barbaarisuus first unleashed their sonic corruption in 2012, the band originally a trio going on to release a self-titled demo that first year and the attention sparking debut album Synkkä Tuuli in 2013. Personnel exits left original guitarist Mika Mage the band’s sole member and the creator of the Väinämöinen EP which immersed further into cold and barren yet inciting aural scenery inspired by his Finnish heritage and the Scandinavian black metal scene. Now with vocalist Joel Robert Thompson (Omelas) alongside Mage (Lawrence’s Creation), Nihilistinen Barbaarisuus return to those biting cold, vast wastelands with The Child Must Die but also with a new power and invention which pushes a promising project into a force coming of age in the extreme metal scene.

Based on The Kalevala, a 19th-century Finnish piece of poetry and with its lyrics adapted directly from the national epic by Mage and Thompson, The Child Must Die immediately submerges the senses with its opener in a pestilential, plague like swarm of riffs bound in alluring grooves. Wondrous Sampo quickly and persistently expands that initial rush; band and album unveiling a far more mature and dynamic weave of textures and sonic flavours than seen from them before. From composing and sound to technical expression and production, the release is an immense step up from, as mentioned, the bands previously impressing propositions. It still retains the raw and caustic quality of those early songs but instead of polishing them as many would have done, simply weaves them into a magnetic tapestry of enchanting and melancholic beauty. Guest keys from Lawrence Wallace virtually swim across the senses, every melodic wave offering a balm but equally an enhancement to the infertile and forbidding landscape engulfing the imagination and coloured ravenously by the raw throat scarring squalls of Thompson.

It is a fascinating start to the album quickly surpassed by its title track. An opening caress of guitar melody within a gentle kiss of keys is bewitching but finds itself soon overwhelmed by a torrent of riffs led by the vicious beats of guest drummer Jeff Willet. Like a consuming cloud with scourge like intent, the corrosive weight and intensity of the song sweeps all before it, but keeping hope a ripe possibility keys and melodies ignite the surrounding shadows simultaneously. It is a hellacious tempest when bearing its soul, but masterfully top and tailed by the warm kiss which began it all.

Let Them Perish comes next, its initial presence and nature a predatory stalking of ears which is almost sizing up the terrain before uncaging another frost encrusted, grimly lit and harrowing swamp of emotion and sound. The track epitomises the new stature and depth of the Nihilistinen Barbaarisuus invention, every unholy and rabid persecution of the senses comes with layers of contradictory but complementing radiance and melodic imagination. This lifts the fiercest atmospheres and darkest ambiences, never derailing their toxic rabidity but providing pocket oases to cling to in the face of the piercing sonic storms.

Feast Of the North Farm is amongst the most ruinous and frigid proposals of sound and emotive scenery on the album but its sonic swing and frosty, but inviting grooves spiced with symphonic seeded luminance, gives it an invitation impossible to resist whilst Amidst the Waves creeps into an even more hostile and erosive climate with the tones of Thompson bordering on insidious at times, the music too. It all leads to a resonating melodic flirtation of a finale though and another compelling incitement within The Child Must Die.

The crushing atmosphere and suffocating weight of Väinämöinen surrounds the listener next but again keys and the persistently impressive enterprise and craft of Mage’s imagination radiates a celestial heat and resolve onto the dead terrain. It enthrals from start to finish, the bass standing like Canute against bitter waves just one thrilling twist in the unrelenting sonic and intensive deluge; just a shame the tracks is closed with a fade-out.

Completed by the spellbinding instrumental The Night She Died, Mage simply owning ears and thoughts with his nimble creative fingers, The Child Must Die is an inescapable declaration that Nihilistinen Barbaarisuus is inventively and imaginatively ready to join the frontline of ambient fuelled black metal, and give a great many current exponents a real run for their money. We will say it again; Nihilistinen Barbaarisuus has come of creative age and in turn given metal a new cold feast to devour with The Child Must Die.

The Child Must Die is available now via Infernal Kommando Records digitally and on CD @

RingMaster 06/08/2015

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27 Tons of Metal New England – Various

cover_RingMaster Review

And Bluntface Records do it again, thrusting the underground scene at the senses courtesy of another essential compilation of some of the most striking and potential drenched bands around. This time the US label is exploring the underground metal scene from New England, which on the evidence of 27 Tons of Metal New England, is simply writhing with great ravenous bands and sounds. The release is as diverse in styles as it is voracious in creativity and though with the amount of bands and metal subgenres involved personal tastes will obviously find a greater hunger for some over others, it is fair to say that the album from start to finish is a compelling treat with no weak spots, and all the more tastier for being completely free.

The encounter opens with Carnivora and a track taken from their outstanding EP, The Vision. Pessimist’s Tongue is the Danvers quintet at their full blistering best and weaving suggestive ambiences into subsequent tapestries of rabid vocals and rancorous intensity. Yet despite its almost cancerous intent and creative breath, there is anthemic energy and a web of searing adventure from the guitars involved, which in turn sparks addictively imaginative exploits from the band across the song’s corrosive landscape.

It is a scintillating start to the release pushed on by Alterius and their uncompromising melodic death metal trespass on the senses, A Citadel’s Demise. The song comes from the band’s latest EP Voyager, and merges classical overtones into its fluid brutal and seductive tempting. Like being serenaded whilst the beast tears your throat out, the track stalks ears and psyche setting in motion a keen appetite to know more, a success matched by Revere quartet Travel Amygdala and their aggressively smouldering Died by a Bullet. Entangling its inventive metal bred sound with progressive and grunge seeded imagination, the song aggressively crawls over the senses enticing and intimidating, especially as it builds in energy and tempestuous air. There is also a potent sludge feel to part of its character too, the thick prowls between forceful strides of creative and vocal drama carrying the strongest whiff, with ultimately everything uniting for one riveting proposition.

Bostonian black metal trio Ashen Wings comes next, the band’s raw and carnivorous sound a bracing magnetic scourge delivered to ears from Cancerous Bones. As insidious and ruinous as you can imagine, it also spawns a swing to its gait which only adds to the addictive proposal on offer before making way for the just as destructively virulent Scourge of the Hierophant from Sorrowseed. A blend of blackened death metal with a healthy vein of classic and melodic tenacity, the increasingly thrilling track smothers ears and appetite with pestilential persuasion whilst provoking the want to offer vocalist Lilith Astaroth some soothing for her surely shredded vocal chords.

band-contacts-page-127 Tons of Metal New England      Walk the Earth (No Longer) from sludge/doomers Conclave steps up next, the nine minute intrusion an accomplished and enthralling predation cast with rugged heavy riffs and heavily swiping rhythms, all lorded over by just as unpolished and alluring vocals. From their Breaking Ground EP, the song is as effective descending on ears in top gear or in crowding their walls with a lumbering and weighty provocation within a long but never less than thickly engaging incitement.

The same kind of hold is seized by Beneath The Burial next and their track In Memory, its fusion of hardcore ferocity and metal spawned sonic invention a fury of searing grooves, vocal animosity, and subsequently predatory imagination. As the album itself, there is a wealth of flavours emerging across the track musically and vocally, which only adds to the slow but fiercely burning persuasion of the song to inspire a want for more as it makes way for Skin Drone and God Complex. One of the few bands these ears had already come across and previously devoured, the duo of Bluntface Records founder Otto Kinzel and Erik Martin of Erik Dismembered and Critical Dismemberment unleash one of those examinations which you never know whether to fear or whole heartedly embrace, the latter always the chosen reaction of course. Like a sonic scavenger, the track vocally and musically spills its creative industrial/metal animus on to the senses within an evocative ambience which then inspires a melancholic exploration of emotive and creative expression. The song is a cauldron of inventive sound and emotional intensity, a rich picking for those with an avant-garde side to their preferred examinations.

The scorching designs and temperament of Dirty Birdy from metalcore furnace Don’t Cross the Streams is next; band and track a scarring addictiveness which without springing major surprises has ears and heavy enjoyment sealed from the first clutch of seconds. Their triumph is quickly backed by Stoughton power/progressive metallers Forevers Fallen Grace and Clarion of Regret, another song which needed warming to before its potent expanse of craft and enterprise became an inescapable hook, and after them Makavrah with the excellent Awakening The Ancients. The Peterborough hailing doomsters have a sound which is dangerously mesmeric, a senses meddling sonic bewitchment which as shown by its twelve minutes of evolving soundscape, is hex like in its ingeniously dramatic and creative exploration. With echoes of Show Of Bedlam to it, the track is one delicious incessant crawl.

The industrial endeavour of Isolated Antagonist more than lives up to its offering’s title next, Infection a contagious causticity of sound and emotion with vocals to match as it worms under the skin and into the psyche with lingering rewards, whilst the following Composted bring a carnal presence and hostility into the equation with their track OB/GYN O.G. The band’s death metal onslaught has the voracity of thrash and swagger of groove metal to it, and as hungry hues only help to create an immense and irresistible corruption.

Both Charlestown sextet Untombed and Mike Kerr Band keep the riveting roar of the album going, the first with their groove and antagonism loaded death metal antipathy, Criminal Inception. Savage and violently catchy, the track is another which is maybe not gripped by original exploits but is one spilling a fresh venom which leaves a great many of fellow emerging genre bands in the shade whilst its successor is the title track from its creators recently released new album The Truth of the Lion and features Texan vocalist Adrienne Cowan and Jim Oliveira in its classic/melodic metal lure.

Power groove metal is on the agenda next through Before the Judge and their track Bobby D. With a highly agreeable nag of riffs and grooves lining its erosive blaze, the song stirs the blood band-contacts-page-2_RingMaster Reviewwhilst pouring more diversity into the compilation, variety further expanded by The Aberration and their track Bologna Skins are the Next Big Thing. The band consists of Travis O’Connell (guitar) and Jim Cole (drums), an instrumental duo creating, on the evidence of their contribution, compelling proposals of snarling progressive metal loaded with uncompromising attitude.

Melodic death metal quartet My Missing Half scars air and ears next with The Lives I’ve Ruined, a song with essences of The Black Dahlia Murder and At the Gates to it whilst finding its own magnetically inventive nature. The track leaves emotions and senses breathless but hungry for more as so many on the release, including Seeds of Negligence and their maelstrom of varied and inhospitable metal posing as The Reaper. The song is a bruising and vicious temptation of death, groove, thrash, and progressive strains of extreme metal, an incendiary incitement sparking a lust for further confrontation.

Dover trio Cactus Hag drags the listener back into a rich immersion of sludge and doom invasiveness with Grand Lodge of the Mirage, the track an insidious erosion snuffing out light and hope whilst sparking just as strong enjoyment. Its smothering rancor is contrasted by the brighter and superbly volatile adventure of G.O.G. from Side Effects May Include, the song another entwining a mass of different styles into its individual tempest of heavy rock and creatively rabid metal, and another only leaving the urge to go explore in their wake. Which is something which also applies to Pelham’s Epicenter and the thrash fuelled insurgency of See Through. With strands of alternative and groove metal to its robust and tenacious exploits, the track is as anthemic as it is strikingly inventive, and amongst admittedly many, an instinctive favourite.

band-contacts-page-3_RingMaster Review     Fog Wizard get body and passions inflamed again with Fear the Kraken, a rapacious prowling built like Sabbath meets Motorhead with the attitude of Stuck Mojo and the combined snarl of Slayer and Black Flag. One slab of real pleasure is replaced by another and the abrasive kaleidoscope of sound unveiled by Sonic Pulse through Defenders of the Good Time. A brawling festival of power and thrash metal with a flurry of heavy and classic metal hues for greater captivation, the track is a ferocious blaze equipped with drama, familiarity, and inescapable bait.

The heavy weight slab of talent is brought to an impressive end by a trio of bands to also keep a close eye on, starting with the bestial sound of extreme metallers Graveborn. Their mercilessly hellacious and skilled Leviathan is sheer sonic and rhythmic savagery with just as brutishly varied vocals, and another big enticement before heavy/thrash metal Verscythe prove their classic seeds in the richly magnetic Land of Shells.

Completed finally by Vacant Eyes and the melody sculpted funereal death/doom exploration that is The Dim Light of Introversion, a track thick in atmosphere and haunting trespasses for a darkly compelling seducing, 27 Tons of Metal New England is an intensive journey through the depths and expanses of New England’s underground metal scene. It is one of the most extensive and rewarding compilations in a long time which from start to finish, enthrals and assaults, entices and transgresses. If any metal fan does not come away from the encounter with at least a handful of new lusts we would be amazed. So no dawdling, go and get one of the biggest and best free treats of the year,

27 Tons of Metal New England is available for free download @

RingMaster 06/07/2015

Copyright RingMaster: MyFreeCopyright

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