The Bastard Sons – Smoke

The Bastard Sons _RingMaster Review

There is no escaping the buzz which has powerfully brewed around The Bastard Sons since emerging in 2011 and especially over the past couple of years, and no evading the reason why, once losing yourself in the riotous depths of the band’s debut album Smoke. It is a bulging sack of pure rock ‘n’ roll cast in a maelstrom of flavours showing exactly why the broad term rock ‘n’ roll is the best way to describe the band’s tenacious sounds. At times it is southern rock led, in other moments hardcore driven, and very often metal sparked; to be honest it is constantly all of those and far more, a beast of a stomp sure to incite the passions of fans to everyone from Down to Cancer Bats, Ghost of a Thousand to Black Tusk, Bloodsimple to Hellyeah, and Stone Temple Pilots to Stone Sour.

Around and since the release of their second EP Roads in the March of 2014, the British quintet has been a blur of activity drawing increasing success at the same time. A US tour with Throw The Goat pushed the band’s growing reputation stateside whilst praised appearances at Hammerfest VI and Bloodstock, a tour supporting hardcore punks Snot, and shows alongside ’68, the new project of Josh Scogin from The Chariot, and also Cavorts amongst many others has taken care of the appetites of British fans and media. Earlier this year the York hailing five-piece dropped a potent and quickly devoured teaser for Smoke in the shape of the single Release The Hounds, a dynamic hint realised and taken to greater plateaus by the album itself.

The Bastard starts things off, southern fried chords the initial lure, though for barely a squeeze of seconds as quickly the band with sinew loaded riffs and rhythms bursting set up a riotous stomp of energy and sound. Vocals, as the music, come in varied styles, hardcore and cleaner rock ‘n’ roll tones colluding in a tempestuous incitement with anthem tattooed to its gripping walls. There is a touch of Pantera, Motorhead, and Every Time I Die to the storm, but as repeated song by song, it is just flavouring honed into something unique to The Bastard Sons.

TheBastardSonsSmokeFrontCover_RingMaster Review  The earlier single comes next, and quickly Release The Hounds shows why it had so many feisty for the album, its opening grooves and vocal scowling within a rugged landscape enough to get ears smiling and appetite drooling alone. The heart of the track is unfussy rock ‘n’ roll, a balls to the wall roar coloured and constantly reshaped by flirtatious sonic enterprise and sudden compelling twists of unpredictability, musically and vocally. It is the seed design to all tracks within Smoke in many ways, but persistently twisted and taken down new and individual avenues as swiftly shown by Sobre La Muer… and before it A Lie Is A Lie. The third track rages and croons with incendiary textures and addiction forming grooves whilst its successor casts a sultry air more in Seether/Shinedown territory than anything else, yet with a predatory dark bassline and a steely touch to the guitars, it carries a constant intimidation which strongly expels its fury from time to time. Nevertheless it and the previous song are inescapable anthemic traps; the lure somewhere between Them County Bastardz and The BossHoss, and fiercely contagious.

Bottom Of The Ladder growls and sonically grizzles with scuzzy magnetism next, guitars and vocals a dirty incitement stirring up ears and soul whilst the group calls work, along with the thumping rhythms, on the body and primal instincts. As anthemic in intensity and roar as it is, the track also unleashes an agitated and gripping web of aggressive twists and belligerence toned creativity, its presence ready to brawl at the drop of a hook or scything beat.

The southern drawl of guitars brings I’m Only A Call Away alive next, the song once standing tall writhing like a barroom temptress with inescapable grooves amidst a volatile fistfight of rhythms and the ever fiery and impressive mesh of vocals. As already shown by their live history, The Bastard Sons has a sound which works with, and appeals to, a vast expanse of rock and metal styles, that diversity in no finer and pungent shape than on this fascinating riot.

Through the brief and hellacious, as well as uncompromisingly emotive landscape of the fiercely angry U.S Against Them and the classic metal lined rock ‘n’ roll of Listen Here, band and album keep the thrilling storm blazing whilst Cardboard Walls saunters in on a rhythmic confrontation bound in more of the sludgy southern wrapping the band breeds so invitingly. A suggestive hint of Crowbar appears at times within the fire of sizzling grooves and snarling riffing, but as you may assume the track, whilst being one of the more restrained adventures on the album, it simply layers more flavours and varied textures into one enthralling mix.

Like a sandstorm, vocals shower and scar Scene(ic) Root(s) next to thick success, but equally they slip into cleaner gaits with ease and power to match the similarly volcanic and pleasingly exacting sounds. The track burns on the senses, simultaneously exciting and bruising before Stay True spreads its warmer balm. Featuring Glamour Of The Kill vocalist Davey Richmond, the track is a shadow brewed serenade as atmospherically and vocally haunting as it is emotionally and physically mercurial, and quite mesmeric.

Smoke finishes with the equally potent but far more capricious and intrusive Exist-Distance, a track which kind of sums up band and album with its constant weaving of different flavours and creative twists within a perfectly coherently cultured body, and another song which stands individual in the cast list of easy to recognise Bastard Sons songs.

We gave a list of bands at the start which sort of gives a hint at who might find thick pleasure from exploring one of the year’s real treats so far. To simplify it though, if raw and passionate, imaginative and ravenous rock ‘n’ roll hits the spot than Smoke is a must.

Smoke’ is available from 7th August 2015 via Kaiju Records @ https://thebastardsons.bandcamp.com/

http://www.thebastardsons.co.uk/    https://www.facebook.com/thebastardsonsuk

RingMaster 05/08/2015

Copyright RingMaster: MyFreeCopyright

 

False Flag – Nest of Vipers EP

Promo photo - false flag_RingMaster Review

As Nest of Vipers, the new EP from Canadian metallers False Flag ravages air and ears you can almost feel the body’s sinews being stretched to their limited and the psyche being devoured by the fierce enterprise fuelling the incitement. The release is an attention grabber, a confrontation unleashing a mix of sonic invention and fearsome physical confrontation, and ultimately one thoroughly satisfying adventure.

False Flag was formed in 2012 by vocalist/guitarist Russ Gauthier (Lordosis, Meggido, We Found The Body) and drummer Nick Purdy (Meggido) as a side project to their other projects. Bassist Garrett McElroy (AfterEarth) soon joined the band with first EP Orobas being recorded not long after. Once Dan Ishak (Meggido, Stinger) subsequently linked up with the band on bass, McElroy leaving to concentrate on AfterEarth , the band set about recording their eventually well-received debut album Suffer In Silence in 2014. Alongside all this, the band live has equally been earning a rich reputation for their hellacious assault on the senses and stirring stage craft, a potency which seemingly has been translated into their new release, such its live like fury. With a line-up of guitarist Mike Harach and drummer John Byskal now alongside Gauthier and Ishak, False Flag are setting a new benchmark for themselves with their four-track incitement, the Garrett recorded and Sacha Alan Laskow (Every Hour Kills) mastered Nest Of Vipers, a thick poke at broader spotlights.

FRONT_RingMaster Review     False Flag is frequently compared to Meshuggah and in the past that was probably a more relevant comparison but as opener Sacrifice Of Solitude shows alone, any likeness is a mere passing spice in a recipe which entwines varied flavours of extreme and groove lit metal. The first song emerges from a stark landscape blown over by a desolate sonic wind. It is an evocative entrance which is quickly immersed in rabid riffs, vicious rhythms, and already toxic grooving. With the rapacious vocal scowling of Gauthier spewing antagonism with every raw syllable, the track is soon a venomous trespass of the senses but in turn speared by melodic tendrils of searing guitar and a bruising but inescapable swing sculpted by those ever inviting grooves and the throaty bass of Ishak. It is simply a predator and one compelling and thrilling start to the release.

The sonic tapestry of Perfidious squeals and leers over the senses next, its initial acidity swiftly joined by infectiously groaning grooves and vocal antagonism. There is a definite Pantera grizzle to the song, the half clean/half raw tones of Gauthier a bear hug in the tempest of sound and becoming even more impressive when exploring an almost completely clean delivery later on to add further captivating texture. All the time riffs and rhythms constantly gnaw away at ears whilst the guitars spin an intoxicating liquor of melodic imagination to capture that of the listener.

Another venture into an imposing ambience brings Reversion Of Sin into view, this time a cavernous immersion of heavy shadows which subsequently give birth to a bestial stroll of malevolent riffs and piercing beats. Vocals also bring a savage intent with their guttural intimidation whilst the brutal body of the track savages whilst wrapped in classic/heavy metal and progressive seeded endeavour. The mercilessly heavy corruption from the song is delicious but personal tastes failed to find the same appetite for its melodic side and its fusion into the barbarous body of the still enjoyable track. It really is just taste dictating reactions as once again there is no escaping that band and song spew craft and adventure.

Nest Of Vipers has body and emotions back rocking with its title track, a mighty closer with crushing rhythms, insatiable riffs, and grooves which simply flirt with primal instincts. The best track on the EP, it is a maelstrom of physical predation, and sonic bedlam cultured into something superbly designed and as virulently enticing as the great varied vocals frequenting the song. A mixture of Bloodsimple and Lamb of God, Down to The Faceless rear their suggestions across the song but as in all tracks within Nest Of Vipers, what emerges is something not solely original but far more False Flag than anything else.

False Flag is a band knocking on metal’s global door with Nest Of Vipers it is fair to say; if it succeeds in unlocking that door time will tell but if not it is one enjoyable step towards that easy to suspect destiny.

The self-released Nest Of Vipers EP is available from August 4th @ http://falseflagmusic.bandcamp.com/album/nest-of-vipers

https://www.facebook.com/falseflagmusic

Ringmaster 02/08/2015

Copyright RingMaster: MyFreeCopyright

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Bad Solution – Self Destruct EP

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A juggernaut is the best way to describe the Self Destruct EP from UK band Bad Solution, a juggernaut of energy, passion, and anthemic potency, not forgetting scything rhythms and crushing riffs. Its quartet of songs also come equipped with a sonic and melodic enterprise bridging the voracious metal and inflamed heavy rock instincts which openly fuel songs and sound. The EP is a beast, a rousing introduction to a band many others have long been crowing over; a proposition easy to see forging an even more explosive and acclaimed presence within British rock ‘n’ roll ahead.

London based Bad Solution began in 2010 formed by guitarists Trix and Mariusz Chojnowski. With initially an all Polish line-up, the band recruited British vocalist Alex Willox late 2011 which was soon followed by the band making their live debut to rich acclaim a couple of months after. The current line-up, completed by bassist Wojtek Suberlak and drummer Joe Patterson, was in place by the December of 2013 and the band simply has gone from strength to strength with a live reputation to match their sound. They have shared stages with the likes of Gallows, The Blackout, Soulfly and many more along the way and released the well-received three track single Echoes of the Cry. Now the quintet is beginning to stir broader attention with Self Destruct and it is easy to see and hear why from its first roar.

cover_RingMaster Review   The EP opens with its title track and a melancholic tempting of piano amidst more sorrowfully ethereal keys. As the strong vocals of Willox join the embrace, so does a bass snarl and a spicy croon of guitar with more rigorous rhythms aligning themselves to the start soon after. It is a potent entrance becoming increasingly inflamed with every second, its volatile ambience eventually erupting into an energetic tempest of intensity and emotion. There is a definite Papa Roach air to the song, when that band was in its early prime, and equally a touch of Spineshank and fellow Brits The Self Titled to the evolving blaze of creative and impassioned ferocity. It is an immense start to the release, the band’s melodic and aggressive side resourcefully and strikingly merging in an impressive union.

To be honest, as mighty as it is, the following Nothing (You don’t know me) just outshines it with its Five Finger Death Punch/ Bloodsimple like riot. Willox quickly shows great versatility to his delivery, matching the furnace of enterprise and sound around him. Riffs chew on ears and rhythms swing lead like bait whilst the guitars stir up a maelstrom of ravenous and melodically seductive magnetism. Neck muscles are soon in allegiance to the brawling intensity, as too are ears and imagination to the heavier rock and melody hued exploits within the thick persuasion. It all results in another hellacious and compelling proposal easy to jump on board with and well before it’s reached its fiery climax.

Dear Sarah steps up next and similarly has attention and appetite eating out of its inventive hands. Though stalking the senses with their jagged tempting, riffs and rhythms carry an inviting swing to which tangy sonic tendrils wind their richly alluring endeavour. Again whispers of Spineshank and also this time 36 Crazyfists nudge thoughts but with every passing half minute, the song fluidly moves into new scenery drawn from varied metal flavours across a tenacious and imaginative landscape.

Fair to say Self Destruct just gets better and better with each proceeding track, ending on its pinnacle, the brilliant Desert Rock. A Middle Eastern spicing immediately coats the emergence of the song, traditional instrumentation colluding with predatory rhythms and antagonistic riffery before the latter takes over and sculpts a ferocious stomp of energy and sound. To this those ethnic hues add their thrilling hues from time to time, lurking and shining from within the groove stoked, rapacity lined furnace of anthemic sound and volcanic intensity. The track is glorious, an aural call to arms which no metal loving body and heart can resist, and surely the single to light the touch paper to national success and more.

Bad Solution is a band which guarantees a good, exhausting time with their music but as shown by the Self Destruct EP, they also bring inspiring energy, instinctive passion, and invigorating invention to the table. It might not be the most original EP you will come across this year, but without any doubts it will be amongst the most memorable and thrilling.

The Self Destruct EP is available now through most online stores.

http://www.facebook.com/badsolution

RingMaster 18/07/2015

Copyright RingMaster: MyFreeCopyright

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Caustic Method – The Virus

CMPic_Reputation Radio/RingMaster Review

     The Virus is a scourge to the senses as potent and inescapable as the equivalent physical protagonist is to the flesh, but a fierce ravishing easy to develop a rabid appetite for. The album is the new incitement from US metallers Caustic Method, a fury of raw and contagious animosity that stirs up the blood and puts a fire in the belly. Though the band has been devouring audiences and fans since 2003, the new release is, like for so many, our introduction to the Syracuse roar, and no finer a way to get infected can you imagine.

Caustic Method has earned a rich reputation for their sound and live performances since forming, sharing stages with everyone from Hatebreed to Cypress Hill, American Head Charge to Otep, Hed P.E. to Korn and hordes more from all diversities of metal and voracious rock ‘n’ roll. Last year The Virus EP sparked thick attention and feisty anticipation for the band’s new album, its success a step towards the band signing with Pavement Entertainment for its successor’s release.

The album launches itself on ears and senses with an instant wall of sound and the vocal roar, the song’s title Virus, the first word expelled by the throat of Matt Caustic. Right there the infection has taken hold; that initial concussive touch the opening toxin in a tide of predatory rhythms and hellacious riffs driven by a sandstorm of a vocal delivery. The track is never an out and out savaging though, Darin Scott’s grooves and hooks given space to wind their temptation around the imagination, backed similarly by the dark throaty tones of Eric Maliszewski’s bass. The Caustic Method sound brings up thoughts of bands like Hatebreed, Bloodsimple, and Mushroomhead across song and release but ultimately there is a freshness and originality which offers a distinct proposal from the NY quartet.

The opener is also the band’s current single with an outstanding video to match its presence and an explosive start to The Virus quickly reinforced by the following Left to Die Alone. This too is a blaster to the senses set on the highest setting, riffs and beats stalking the listener as vocals rummage in the psyche with Caustic’s ever gravelly persuasion. The rhythmic jabs of drummer Angel Rivera are a deceptive lure, initially seemingly merciful whilst still resonating on bone before the man’s stick swings get more creatively agitated and venomous. The song even with a slightly mellower embrace midway continues to hunt down the passions before making way for the similarly ravenous tempting of The Lone Star Tragedy. The song is a more straight forward but enjoyable offering at first, holding back its imagination until it is well entrenched in ears. Clean vocals and spicy grooves soon break free, though are soon swamped by the hostility that set things off and the track ends as it began, snarling relentlessly.

CAUSTICMETHOD COV_Reputation Radio/RingMaster Review  Integrity Fail continues the bruising next, but with a bluesy melodic seducing which spices up its hooks. Aligned to a less intensive energy and atmosphere, it ensures the track is a juggernaut with the hand brake on in attack but a heavyweight persuasion that prowls and lingers as more variety is shown within The Virus, and in turn S.D.V. straight after. The track unleashes its dirtiest heavy rock ‘n’ roll traits to collude with a metal ferocity, a mix of vocal delivery as enticing as the blend of flavours stirred into the tempest of sound.

Through the groove infested Six Feet and the rhythmically compelling Which Way the River Runs, the contagion grips even tighter. The first is a storm of again vocal diversity and tenacious guitar bait, a feverish turbulence of attitude and creative energy which is something akin to Drowning Pool meets Blunt Force Trauma, and another pinnacle of the album. The second of the two avails ears of its fearsome potency through an opening assault of beats from Rivera which sparks a torrential virulence of hungry riffs and cantankerous grooves, the bestial bass of Maliszewski offering the most magnetic one of all. Both tracks kick the album back to the impressive levels it began on, though to be fair the previous couple of songs or so were hardly lightweight in arousing pleasure and emotions either.

Fool Me Once finds yet another gear in the toxicity of the release, it’s addictively malicious and insatiable onslaught an evolving ravaging as able to stroll invitingly with spite in its eyes as it is in uncaging a tirade of raw intensity. It is another landmark in the album, a mix of Static X and Agnostic Front which is not emulated but strongly backed by the melody rich, blues grooved rocker Bottle of Scotch. At times there is a little surface similarity across the album which certainly does it no harm at all such the enterprise and invention within, but it is great to have something additionally unique from the first breath, and the penultimate track is nicely that.

The album injects its last dose of pathogen through Anti Hero, a final slab of metal and emotional vehemence to set ears and thoughts ablaze with a spiralling of inflamed grooves, caustic riffs, and a bass seducing which borders on the carnal. It is a tremendous end to an excellent release and though Caustic Method is not going to turn the metal world on its head with The Virus, they will and certainly are earning a new and broader enamoured spotlight on their presence as the album’s qualities live up to their biological namesake.

The Virus is available now via Pavement Entertainment @ http://www.pavementmusic.com/product/caustic-method-the-virus-pre-order/

www.facebook.com/causticmethod   http://causticmethod.com/

RingMaster 04/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

In Search of Sun – The World is Yours

In search of sun band pic 2

In 2012 UK rockers Driven released the outstanding A Breakdown Of Character EP, an introduction which lit ears with a combined skilled invention and explosive potential leading to declarations of major success for the band ahead. Then they fell quiet and off the map, or so we thought here at The RR. In fact what happened was the band took on the name of In Search of Sun, an event and realisation lost as wave upon wave of propositions elsewhere persistently continued to grab attention. So it was a surprise and thrill to receive The World is Yours from Emma at Pluggin’ Baby, the new single from the London hailing In Search of Sun, and find ourselves accosted by a familiar but seriously fresh and impressive presence. Taken from the band’s 2014 album with the same name as the single, something else we annoyingly missed, The World is Yours is a blaze of contagious and tempestuous strains of metal and rock feeding the appetite and inciting the passions as the quintet get to work on their new songs and release.

The beginnings of the band were cast in a fiercer, uncompromising seeding of sound but even then the music never lacking insistent grooving and open diversity. In no time Driven/ In Search of Sun was an attention grabbing proposition live, the sharing of stages with the likes of Evil Scarecrow, Knuckledust, Absolva, Mortad, Painted Smiles, IKILLYA, Skreamer, Second Rate Angels, Stormbringer, Sacred Mother Tongue, Cypher 16, Cambion, The More I See and many more on their CV to date. September of last year saw the release of The World is Yours through Raging Demon Entertainment, a seriously well-received encounter now spawning its title track as the band’s new single.

In Search of Sun band pic 1   Produced by Phil Kinman (Deadly Circus Fire/Tank/Paul Di’Anno) and mastered by Harry Hess (Cancer Bats), the single quickly grips attention with its opening flame of sound. Guitars stroke ears as a lovely dark bass tone resonates amidst the more percussive rhythms. The first few seconds gives no hint to the direction of the song though, its opening bait suggesting anything from a raging riot of sound, to a ska kissed saunter, or indeed a rock pop escapade. Once a spicy groove emerges all bets are on a fiery proposal of rock ‘n’ roll, anticipation confirmed as the excellent sandy vocals of Adam Leader step forward. He is instantly recognisable for these ears as too the flavoursome craft of guitarists Rory Kay and David Mena Ferrer who are soon spinning a web of enterprise and sonic imagination. The rigorous rhythms of drummer Sean Gorman and pulsating bass lures of Faz Couri provide another irresistible enticing of contagious bait, thoughts of that first EP there but in the background as everything align to impressive and roar like the devilish offspring of a union between Bloodsimple, P.O.D., and Nonpoint.

Hooks and grooves spring from every direction as the track continues to create an irresistible anthemic tempting on ears and emotions, and it is easy to suggest the band has realised all the promise from that first encounter way back whilst opening the lid to a vat of even more exciting potential. In Search of Sun rigorously impressed back in 2012 and three years later, well they have lit a new major fire with The World is Yours.

New single The World is Yours is out now on iTunes and the album available via http://www.insearchofsun.bigcartel.com/

https://www.facebook.com/insearchofsunmusic   http://www.insearchofsun.co.uk/

RingMaster 02/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Shitkill – The New Breed EP

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The bigger the expanse of sounds and bands we all hear, the more we go looking for that something extra to get excited about. It might not be a big twist which sparks a fire in personal tastes, but something which certainly ignites the imagination and shows that there is still varying degrees of originality within modern music. American metallers Shitkill is a band which with new EP, The New Breed, has plenty of those little differences and definitely teases a burst of enthused attention to ears and thoughts. Hailing out of New York, the quartet cast a sound which draws on a diverse flavouring of sounds; they more often than not seemingly are tagged as groove metal but as the EP shows it is just one shade of many creative colours ripe in their music.

Formed in 2009, Shitkill has continually nurtured a potent reputation for their live presence and sound, not only locally but into broader attention. Their stage impact has been one reason, the band increasingly strengthening their stock as they played with bands like Twelve Foot Ninja, the Cro-Mags, Eyehategod, and D.R.I., but also through their releases. 2010 saw the Asylum EP released but it is fair to say that their self-titled album a year later made the first real mark. Its well-received success was followed by two live albums in 2012 and 2014 respectively, but The New Breed EP is where it is easy to imagine the band soon luring a more global attention.

The EPs title track is first to persuade ears, and does so with swift success thanks to the opening rhythmic dance cast by drummer Damien Moffitt. It is inescapable bait aided by the sonic glances playing around the beats and taken to new heights by the deliciously carnivorous tones of Karina Rykman’s bass. It is animalistic in voice, every flick of a string bringing a predatory edge which simply grips an already awoken appetite. Things only get more compelling as the opening grooves and riffs cast by guitarists Danny Chpatchev and Josh Musto add to the tantalising proposition. The track swings and leaps round with devilment in its heart and creativity, but also an ever increasing unpredictability and imagination. The vocals of Musto scowl and rage, a a0653763495_2gravelly delivery somewhere in the ball park of Phil Anselmo. The song itself can be best described as a mix of System Of A Down, Bloodsimple and indeed Pantera, yet there is plenty more hinting and teasing within the provocation, and showing stronger glimpses as the release proceeds.

It is a potent and highly enticing start, but in some ways just the appetiser as things get more inventive and flavoursome. The next up Vultures instantly brings a new tempest of intrigue and aggressive flavouring, its hardcore essences a buffeting ire against metallic grooving and tangy melodic enterprise. From its initial stomp, the song slips into a compelling noise rock infused stomp, riffs and hooks shuffling with rhythms in a psychopathic yet fluid tango before returning to the stormy onslaught it began with.

Death Giver pushes the adventure of the EP to further riveting heights straight after, the track making a tenaciously imposing entrance with a torrent of riffs pierced by powerfully swung beats. Bass and subsequently vocals only add to the dark drama and intimidation though it is only the lead to greater irresistible temptation. A rugged proposal at first it suddenly throws off its severe manner and goes on an escapade of creative mania. There might be better ways to describe the sudden burst of ingenuity but with deranged grooves and hooks which feel bedlam bred, there is a delicious insanity to the track. The grooving reminds of The Cardiacs whilst around them the roars of vocals and rhythmic predation is as much punk as it is metal. The track is quite brilliant and those insidious grooves, a lingering serpentine infestation.

An even greater punk ferocity fuels Faceless, the song from its first breath a raging brawl unafraid to bring addictive hooks and spicy grooves into its hostile armoury. Though it cannot quite match the brilliance of its predecessor, the turbulent treat has pleasure full and hunger for more, greedier by the second. Punk metal at its best, the song makes way for the closing excellence of Underworld. It is another almost bestial in presence and tone, riffs and rhythms prowling the listener with persistent hostility whilst adding distractions like sudden agitated beats and vocal causticity. Those demonic grooves make their return again, nestling seductively into the different but no less enthralling landscape of the song. Embracing the metal side of the band’s sound with potent whispers of more classical breeding, the encounter has body and emotions engrossed and complicit in its dark deeds, especially through the closing stretch of heavy footed and superbly lumbering beats from Moffitt courted by the cavernous basslines of Rykman and the equally uncompromising enticements of the guitars.

It is a scintillating end to an impressive and thoroughly thrilling release. Probably like a great many, The New Breed is our introduction to Shitkill, another succumbing to their not majorly original sound but certainly a strikingly inventive and most of all fiercely enjoyable one.

The New Breed EP is available now digitally @ https://shitkill.bandcamp.com/

http://shitkill.com/     https://www.facebook.com/shitkill

RingMaster 03/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

Stoneghost – Faceless Ghost

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As Faceless Ghost, the new single from UK metallers Stoneghost furiously and creatively bellows in the ears, there is no escaping offering a hearty thank goodness. The reason being that the song and album it comes from, was written at a moment it is fair to say which was pointing to the demise of the band. This had come about because, in the words of vocalist Jason Smith; “I was having a kid and I couldn’t cope with it, I didn’t think I would be able to carry on with the band too, I wasn’t in a good place.” Deciding to go out with a bang and show the world the most potent essence and fury of what was Stoneghost, the South East London quartet created debut album New Age of Old Ways. Thankfully the band’s sound and new offerings found their way to the attention of the Mascot Label Group (Black Label Society, Volbeat, Gojira, Joe Bonamassa), and here we now are with the album scheduled for release in April, its lead single poised to stir up the European metal scene, and Stoneghost seemingly back on compelling course.

The Bromley band began in 2007 and swiftly made a potent impression on the London live scene. Forging a ferocious blaze of rock ‘n’ roll bred from varying strains of metal and a hardcore voracity, the foursome of Cris Finniss (drums), Jamie Nash (bass), Andrew Matthews (guitar), and Smith continued to grip attention and increasingly so across the UK, making highly successful appearances at Bloodstock in 2009 and 2010 with equally impressive performances at the Wacken Open Air festival and Metal Hammer’s Hammerfest IV in their wake over the next couple of years. It was 2013 when the band’s frontman had his ‘crisis’ and turmoil reached the band. Fighting through it though to subsequently record New Age of Old Ways with Russ Russell (Napalm Death, Evile, Dimmu Borgir, Sikth, New Model Army), Stoneghost is now ready to take their place at the forth of British metal and again we can only give thanks.

As the majority of songs gracing the album, Faceless Ghost was bred in that troubled time for band and Smith, the singer talking about the song recently saying, “It’s about my daughter, she was on the way, I was feeling apprehensive and scared about the responsibility and seeing a therapist at the time, I was having some really low points, but because I had a daughter on the way it gave me the reason to sort myself out.” There is a definite personal angst and passion behind the song which echoes that moment, an intimacy to its tempest which rages as potently as the ravenous sounds.

The song opens with a dazzling weave of guitar enterprise, a spicy melodic colour which captivates from around just as swiftly established and equally compelling rhythmic predation. Things only intensify and grip tighter as Smith’s punkish roar spills emotion across the thrash toned canvas. Grooves and hooks add different and fascinating flavours and textures to the song next, the proposition already transcending various metal subgenres whilst brawling with its own aggressive individuality.

Matthews’s superb sonic and melodic designs continue to ignite the imagination as does the lyrical force of the song, whilst bass and drums are predators within the magnetically spiced triumph. Across track there are glimpses of bands like Pantera, Bloodsimple, and Overkill, but only whispers in a sound which leaps out like a beast and incites body and emotions with tempestuous majesty.

Roll on New Age of Old Ways

Faceless Ghost is available from March 2nd and New Age of Old Ways on April 27th via Mascot

https://www.facebook.com/STONEGHOSTROCKS

RingMaster 02/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/