Cleanse The Hive – From The Depths EP

Photo Credit - A D Zyne

Photo Credit – A D Zyne

If you have not head the buzz around Scottish metallers Cleanse The Hive yet, there is a pretty good chance you soon will as the band’s debut EP explodes in more and more ears. An irritable and dynamic fusion of death and groove metal with ravenous metalcore, the band’s sound shows all the qualities of a someone taking their time to evolve and hone their craft and imagination; a intent which here ensures the From The Depths EP is an introduction which not only grabs attention, it demands it!

Formed in 2011, the Aberdeen hailing Cleanse The Hive, as mentioned at the start, have not rushed to the moment to broadly unleash their inventive exploits though live the quintet has been a hungry incitement soon becoming eagerly followed and praised. Drawing on inspirations ranging from Lamb of God, As I Lay Dying, and Whitechapel to Periphery, Pantera, and Cancer Bats, Cleanse The Hive has earned a potent reputation for their explosive live shows and reputation building tours alongside bands such as Heart of a Coward, Nexilva, Carcer City, Exist Immortal and many more. Now they are ready to wake up a national, if not larger, spotlight upon themselves, a success already expected with the immense roar and persuasion of From The Depths alone.

The EP hits ears straight away with a wall of intimidating and prowling sound; riffs and rhythms colluding in predatory relish as a vocal growl erupts from the throat of Callum Hutchinson.  Taking a further moment to compose itself, Eviscerate then springs with greater zeal at ears, the guitars of Jordan Pacitti and Glen McMillan casting surges of ravenous riffs and sonic dexterity as Hutchinson’s vocals share varying shades of hostile and venomous squalling. In no time ears and imagination are gripped, further enthused by the broadening enterprise of the guitarists amongst the brutal swings of drummer Greig Hadden and alongside the pestilential encroachment of John Campbell’s bass riffs. Lamb of God is easy to offer, Cryptopsy too, as a hint to the maelstrom of craft and sound assaulting and exciting ears yet already something individual to the band is emerging and continuing in its successor.

cleansethehive large_RingMasterReviewCities Of Gold is arguably even more primal and inhospitable than its predecessor; vocals spewing malice with every syllable and the instantly captivating grooves spreading toxicity with very swing of their body within another tempest of emotional and aural animosity. To that though, a perpetually virulent infectiousness flows and in time, a melodic seduction from keys and guitar which is as bracing and invigorating as the animus of confrontation surrounding it. The opener grabbed ears and appetite, its successor trapped both, and by The Reign Of Tyrants, it is fair to say that band and EP had these ears enslaved. Thrash metal is never too far from the textures of death and extreme metal, and drives the third track with open eagerness, though things soon become a part of A thick tapestry of flavours and rabid intent as unpredictable as it is enthralling. Compared to the previous pair, it also has less urgency to its devouring; a more reserved violence to its assault that only makes it more dangerous and captivating.

The EP’s title track descends on the listener next, it too a less vicious attack initially, preferring to build its intensity and savagery over time as grooves and melodic acidity vein its evocatively volatile landscape. As the previous song also, it does not quite make the same impact as the more boldly eventful trio of tracks starting things off though its adventurous nature, as melodic mystique coats guitar imagination, only leaves a want and appetite for more in place.

The dramatic dance and intimidating theatre of Terror Rising brings the release to an impressive close. Again a siren-esque hue wraps melodies; their middle eastern scent a masterful temper to the cantankerous invention and resourcefulness soon driving riffs and rhythms. Emerging as the most imaginative and diversely sculpted track on the EP as even more metal bred styles are included in its emprise of sound and invention, Terror Rising alone provides plenty to use as a reason to get excited about Cleanse The Hive and for the UK metal scene ahead with them in it.

It is hard in modern metal to make a mark on your debut powerful enough to pull attention away from all the other emerging bands do the same thing, but take it from us, Cleanse The Hive have done so and how.

The From The Depths is out now @ https://cleansethehive.bandcamp.com/releases and across other online stores.

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Pete RingMaster 20/04/2016

Copyright RingMaster: MyFreeCopyright

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The Bendal Interlude – Reign of the Unblinking Eye

bendalInterlude_RingMasterReview

Attempting to build on the reputation and acclaim earned through their previous clutch of EPs, British metallers The Bendal Interlude unleash their debut album; a cauldron of sludge, stoner, and blues with psych and thrash metal to sear and ignite the senses. The release is a beast of a proposition; an attention grabber reinforcing and pushing the already firm stature of the Liverpool quartet but maybe one not quite seeing the band going far enough with the new bold elements of flavour and imagination to steer them away from similarly designed offerings over recent times. Nevertheless Reign of the Unblinking Eye is a fiercely enticing and enjoyably rousing slab of predacious riffs, salacious grooves, and thumping rhythmic aggression.

Drawing on inspirations from bands such as Melvins, Crowbar, and Cathedral, The Bendal Interlude have increasingly drawn fans and attention through a quartet of releases, starting with an early Demo followed by the Foal Recordings EP in 2010, a Self-Titled EP the following year, and the Odourama EP in 2013, as well as a ferocious live presence which has seen the band share stages with the likes of Sunn O))), Earth, Orange Goblin, COC, Church of Misery, Red Fang and more. They have also made highly successful appearances at festivals like Hammerfest, Sonisphere, and Desertfest to persistently lure keen spotlights to their emergence.

For Reign of the Unblinking Eye, The Bendal Interlude took a new tact in its creation; guitarist Stu Taylor explaining recently, “We took a shift in direction when writing for the album Reign of The Unblinking Eye. The songs are much more elaborate and have a lot more going on sound-wise than previous releases. We played with time signatures, guitar harmonies, key changes, even laying down a 10-part resonator guitar part. It is by far the heaviest but also most dynamic thing we’ve written to date.” His words are quickly backed up by the album and a collection of songs which in contrast to the “abstract collection of ideas and imagery based around loose themes” which coloured previous releases, lyrically carry a more “autobiographical approach”.

art_RingMasterReviewBuckfast For Breakfast opens the album, an easily relatable repetitive vocal sample the spark to a wall of cantankerous riffs and rapier like rhythms. It is a senses trespassing confrontation, swiftly bound and veined by wiry grooves with richly engaging toxicity to their wandering sonic hands. The raw vocal squalling of Nat Gavin adds to the intrusive hostility tempering the melodic flirtation and the instinctive swing to the track’s stalking gait. It is an ear gripping start firmly backed by the blues intoxication and fiery rock ‘n’ roll of Losing Things. With Gavin’s caustic delivery, tracks are inevitably going to challenge with attitude loaded animosity yet as proven here, The Bendal Interlude merge it skilfully with a melodic/stoner prowess and addictive sonic contagion which gives every assault a captivating and inviting personality.

Next up is The Unblinking Eye and its initial electronically atmospheric suggestiveness which the track evolves into its own individual stomp of classic/groove metal fuelled ferociousness. It recruits body and imagination with consummate ease, the virulence of the grooves and infectious swing and lead hook of the track swiftly installing it as a major highlight within the album. The Bendal Interlude are rocking like a beast on heat in song and album, sparking similar reactions in the instincts and spirit of the listener.

Efram’s Hands provides a brooding groove entangled landscape of ravenous shadows and barbarous energy straight after whilst Pint of Bodies grumbles and rumbles with sonic and rhythmic rabidity whilst infusing a scent of enterprise not too removed from glam rock. Subsequently descending on the senses with a Down meets Cathedral like animosity before shifting again into an evocative melodic calm, it and its predecessor both whip up more greed for the album’s trespass before Creeks Gigantic prowls in with a thunderous rhythmic swagger led by the bass groove of Tommy Lloyd quickly matched by the resourceful craft and adventure of Taylors’ invention on guitar strings. Given further incendiary bite by the spiky beats of Dave Archer, the track is an imposingly catchy and intrusive weave of contrasting and dynamic textures finding kinship in the tracks’ vocal irritability and tempestuous air.

Anthemic and tenaciously delivered rhythms again lead an addictive and predictably groove infested persuasion as Triumph of Fortitudo steps in with bruising intensity and Cancer Bats like punk lined antagonism before stepping aside for the more merciful but equally commanding rock ‘n roll of The Block. Drama fuels every crawling riff and the doom coated breath which soaks a track layered with acidic grooving and vocal rancor. Maybe not as striking on personal tastes as other tracks within Reign of the Unblinking Eye, it still leaves satisfaction full; success sought and easily found by the closing emotional and creative animus of R.I.P.  An at times corrosive venture through varied styles and flavours within a core heavy rock storm, the song is a fascinating and increasingly impressing end to a similarly impacting release.

As suggested earlier, The Bendal Interlude could have dared to push their imagination even further but every play of Reign of the Unblinking Eye certainly reveals new twists within the all-consuming invasion of sound. Time and attention only benefits an appreciation of an instantly pleasing album which has the psyche and passions enslaved by crucial grooves in no time; a success no one can avoid or dismiss.

Reign of the Unblinking Eye is out now via Black Bow Records @ http://blackbowrecords.bigcartel.com/product/the-bendal-interlude-the-reign-of-the-unblinking-eye

https://www.facebook.com/THEBENDALINTERLUDE   http://thebendalinterlude.bandcamp.com/

Pete RingMaster 01/04/2016

Copyright RingMaster: MyFreeCopyright

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Monster Truck – Sittin’ Heavy

pic by Brooks Reynolds

pic by Brooks Reynolds

Yet again Monster Truck lives up to the suggested weightiness of their name with their sound in new album Sittin’ Heavy. The eleven track encounter is a rousing rock ‘n’ roll roar embracing a landscape of bold styles and flavours. It is an adventure the Canadian band’s fans have become accustomed to and helped lead their Juno Award nominated debut album Furiosity to rich acclaim and hordes of new appetites two years or so back. Sittin’ Heavy carries on the muscular work of its predecessor, unleashing broad and robust rock ‘n’ roll you can only give full attention to.

The Hamilton, Ontario hailing Monster Truck quickly began stirring up local attention and support when emerging in 2009, backing it up with the release of their Gus Van Go and Werner F (The Stills, Priestess, Hollerado) produced self-titled EP the following year. The band linked up with producer Eric Ratz (Billy Talent, Cancer Bats, Three Days Grace) for its successor, The Brown EP in 2011, with surrounding singles pushing the band into the Top 10 on Canadian Rock radio. That initial live success has only accelerated and grown across the years too; tours across North America and Canada as well as supporting shows and festival appearances seeing the quartet sharing stages with the likes of Slash, Deep Purple, Guns N’ Roses, The Sheepdogs, Alice in Chains, ZZ Top, Buckcherry, Rival Sons and many more.

Furiosity put Monster Truck on bigger heavy rock/metal maps with its release in 2013, something the again Ratz recorded/co-produced Sittin’ Heavy will surely stir up and exploit further. Their first offering since signing with Mascot Records, the album charges at and through ears with opener Why Are You Not Rocking. Jabbing beats instantly grip attention before being quickly joined by fiery grooves around hungry riffs. Hitting its rousing stroll in moments, the track is a contagious stomp with the lead vocals of bassist Jon Harvey growling and enticing from within the busy web of Jeremy Widerman’s grooves and the seriously coaxing organ lures of Brandon Bliss. With drummer Steve Kiely inciting further involvement through his rapier like swings, band and song has hips, appetite, and energies ablaze with ease.

art_RingMasterReviewSittin’ Heavy is off to a mighty start which continues as Don’t Tell Me How To Live steps up next; its blues spiced grooves and tenaciously pressing riffs offering potent bait as they crowd the robustly snarling tones of Harvey. The song’s air is almost woozy with the melodic liquor fuelling the richly enticing grooving, their flirtation the lead into the suggestiveness of Widerman’s sonic endeavour and imagination. As the first, the track is a magnetic affair pleasing and simultaneously setting up the emotions and appetite for the even thicker weave of spicy textures and sultry invention that is She’s A Witch. As its predecessor, the song has a groove built net which quickly envelops ears as hips and feet are tempted and urged by the funk infused hooks and flighty flames of blues resourcefulness.

A southern seeded celebration is laid out by For The People next, its character and sound a familiar persuasion yet distinctly sculpted with Monster Truck invention and passion whilst Black Forest allows a rest for the body and inspiration for the imagination with its mellow yet still slightly tempestuous air and reflection. As with the last song, there is a sixties/seventies scented essence to the song; hues which align to a modern heartfelt blues seducing before having to make way for the wonderful discord twisted introduction of Another Man’s Shoes and subsequently its muscularly imposing and evocative body. The track is rock ‘n’ roll at its feverish yet controlled best, another skilful tapestry of textures and energies which Monster Truck, in this album alone, show themselves so accomplished at weaving.

From one pinnacle to another as Things Gets Better strides in with a keys sparked swagger that infests every aspect of the song. There is no escaping the unrelentingly persuasive and anthemic prowess of a song which never breaks into a riot of energy and sound but has the senses and spirit as aroused as if it had. The track also adds more of the flavoursome variety that makes up the album. As great as it is though, it and every song making up Sittin’ Heavy, gets outshone by the sensational incitement of The Enforcer. Straight from the big swinging rhythms which bound in under the control of Kiely, submission to its fiery charm is inevitable and even more assured as the soulful fire of sound and harmonies unite to seduce and stir the spirit. Grooves are almost toxic such their winy intoxication whilst the vocals of Harvey, backed by the rest of the band, simply provide virulent bait. Add biting riffs, piecing hooks, and more creative swing led by the bass revelry of Harvey, and you have one of the most incendiary tracks you are likely to hear this year.

To The Flame takes ears into a tantalising mix of sludge and stoner-esque adventure next. The track almost crawls over the senses whilst leaving a glaze of volcanic seduction, led by Widerman’s sonic lattice and the smothering allure of Bliss’ keys. Compelling the listener into full involvement, the track’s sweltering landscape adds another peak to the lofty range of the album, its success matched and surpassed by the devilishly creative and expressive throes of New Soul. The song has all the hectic and inflamed elements that makes the Monster Truck sound; elements which collude with individual craft and anthemic mastery for lusty rock ‘n’ roll to get hot and sweaty to.

Completed by the gentle, in relation to other songs, emotive embrace of Enjoy The Time, the irresistible Sittin’ Heavy is a band revelling in the varied strains of rock ‘n’ roll and their imagination in uniting them with their own invention. That in turn has ears and emotions similarly making feverish merry to the results.

Sittin’ Heavy is out now via Mascot Records, available digitally as well as on CD and Vinyl (which includes bonus track Midnight) across most online stores.

http://www.ilovemonstertruck.com/   https://www.facebook.com/ilovemonstertruck   https://twitter.com/monster_truck

Pete RingMaster 07/03/2016

Copyright RingMaster: MyFreeCopyright

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Massacres – Brutus

Massacres Promo Shot_RingMaster Review

With a sound that does a fair job on the senses replicating the suggestiveness of their name, UK hardcore quartet Massacres have announced their introduction in ferocious and heftily enjoyable style with debut EP Brutus. The four-track fury is a merciless tempest of hardcore antagonism and belligerence loaded with punk rock hooks and a rock ‘n’ roll breeding which just compels ears and incites the body. Bolder things may be heard this year but for thoroughly exhilarating and fresh imaginative hostility, Massacres hits the floor running with Brutus.

Formed in the Spring of 2015, Massacres swiftly set about creating a collection of ravenous tracks before unleashing them on the live scene to increasingly fevered and acclaiming responses. Soon references were understandably offered to the likes of Every Time I Die, John Coffey, Pissed Jeans, and Cancer Bats; spices easy to bring up whilst listening to Brutus which the band began working on last summer. Uniting in Stakeout Studio with producer Jason Wilson (Reuben, Fightstar, The Ghost Of A Thousand), the London quartet emerged with an EP that barges into ears, bullies the senses, and ignites a keen appetite for more.

Massacres Cover Artwork_RingMaster ReviewOne Of The Boys launches at ears first, a nagging sonic scything from the strings of guitarist Kris Mayzee colluding with the similarly stabbing vocal spikes of Dave Rogers as the track gets a foothold in the psyche straight away. Soon venomously prowling the senses with urgency and grouchy invention, bruising intensity and burrowing hooks aligning for a potent lure, the song irritably stomps like a mix of Every Time I Die and Reuben with the additional animosity of Cancer Bats yet equally Norwegian band Shevils and British noise fiends The St Pierre Snake Invasion are nudged into thoughts to describe the predominantly individual flavour of the song and indeed subsequent release.

It is a rousing and increasingly addictive offering powerfully backed by the rawer viciousness of Death Knell. Again hooks and grooves are a persistent tonic in the volatile climate and character of the track; grooves especially spicy and insatiably alluring as they wind around the pleasing vocal variety shown by Rogers. The bass of Martin Walker is a bestial incitement, though it too develops an irresistible swing at times as it bridges the scorching temptation of guitars and the insistent brutality of Andy Sartori’s rhythmic swings.

New single Everything I Want To Do Is Illegal rages next; exploding off of a singular tendril of guitar bait with robust rhythms, fiery grooves, and the uncompromising emotive squalls of Rogers. As Max Raptor like infectious as it is The Ghost of A Thousand like choleric, the track is a dynamo of energy, hook loaded enticement, and unbridled emotion with the band giving their virulent all in craft and arousing intensity.

To The Victor, The Spoils brings the release to a close by crowding in on ears with a controlled barrage of predatory rhythms and vocal crabbiness amidst intrusive sonic enterprise. Within the stormy confrontation though, kinder melodies hang in the shadows where equally a catchy gait lurks, both waiting to escape the combative swell of sound and discontent. It is a intent that never occurs as such but all the time they add inescapable imagination to the unforgiving animus of the song.

Brutus is a strong and, more importantly, thoroughly riveting entrance by Massacres on the UK hardcore scene, an area of ferocious rock ‘n’ roll easy to see the band growing to be a driving force of if they fulfil their potential.

The Brutus EP is available through all platforms on from February 5th.

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

Pete RingMaster 04/02/2016

Copyright RingMaster: MyFreeCopyright

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Shevils – The White Sea

Photo by Jørn Veberg

Photo by Jørn Veberg

With a couple of singles in as many recent months setting the scene and platform for their new album, Norwegian band Shevils now unleash The White Sea, in turn confirming themselves as one of Europe’s finest hardcore incitements. It is a ten track sonic roar of hardcore aggression and noise rock imagination, easily Oslo hailing Shevils at their most addictively inventive and punishingly ferocious.

Since coming across Shevils through their single Is This To be (Our Lives)? in 2011, the year the band also formed, they have been a perpetual adventure to anticipate and be impressed by for our and their ever growing number of fan’s ears. Every time thoughts wonder if the band has hit their pinnacle, they have pushed on again, second album Lost In Tartarus a prime example as it took the strong and gripping prowess and sound of its predecessor The Year Of The Fly, and indeed The Necropolis EP before it, both also released in the band’s first year, to new heights of quality and bold adventure. As hinted at by the singles One Thousand Years and Shivers these past few weeks, they have done it again, their third full-length The White Sea digging deeper into bold craft and invention to move forward again from its 2013 uncaged predecessor.

The core trio of Shevils, vocalist Anders Voldrønning, guitarist Andreas Andre Myrvold, and drummer Anders Emil Rønning have created a twisted and angry beast in The White Sea, its nature and intensity echoing the social and political turmoil its lyrics seed their invention and fury from. With some of the songs also co-written by former member Christoffer Gaarder, the album is a voracious tempest of sound and emotion which at times becomes a writhing flirtatiously contagious predator and in other moments is an erosive sonic tempest of intensity and ire. From start to finish though, it is a gripping and ravenously compelling adventure which in one way or another exhausts and deeply pleasures in equal measure.

shevils-the-white-sea-cover_RingMaster Review   Produced by Marcus Forsgren, The White Sea stirs into rich life with I Wear The Skies, the opener coaxing with one, two, subsequently three and four layers of rich enticement once choppy riffs lure more spikily nagging hooks, keenly jabbing beats, and finally a groove thick bass tempting, it all uniting in an explosion of noise and impassioned vocal fire. Early hooks continue to lay down their addictiveness as the song grows, expanding their bait throughout as the short but glorious track boils to an anthemically ferocious close.

The outstanding start continues with We Could Leave The World, the bass of producer Forsgren almost skipping in its throatily pulsating prowl as again guitars stir up air with their sonic teeth posing as riffs. Band vocals roar and squall around the ever enticing lead tones of Voldrønning whilst the sweeping swipes of Rønning steer things into greater virulence, a contagion perpetually stretched and shaped by the craft and enterprise of Myrvold. Managing to eclipse the previous track, it only leads to another instant pinnacle within the album, a lofty peak going by the name of One Thousand Years. The earlier mentioned single bounds in on an inescapable rhythmic enticing, its enslaving hold matched by the grouchy blaze of guitar and vocals as well as the enjoyably predatory bassline. Sonic causticity and vocal rousing continue to collide and collude within the outstanding track; three proposals in and already The White Sea is emerging as one of 2015’s essential violating puppeteers on body and imagination.

The Death Of Silence has thick bait tempting ears from its first breath, a stroking of baritone guitar swift seduction quickly aided by a just as dark bass intimidation. Voldrønning’s mix of sandy and inflamed deliveries soon hold the reins of the song, especially as it evolves into a less imposing but similarly intensive affair with guitars melodically exploring and harmonies flaming in the surroundings of the abrasively catchy encounter. As with any Shevils track there is also an underlying drama in expression and imagination, here it boldly seeding a percussive shuffle and infectious swing helping to forge one invigorating incitement.

A rawer and more corrosive atmosphere floods Black Summer next, its textures matching the air as its hardcore heart pours passion and physical ferocity down the veins of the spiralling guitar enterprise. The track is a thickly layered and delivered protagonist, a consuming smog of sound which again has satisfaction full though it is instantly overshadowed by Shivers. As natural as breathing, guitars and bass spin a web of addictive hooks as beats slowly but forcibly batter the senses. It is a punk inferno pulsating with the band’s mighty roars and sonic ingenuity, and breeding anthemic toxicity which has limbs and voice enlisted in short time, moving on to twist and manipulate the imagination and psyche with every spin of its carnivorous inventiveness and rabid energy.

Both the vindictively prowling Wordsmiths and the transfixing Fireflies keeps release and emotions aflame, the first another defiance driven hardcore/punk antagonism as infectious as it is physically scarring. Its successor soon lives up to its name, guitars breeding glowing melodies which sonically flit across the evocative canvas of the song. Once more rhythmic imagination is as potent as dynamic tendrils of sound, uniting in an engrossing and wonderfully demanding onslaught, though a searing tapestry outweighed in spite by the hellacious When Will I See You Again?, a brutal assault tempered by catchy adventure in songwriting and individual craft.

It tempestuous tsunami is emulated by the album’s closing title track, The White Sea even more erosive and smothering as its sonic density and raging emotions devour and ignite the senses. It is the least welcoming track on the album, but no slouch in potent lures with haunting keys creeping through ears in the shadows of the crawling storm whilst a catchiness of sorts seeps into every volatile intent and trespass of riffs and scything beats.

It is a thoroughly exhausting end to the album, the band at its most creative and exploratory whilst freeing every ounce of their emotion and dark depths in a startling oppressive temptation. As their second album leapt on from the first, so The White Sea does again. It might not be as big a step on the surface in some ways but it is their most inventive one making Shevils one of the big excitements in noise invention. Like a hybrid of Cancer Bats, Refused, Sofy Major, and Melvins, this a band ready to stand aside such names whilst scarring your senses.

The White Sea will be self-released on 6th November.

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

Pete RingMaster 03/11/2015

Copyright RingMaster: MyFreeCopyright

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Sexwolf! – Hangin’ With The Boys

Sexwolf_RingMaster Review

It has been digitally devouring the senses for a few months now but in the breath it takes one month to roll into another, Hangin’ With The Boys gets to physically violate the world. A fierce infestation of punk fuelled rock ‘n’ roll, the EP is the debut release from noise merchants Sexwolf!, an English quartet which has become recognised as one of the wildest and greedily devoured hardcore confrontations on the Birmingham, indeed Midlands rock scene. Going by Hangin’ With The Boys they are one of the most exciting too, a treat lovers of feeling something substantial in their hand which bites, i.e. a CD, will go wobbly over.

With inspirations from the likes of Every Time I Die, Cancer Bats, Black Sabbath, and Refused sparking their sound and sharing stages with bands such as He Is Legend, The Bastard Sons, Black Shapes, Black Art, and Heck (Baby Godzilla) amongst a great many more, under their belts, Sexwolf! go straight for the jugular with Hangin’ With The Boys and its opener, the band’s forthcoming single None Stop Body Rock.

cover_RingMaster Review   Guitars and drums respectively send a torrent and barrage of their finest ferocity down on the senses straight away, their bait leading the listener into a tempest of vocal antagonism and infection dripping grooves from within an already more hostile onslaught driven by the vicious beats of drummer Jenk. No quarter is given as the track continues to abuse and batter yet the guitar of Joe Lane conjures virulent sonic enterprise to temper his carnivorous riffs and those of bassist Dan Mogg, whilst together the band breed a contagiousness which is especially virulent in the rousing and ravenous chorus helmed by the raw squalls of vocalist Richard Phillips. As much as you might say the song and the band’s sound is living off essences heard often before, they become twisted and cultured in the ways of Sexwolf! to emerge with a fresh and fiery character of their own.

Evidence is swift as She Got Gold leaps from its waiting seat and tears a raucous hole in air and psyche. As it abrases the senses it simultaneously spins an addictive tapestry of noise rock hooks and impossibly catchy grooves matched by the diversity of the vocal attack. Like Shevils meets Gacy’s Threads with a splattering of Every Time I Die for good measure, the track is a glorious trespass of body and soul, a protagonist to a lustful appetite for more of band and sound. Guitars are bluesy, vocals unpredictable, and the rhythms, well they just beat an enslavement out of you with force and violent charm.

Nomesayin resourcefully uses its few gasps over a minute to unleash an hellacious bestial swamp of violent punk ‘n’ roll that just breed pleasure whilst Captain Bastard Face seems to have the scent of blood in its nostrils the way it explodes from the blocks and ravishes air and listener. It does have the invention to also share waspish grooves and hostile repetition across its sonic predation, an enterprise which seems to only increase the potency of its maliciousness and the emerging bolshie but mischievous swagger.

The final thrilling skirmish between band and ears comes courtesy of Fuklashnikov, a minute and a half of twang infested rancor and raging belligerence, and another tsunami of noise that just hits the spot. If hardcore in its full savagery is not for you then run, run away now but for the rest of us with a taste for spiteful invention and devilry, Hangin’ With The Boys is a must, especially now in its physical glory.

Hangin’ With The Boys is available on CD from October 31st and digitally now at the Sexwolf! Bandcamp.

Pete RingMaster 24/09/2015

Copyright RingMaster: MyFreeCopyright

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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

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