Twelve Boar – No Forgiveness

We have no idea why they expanded the moniker from XII Boar to Twelve Boar but it has coincided with a whole new thrust of mischief and variety in the British heavy rockers sound as in mouth-watering evidence on new album No Forgiveness. The trio from Aldershot still conjure up and unleashed tides of southern fried grooves, thumping rhythms, and ravenous riffs, traits they have become acclaimed for but it all comes with a new carefree fun and adventure. Let us be clear, the band has never been anything other than the rich source of both across a host of songs and releases but No Forgiveness more than most raises the middle finger in a motion beckoning all to come in and join their riotous party.

Since the release of debut EP, Split Tongue, Cloven Hoof back in 2012, Twelve Boar has made an inescapable impact on the UK rock scene. Its well-received, attention grabbing success was just the teaser for the plaudits which eagerly gathered around the uncaging of debut album Pitworthy in 2015 and the even more acclaimed Beyond The Valley of The Triclops last year. Each backed up a live presence and reputation which has equally only grown year on year until it is fair to say that the threesome of vocalist/guitarist Tommy Hardrocks, bassist Adam Thomas, and drummer Dave Wilbraham is now regarded by a great many as one of the most essential roars on the UK scene. There still maybe a few yet to discover the instinctive stomp of Twelve Boar but only something No Forgiveness will soon sort out.

Beyond The Valley of The Triclops certainly hinted at the multi-flavoured evolution of the Twelve Boar sound but No Forgiveness gives it to you unbridled and face on, so much so that the first listen, whilst stirring up the passions, has us questioning whether we missed the dirtier thunderous trespasses of times past. The second listen then revealed that nothing has changed, the band still brewing a sound caked in rock ‘n’ roll soil which leaves the body exhausted and shaking from the onslaught but with a fresh toxin of fun involved, and the third listen…that is when the lust breaks out.

Recorded with producer Chris Fielding, No Forgiveness goes straight for ears with spice loaded grooves and ear rapping beats as Steppin’ Up gets things rolling. The gravelly tones of Hardrocks stand astride the tendrils of guitar, riding the grooves as bass and beats throb and land with a brooding intent.  A slab of muscular rock ‘n’ roll the band is certainly renowned for it then throws an unexpected twist in its midst as it slips into a mellow intoxication of melody and clean vocals though the moment is just the teaser to a waiting lustily fiery stroll. It is a great start to the release but soon overshadowed time and time again starting with Golden Goose. The second track instantly shows attitude in its riffs which continues to colour its character even as rap metal flavoured vocals dance devilishly on the emerging encounter. From thereon in heavy rock ‘n’ roll and that nu-metal toned adventure collude and interact enticing further whiffs of extreme metal and desert rock into the mix.

The Curtain Call swaggers in next with hooks lining every swing of its rhythmic hips and sultry grooves. Sabbath-esque riffs are openly embraced by the band then infested with their own devilment as rhythms harry the senses throughout, often dancing like a dervish as another dose of great diversity grabs the vocals. The track is glorious, Twelve Boar at the inimitable best and swiftly matched by the album’s southern bred title track. An acoustic strum is joined by vibrating beats as Hardrocks growls, the song sauntering along with accusation on its breath. In time everything finds a new tenacity and muscle, the encounter grabbing hips and appetite like a fine, throat burning bourbon.

Stealing the best song plaudits, Elders From The Deep dives in next, the track filthy rock ‘n’ roll stomping like Motorhead meeting Gene Vincent as The Cramps bring their salacious garage rock antics to the fun. The track is irresistible, a sinful slice of addictiveness which truly had this appetite drooling long before it had to make way for the blues rock romping of Snake On A Lead. As its predecessor, the song just hits the spot with flirtatious grooves and bone rattling rhythms, it knowing all the right buttons to push to have the body bouncing and a lively spirit fuelling keen physical involvement.

The crawling almost predatory opening prowl of All the Heavy Griftin’ instantly whets the appetite but it is just the prelude to another stonking rock ‘n’ roll canter impossible not to get infested by. If you had any doubts that Twelve Boar know how to rock until the sweat flows like a river and fingers bleed, than this virulently contagious track alone will wipe them away.

The brief sweltering climate of instrumental Panama lures ears into the landscape you can imagine the waiting final track Hellspeed Truckin’ would be rolling down. In the closer tarmac punishing riffs and air cutting rhythms shape the adventure, the bass a hypnotic driver with vocals holding the wheel. As grooves sear the scenery raw adrenaline flows through sound and voice, the track in top gear never flirting with the brakes until the body lies prostrate in its dust.

Wrapped in the striking artwork of Rahadil Hermana, No Forgiveness is quite simply one of the major treats of the year. It is relentlessly energetic, hungry, and fun from a band driven by those self-same attributes as well as an instinct and the craft to turn it all into one rousing experience. XII or Twelve Boar, they are still helping drive the UK heavy rock scene from the frontline.

No Forgiveness is out now and available @ https://xiiboar.bandcamp.com/ or http://xiiboar.bigcartel.com

http://www.xiiboar.com/     https://www.facebook.com/xiiboar/    https://twitter.com/xiiboar

Pete RingMaster 15/09/2017

Copyright RingMaster: MyFreeCopyright

Darkest Era – Severance

DarkestEra2014-500x334

Taking the inventive promise and striking quality of their acclaimed debut album to another creative level, Northern Ireland band Darkest Era unveil their sophomore release Severance. It is a weighty and potently persuasive encounter sure to replicate and intensify the reception and success of its predecessor, eight tracks which spark the imagination with persistently captivating and distinctive Celtic infused heavy metal. Musically the album has a slightly lighter climate than before but still the emotive fire and melodic passion of the band comes in a fusion with raw textures and imposing intensity. It is a compelling mix which never leaves a minute of sound lacking in punch and inventive voracity.

The seeds of Darkest Era began in 2005 with when teenage school friends, guitarists Ade Mulgrew and Sarah Wieghell. Starting to write together, the pair linked up with vocalist Krum as their songs, taking inspiration from the historical and mythological tales from ancient Ireland, emerged with a Celtic essence. The following year a demo appeared under the name of Nemesis which soon held the attention of the European metal underground. 2007 saw Darkest Era step forward, a change made in relation to the darker presence and voice of their evolving music. Across the next three years, the band released a couple of EPs and played plenty of shows including festivals appearances in Germany, Greece, the UK, and Italy. Debut album The Last Caress Of Light was released in 2011 via Metal Blade Records to strong and eager responses from fans and media alike. The years between releases has seen Darkest Era undertake European and UK tours with bands such as Alestorm, Arkona, and Gloryhammer alongside their own shows and the creation of Severance.

With a line-up completed by bassist Daniel O’Toole and drummer Cameron Åhslund-Glass, the Belfast based quintet recorded their new DarkestEra_coverCruz Del Sur Music released album with producer Chris Fielding. It is a proposition which makes an instant impact as opening track Sorrow’s Boundless Realm seduces ears and senses from its opening caress of guitar as throaty bass bred shadows lurk in the background. It is an intrigue lit coaxing which soon unveils rhythmic sinews and richer sonic colour which only reinforces the initial lure of the song. A rampant urgency is careering through ears from there as the outstanding voice of Krum parades the narrative of the song. Fully expanded, the song is a fiery and caressing mix of energy and enterprise veined by gripping bass and drum intimidation and a sonic weave of seduction from the guitars. It is not a song which startles and has jaws dropping but with every twist and turn of sound and ideation, the track as the album captivates and lights thoughts along with emotions.

There is also an enveloping emotion and drama to every aspect of the song which is swiftly emulated by the following Songs Of Gods And Men. Its entrance also makes a gentle touch but takes less time to open the cage to ravenous riffing and rhythmic stalking. Krum is again masterful as he rides the sonic flames pushing the walls of the song, his voice backed as potently by the rest of the band within the anthemic stride and expressive premise of the encounter. There is a melancholic air to the song, an essence permeating each track in varying degrees, which graces the melodic elegance and grandeur of the song and casts an enthralling hue for the vocals and lyrics to colour their emotions with. It is a vibrant captivation which in its distinct way The Serpent And The Shadow repeats but with a darker and more rapacious presence. There is a deeper snarl to the bass and stronger rigorousness to the riffs setting a coarse and hungry tone to the heart of the song, a predation which intimidates but is a perfect foil and instigator for the dynamic fire of sonic flames and vocal adventure which burn and roar respectively across the song.

The following Beyond The Grey Veil is an evocative ballad with its own specific dark shadows and intimate emotional reflection, a song which croons with vocal majesty and melodic seducing whilst still managing to bring a predacious intent to certainly the breath-taking latter part of its enthralling body. It is fair to say that many of the songs are slow burners in finding their fullest persuasion, this definitely one but it is a song emerging as one of the most impressive and impacting. Its successor Trapped In The Hourglass is another to need more examinations than others and though it fails to live up to the previous track again makes a convincing and enjoyable proposition.

The Scavenger has little difficulty in grabbing attention and appetite, its early grooves leading to an intensive gallop of rhythmic tenacity upon which hooks and melodic enticement catch ears and thoughts at every flexing of the song’s spine and inventive ideation. A blaze of creative fertility and contagious power metal like vivacity, it is a tremendous exploit straight away matched by the equally powerful emprise of A Thousand Screaming Souls. As the song before, the listener feels like a warrior riding on a nostril flaring steed as a spellbinding landscape opens up and engulfs the imagination. The two songs encapsulate everything potent and riveting about Darkest Era and their music, emotionally epic and inventively broad but a companion which is intimate within the larger tales it spawns.

The album closes with the towering and melodically pungent Blood, Sand And Stone, an intensely evocative croon within climactic tempestuous scenery. It is a great conclusion to an impressive and skilfully presented album, a release which reinforces Darkest Era as one of the increasingly potent melodic metal bands in Europe. There is very little if anything to hold up against the undeniably fine album but personally it is honest to say that Severance did not leave passions as excited as hoped and expected. Individually there are songs which ignite a real hunger and as a whole the album is an engrossing and strongly pleasing experience, but somewhere we missed that fuse to the strongest reactions. Most will not have that issue though we suspect so it is very easy to recommend Severance to all.

Severance is available in digital, CD, and Vinyl options via Cruz Del Sur Music now in the US and from June 13th in Europe.

http://www.darkestera.net

8/10

RingMaster 04/06/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Conan – Blood Eagle

 

Conan_1

    Conan’s second album Blood Eagle parades all the musculature and primal intensity you would expect from their literary namesake, its body a rippling drone tempest of doom dressed metal. The new six track leviathan from the band sculpts the heaviest ravenous riffs and ruggedly intimidatingly rhythms, aspects expected from the band after the casting of their debut album back in 2012, but brings it under a swamp of brutal oppressiveness and voracious atmospheres which sees the band at its most destructively creative yet. It is an album which tests and seduces the listener simultaneously, leaving emotions exhausted and satisfaction bloated.

     Formed in 2006 as a duo, Conan has seen numerous line-up changes across the subsequent years but it is fair to say that the trio of guitarist/vocalist Jon Davis, bassist/vocalist Phil Coumbe, and drummer Paul O’Neil has driven the band to its most impacting and vicious adventures as evidenced upon Blood Eagle. The band has persistently barged and demanded attention through their releases, the Horseback Battle Hammer EP of 2010 and that first album Monnos two years later notable onslaughts, whilst splits with Slomatics and Bongripper in 2011 and 2013 respectively, has only increased the presence, and certainly in the latter, the expectations of their second full-length. Released via Napalm Records and as their previous album Chris Fielding produced, Blood Eagle certainly feeds those needs and more, its battle field of sludge tarred monolithic riffs and threateningly captivating rhythms aligned to an exceptional dual vocal provocation, dangerously irresistible and ruinously enthralling.

    The initial breath of first track Crown of Talons instantly offers an intimidating presence, the near on ten minute journey NPR527 Conanthrough cavernous climes and thick textures not exactly laboured in its emergence but certainly taking its menacing time to envelop the senses. Riffs slowly entwine around the ears securing a ready submission to their bait before darkening and intensifying their immersive swamp of sound with firm rhythms punctuating every evolving twist and corner of the journey. As leaden and bulky as a mountain bred avalanche but with the centuries worth of patience within any kind of erosion, the track is a mesmeric pestilential consumption, an insidious rapture which simply seduces from start to finish.

    Its successor Total Conquest brings an even greater intimidating predation to its structure and touch, an almost visceral essence coating its every moment whether again smothering the senses with a steady trudge or raising its energy to scavenge with forceful voracity. The gruff vocals equally gain a richer growl and seeming impatience to accentuate the threat whilst rhythmically the track deceives with a hypnotically irresistible contagion which leads the listener further into the jaws of the ravaging.

    Foehammer is next to abrase and snarl against the ears, its excellent vocal offering an anthemic call within the less welcoming barbarous scourge of sound, both elements insatiably magnetic even with the bestially harsh and intensively weighted squall of the track around them. The shortest slab of ferocity on the release it leaves just as many lingering agreeable scars before the excellent Gravity Chasm unleashes its particular venomous waltz of exhaustive severity and vehemence. There is a swing and groove to the provocation which simply traps the passions, taking them on a hellacious dance of primal intensity aligned to captivating vocal rapacity, before throwing them to the always waiting carnivorous appetite of the behemoth sound. The best track on the album is followed by the masterful and enthralling heavy hum of Horns for Teeth, the track another to skilfully merge a catchy swagger and infection into a suffocating drone sculpted canvas of doom incitement. It is a glorious sonic dreadnought with a tempestuous suasion rivalling its predecessor for that top beast honour.

     The album is completed by the transfixing Altar of Grief; an almost shamanic rhythmic coaxing setting things off whilst being courted by a distorted nagging sonic drone. The entrance of the track infests and infects with impossible ease paving the way for the corrosive squall of sound that washes over and permeates every thought and emotion. Like the first song it is a demanding and unrelenting pillaging of the body, content to strip the senses layer by layer with its slow sandblast as it brings Blood Eagle to an immense conclusion. Conan makes you suffer and face multiple trials to get to the heart of its releases but as here the rewards are constantly worth every wound and scar.

Upcoming Conan Tour Dates:

14.03.14 UK – Nottingham / Stuck On A Name Studio

15.03.14 UK – Bournemouth / The Anvil

16.03.14 UK – Birmingham / The Asylum 2

17.03.14 UK – Glasgow / Audio

19.03.14 UK – Manchester / Kraak Gallery

20.03.14 UK – Cardiff / Full Moon

21.03.14 UK – Brighton / The Prince Albert

22.03.14 UK – London / Electrowerkz

09.04.14 BE – Liège / le Hangar

10.04.14 NL – Tilburg / Roadburn Festival

11.04.14 DE – Würzburg / Cafe Cairo

12.04.14 DE – Leipzig / Doom Over Leipzig

13.04.14 DK – Copenhagen / KB18

14.04.14 NO – Oslo / Revolver

16.04.14 FI – Jÿvaskÿla / Lutakko

17.04.14 FI – Helsinki / Kuudes Linja

18.04.14 FI – Tampere / Klubi

19.04.14 FI – Oulu / Nuclear NightClub

21.04.14 SE – Stockholm / tba

22.04.14 SE – Lund / Hemgarden

23.04.14 DE – Berlin / Jaegerklause

24.04.14 DE – Wiesbaden / Kulturpalast

25.04.14 NL – Groningen / Vera

26.04.14 DE – Hamburg / Droneburg Festival

27.04.14 DE – Cologne / Underground

21.06.14 FR – Clisson / Hellfest

http://www.hailconan.com/

9/10

RingMaster 04/03/2014

 Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com