Sacred Wind – Sacred Wind

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Having had our pleasures goosed by Odin’s wind courtesy of Metal and Curry, the recent single from Welsh Viking bred rockers Sacred Wind; there was no option but to check out the album from which it comes. Released towards the rear of 2014, the thirteen track adventure, also going under the name of Sacred Wind, reveals the full landscape and creative emprise hinted at by our first introduction to the band.

The album is a tale of bold knights, even bolder flatulence, and a rampant hunger for cheese, not forgetting a few buxom women draped around a curry or two. Even more potently the album is bulging with glorious heavy metal and classic rock psalms of heroic deeds and Norse seeded challenges. From its first moments there is no doubting that Lord of the Rings/ Game of Thrones have found a richly mischievous companion in Sacred Wind, an alternative reality comparison, but that cannot hide or devalue the impressive craft and roaring sonic might of band and album.

Opener A Time of Magic is a vocal introduction between grandfather and child, be it a kid with the squeak of an adolescent aged forty plus with one ball dropped and one hovering. Questions from the latter bring an unveiling of the scenery and drama behind the album’s premise from the former, a telling of the background to the quest undertaken by the noble warriors regaled through the songs. These brave souls are called Sacred Wind and the following album title track, their opening scene. Hefty rhythms and fiery riffs make an immediate impression upon ears; the guitar hooks an almost predacious lure matched by the heavily throated bassline courting their attitude. Subsequently keys and raw melodies add to the canvas upon which Memphis bred Viking and vocalist/guitarist Olaf the Berserker reveals the narrative. It is a pungent offering, old school and swiftly anthemic.

The impressive opening song is matched straight away by Metal and Curry, the track similarly an inescapable anthem but with a lighter swagger to its gait and harmonic roar. Whilst meaty hooks and melodic tenacity from Olaf and Grundi the Windy are thrust through ears to seduce the senses, a rhythmic stomp provided by bassist Smid the Merciless and drummer Agnar the Hammered ensures neck muscles and imagination are flush with an appetite to devour the song’s tremendous contagion.

Already Sacred Wind is lighting body and emotions like a mix of Gwar meets Green Jelly meets Judas Priest, though that only narrows down what is a much broader flavour to the album. The band’s humour is just as open and ripe too but only in the lyrical and thematic adventure, their sounds a blaze of creativity and exciting endeavour which has plenty for all metallers, let along those just honed in with just a taste for classic rock ‘n’ metal. It is fair to say though that Hurricane Ass next is purely steeped in seventies metal bred in a bed of similarly aged classic rock. Begging for the power of a certain bodily function to help woo a prospective love, the song flames with sonic enterprise and vocal harmonies, transfixing ears as it heads towards to a firework like display of a finale, beats exploding across its melodramatic sky.

The combative character of Warriors of Asgard takes the success of its predecessor to new heights next, the track sinew and ferocity as the warriors take arms to rescue damsels in distress. Equally though it is unafraid to light their way with beacons of melodic ingenuity through the guitars and the symphonic yawn and soar of keys. The track is a delicious cinematic like escapade, not only a potent visual offering for the imagination to run with but simply an infectious slice of melodic metal.

Both the eighties kissed Sail with Me and the climactic bellow that is Rock, Rock, Rock, Rock Ragnarok keeps things on appealing and satisfying course, though neither can rival the some of the previous encounters. The first covers an emotional realisation brought by romance and the other an apocalyptic incitement to the Gods. Each brings new diversity and intrigue to the album leaving thoughts engaged and enjoyment contented is without setting a fire in their attention, something the power ballad Frigg certainly manages with its dark grouchy shadows and sonic balladry of vocal and melodic expression. Strong the first time and increasing its lure thereafter, the track is a slow burner which as quite a few songs upon Sacred Wind has the ability and persistence to flirt with the memory whenever it wishes.

Fart for Odin, by title alone, needs no help in explaining its narrative to the imagination, it a bar room ode and mead fuelled anthem within a tempestuous sonic and rhythmic turbulence. It is another thumping antagonist to body and fun though soon surpassed by the outstanding Dragon Ships and Women’s Hips. Impossibly virulent from its first sweep of vocals and initial tease of melody, the song brings rock pop from the late seventies, glam metal from the eighties, and nineties folk metal in one irresistible catchy croon. Think Alestorm meets Duran Duran and you get an inkling of the majestic lure of the pinnacle of Sacred Wind.

The battlefield brings the background to My Sword is my Sword firmly into thoughts, the power metal offering soon expanding its tale with horn like calls of the keys and predatory rhythms around the vocal roar of Olaf, all courted by the cantering invention of the guitars. Its spicy persuasion is followed by the celestial instrumental hymn of The Sheep’s Lament, which in turn makes way for the closing celebration of The Power of Cheese, though why anyone would want to crow so favourably about the mouldy stuff beats us. The song, as the previous track is a bonus offering on the album, and brings the release to a riotous yet melodically sizzling end.

It would be wrong to think of Sacred Wind as a one off good time to file away as you might a Green Jelly or in some ways a Steel Panther offering. Lyrically yes it is a roaring laugh but musically album and band stand side by side with any power metal, classic rock offering, just with an extra dose of mischief. Produced and arranged by Andy Coffey, who has a much bigger hand in things then you might suspect, including writing the excellent books which accompany the album’s story, the album is recommended to anyone with an appetite for strong, accomplished, and most of all enjoyable full fat metal.

Sacred Wind is available now via iTunes, Amazon etc. and the Scared Wind books @ http://www.amazon.co.uk/Andy-Coffey/e/B00LXLNW64/ref=ntt_athr_dp_pel_1

https://www.facebook.com/pages/Sacred-Wind/136135083263791

RingMaster 18/02/2015

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Sacred Wind – Metal and Curry

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The Vikings came, rampaged, and going by Sacred Wind, left some berserker seed to breed and bide its time before invading the classic metal timeline. The band from the hill sculpted landscape of Llangollen in Wales is the embodiment of Tolkien like mischievous adventure, heroic wrongdoings, and salacious revelry. They also create a classic metal incitement which sears and excite body and soul, as proven by new single Metal and Curry.

Taken from the band’s acclaimed self-titled debut album, itself an invigorating march of anthemic riffs, fiery melodies, and soaring hair wilting vocals, the new single tells you all you need to know about Sacred Wind and its dynamic sound. Like a Terry Pratchett inspired Friday night out narrated by firm tongue in cheek lyrics and a similar rascality in presence, Metal and Curry leads the listener by the hand into dens of liquor running devilment.

With the band members going by the name of Olaf the Berserker (lead vocals/lead guitars), Grundi the Windy (lead guitars/backing vocals), Smid the Merciless (bass guitar/backing vocals), and Agnar the Hammered (drums and percussion), newcomers to Sacred Wind might expect something like Gwar meets Green Jelly or Spinal Tap. The band though swiftly evades those thoughts taking firm hold by unleashing a sound which is as skilfully accomplished as it is dramatically fiery and an energetic presence which makes Alestorm seem reserved. The band’s album is all the evidence needed to suggest Sacred Wind is one of the UK’s brightest heavy metal protagonists, Metal and Curry even swifter proof.

Its first breath is a stomping invasion of heavy footed beats courted by a predatory bassline and swiftly bound in sonic enterprise. The potent start relaxes a whisper to open up the way for the rich vocals of Olaf to harmonically roar, his entrance accompanied by meaty hooks and melodic tenacity from the guitars. As maybe you would expect from the band and its creative backgrounds, there is a swagger to the song which translates to every swing of a drum stick and forceful plucking of strings, not forgetting a raucously anthemic chorus expelled by the band. The core of the track is not startlingly original you could argue but with a glorious flame of craft and enterprise from guitars which includes a highly magnetic solo, it soon establishes a unique and ridiculously contagious presence.

It is a beast of a song but more inviting than barbarous and an irresistible recruitment of neck muscles and voice. The song is a wonderfully rowdy doorway into the heart of the band’s album but also sums up the character and devilish presence of Sacred Wind as a complete proposition. Accompanied by a trilogy of books written by Andy Coffey, who might just be involved even deeper in the band we say in a whisper, Sacred Wind is a Norse bred Sláine corrupted Game of Thrones theatre in many ways but with a musical creativity and rich blaze of a sound which puts many established classic metal bands to shame.

Explore the whole world of Sacred Wind @ http://www.sacredwind.co.uk

RingMaster 20/01/2015

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Forged In Black – The Exodus

Forged in Black Online Promo Shot

Though UK heavy metallers Forged In Black is far from being a new band, they have found a new shift and exploration in their sound and thoughts which has led to a relatively recent name change, a renaming which reflects line-up changes and this progression in sound. Their new encounter is The Exodus EP, a release consisting of one brand new track and a couple of early demos of older songs. It is sure to be a tonic for all fans of adventurous classic metal, imposing riffs, and flesh scoring vocals, whilst for the rest it still has enough to stir attention.

The band began in 2009 under the name Merciless Fail, emerging with the intent to merge traditional heavy metal with a unique contemporary essence. The band swiftly earned a strong reputation for their live performances, playing both Bloodstock Festival and the main stage at Red Roar Festival in 2012 and going on to win Metal to the Masses and Band Quest competitions. 2013 was the band’s most successful to date, playing Metal Gods Festival 2013 alongside the likes of Beholder and Savage Messiah, supporting Skreamer and again Beholder, and re- releasing acclaimed debut album Forged in Black. As the following and similarly well-received The Tide EP, the album came out last year for its second outing, two years after the first appearance and under the new band name. It was the four-track EP which showed a suggestion of a twist in the band’s sound, something far more pronounced and exploratory now with the Romesh Dodangoda (Motorhead, Sylosis, Bullet For My Valentine) recorded The Exodus.

The opening melody of the title track is simple bewitchment, a potent lure reinforced by the emerging stride of imposing rhythms and climatic swipes of guitar. There is a definite thrash breath coverto the track once fully in view, an early Metallica essence to ignite imagination and appetite. It is swiftly infused with heavily toned riffs and the rich vocals of Chris Storozynski, his classic style standing eye to eye with the rugged elements of the track but matching the acidic sonic flames around him. A great bruising vocal backing from bassist Kieron Rochester badgers the fiery tones of Storozynski as they lie on the skilled weave set by guitarists Tim Chandler and Andy Songhurst. The track ebbs and flows with its driving torrents and dramatic crescendos, providing a fascinating encounter offering something for thrash, classic, and heavy metal fans and as suggested previously enough for even those not as enamoured in the genres to find intrigue in.

A 2013 demo of Accusations Of The Innocent is next, the original track having previously featured on album and last EP. Once again a thrash invention helps open up ears and focus before the track spreads into more classical metal scenery wrapped with a creative web of guitars and spicily delivered vocals. Again there is plenty to get your teeth into even if the track feels a little reined in compared to its predecessor. With a cauldron of impressing guitar craft and invention courted by the excellent punching rhythms of Joshua Moreton, the song before it makes way for the 2011 demo of the song Forged In Black, shows exactly why the band has inspired such a potent fan base and reputation. Its successor instantly reveals the rich seeds and bait which has been persistent within the band from their start. Comparisons to the likes of Judas Priest, Iron Maiden, and Black Sabbath come with the mention of the band’s name and it is easy to see why with the closing song. Muscular and sonically sultry, it has feet and neck muscles pumped whilst the operatic calls of Storozynski finds a welcome home in the rich melodies veining the incitement.

The Exodus is a release to put a smile on all heavy metal fans but as shown especially by its lead song, it also has the potential to awaken strong appetites in those less taken with its core breeding, a potency shown by it persuading our less than enthused tastes for classic metal and its vocal styling.

The Exodus is available through all stores from December 1st.

https://www.facebook.com/forgedinblacks

RingMaster 01/12/2014

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Metal Moth – Rise EP

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Though the band name might not have convinced yet, there was no such problem with the aggressive incitement unleashed by UK metallers Metal Moth on their Rise EP. The band’s debut is four slabs of classic metal bullied and twisted into a rampage of modern melody enriched rock ‘n’ roll. It has more familiarity than originality to its potency and presence but this only fuels the potential and thorough enjoyment given by the heavily flavoursome entrance of the band.

Formed in 2012, Metal Moth was soon stomping across country and venues with their adrenaline fuelled barbarous sounds. An enthusiastically growing fan base came hand in hand with their emergence, one sure to be reinforced and accelerated with the release of the Rise, the first of three consecutive EPs. Band and release ignite appetite and imagination within seconds as opener Moth To The Flame stands toe to toe with ears, flinging weighty rhythms and sinew crafted riffs with antagonistic intent. It is a ferocious start which only intensifies as the riffing and heavily swinging beats stampede with flared nostrils across the senses. Around this assault invention mischievously offers acidic grooves and a deliciously carnal bassline whilst vocally Kurt Hudson excels with his melodic yet snarled delivery. From the merciless swipes of drummer Natalie Gaines to the threatening bass predation provided by David Collinson (who announced his departure from the band in recent days), and the fiery adventure and skilled devilry provided by guitarists Mark Gibbons and Chris Fisher, the track is gripping drama and ruggedly impressive.

The same can be said of the following One More Time, again a proposition which has speakers bulging under its savage rhythmic onslaught and ravenous riffery. Equally there is no escaping the rigorous contagion uncaged within the track or the unpredictable twists and jagged barbarism which gnaw on the senses as wiry flames of melodic endeavour flirt with similarly rapacious intent. It is a full blooded stomp which again has recognisable traits but just as plentiful new designs and invention in its lyrical and sonic provocation.

Melt Down steps up next and immediately is a haze of sonic menace swiftly speared by those pungent beats of Gaines and the crunchy scythes of riffs from the guitars. Either side of that core Metal Moth Pic 2there is the vocal quality and fluid expression of Hudson and the dark predatory tones of Collinson’s bass, each complementing and sparking against the other. It is a blend which magnetically colours the threatening prowl and confrontation of the track, especially when aligned to the intermittent eruptions of melodic and unpredictable intrigue offered by Gibbons and Fisher. Though the song does not brawl with and corrupt the passions at the same strength and immediacy as its predecessors, it reveals more depth to the invention and skills of the band whilst laying down a tasty appetiser for the EP’s finale.

The closing Metal Maniac also takes a more restrained approach to its seducing of ears, the bass rumbling with dark devilry whilst guitars create a web of melodic coaxing. It is not long though before the song settles into a fevered stroll as addictive grooves and hooks provide riveting barbs to the feisty lure of the track. Providing a thrilling end to a just as exciting debut, the track sums up the band and release perfectly, that being rock ‘n’ roll at its instinctive and insatiable best.

If the next pair of EPs matches and confirms the promise and already accomplished quality in skills and sound of the band, it will be impossible not to suggest that as they evolve Metal Moth will be a band playing a big part in the evolution of British metal ahead. To be honest though, if this is as good as it gets there will be few complaints either.

The Rise EP is available digitally now @ http://metalmoth1.bandcamp.com/album/rise

https://www.facebook.com/MetalMoth/

RingMaster 12/11/2014

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Asomvel – Knuckle Duster

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Roaring at and bruising up the senses with a riot of belligerence and unkempt rock ‘n’ roll, Knuckle Duster the new album from UK band Asomvel is an uncompromising and thrilling storm of prime beef heavy metal. With a more than healthy throbbing vein of punk rock and Motorhead like bruising rock to it also, the album is a pungent blaze of sound and attitude which continues the impacting and sparking presence of the band since their first days and provides the year with a release which has no want to create new pastures for metal but is more than ready to churn up and reseed existing fields.

The band was formed in 1993 by guitarist Lenny Robinson and bassist/vocalist Jay-Jay Winter, with a line-up completed by ex-Cathedral/Acid Reign drummer Mark Wharton. The position behind the beats changed on numerous occasions in the earlier years before The Blood Eye demo was released in 2002. Establishing a strong reputation for their sound and live performances Asomvel released the To Hell with All the Rest Demo in 2005 and the Full Moon Dog EP two years later to strong responses and acclaim. It was debut album Kamikaze of 2009 which really set the metal underground and media on alert with its raucous presence and set a rigorous platform for the band ahead. Within a year though tragedy struck when Winter was killed in a road accident which understandably devastated the band. Determined to continue with the spirit and presence of Winter still part of the band, Robinson took time to find a musician to not only match what the frontman brought and intended for the band, but to continue his attitude. It was with the finding and addition of ex-Deathwing bassist/vocalist Conan that the band came back to full life, Asomvel soon after headlining their own inaugural Full Moon Dog Festival in Bradford in 2011 in honour of Winter; the event also seeing the stage thriving with the likes of Carcass, Anvil, and Orange Goblin. Following the Stare at Death & Spit EP of the same year and the split release Vol. 1 of last year, the band with drummer Jason Hope surge back with the Bad Omen Records released Knuckle Duster and it is a fluid continuation of the last album and sound.

Produced by James Atkinson (frontman of Leeds rockers Gentleman’s Pistols), Knuckle Duster flies at the ear with opener Dead Set on Asomvel Knuckle Duster cover loLivin’, drums and bass making an instant rapacious charge around and through the ears whilst the guitar scorches their surface with sonic causticity. The vocals of Conan snarl and growl with a throaty rasp which you could easily mistake for Winter without prior knowledge, to again cement that feeling of the band around the time of Kamikaze though there is also an air of the now in the venom and inciting breath of the track, and subsequently album. With a raw edge suggesting the release was recorded live in the studio and an unpolished touch which only ignites the instinctive appetite for dirty rock ‘n’ roll, the track makes a strong and magnetic  start to the album, its groove one which only eager submission is the order of the moment.

The following Cash Whore and Sheep in Wolf’s Clothing immediately take the impressive start and shift it up another adrenaline fuelled gear, the first of the two a carnivorous persuasion which grinds its way to the passions whilst tearing up the scenery with a blaze of hungry riffing and rhythmic barracking whilst its chorus is simply a primal torrent of pleasure giving dirt throwing excellence. The melodic flames of the guitar also send shards of addiction causing pleasure through to the heart to help sculpt one of the early pinnacles of the album. Its successor stands side by side with its swagger of blues bait and intensively contagious punk ‘n’ roll teases. There is a southern lilt to the hooks which only light greater attraction whilst the punk rock scythes of guitar and anthemic vocals add to a combination which leaves senses and passions with a great greedy hunger for more.

Both Thrash Talker and Waster settle down the climb of the release though each provides a provocation which continues the compelling draw of the album and the uncluttered, organic fire bred fury of sound. The pair again leaves appetite fully satisfied though its greed is ready to devour the insatiable thrashing surge of Shoot Ya Down and the groove carved Wrecking Ball with a grin on its voracious lips, a lust the songs feed but incite further. Like their predecessors the two encounters leave ears full of cutting riffs, commanding vocals, and a bass grizzle which especially on the second of the pair is as predacious as any offering this year.

From the outstanding title track, a song which glares at the listener eye to eye and challenges it to resist its irrepressible temptation, the album unleashes a closing ravaging of the senses with firstly the savage Final Hour. The track is a ferocious yet melodically grooved blaze of ridiculously infectious combative posturing which is backed up within a gulp of breath by the sizzling intimidation that is Strangehold, the drums of Hope a hypnotic conjuror and instigator of instinctive compliance so the riffs and vocals can cut and graze their punkish vitriol into the psyche.

     Hangman’s Rope closes up the album with a searing heavy metal finale though it is the one song which noticeably pales against the rest of the tempests upon Knuckle Duster. It is still a satisfying and easy to return to growl finishing off a powerhouse of honest to the ground rock ‘n’ roll which maybe is not offering anything new but provides a potently exciting bruising and thrilling confrontation. Asomvel are still one of the true joys of UK’s metal underground just now you sense they may get a much wider recognition.

http://www.asomvel.com/

8/10

RingMaster 07/10/2013

 

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Eutopia – Satellite of Love EP

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The Satellite of Love EP is the debut EP from the London based power-pop/electro-rock band Eutopia, a release which toys with the senses and thoughts to emerge as one vibrant and intriguing encounter. It is a proposition which does not exactly ignite raging fires within the passions but certainly one which keeps them entranced and riveted to its enterprising persuasion from start to finish.

Eutopia consists of Alexander Kotziamanis (music/lyrics /guitars/vocals) and Leah Lennick (keys/synths/vocals), the pair forming the band in 2011. Their first EP is a blend of classic and electro rock with plenty of pop and dance spawned tantalising. It offers a collection of four tracks which are individual in presence and in success but combined make for a magnetically calling piece of energetic revelry. The opening title track immediately tells you what Eutopia is all about, bold electro weaves flirting wantonly with the ear whilst guitars add a raw glaze to the atmosphere above snappy beats. It is an instantly intriguing premise given an extra drenching of tempting by the Russell Mael like vocals, their expressive devilry evolving into a more classic rock delivery further into its energetic flame the song ventures. There is a certain familiarity to the song which has an essence of the eighties in its classic rock and metal fusion and reminding of David J Caron at times, but equally there is a sizzling imagination which sets it in its own limelight.

The following City Lights continues the strong start arguably elevating its introduction to another step of satisfaction. The song again 294920_416945564989548_1720032215_nemploys the same essences but has a broader snarl to its presence which adds a pleasing shadow and texture to the contagious exploits of song and sound. As with the first there is plenty of invention and energetic ideas going on within the electro classic rock bred conjuring which brings enough for those without an appetite for old school eighties rock and pop rock to chew over and contemplate.

Wave Goodbye and Life complete the EP, the first an emotively sculpted pacey ballad with a great guitar enticements and an almost folky whisper to the keys and melodies. At times the song feels like the band is merging two different songs into one landscape, the at times awkward union of electro and melodic rock seemingly coming from individual direction but then when the excellent chorus harmonies wash over the senses it is all forgotten and rich satisfaction sets its claws in. The closing track also takes a slower classic rock gait as its core wrapping it in electro beats and melancholic keys whilst shard of crystalline sonics tenderly shine upon the expressive narrative.

It is a strong end to Satellite Of Love, a release which leaves a healthy appetite for it and the band in its wake. The electro beats for personal tastes do not do some of the songs any favours, their mechanical touch too regimented for the flowing melodies elsewhere, and as mentioned you need a strong taste for eighties classic rock to fully appreciate the release one suspects, but for those of us without that palate Eutopia and Satellite Of Love are still a meeting you cannot pull away from and the promise they show very tempting.

www.facebook.com/eutopiamusic

7.5/10

Ring Master 18/09/2013

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Die No More – Blueprint EP

Die No More Online Promo Shot

With a sound bred from the inspirations of the likes of Metallica, Megadeth, Black Sabbath as well as softer essences of a Pearl Jam and Muse, Die No More step forward with a debut which suggests we have a very promising and exciting band on our hands. Consisting of four riotous and impressively sculpted songs, the Blueprint EP gets the job done with accomplished craft and scintillating energy. It is possibly not the most original sound which eagerly accosts the ear but it is an encounter which lights a deep satisfaction and hunger for plenty more.

Formed in 2011 and hailing from Penrith, Cumbria, Die No More consists of four friends with an unmissable passion for classic and modern metal. Originally under the name Dynamo up to just before recording their debut, the band has forged a loyal and enthusiastic fan-base across the north of the UK. The release of Blueprint should see the rest of the country and beyond beginning to stir to a similar awareness and greed for their potent presence. Mutually inviting and confrontational, muscular and melodically charming, the EP is an eventful storm offering familiarity and freshness, but mostly it simply brings inescapable enjoyment.

Opening track Conscious Indecision instantly leans against the ear with enticing riffs soon joined by tempting rhythms. With a swift Die No More Cover Artworkbreath the track erupts into an intensive push of thrash seeded riffs from the guitars of Kev Smith and Marc Farquhar, the latter’s vocals riding confidently and impressively on the crest of the powerful energy now in charge of the song. With a definite Hetfield lilt to his delivery he brings an expressive narrative to the track whilst the bass of Andy Minnett adds extra delicious intimidation, especially when given a space mid-way to drive the track into another transfixing venture. Guitar flames from Smith flare up magnificently at this point and with the sinews of drummer Steve Orchiton framing it all firmly and at times antagonistically, the skill of the band shouts loudly. It is an excellent start which without lingering after its departure ensures the release has a strong grip on the appetite.

The following Council Of War emerges on a wall of menace and building intensity, slow predacious riffs and rhythms caging the ear before the rampaging heart of the song erupts. With an arguably more classic metal feel than its predecessor though that thrash breath is still laying a hand on proceedings, the song is a relentless gnawing of the senses yet merciful enough to allow amidst its rapacious rabidity, melodic and sonic colour to burn brightly with the fullest temptation and imagination. The best track on the release it alone makes Die No More a band that has to be watched closely and with intent.

Nightmares steps up next with a warm blues lacing to its opening guitar beckoning joined swiftly by the heavy anthemic rhythms of Orchiton which build another compelling stage for the full body of the song to explore and ignite upon. Mellower than its predecessor but still bold and big boned in, the track is a pleasing and easily engaging companion, vocals and riffs easy to unite with whilst the sonic flare unveiled by Smith is magnetic. With its successor also a mighty assault on the passions, being sandwiched between two pinnacles does leave the track a little pale in comparison but it more than satisfies any need and has a lure which pulls you in time and time again.

The closing Oblivious is pure metallic tempestuousness with a more than healthy dose of punk attitude to its lyrical and belligerent riffing. With a chorus that commands the voice, rhythms which act like a puppeteer for feet, and riffing that takes care of the neck, the track is another anthemic high spiced with glorious spires of sonic invention. It is an irresistible climax to an equally contagious release, a final enslavement for thoughts and passions.

Certainly the Blueprint EP shows that Die No More has a little way to go to find a unique presence but at the same time it suggests that it is merely a matter of time. Most importantly it entertains from ear to heart and leaves you wishing this had been an album. A band on a rapid rise…

www.facebook.com/DieNoMore

8.5

RingMaster 07/09/2013

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