Centuries – The Lights Of This Earth Are Blinding

It has been four and a half years since hardcore fury Centuries scorched this earth with their debut album Taedium Vitae, time we can say thanks to its successor which has not seen the band mellow a degree. In fact The Lights Of This Earth Are Blinding reveals the band’s sound has become even more sonically and emotionally irritable yet honed into a tempest of noise and intent as precise in its aim and impact as it is rousing in its nagging causticity.

The years between releases has also seen the 2008 formed band’s line-up evolve to now include members based in Pittsburgh, Pennsylvania and Nashville, Tennessee, and Manchester in the UK. Similarly the Centuries sound has grown and matured; its dark hardcore breeding embracing even richer crust and metal hues amidst bolder adventure. It is imposing, invasive, and persistently tormented; a harrowing and severely intense mix which also manages to be violently infectious and increasingly cathartic. Carrying a theme of constant self-doubt, “It follows how we choose to accept our loses and the reaction to life, as well as the journey we take to make peace with the demons we’ve made”, the air is a searing soundscape once more within their creative tempest just one more grievous, blacker, and inescapably compelling.

Recorded with by Kris Hilbert at Legitimate Business (Catharsis, Torch Runner, The Body) last year and mastered by Brad Boatright at Audiosiege (Integrity, Black Breath, Halshug), The Lights Of This Earth Are Blinding first scores the senses with its title track. Initial silence soon brews an electronic lure, its impending incursion quickly joined by vocal irritancy and a raw scarring of guitar. Just as swiftly it all unites in an insatiable charge, rhythms wildly yet precisely flung as acidic grooves tempt and abrase but an inhospitable surge as catchy and irresistible as it is punishing, and quite superb.

The outstanding start continues with Wooden Hands; it’s first coaxing an intimate acoustic melody, its second down an inviting line offering a furious expulsion of senses crippling beats, scavenging riffs, and vocal discontent. As the first, it has an instinctive infectiousness, an organic swing to a sonic chastisement which grips the imagination and manages to enhance rather than defuse the song’s vehemence.

Bygones is next up with barely two minutes of infernal confrontation. It is barbarous and unforgiving yet too has that contagious ability to tease and manipulate with virulent traits before Soil unleashes its own ruinous tirade. With a sludge thick weight but no less boisterous in its creative and physical mauling, the track prowls the listener, stalking their psyche before giving it a hellacious clubbing. As in all tracks though, the mayhem is finely sculpted and skilfully woven, every twist a fresh coercion into the heart of turbulence.

The following Bow Across A String sends a cascade of corrosion across the senses, every rhythm and riff putting them under duress but equally exciting them while each unpredictable turn in its caustic exploration has ears hooked and imagination challenged and aroused. Closing on the most excruciatingly intrusive yet addictive repetitious sonic yawn, the track leads into the meandering arms of The Climb. Its grooved vining wraps around the senses with ease as vocals scour their lining, muggy smog emerging to envelope the inviting bait and subsequently collude with equal potency with them as the track worms its nefarious way under the skin.

A delicious causticity of bass opens up The Endless Descent, its insidious grumble soon met by the raw throated assault of vocals and together triggering another highly addictive scourge of deliciously grooved bullying which only gets more captivating and debilitating by the second. That majestic ability to entangle extremes continues through the portentously shadowed May Love Be With You Always, its relentless rhythmic shuffle alone sheer captivation matched by the tapestry of guitar and groan of the menace brooding bass. The track is a maelstrom of sound and intent, a vortex of intensity which ebbs and flows but persistently pressures and pleasures as a host of flavours infuse its incursion.

A sepia toned clean vocal beckoning opens up Fury next, its dusty air shared by another mesmeric acoustic melody. It is an enthralling request for attention which boils up its emotions and air into a melancholically hazed wind and a proposition which bewitches before evolving into the rapacious climate of Nul Orietur. The outrage is a cyclone of suggestion and provocation, from the rolling enterprise of its rhythms and the inescapable snaring of its hooks and grooves to the scalding touch of its riffs and vocals, the album’s closer is another compelling assault to lead the album out on another major high.

With their debut Centuries made a major introduction to themselves, with The Lights Of This Earth Are Blinding they have uncaged one of the essential hardcore furies of this or any year.

The Lights Of This Earth Are Blinding is out now via Southern Lord Recordings and available @ https://centuriessl.bandcamp.com/album/the-lights-of-this-earth-are-blinding

https://www.facebook.com/centuriesfl

Pete RingMaster 31/01/2018

Copyright RingMaster: MyFreeCopyright

3 Broken Limbs

This month sees the release of a trio of split assaults from New York based label Broken Limbs Recordings. Each is a raw and imposing echo of the darkest, dirtiest, and destructive traits of humanity and the world it has created emotionally and physically, and all propositions which leave a lingering imprint on the psyche as invasive as the sounds which sonically harangue and ravage the senses.

cover-art-2_RingMasterReviewNew Haven’s SEA OF BONES and New Hampshire’s RAMLORD come together for one of the incursions upon ears, each offering one epic trespass of their uncompromising sound and intent. Sea of Bones strike first with HOPELESSNESS AND DECAY, the trio of bassist/vocalist Gary Amedy, guitarist/vocalist Tom Mucherino, and drummer/vocalist Kevin Wigginton unleashing a cavernous soundscape soaked in predacious intensity from the off. For over ten minutes the trio breed a wall of confrontation as expansive and decayed as it is at times melancholically seductive. The track ambles, at times lumbers, across the senses, spreading its filth clad body and air with sludge fuelled hostility and moments of corrosive ambience leaving ears and emotions numb.

It is engrossing stuff matched in success by Ramlord’s proposal. INCARCERATION OF CLAIRVOYANCE is a mere few seconds shorter and just as enjoyably challenging. With a black metal/crust corrosiveness to their sound, the band explore a more urgent examination of the listener infesting them with their joyless yet at times fiercely infectious savaging with some inescapable hooks to be eagerly snared by. With essences recalling the likes of Discharge and Amebix, the track completes a powerful and gripping proposal.

Another of the three releases sees the coming together of Tennessee’s BLACK TAR PROPHET and from Pennsylvania IRON GAVEL. A seven track instrumental invasion again showing no btpig_RingMasterReviewrespect of the listener’s peace and sanity, the first half of the split is consumed by Black Tar Prophet’s sludge/doom powered incursions into the senses and imagination. Starting with the compelling persistence of MALIGNANT, a track living up to its name, the duo of bassist Greg Swinehart and drummer Erik Dever snarl in their distinct way across a further three incitements. As dark as they are heavy, as primal as they are strangely comforting and understanding to the darkest corners of one’s thoughts, Black Tar Prophet probe and transfix with RUINOUS DECAY and the deeply disturbed ABUSE especially momentous.

Iron Gavel have a less thick climate to their music but one which still crawls over the senses like a venomous predator and seeps into the corner of every emotion like erosive smog. Consisting of Dan Martin and Ryan Advent, the band taps into the psyche with their sonic and rhythmic explorations whether it be through vast and wonderfully nagging crawls like their first track here TEETH/THORN or through the shortest swinging assaults as its successor SHROUD, a concussive tempest of an aural dispute. Completed by the band’s pungent and relentlessly acidulous but refreshing GERM, the split is a match for the previous mentioned threat and at times eclipses it.

guiltcover_RingMasterReviewThe last of the Broken Limbs offerings is GUILT AND HIS REFLECTION, thirteen tracks bringing Texans CARA NEIR and WILDSPEAKER together in a split which sees its concept realised through both bands revolving around cannibalism in a post-apocalyptic scenario. The first seven songs escape the creative potency of Arlington, Texas crust duo vocalist Chris Francis and multi-instrumentalist Garry Brents. Starting with the sonically and vocally raw but melodically seductive HALO OF GREY, Cara Neir proceed to explore not only the psychological depths and impact bred in an apocalyptic environment but those of the listener too as tracks like CLINGING TO MY LAST BIT OF SANITY and THE VIEW THROUGH THIS FOG seem to flirt with ears and imagination as fully as they wonderfully antagonise them with their blend of black metal and post rock infested punk. Each of the band’s songs leave a potent impact with the outstanding almost poppy EGO EATS MAN stealing the pair’s half of the show.

Fort Worth based Wildspeaker brings their blackened crust tempests to the release with just as much creative venting and eagerness. Also featuring their partners in adventure’s Brents, the quintet go for the jugular from the off with the hellacious storm of hell DESECRATION PLAGUE. Led by the savage riffs of Nelson Favela and Zak Pitts as vocalist Natalie Kahan spills her rage, the track is as dirty and visceral as its name suggests with toxicity just as potent and appealing in its successor SINS OF DESPERATION which takes best track honours on the second half of the split. Driven mercilessly by Ricky Rivera’s drums, the track devours the senses but exciting them at the same time. With FIRST TASTE OF FLESH, another big shout for the biggest pinnacle of the release, and HIS REFLECTION especially notable among nothing less than six energy sapping uncompromisingly enjoyable whippings, Wildspeaker complete the third of a trio of splits which abrasively spark and forcibly ignite the senses.

The Sea of Bones/Ramlord Split is available @ http://brokenlimbsrecordings.bandcamp.com/album/sea-of-bones-ramlord-split  Limited to 300 12″ copies: 200 black, and 100 orange vinyl, each with a download card.

https://www.facebook.com/Sea-of-Bones-35253450819/   https://www.facebook.com/pages/Ramlord/116149375131744

The Black Tar Prophet/Iron Gravel Split is available @ http://brokenlimbsrecordings.bandcamp.com/album/black-tar-prophet-iron-gavel-split Limited to 300 12″ copies: 200 black, and 100 red vinyl, each with a download card and poster.

https://www.facebook.com/blacktarprophet   https://www.facebook.com/irongavelpa/

The Cara Neir/Wildspeaker Split is available @ http://brokenlimbsrecordings.bandcamp.com/album/guilt-and-his-reflection Limited to 100 white shell cassettes

https://www.facebook.com/caraneir     https://www.facebook.com/wildspeaker

https://brokenlimbsrecordings.net/pages/releases

Pete RingMaster 22/09/2016

Copyright RingMaster: MyFreeCopyright

 

 

Sealclubber – Stoical

pic Richard PJ Lambert

pic Richard PJ Lambert

Bludgeoning the senses with the same barbarism as its creator’s name would suggest, Stoical is a nastily and invasively compelling proposition that leads to a greed for more. The release is the debut album of UK band Sealclubber, a tempest exploring the potential found in the band’s first release back in 2013 whilst breeding new intrigue and promise to get wound up in. As their sound, the album is as corrosive as it is adventurously imaginative and certainly not going to be for everyone, but with its ferocious blending of sludge metal with crust infested hardcore and post metal ambiences, it is a proposal confirming Sealclubber as an impressively challenging incitement for ears and emotions.

Hailing from the Black Country, the Sealclubber stepped forward late 2012 and swiftly sparked attention and acclaim in the underground scene the following year with their Witch Hunter Records/ Carnage Club released Sticky River EP. Also nudging mainstream media focus in certain quarters with their first offering, the Stourbridge quartet backed up their potent emergence with a praise luring live presence which soon spread across the UK. 2015 was a quieter affair with line-up changes and setbacks but now the foursome of vocalist/guitarist Simon Blewitt, guitarist Joe Parkes, bassist Stephen Williams, and drummer Simon Ingram are ready to infest the world with their sludge punk trespasses through Stoical which is unleashed courtesy of North American label Medusa Crush Recordings.

sealclubber_art_RingMaster ReviewBand and release consume the senses in epic style with its nine minute opener Tales of a Romanian Horse Whisperer. Instantly an atmospheric bitterness confronts ears as climate and guitars boil with their relative intent until it all explodes in a ravenously rousing hardcore/punk ‘n’ roll onslaught led by the throat bred squalls of Blewitt. No mercy is given by the raging yet it is soon showing another side to its nature by twisting and turning in on itself with stabbing rhythms and a creative discordance which is not that far removed from post punk and math core agitation. The track continues to masterfully and enthrallingly roar through a host of flavours infused into its volatile hardcore trespass; every new turn the giver of mouth-watering enterprise and imagination and a ferocity of heart and attack. At one point the guitars are spiced with a spicing which is best described as Devo-esque but as everything, rabid through to atmospheric, it evolves into another freshly magnetic intrusion in the blink of an intimidated eye.

The outstanding start is matched in sonic kind and rhythmic antagonism by Haima; a predatory violation led in, amidst a collage of guitar cast venom, by the dirtiest primal bassline likely to be heard this year. Tar thick yet blisteringly athletic, the track infests body and psyche with its creative vehemence and raw vocal animosity. It too provides a horde of riveting hooks and anthemic turns from within a destructive fever before stepping aside for Catalogue of Failings which uncages its own doom seeded depression of tone and emotion. Like a hungry bog on Dartmoor, the song sucks the senses and imagination into an unforgiving animus of emotionally corrupted sound, proceeding to prowl around them with hostility thereon in whilst suffocating any light or hope which might make a defence to the thrilling creative pestilence.

Leaving a lingering impact, the song slips into St Jude’s Waiting Room, Dead For 12 Days and a haunting imagination sparking interlude/detour resembling a limbo-esque netherworld which inspires different ideas to its presence with every listen. It in turn flows into the stark and cold landscape of Vows of Silence and initially another great post punk like coaxing before the track descends on the listener with rancor and corrosive intensity. The song takes a moment out as the wake from its initial assault continues to resonate before exploring a tempestuous and emotionally provocative post metal/ambience sculpted landscape which in turn only builds itself up into another fearsome outpouring.

I Only Desire The Things That Will Destroy Me In The End completes the release, its twelve minute instrumental a darkly cinematic and emotional flight through sinister atmospherics and melancholic ambience. It too is a canvas for the imagination to adventurously explore whilst closing Stoical with a fiercely dramatic yet seemingly accepting embrace of emotional suffering and turbulence.

In some ways Stoical is an incitement of two halves; its first trio of tracks are a gloriously and creatively volatile theatre of craft and virulent enterprise with the final three immersions into dark and debilitating depths and emotions. They are two plateaus though which thrill and increasingly impress as Sealclubber more than live up to their early promise and the more demanding expectations bred within the anticipation for its release.

Stoical is released on February 5th via Medusa Crush Recordings on CD, limited cassette form, and digitally with a vinyl version possibly on the cards later.

https://www.facebook.com/sealclubbersludge   https://sealclubber.bandcamp.com/

Pete RingMaster 05/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Mortals/Repellers – Split 7”

Mortals_Repellers_artwork

Offering the year another rather tasty split, Broken Limbs Recordings have brought together Brooklyn’s Mortals and Philadelphia’s Repellers for a four track explosion of fresh breathed metal. It is an encounter with reinforces the potent stature of one band and inflames the emerging presence of the other, both beginning what potentially can be a massive year for them in fine style.

The first offering comes from Mortals, a band formed in 2009 but with its seeds possibly growing well before then when drummer Caryn Havlik and bassist/vocalist Lesley Wolf met and played together in all-female Slayer cover band Slaywhore. At the same time Havlik and guitarist Elizabeth Cline were playing in a math-rock project. After the eventual demise of both bands, the three musicians regrouped as Mortals and by late 2010 had set about making a potent mark on the local metal scene and further afield. A tour with Mutilation Rites was the prelude to the band sharing stages with the likes of Eyehategod, The Body, False, Samothrace, Black Anvil, Toxic Holocaust, Howl and Lord Dying over the years, whilst the release of their Death Ritual EP in 2012 led the band to signing with Relapse Records and the release of their acclaimed Cursed to See the Future album last year. Ahead of a European tour with Skeletonwitch and Goatwhore, Mortals now fire up the imagination and EP with their lone but thrilling track 10 Years of Filth.

Possibly a statement on their stirring musical career to date, the song swiftly brews and smoulders with the intensive and darkly seductive blackened sludgy sound which Mortals are already Mortals_bandshotmarked for. Within as many seconds, the bass is roaming ears and psyche like an apocalypse gracing charger, striding with predatory intent as grooves and riffs combine for a nest of viperish intent. Similarly lively rhythms from the drums prowl and stroll across this already bewitching landscape, the seductive and melodically dynamic adventure one scene in a rich drama clad tapestry of dark intent and compelling intimidation. For all its predacious craft and hunger, there is an infectious charm to the track too, light and dark challenging each other whilst colluding in the creation of even more provocative hues in the tempestuous narrative. The dark side is driven by the guttural scowls and gothic animosity of the vocals whilst the guitar’s enterprise escorts lighter defiant elements which persist in their persistence until the ferociously boiling and venomous climax of the song. It is an enthralling and ruggedly enjoyable nine minutes easily confirming the impressive qualities and sound of Mortals.

Repellers bring three tracks from their creative arsenal of punk and crust infused metal, swiftly showing why there is a growing broader interest in the 2012 forming band. The two years or so since their arrival has seen the trio release The Coming Storm EP, partake in a split 7” with Georgia-based Dead Hand, and the drawing of multitudes of new fans through tours along the east coast and a constant source of impressive energetic shows. They are a growing force it seems and on the evidence of this release an exciting one.

Repellers   Descend is their first offering, a track which from a melancholic and darkly lit melodic embrace erupts in a predatory and thunderous stalking of the senses. The intensive rhythms of drummer Tony Secreto are vindictive in nature whilst the equally primal basslines of Rob Petraitis growl and leer intimidatingly within the doom drenched atmosphere of the imposing encounter. The guitar of Jon Rifenburg brings various shades of intimidation and temptation to the volatile but controlled tempest too, his enterprise equally sculpting a web of magnetic lures around the malevolently toned vocals. It is a captivating proposition which awakens intrigue and interest in the band before their second song From Jerico to Ai lays a more fascinating and thrilling invitation down. Bass hooks are aligned to acidic guitar grooves, it a mesh of enticement which continues to spear the increasingly ravenous atmosphere and character of the track. Heading only to a turbulent and hostile climax, the track is a riveting persuasion showing more of the depth and imagination in the band’s song writing and sound.

   False Solace is the same, its heavy melodic lures an initial tantalising coaxing which only seeds a subsequent hellacious hardcore bred brawl with the senses. The blackened, almost insidious tones of the vocals unleashes the dark heart of the song whilst the sonic grooves and bass predation provides infectious bait which seduces ears as the track’s lyrical and vocal trespass avail their toxicity.

The two bands make for a pleasing and exciting union with their quartet of thickly satisfying propositions, each confirming their impressive potency and potential. Both have only enhanced their reputation and relative statures whilst already sparking 2015 into being an attention grabbing year for them.

The Mortals/ Repellers Split is available through Broken Limbs Recordings and limited to 500 10″ copies (300 black and 200 red with black smoke).

https://www.facebook.com/mortalstheband   https://www.facebook.com/repellers

Mortals’ Upcoming tour dates:

April 4 – May 2 European tour w/ Skeletonwitch and Goatwhore

04.04.15 Sweden Motala @ Kulturakademin

06.04.15 Denmark Copenhagen @ Pumpehuset

07.04.15 Germany Hamburg @ Hafenklang

08.04.15 Germany Osnabrück @ Bastard Club

09.04.15 Holland Tilburg @ Roadburn

10.04.15 Holland Tilburg @ Roadburn

11.04.15 UK Manchester @ Sound Control

12.04.15 Ireland Dublin @ Voodoo Lounge

13.04.15 UK Glasgow @ Ivory Blacks

14.04.15 UK Birmingham @ The Oobleck

15.04.15 UK Sheffield @ Corporation

16.04.15 UK London @ Underworld

17.04.15 Belgium Brussels @ Magasin 4

18.04.15 Germany Köln @ Underground

19.04.15 France Eragny/Paris @ Covent Garden

20.04.15 France Angouleme @ La Nef

21.04.15 Spain Madrid @ Sala Lemon

22.04.15 Spain Barcelona @ Sala Razz 3

23.04.15 France Lyon @ MJC O Totem

24.04.15 Switzerland Zürich @ Dynamo / Werk 21

25.04.15 Italy Milan @ Lo Fi

26.04.15 Italy Rome @ Traffic Live

27.04.15 Austria Innsbruck @ p.m.k.

28.04.15 Germany München @ Backstage

29.04.15 Germany Leipzig @ Conne Island

30.04.15 Germany Berlin @ Magnet

01.05.15 Austria Wien @ Arena

02.05.15 Czech Rep Prague @ Exit-us

RingMaster 11/03/3015

Abstracter – Wound Empire

abstracter_band_pic_1

Thrusting the listener into a doomed physical and emotional landscape, a stark yet compelling void, US doomers Abstracter enchant and suffocate with the impressive Wound Empire. Four tracks to immerse within gleefully whilst expanding into the darkest corners of the psyche, the forty minute long album is a tantalising and fearsome journey though the rawest of climates over uncompromising wastelands.

Wound Empire is the successor to debut album Tomb of Feathers; a new encounter which those in the know suggest finds the Oakland band taking their already acclaimed sound to further reaching intensive heights. Breeding their own bordering on hallucinatory soundscapes within Wound Empire from inspirations which range from essences of Godfesh, Swans, and Neurosis to His Hero is Gone, Blut Aus Nord, Dystopia, and Darkthrone, Abstracter recorded their release with Greg “The Wizard of Doom” Wilkinson (Brainoil, Iron Lung, High On Fire, Noothgrush, OM, Atriarch) last year. Continuing their “fascination with concepts of human decline, cultural and industrial ruin, and complete social collapse,” the band swiftly engulfs and incites from the release’s first breath.

Lightless opens on a sonic breeze, broadening its haunted cold presence through raw caresses of guitar and a resonating heavy bass tone. As the whole of the album’s proposal, the track is a slow expansion of sound but every note and heavy lure offers a potent piece in an emerging picture. Once in full caustically scenic view, riffs gnaw and beckon with corrosive breath and infectious nature whilst the bass turns carnivorous in sound and predation as it prowls the track’s primordial terrain. Oppressively heavy and crushingly merciless, the doom drenched offering surprisingly has a potent swagger and contagiousness to its unsettling presence, a catchiness to enthral and grip ears and body as imagination and emotions are buffeted and ignited by the sonic enterprise.

There is no respite from the cavernous depths and cold of the climate evolved in its predecessor as Open Veins follows; the blackened sludge reaped tar of sound and coarse emotions a FINAL_ABSTRACTER_jacketmelancholic poison seeping over flesh and thought whilst crust caked vocals roar and slowly squally within the invasive doom. Slim but toxic grooves only add to the allure and detached nature of the track, their minimalistic but rich tempting a vine to grip as the rest of the sounds and vocals groan with the breath of hell.

The transfixing presence of Cruciform comes next and by this point the realisation that Wound Empire should definitely be taken as one fluid dose rather than individual apocalyptic descents into glacial prisons is evident. It is fair to say that the track holds none of the almost welcoming traits of its predecessors but still has some form of catchiness to its flight into the heart of the soulless; its sounds binding as they erode air and senses with caustic persistence.

Wound Empire is concluded by Glowing Wounds, a calmer slightly celestial tempting which still remains encased in an immense doom sculpted embrace. The track is as meditative as it is sonically fierce, a lingering flight across radiant hopes but accompanied by an insidious hold of unrelenting blackened malevolence. A masterful end to a seriously riveting encounter, song and album will not be an easy fit for all, but offers a thought and emotion provoking arousal each can take something from. In the dark times and world which encroaches on us all, it is releases like this and its groan of hell rather than most tirades of words which brings the cold reality home.

Wound Empire is released in the US and Europe on February 10th 2015 digitally via Sentient Ruin Laboratories @ http://sentientruin.bandcamp.com/album/wound-empire, on cassette through Sentient Ruin Laboratories and An Out Recordings, on CD by COF Records, and in vinyl version by Fragile Branch Recordings in the US and Vendetta Records, 7Degrees Records, and Shove Records across Europe.

http://abstracterband.com/

RingMaster 10/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Golers – In ‘n’ Outlaws

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Originally out as a limited edition CD in 2013, In ‘n’ Outlaws is now digitally poised to pounce on the world and a tremendous assault it is too. The fourth album from Canadian punk metallers Golers, the release is a furious and ridiculously contagious slab of crossover ferocity throwing thrash, hardcore, and crust punk voracity into one bruising and belligerent treat. Every mention of the Vancouver quartet seems to draw comparisons to Slayer and DRI, and it is hard to be any different here, though there are plenty of other extreme provocateurs hinting in the spicing of the ultimately fresh fourteen track brawl.

Golers first uncaged their belligerent and sonic fury on ears in 1998, forming after the end of the band they were all playing in, Subversion. The following year saw debut album South Mountain Style uncaged, it establishing the core Golers sound which has snarled and rampaged ever since. 2nd Generation followed in 2004, offering a honed and more impacting flavouring which again was intensified and broadened a touch more with Backwoods Messages five years later. Sparking the keenest attention on the band yet, its well-received arrival was more than emulated by the appearance of In ‘n’ Outlaws with easy to expect greater success coming with its digital unveiling. Recorded with producer/engineer/manager Rob Shallcross (Gene Hoglan, Strapping Young Lad, West Of Hell), the album commandingly and tenaciously shows why Golers has been so greedily devoured on records an live across North America and Europe alike, a presence taking in shows and tours with bands such as Toxic Holocaust, Kreator, The Accused, Napalm Death, Suicidal Tendencies, Dayglo Abortions, Destruction, Ghoul, and Prong. The ultimate step of recognition has yet to be breached though; something In ‘n’ Outlaws definitely has the potential to trigger given the opportunity.

The album’s title track roars in ears first, riffs and rhythms an instant bombardment, gripping attention and an early appetite with force. The great blend of vocals led by Walter ‘Chainsaw Charlie’ Mason, straight away ignite an already contagious offering whilst the sonic craft of Derek ‘Henry the 1st‘ Rockall squeals with appeal against the caustic scrub of riffery from Mason. In 'n' Outlaws_fullCatching the anthemic essences of thrash and punk in one almighty invitation, it is a thrilling start potently backed straight away by the even more hostile Lemon Eyed Devil and the following irritability of Angle Disruption. The first of the two is sheer primal virulence, vocals and grooves a spiteful bait against the fiercely provocative muscles of Jason ‘Cranswick’ Mosdell’s swings and Stuart ’Jonny Goler’ Carruthers predatory bass lines. Its punk rabidity is matched by that of its successor, a song with a bee in its bonnet and malevolence in its breath. Again though, every hook and rhythmic swipe seems to have a devious contagion matched by grooves and riffs, an enslavement of ears and imagination upon which the vocal squalls impressively vent.

Behind the Sun embraces a heavy metal spicing in its corrosive turbulence of sound and aggression next, the track as addictive as those before but finding a rawer, nastier nature to seduce and scar simultaneously. It is a bracing and abrasive quality which is just as vocal in Inbred Militia and soon after Kamikaze. Both tracks brawl with the senses and ignite emotions, the first blessed with a delicious crunchy growling bassline amidst a tempest of guitar and vocal inhospitality. It is pure addiction; the bands thrash intent the raging force of the compelling intrusion. The latter of the pair savages with every syllable and note expelled but again has a catchy enticement to its grooves which leave ears basking.

It is fair to say that there is no weak moment across the whole of In ‘n’ Outlaws; some songs might have a surface similarity at times but each reveals its own distinct character in time, as proven by the sonically inflamed Paradise Entrails, with its bewitching niggling and repetitive grooving, and the vicious When Shit Goes Down. This track scowls and abuses with every rhythmic flex and vocal glare, it’s brief but inescapable ire undiluted intimidation with, as in the previous track, a melodic toxicity to share.

The more composed and melodically fuelled Scratch steps forward next, it’s sonic enterprise a riveting tonic which as you might rightly assume, is soon smothered by an unfriendly vocal confrontation still impressing in its multi prong attack, and a more classic metal coloured voracity. It is another slight twist in the album and nature of songs, one turned a few degrees more in the hellacious storm of Quickshit McGraw with its exhausting intensity and melody induced trespass of the senses, and again in the rabid punk flirtation of Country Blumpkin, this another heady peak in the album.

The album ends as welcomingly riotously and adversarial as it began, Alcoholics Unanimous coming first and bellowing with rancor and rhythmic violence; a malice tempered again by irresistible and unrelenting grooves. It is a tremendous onslaught from the start but finds a new ground of addictiveness with its slip into a punk bred anthem towards the end. The Path is equally as incendiary and persuasive with its concussive charge and vocal causticity, whilst the closing Riff Cult / Relations just stands before ears and growls them out in sound, vocals, and attitude to provide a mouth-watering, energy sapping end to a thoroughly invigorating and rigorously enjoyable album.

Golers will be a secret to a great many no more, new hungry appetites sparked once In ‘n’ Outlaws hits the webby place. The album might not be quite announced as the very best thrash/punk metal offering in history but it is destined to be one of the favourites.

In ‘n’ Outlaws is digitally available from February 6th via Bandcamp. Check https://www.facebook.com/pages/The-Golers-Inbred-Militia-/103231376426551 for details.

RingMaster 05/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

Crack House – The Hits Just Keep On Coming

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Beating on ears, mugging the senses, and corrupting the psyche, The Hits Just Keep On Coming is a punk metal violation which just keeps coming. Unleashed by US antagonists Crack House, the EP is a corrosive brawl of crossover ferocity bringing hardcore punk, crust and thrash in on a tempestuous and belligerent dirt caked rock ‘n’ roll rampage. It is not for the faint hearted or those with a nervous disposition, nor those wanting frills and extravagant excesses to their sounds, but for ruinous and degenerate metal punk animosity, this is one EP well worth being ravaged by.

Featuring members of Eat The Turnbuckle, Javelina, Call The Paramedics, and Bitchslicer, Crack House has no redeeming features to its character and everything riveting in punk bred hellishness. From its opening track, also called Crack House, the band is roaring, abusing, and providing an unrelenting and blistering incitement which beneath its scourge of a surface has a maelstrom of riffs, hooks, and enterprise giving each onslaught’s depravity depth and weight. The first song flings abrasing riffs and vocal causticity at ears as soon as it’s opening brief skit sets the scene. Thumping rhythms are just as full of enmity, every swipe a resonating punch entwined in either a tempest of varied vocal squalling or a sonic whipping of guitar. With thrash and grind just as vocal as punk in the rabid stomp, the song makes a formidable entrance to the release, an opening taking to rawer destructive heights by This Emergency Room Is Gonna Need A Fucking Emergency Room.

The second song has fear and juices flowing from the first rumble of rhythms, the drum’s wanton bait soon joining an opening sonic coaxing. In no time the track becomes a contagious and violent seducing of ears and passions, leading the senses into a visceral landscape which could be described as Motorhead meets Hellbastard at a brawl organise by The Exploited. Grooves spray venom and beats destruction yet the heavy metal spiced sonic insidiousness which veins the storm is almost inviting in its resourcefulness. It is an anthemic intrusion, a description fitting most tracks on the EP, and especially the following title track. Again launched on a torrent of rhythmic contagion, the track smothers the senses in a wave of defiling sonic adventure whilst the rhythms increasingly feel like they sense blood as every scything swing comes with greater rancor to match the increasing bile in the vocal delivery.

Without quite matching its predecessor, the song still ignites ears and emotions impressively as does the briefer animus of Junkie Fucker. It is pure hate and defiance in one accusing sonic fury which leaves ears and emotions ringing as it makes way for the final grudge, March Of The Crackhead. Metal and punk collude here to provide a senses scorching, psyche bruising squall which is as irresistible as it is intimidating. Grooves and hooks are ridiculously addictive whilst the rhythms find new and greater bait in their armoury, building a song which is a total seduction even as it violates your veins and steals your sanity.

   The Hits Just Keep On Coming leaves a real hunger for more by its end. You will feel dirty and violated from the encounter but certainly for hardcore/thrash lusting fans more than likely will breed a real appetite and addiction for sound and band that just will not go away.

The Hits Just Keep On Coming is available via Horror Pain Gore Death Productions http://www.horrorpaingoredeath.com/store/hpgd102.html, as well as Buriedinhell Records http://buriedinhell.bandcamp.com/releases, and Useless Christ Records from January 20th.

https://www.facebook.com/CRACKHOUSEROCK

RingMaster 20/01/2015

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