Earthbound – Desolate

With a reputation well on the rise, UK metallers Earthbound have just released their new EP, an encounter which is going to do their ascent up the metal ladder no harm at all. Four slabs of the band’s melodic death metal nurtured sound, Desolate swiftly grabbed attention and only proceeded to tighten its grip thereon in.

Hailing from Hitchin, Earthbound emerged in 2017 and soon lured interest with their debut EP, Endure a few months after. Originally a quartet, it was with the recruiting of guitarist John Stacy to stand alongside vocalist Tom Watson, guitarist/vocalist Louie Penfold, bassist Chris Stroud, and drummer Richard Shearing that something “clicked” within the band. An acclaimed appearance at Bloodstock Open Air Festival and playing support to Doyle and Countless Skies followed to enhance the word on the band and a sound which within Desolate devours the senses and ignites the imagination.

With the likes of Trivium, Iron Maiden, Arch Enemy, and Countless Skies declared as influences, Earthbound create a tempest borne out of death metal voracity meets melodic metalcore dexterity. It proves a compelling proposition within their new EP, each track adventurous in intent and accomplished in invention. It begins with Of Suffering, the track looming from the distance with open ferocity to quickly explode upon ears. Riffs and grooves invade as rhythms blitz the senses yet immediately there is an instinctive contagiousness which escalates the lure of attention. The raw throated squalls escaping Watson are just as potent a trespass as the sounds around them, the backing yells of Penfold as forcibly eager, but it is with the clean delivery of the former that the track truly ignites. Both sides to his presence provide strong quality but his melodic presence is especially striking. The song itself continues to harass and tempt as it too reveals an enterprise of varying flavours and textures across its dramatic landscape, the EP off to a powerful and impressive start.

Solitude follows with melodic enticement as its coaxing, its atmospheric breath soon welcoming another emotion rich clean delivery from Watson. Drama soon lines every note and the subsequent rally of rhythms before dark clouds intensify skies encroached by equally darkening sounds. From within more classic metal spiced threads of guitar emerge as keys float across the air of the song, its ground a motion of volatile endeavour. Toxic breath also infests the vocals as the track continues to expand and blossom, its landscape as unpredictable and imaginative and indeed magnetic as its predecessor’s.

Similarly Worlds Apart opens up with melodic radiance to the fore, vocals and guitars a warm invitation though shadows still lurk and eventually step forth as the mercurial climate of the track sparks with greater tempestuousness. Nevertheless, its melodic metal imagination fuels every twist and level of intensity before Remnants grips just as thick attention with its steely wires and invasive ruthlessness. It is a tempest of sound and craft which leaves no second void of persuasion and moment lacking the drama of enterprise. With a passage of atmospheric calm and emotive intimation like an irresistible oasis in an ever compelling storm, the track provides a powerful end to an equally striking release.

There are certainly moments and aspects which excite more than others within Desolate but from start to finish it only impressed, Earthbound living up to their reputation so far and laying seeds to a far greater level of plaudits ahead as they continue to grow and evolve.

Desolate is out now.

https://www.facebook.com/earthboundmusicuk   https://twitter.com/Earthbound_band

Pete RingMaster 15/10/2019

Copyright RingMaster: MyFreeCopyright

Dog Tired – The Electric Abyss

The metal world has never been majorly short of striking and often influential bands from Scotland and adding to that list of potent protagonists is Dog Tired. They are not newcomers as such having emerged in 2004 and have earned a strong reputation and loyal fan base for their riff driven metal but with new album, The Electric Abyss, they have revealed themselves ready to step into a far larger spotlight.

Hailing from Edinburgh, Dog Tired are described as “Merging the relentless brutality of Gojira and Entombed with the riff orientated assault of Pantera and Metallica.” It is a fair description for the band’s multi-flavoured metal but only hints at its voracious sound and presence. At times across their quartet’s latest release, it is a proposition which involves the familiar with their own imagination but persistently comes through speakers with a character and freshness individual to Dog Tired.

The Electric Abyss opens with its title track, the song looming out of sonic electronic mists with dark ominous shadows behind a foreboding breath. In swift time heavy ravenous riffs laid down their claim on an already eager attention, as quickly erupting in a predacious contagious stroll as rhythms equip the emerging track with their own imposing bait. The grouchily throated vocals of Chris Thomson in turn make for a vociferous incitement, growling across the wiry exploits of guitarist Luke James and the virulent rhythmic trespass of bassist Barry Buchanan and drummer Keef Blaikie. It is a persistent and rousing nagging which only proves more persuasive as imagination brings greater twists and richer atmospheric intimation.

It is an outstanding and impressive beginning to the album and never relinquished favourite track honours but harried for that positioned across The Electric Abyss and quickly proven by the following Flesh Church. Its visceral trespass is bred on a mix of death and groove voracity, everything slightly less urgent than within its predecessor but just as predatory and even more sinisterly emotive. There are moments when the track uncages its vigour but still there is a dark restraint which only helps thicken its lure before Dagoth’s Nine accosts the senses with its creative animus. Grooves and indeed vocals in part have a harmonious toning which escalates the inherent catchiness of the pugnacious assail escaping the craft and invention of the band.

Beyond The Grave provides the best beginning to any track within the release, its rhythmic incitement within almost perniciously alluring waves of sonic intimation pure temptation and only escalated as the bass unfurls its bestial and virulent provocation. The track’s expanding prowl continued to seduce from under the skin; its addictive lures and feral snares quickly and insistently compulsive as Thompson’s barbarous tones prey on song and senses alike as another major moment within the album is discharged,

The melodic elegance and calm of Aeon provides a magnetic respite and seduction from the voracious darkness before and after it, the instrumental a beacon in the surrounding storm which returns with almost carnal relish within Lord Of The Vile. From its deception of atmospheric tranquillity if one embracing dark whispers and portentous intimation, Slayer-esque riffs erupt as rhythms venomously pummel. Immediately a viral contagiousness invades ears and appetite, the outstanding track swinging and savaging with insatiable intent and zeal; as throughout the release individual craft uniting with collective imagination and invention.

Both 1968, with its carnivorous stalking of the senses amidst a blackened hue as crawling riffs court ravenous grooves and vocals, and the primal gait and breath of Hunter’s Moon left little for ears and pleasure to want for, the first of the two especially inspiriting with its successor a full and riveting adventure all on its own as its instrumental landscape, lined with a slight Celtic lit intimation, twists and turns with rousing and potent effect.

Kingdom brings the record to a close, the final track another slab of animated and invigorating skill and enterprise leaving this listener welcomingly harassed and aroused. It is a song summing up the craft and invention of Dog Tired and the thick textures and varied nature of their sound within a recognisable yet individual extreme metal tempest.

As much as The Electric Abyss made a potent mark first time around it was with subsequent plays that it truly blossomed into one of our favourite metal onslaughts of the year; give it time and it could be yours too.

The Electric Abyss is out now; available@ https://dogtired.bandcamp.com/album/the-electric-abyss

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

Pete RingMaster 27/09/2019

Copyright RingMaster: MyFreeCopyright

Mortal Infinity – In Cold Blood

Unleashing thrash metal with a similarly keen instinct for death and groove metal, German metallers Mortal Infinity unveil their third album this month. In Cold Blood is a nine track trespass of old school meets new enterprise incitement, a release which left us basking in thick satisfaction.

Hailing from Zeilarn, Mortal Infinity emerged late 2009 and swiftly set about creating and releasing in the May of the following year their first EP, Eternal War. Since then they have unleashed a pair of albums in District Destruction of 2012 and three years later Final Death Denied. Both were well-received without really breaking the band out upon major attention, a possibility which In Cold Blood makes more likely given the luck all artists need.

Presenting a collection of songs which unapologetically embrace the influence of bands such as Exodus, Testament, and Slayer, In Cold Blood swiftly reveals its rich web of flavours within opener Fellowship Of Rats. Immediately riffs urgently descend on the senses, the guitars of Sebastian Unrath and Sebastian Brunner hungrily surging forth as the swings of drummer Adrian Müller bite. It is familiar territory but no less appetising for it. The raw and earnest tones of vocalist Marc Doblinger soon enter the affray too as all the while rapacious basslines escape the strings of Alex Glaser.

It is a great if unsurprising start to the release which is taken up a notch by the following Misanthropic Collapse. From its first breath seriously appetising grooves collude with hunger bearing riffs, rhythms again an imposing attack in the contagion of it all. Once more there is plenty to recognise but there is a freshness which as with its predecessor marks it out before the quickly impressing Repulsive Messiah steps up to prowl the listener within an apocalyptic collage. Within moments it becomes a nagging addiction of guitar as Doblinger stalks the landscape with his predatory words, death metal hues adding to the drama and temptation. Subsequent threads of melodic enterprise vine the confrontation bringing bolder imagination to the band’s sound.

Dream Crusher equally hooked quick and eager attention with its burly outpouring of carnal riffs and voracious rhythms, grooved wiring increasing its compelling presence. A Lamb Of God like spicing only accentuates its potency as too the momentary calm which deceptively hints at a twist but not the one which actually emerges to add to the pleasure.

From the stalking ferocity that is Long Forgotten Gods and the sinisterly Silent Assassin (Champion Of War) to Devastator, Devastated with its voracious and dextrous siege of sound the album only captured the appetite as the specific craft of individuals unitedly caught the imagination, the melodic dexterity veining tracks alone potent persuasion and only accentuated by the shades of death, groove, and heavy metal upon their thrash bred canvases.

The album’s title track equally hit the spot from its initial thrash borne chugging to the rhythmic agility of Müller and the grooved swing of its gait. Drama soaks its every move which only added to the classic breeding it springs from and the inventive dynamics it is shaped with.

Finally Ghost Ship Sailor sails forward to complete the release; the song drifting in on its own murky waters aflame with heavy metal spirals of guitar amidst a death metal sprung climate until eventually its thrash invasion breaks out, rampaging with hostile zeal. Arguably the most adventurous of the tracks and the most imaginative it provides yet another appealing aspect to In Cold Blood, one which took longer to take to but with rich rewards.

In Cold Blood is not without moments which did not quite grab as strongly as others, certain times when its twists and turns felt unnatural yet equally it all added to the intrigue and attraction of an album we only felt full enjoyment with. Whether the release is a breaking moment for Mortal Infinity time will tell but it certainly sees them moving in the right direction.

In Cold Blood is out September 6th; available@ https://mortalinfinityofficial.bandcamp.com/album/in-cold-blood

https://www.facebook.com/MortalInfinity/   https://twitter.com/mortalinfinity

Pete RingMaster 07/09/2019

Copyright RingMaster: MyFreeCopyright

Exes For Eyes – Of Strength And Sorrow

Since the release of their previous album in 2014, Canadian metallers Exes For Eyes have been on a hiatus of sorts but now they have returned with a new collection of tracks which not only enhance their established reputation but push it to a loftier height. Of Strength And Sorrow is a fury of bold adventure and eager enterprise, a release also relishing a greater diversity and imagination in the band’s sound whilst making for one striking encounter.

Ontario hailing, Exes For Eyes was borne from the musical vision and creativity of Dave Sheldon (ex. Man With Target, Annihilator) and the lyrical conception of vocalist Big James (Stab.Twist.Pull, Endast, Authors). Previous well-received releases proved an enticing cauldron of multi-flavoured metal endeavour with a progressive bent but the time between the previous Tongues Like Figure Eights and Of Strength And Sorrow has seen it grow, mature, and immerse in greater imagination without losing almost feral instincts.

Their new album opens with the outstanding Build, Work, Dream, Create; a track which if standing alone in major temptation would have brought the full-length strong praise. One of our favourite moments of the year so far, the song immediately launches itself with an irresistible groove within a barbarous but effortlessly contagious surge. It is eager enticement which continues to tempt and manipulate as vocals expel their intent and prowess with raw emotive discontent. The track is superb, groove and death metal essences colluding in its tempestuous roar, every second a cauldron of virulent enterprise and ferocity.

It is a thrilling start which Memories That Last follows and backs with its own inferno of rapacious sound and ear grabbing imagination. More uncompromising by the minute the track provided a quickly testing and swiftly rewarding proposal as imagination fuelled its every invasive throe before the song drifted away and the predatory presence of The Metal forcibly prowled. It was an initial stalking which subsequently erupted into a ruthless trespass, its stroll continuing to menace and bully as the band’s imagination flourished and shaped one enthralling assault marked with individual prowess.

Nothing Ever Satisfies in contrast provides a calm but just as enticing invitation, at least initially as the guitar’s melodic coaxing soon becomes a cyclone of resolute sound and voice around another irresistible collusion of grooves and hooks. A rival for the opener, the track continued to enthral and arouse as its turbulence fed off the mercurial volatility in its heart and roar; submission to its creative appropriation willing and inevitable.

Featuring Trey Xavier of In Virtue, The Fire Inside My Head entangled ears in another spiral of wiry grooves and rhythmic motivation straight after. It is an opening which intensifies by the breath, vocals adding to the attention grabbing pestering before the sonic wind drops and the bass brings its funk instincts to bear. That is just the invitation to a new progressive sigh of imagination laced with a slight Hed(PE) hue and another alluring aspect to the fascinating encounter. With keys providing perpetual intimation throughout, the song’s tempest ignites again; the cycle repeating with richer temptation.

Through the fierce yet melodically elegant Set It All On Fire and The Savage Self with its savagely contagious trespass, album and band only accentuated their expectation squashing prowess; both songs relishing the progressive bent in the songwriting and imagination of Exes For Eyes. It is also fair to say that both songs as most around them flourish with closer and continued attention, new textures and layers of enterprise emerging from within their masterfully sculpted furores, next up I Miss My Friends (Too Many Of Them Are Dead) reaffirming that quality as its solemn and melancholic beginnings inspire a melodic pyre of dexterity and guile within a voracious if mercurial landscape of uncompromising encroachment.

The likes of Hold On with its two chaptered proposal, the first as respectful and catchy as the other is invasive and confrontational, and the resourcefully animated True Self Reckoning ensure the album’s grip remained tight, their successor, Love, with Pepe Poliquin of BornBroken guesting matching their strengths with its own contemptuous strike, one which at times is melodically seductive and progressively illuminated.

Of Strength And Sorrow concludes with firstly Get The Fuck Out Of My Head which as keys haunt from its first sigh while rhythms simply enticed, both continuing to enthral as emerging drama and dark deeds rise, emerged another excellent track within the album. Methuselah follows one stirring moment with its own rousing presentation of invention and imagination, in many ways summing up the variety and adventure of the band’s sound in its own capricious multi-flavoured and dramatic body.

Though Of Strength and Sorrow had us hooked from the start it is right to say that the depth, layers, and expanse of its qualities and persuasion was only greater tapped with subsequent ventures into its increasingly and imposingly impressive body. Quite simply, Exes For Eyes are back and creatively deadlier than ever.

Of Strength and Sorrow is out now and available @ https://www.exesforeyes.com/

Pete RingMaster 20/08/2019

Copyright RingMaster: MyFreeCopyright

Abstract Rapture – Hollow Motion

Formed in 2001, Luxembourg hailing metallers Abstract Rapture especially drew praise with the release of their album Earthcrush. Now seven years after its successful release and “significant” line-up changes the band have its successor primed to re-stir attention and such the craft and enterprise within Hollow Motion it is easy to see the quintet courting the biggest spotlights and plaudits.

Woven in a tapestry of metal bred flavours courting everything from groove and nu to death and thrash metal, the band’s sound and new album is a cauldron of adventure and imagination embracing the familiar and unique. Hollow Motion is a dark melancholic proposition yet a beast with a discontent fuelled fire in its belly and attitude nurtured tension in its breath.

The album opens with A Promise from the Ghouls and immediately lured ears with its rhythmic invitation, the teasing collusion of infectious beats with a dark earthy bass grumble devious. Swiftly the predacious edge of the guitar joins the threat, it all soon sparking into a rapacious stroll further accentuated by the potent tones of Dritt. The swinging grooves and continually intimidating edge of the track made for a compelling and infectious proposal unafraid to twist and turn with further imagination and creative trespassing sparked by the melodic and sonic prowess of guitarists Alex and Nol. It is an ear and appetite grabbing start to the album which continues through next up The Cancer in Your Soul.

The second track is instantly a more predatory proposal, almost stalking the senses even as melodic and grungier hues spring forward from within its ill-intent. Individual craft joins united endeavour as the song blossoms with each adventurous move, it maybe not as strikingly manipulative as its predecessor but just as imaginatively captivating before Endless Chapter grips ears with its own wily exploits. Again the swings of Spit incite as they bite, nagging grooves entangling his tenacious strikes as vocals incite. Across the album there is an essence of Mudvayne meets Disturbed meets Machine Head and no more so than within this gripping offering.

Blood-Red Revolt brought even stronger enticement and incitement to body and pleasure, the track a definite favourite, writhing as it fingers the imagination with its boisterously manipulative and widely flavoursome antics before, following the brief chillingly haunting and increasingly threatening lead of …and Winter Comes, the predacious Inner Plague prowls and teasing the senses with its own venomous but darkly seductive threat. As ever the tenebrific yet tempting growl of Maks’ bass fuels the alluring menacing; constantly keeping the listener on their toes alongside the drums even as melodic flames and enterprise blazes away.

From one outstanding moment to another as Venom Skies descends on the senses with intrusively skittish beats to the fore before its sonic spiral springs another web of riveting and toxic conspiracy built on craft and imagination. The swing of the track is inescapable, its resourceful weave innovative even as familiar hues add to its appealing canvas.

Through the simply invigorating deeds of The Fear Industry and the calmer but similarly enticing Hollow Soul, ears were only firmly held; both tracks and especially the first of the pair offering snares of sound and touch which left us simply greedy for more before Ego Non Te Absolvo (A Drunken Conclusion) brought the album to a destructively intimate and provocative close.

It is a fascinating, tormented end to an album which is almost intense in its dark tone whilst bordering the kaleidoscopic in a sound which still embraces a particular hue that is individual to Abstract Rapture. Hollow Motion will be an introduction to a great many even being the band’s third full-length, one announcing  Abstract Rapture to all as being one striking and thrilling proposition.

Hollow Motion is out now, distributed by Black N ‘Purple Records, across most stores.

https://www.facebook.com/pg/abstractrapture/

Pete RingMaster 18/12/2018

Copyright RingMaster: MyFreeCopyright

Mnemocide – Debris

Debris is the title of the new EP from Swiss death metallers Mnemocide and also what will be left of the senses after facing their seriously appetising debut release. Four instinctively and invasively ravenous tracks skilfully woven through deliberate enterprise, the EP is a striking introduction to a band already suggesting very big things could be ahead for and from them.

From Basel, Mnemocide began in 2017 but emerged into the open earlier this year after honing their death metal bred adventurous sound. Joining producer Christoph Brandes in Iguana Studios near Freiburg, Germany, the quintet recorded Debris a few months back, a debut which quite simply makes us what to hear so much more.

EP opener, Only Shades, comes into view on cold winds, a portentous pulsation accompanying its emergence before guitars entangle the growing intimation. It all veers into a groove driven stalking of the senses, a powerful and sinister stroll loaded with restrained but invasive rhythms and potent throat raw vocals. Those grooves continue to lure keen attention within the similarly inviting if threatening consumption of sound where melodic enterprise and tempestuous intimation only adds to the track’s imposingly stirring presence, the EP off to a highly persuasive and stirring start.

The following Pawns swiftly manipulates the imagination with its initial samples, accentuating its persuasive lure with the subsequent tide of advancing riffs and heftily swung rhythms. Stride by creative stride, the track is persuasive warfare, every note a magnetic statement of intent as barbarous as it is captivating. If its predecessor impressed, the second song had us lustily hooked, success pretty much matched by next up Collapse, another track which got further under the skin carnivorous riff by barbarous rhythm. As suggested, the classic heart of death metal beats within the Mnemocide sound but again this is a song which embraces its seeds with imaginative adventure and violently flirtatious catchiness.

The same template breeds EP closer Soul Collector, a track chipping away at defences from its first breath as beats lustily land on and riffs gnaw away at the senses with almost viral contagion. Even darker, ravenous hues gather as the track prowls, all accentuating its grooved temptation and mercurial veering towards inhospitable countenance.

It is a fine end to a release which has become more stirring and irresistible by the listen. There are also big hints of a brewing uniqueness within the EP which only adds to an anticipation of what is to follow from a band ready demanding eager attention.

The Debris EP is about now; available@ https://mnemocide.bandcamp.com/releases

https://mnemocide.com/    https://www.facebook.com/Mnemocide/

Pete RingMaster 02/11/2018

Copyright RingMaster: MyFreeCopyright

Arkdown – The Calling

Having already teased acclaim and attention with their debut EP a couple of years back, UK metallers Arkdown give them a real shove with its successor, The Calling. Unleashing five uncompromising, seriously predacious cuts of metalcore seeded hostility as stylish as they are rabid the new EP is the declaration of a band ready to take on all comers.

Cast in the steel of their hometown Sheffield hailing Arkdown has been on a steady ascent through the British metal ranks since emerging in 2015. The well received EP, Path, lit up the underground metal scene with its 2016 release whilst live the band’s reputation has only risen as alongside their own shows they have shared stages with the likes of Fit for an Autopsy, Oceans Ate Alaska, Martyr Defiled, Kingdom of Giants, A Night in Texas, and Shields. The Calling is their next bold and impressive step and challenge to the higher echelons of the British metal frontline and further afield.

Though metalcore based, the Arkdown sound is a rich union of flavours, death and melodic metal colluding with rapacious grooves and merciless aggression across that instinctive bed. It makes for tracks which even as they directly assault equally fester in the imagination all twisting and turning with imaginative adventure as quickly shown by EP opener, Wake Up. The initial calm of its intro is soon squashed under the following weight of riffs and rhythms from which vocalist Kyle Dawson enticingly scowls and the guitars of Mike Dyson and Mike Walker spin senses ensnaring webs of antipathy wired with fine melodic thread. Swiftly a diversity of sound and vocal attack mingle in the outstanding trespass leaving ears ringing and pleasure greedily rising.

The following It Calls Me instantly wraps the listener in spirals of contagiously intrusive grooving, the swinging beats of Alex Roberts taking skilled pot shots as again the throat raw variety coated assault of Dawson erupt in animosity and magnetism. With the eager yet brooding basslines of Ed Morley as potent as the invasive enterprise of the guitars, the track grabs best track honours as it further ignited the passions before Mirrors embraces the senses in its own infectious guitar wiring as winds of discontent and dark reflection ravage. As its predecessors, the track is a captivating roar of craft and enterprise built on an array of individual agility and as those before, another mighty reason to devour the Arkdown sound.

The closing pair of Five Years and Falling brings the EP to a rousing close. The first is a sonic wrath within a cauldron of melodic intensity, uncaging grooves and sonic rancor with an intrusive yet deft hand whilst its successor while being the calmest moment within The Calling, indeed a haunting seduction of imagination, it is also a tempest of conflict and venomous ideation as mercurial and volatile as it is tantalising.

Giving five tracks which increasingly fascinate as they corrode the senses, The Calling is a striking and increasingly irresistible encounter from a band surely poised to stir up real fuss with their dynamic, dramatic and deviously compelling sound.

The Calling is out Friday 2nd November.

 https://www.facebook.com/ArkdownOfficial/   https://www.instagram.com/arkdown.official/   https://twitter.com/ArkdownOfficial

Pete RingMaster 31/10/2018

Copyright RingMaster: MyFreeCopyright