Fit For An Autopsy – Absolute Hope Absolute Hell

fitforanautopsy_RingMaster Review

The time between previous album, the 2013 released Hellbound, and its new successor Absolute Hope Absolute Hell, has seen death metallers Fit For An Autopsy become not only more brutal but strikingly bolder in the adventure behind the infusion of melodic imagination and diversity shaping their ferocity. The evidence is all strikingly there in the band’s third album which is also the first with new vocalist Joe Badolato after the departure of Nate Johnson last year. Quite simply Absolute Hope Absolute Hell is a gripping tempest of sound and intensity, of passion and anger, and a new heady bench mark for the New Jersey hailing sextet.

Self-produced by guitarist Will Putney, who has also previously produced the likes of Thy Art Is Murder, Acacia Strain, and Northlane, Absolute Hope Absolute Hell opens with its title track and a melodic tempting which reflects the first part of its title perfectly. Within a few more deep breaths riffs are crawling through the air and dark grooves binding ears as the quickly impressing delivery of Badolato steers the brewing volcanic tempest. Whereas in previously releases the open barbarism fuelling the new intent would be undiluted, here the opening enticing continues to flirt from within the storm, ebbing away occasionally to return with vocal elegance as the track relentlessly grows into and evolves its furious skin and body.

FitForAnAutopsy_AHAH_RingMaster Review      It is a mighty and thrilling start carried on by the following Wither, its first touch a crunching tide of raw riffs and imposing rhythms again straddled by the excellent tones of the new frontman. Johnson was a mighty force and texture within Fit For An Autopsy but Badolato brings something just as hearty but stirringly different which simply fits the band’s evolution in sound, Saltwound straight after conformation if it was needed. Backing vocals equally seem to have found a new zeal and hue to their roars too, on the third song creating searing harmonics within the sonic smog wrapping the rhythmic trespass of the track. Though not quite living up to the pair before, such their stunning success, the track quickly unveils more melodic enterprise and atmospheric imagination as forcibly alluring as any raw ferocity unleashed across song and album.

Both the Gojira meets Oceano like Murder In The First and Storm Drains exhaust the body and ignite the senses, the first a zealous predatory stalking which bewitches with repetitive hooks and spiralling grooves whilst becoming more barbarous with every passing minute and blast of viciousness. Its successor is a viscous sonic and vocal assault but again a turbulence unafraid to spin magnetic melodic and caustic tempting through the guitars of Putney, Tim Howley, and Pat Sheridan, drummer Josean Orta alongside splintering bone with his often restrained but fierce swings; that reserve emerging with the almost post-rock like ambience which also blows through the track.

Another high is breached with Ghosts In The River, Badolato offering a Jaz Coleman like tone to his cleaner grizzled delivery whilst around him vivaciously shimmering melodies seep from guitar strings and a warm inviting atmosphere leads the listener into the volatility and perpetually animus of the song’s heart. Bassist Shane Slade sculpts bait which borders on bestial but is tempered, almost smothered at times by the mesmeric melodic imagination working away on an already by this point greedy appetite. The track is as enthralling an inventive and fluidly diverse violation as you could hope for and quickly matched by the outstanding and creatively rabid Mask Maker which takes things to even more entangled richer depths. One moment it is scarring the senses with sonic acidity and the next creating a furious anthem which again has a slight Killing Joke scent to it, not to mention that of bands like Thy Art is Murder, though as shown yet again by Hollow Shell straight after, Fit For An Autopsy have created a presence truly distinct to them showing past great efforts were still a sound in the making. Hollow Shell is almost gentle in comparison to the previous track, well for a passing moment or two as sinews become stretched, emotions turn sour, and intensity is uncapped as the track boils over with rancor but without losing any of its creative enterprise and seamless fusion of melody rich ambience and toxic savagery.

Out To Sea is a song which took time to fully persuade, its opening emotive calm and sweeping atmosphere tempered for personal tastes by the vocal delivery choice of Badolato, his rasping tones a dampener on the climate but coming into their own as the short but potent track breeds a cantankerous torrent of hostility around the persistent beauty. It is a great appetiser for the virulent bad-blood of False Positive though, this a maelstrom of creative spite and bedlamic ingenuity as blusteringly unpredictable as it is punishingly hellacious. Every second brings a new chastisement for the senses and inventive tonic for ears and imagination, the album closing on the same lofty heights as it started, a pinnacle reinforced by album closer Swing The Axe and its more controlled and tempered storm flowing with and exposing the new direction and ingenuity in the Fit For An Autopsy songwriting and sound.

To simplify things, Absolute Hope Absolute Hell is technically compelling, brutally impacting rock ‘n’ roll to give your soul to, the roar of a band’s sound coming of age with plenty more still to be explored and experienced. We have another best of year metal contender!

Absolute Hope Absolute Hell is available from October 2nd via eOne / Good Fight Music.

Pete RingMaster 02/10/2015

Copyright RingMaster: MyFreeCopyright

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A.C.O.D – II The Maelstrom

ACOD_RingMaster Review

There is no doubting that the new album from French melodic death metallers A.C.O.D lives up to its name, II The Maelstrom a fierce and uncompromising tempest of sound and emotion which could be the soundtrack and reflection of the turmoil in the world right now. The thirteen track encounter sears ears, withers the senses, and grips the imagination with its fusion of creative twists and varied flavours, and though a punishing conflict from start to finish it makes for one compelling incitement.

Formed mid-2006, A.C.O.D has increasingly gripped attention with a sound seemingly bred on thrash and blackened seeds alongside its prime death metal heart. It has been an evolving proposition over time, and one luring increasing acclaim and spotlights the way of the band. Debut album Point Zero was released in 2009 with its successor First Earth Poison two years later. Both were well received though the five-track EP Another Path in 2013 has been their strongest bait on ears and appetites for their sonic fury; that is until now. Produced by Shawter of Dagoba and mastered by former Machine Head guitarist Logan Mader, II The Maelstrom is A.C.O.D’s most creatively hungry and impressive offering yet and from its first moments the Marseille quintet takes no prisoners.

acod cover_RingMaster Review   Straight away Another path swarms ears with ravenous riffs and imposing beats to instantly destabilise the senses. It is a hellacious yet controlled start which offers a carnivorous bestial bassline and sound to drool over which continues even as intensity and energy is kicked up a gear or two soon after. This marks the entrance of the raw throated vocals which in turn sparks a further thrash infused onslaught, but one which dips in and out of melodically honed lapses in ferocity. They are mere breaths in the again best described as swarm of riffs and rhythms, the guitars additionally creating an alluring web of sonic persuasion across it all.

It is a great start matched by the slightly less rabid Way of death, a track again bulging with highly tempting grooves around irritable riffs and rhythms. As it proceeds the track gets more volatile but equally inventive as spicy melodies escape guitar strings and vocals spill ire coated but more patient aggression. As in the first song there is a thickness in air and sound which means a kind of acclimatisation is needed but it comes quickly whilst laying lures to draw ears back again and again to explore more. This applies to the whole album as evidenced again by the following pair of Abuse me and Ghost memories. The first of the two is a predator, a beast gnawing on ears and spreading rancorous enmity but like those before, fuelled by a virulence which just grips with consummate ease thoughts and an already brewing hunger for the release. Guitars flirt with sonic enterprise whilst the bass chews on the senses in tandem with the scything swing of sticks on drum skin, the blend a merciless treat which continues in its successor. Featuring Soilwork’s Björn ‘Speed’ Strid, the track looms over the listener with a wall of barbarous rhythms and again a tide of nagging riffs which only evolve into something just as destructive and magnetic as a vocal blend entices whilst melodies wind through the sonic turmoil. It is a glorious assault and provocation of the imagination, especially as haunting winds and industrial tinged elements make full use of calmer moments.

From one major highlight to another as the vicious smog of Words of War descend on the senses, its composed savagery anthemically riveting and physically intimidating for a bracing and once more evolving assault. It is that fluid and unpredictable ability to twist around and explore contrasting if still lethal adventure in songs which turns II The Maelstrom from a good album into a thoroughly thrilling proposal. Both Black wings and the excellent Rise confirm that, their individual impassioned uproars further defined by the intricate craft and ideation veining each, though in the former of the two the rousing and corrosive breath of the track wins out whilst Rise is another which just steals the passions, its torrential grudge bound in impressive imagination whilst keeping its savage jaws in undeterred motion.

Cold is another peak, its melancholically stringed, melodic opening bewitching but subsequently swallowed in the belly of the sonic beast and another thumping anthem of bad–blooded barbarism. That animosity is on the first gasp of the following Death breath too alongside an enticing of acidic grooves and waspishly nagging riffs whilst Unleash the fools which sees Shawter also guesting, finds its strongest bait in the clean vocals and the hostile invention which seems to especially bloom around them. It is arguably the weakest song on the album yet leaves you wanting more and subsequently basking in a folkish/melodic metal sculpted oasis midway which just lights up ears.

II The Maelstrom is concluded by the trio of firstly Fallen, another strong song not quite having the same potency of those before, the classically hued and thrash fuelled Crimson, and finally the album’s title track which like an apocalyptic bear bellows and smothers ears in a swamp of raw passion shaped by toxic grooves, crushing rhythms, and scarring vocals. It also provides a melodic refuge within its storm which leads the listener out of the release with a warm and elegant peace.

It is hard to say that II The Maelstrom is something majorly new for the death metal scene yet it continually provides something fresh and inventive to the ear within its more recognisable turmoil. The result is one richly pleasing and satisfying encounter, and as suggested earlier, the finest aural ravishment from A.C.O.D yet.

II The Maelstrom is released September 15th

Pete RingMaster 15/09/2105

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Barús – Self Titled EP

Barus_Cover__RingMaster Review

Let us introduce you to Barús, a death metal band from Grenoble in France. There is little more we can offer you about the band except from quoting their bio. “Barús evokes a weight, a burden. Through music, it reveals an introspective state of mind: A grain of sand lost in the vastness…A questioning of all things…Death.” What we can say is that their self-titled debut album is one potential swamped and seriously compelling proposition you should take a look at.

Sometimes you get an inner twinge of something special in the making when being introduced to a band or release and that certainly applies to Barús. Through four rigorously challenging and thickly satisfying tracks, band and release provide a journey through the darkest, hellish climates and depths. They are burdensome, uncompromising songs which are as fearsome as they are imaginative. Tracks which all the time lyrically and musically question thoughts, instincts, and the senses. The band has been labelled as progressive death metal and though you can sense why with the invention fuelling unique songs primarily Barús’ sound is a malevolent cauldron of death voracity with black malice and doom oppressiveness.

The release opens with Tarot and a chaotic tempest of intensity and energy driven ravenous sound. Everything is in rabid turmoil, only settling down a touch with the addition of the grievous tones of the vocals. In time as searing grooves entwine fierce riffs and rhythms, an order as such comes over the track whilst still flirting with a bedlamic soundscape of ideas and textures. Contrastingly the vocals grow more psychotic, emotionally tarred roars bellowing and stalking the senses as the guitars spin a jagged djent seeded violation and seduction through ears. The track is breath-taking, an energy sapping, body staggering onslaught and quite irresistible.

The following Disillusions is equally as tempestuous at heart and in presence but with a more restrained character initially, though that line is blurred with every predatory torrent of riffs and scything swing of rhythms. The listener soon finds itself in an aural coven, one lorded over by savage guitar enterprise and vocal malevolence, but also a landscape which perpetually wrong-foots and fascinates. A mellow embrace midway comes with great clean vocals but it is merely a demonic deceit, the track soon casting a spell of sonic voracity and emotional malefaction. Emulating the first track, it is an exhilarating trespass on the senses and psyche; the two alone making Barús a seriously potent proposition for extreme metallers to check out.

Chalice is simply a stalking of the listener and a continuation of the raw sorcery brewing in its predecessor. Spoken commands and chants swiftly evolve into a ruinous transgression, the music from an initial almost anthemic enticing exploding into a cancerous animus of noise and intent. Again though the band fluidly and impressively disorientates and spellbinds through the merger of extremes and contrasts, the collusion of vitriolic and melodic beauty. This is where those progressive tags are suggested, though Barús offer it in the most barbarous form possible.

The EP closes with Cherub; a doom laded crawl of an incitement which as you may suspect grows and blossoms into a viscerally sonic profanation of sound and air. Though not quite matching the previous three tracks in impact, the track just absorbs attention as it devours the soul to provide a final raw treat to fear and greedily embrace.

Barús have made a mouth-watering entrance upon the extreme metal landscape with their first EP, and if this is the sign of things to come, even without the natural evolution and maturity that assumedly will follow becoming involved, the French band is going to be a major favourite with a great many.

The Barús EP is available now as a name your price download at the band’s Bandcamp profile.

Pete RingMaster 09/09/2015

Copyright RingMaster: MyFreeCopyright

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Grim Vision – War Agony

Grim Vision Pic_RingMaster Review

Living up to its title, War Agony is a battlefield, a savage blood spilling assault on the senses and emotions, but a ferociously compelling one. With three tracks of uncompromising hardcore/extreme metal rancor, the new EP from German band Grim Vision leaves scars, bruising, and a toxic taste in the psyche whilst providing a form of contagion that any band would offer blood for.

The Hamburg hailing and 2013 formed, Grim Vision consists of Bibo, Max, Claus, and Schmauke, a quarter releasing debut EP, With Those Who Favor Fire in 2014 to stir up plenty of attention. It was a brutal introduction to their black and death metal influenced hardcore roar but in many ways just a teaser to the creative and physical might of War Agony. Released through Bastardized Recordings, its songs unleash a fury themed through poem-based lyrics about the destruction, war and agony caused by humanity in the 19th and 20th centuries. To be honest, its narrative is primarily a mystery through the harsh and raw delivery of the words, vocals another hellacious texture amongst many others, but it does not defuse the overall impact of tracks, their raw emotion and merciless persuasion.

BE092 Grim Vision - War Agony Cover_RingMaster ReviewFallen Soldier is first up upon War Agony, its initial sonic searing just the spark to an even more vicious beating by rhythms and a wall of riffs. There is no escape, every angle is covered by the onslaught but within the tsunami of spite, the bass breeds a carnivorous and gripping groove and the song virulent infectiousness forcibly driven by the swinging scythes of drum sticks. It is punk rock at its nastiest, metal at its most cancerous yet together they breed something as catchy as it is punishing. With hooks and increasingly rousing grooves aligning with anthemically violent rhythms, locked in an animus of noise and intent, the track is a rigorously magnetic start to the encounter.

The following War Machine is just as uncompromising and addictive, every creative and body bred sinew loaded with ire and each individual riff drenched in hostility, whilst vocals blend a mix of both as the track again stirs up an infection of toxic air and furious incitement. Whereas its predecessor was an all-out tempest, the second song twists into more controlled and predatory adventure towards its close, an unpredictable and pleasing turn which lays the seeds for the most inventive and diverse song on the EP.

The closing Ten Minutes opens with skittish percussion and beats around seemingly distorted samples. As it embraces the slow, menacing gait of a bass prowl, echoes of war and damaged lives continue to share their voice to the ‘mellow’ passage before sonic smog of doom bred rapacity crawls over song and senses. It is a caustic cloak brewed by guitars which brews up and boils over into an animalistic ravishing with nostrils flared and unbridled antagonism. Again though when hell lets loose there is an inventive resourcefulness within a web of addictive bait which hooks ears and appetite as potently as the raging burns them.

War Agony is obviously not for all, but anyone with a taste for extreme metal and punk crossovers, especially those cultivating the angriest noise and malice, should get a huge pleasure out of Grim Vision’s new furore.

The War Agony EP is available from August 28th on limited edition 7″ vinyl and digital formats through Bastardized Recordings.

Pete RingMaster 28/08/2015

Copyright RingMaster: MyFreeCopyright

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Shitshifter – Intruders

cover_RingMaster Review

Shitshifter’s sound is a blizzard of raw emotion, vicious intensity, and a rage as primal as the dirt at the centre of the earth. It also breeds a bewilderingly contagious energy and incitement aligned to persistently fascinating and unpredictable imagination. It is devastating aural liquor that ensures the German band’s album Intruders is one hellacious and invigorating proposal. This is a release and artist which certainly is not for the faint-hearted or for those needing a safety net with their music. For all who have an appetite to bleed from the ears, delve into toxic emotions, and go places which the Geneva Convention would like to cover if it could, Intruders has the attributes to be a punishing revelation.

It maybe should be no surprise that Intruders is as vicious and compelling as it is with its founders other projects including I Am the Bayonet, Hungry Lungs, Twinesuns, and Nvrvd; bands which have offered plenty of brutally creative treats, the last two in very recent times. The trio of drummer Tobias, bassist/vocalist Stefan, and guitarist Christian, formed Bielefeld based Shitshifter in 2012, fusing the fiercest, most inhospitable strains of death and sludge metal with hardcore viciousness bred on raw crust/d-beat causticity. It is a mix which is unafraid to dip into varied flavours and inventive detours at times, but primarily is cultured to corrupt the soul with pestilential enterprise whilst lyrically tearing into religion.

Worth It and invasive smog of sonic confrontation is the album’s first touch, this soon joined by heavy footed, predatory rhythms alongside the rasping venom of Stefan’s vocals. From here on in, music and voice spew toxicity with every note and throat searing squall, never relenting even as the carnivorous and scarring tones of bass pace sludgy tendrils of guitar, their union creating a barbarously addictive swagger as the senses are scorched by the tempest of intensity and sound. The track’s gripping qualities continue with Kings And Queens, the second song evolving from the final sonic intrusion of its predecessor into just over a minute of even more corrosive and gripping enmity. There is no mercy given or wanted as guitars vein the track like lava and rhythms somehow craft an anthemic nature to the mass onslaught.

Again one scourge of sound and invention slips into another as The Demagogue takes over, the track almost skipping into ears and psyche before unleashing a cancerous cacophony of sound and intent equally as barbaric and skilfully addictive as offered as the last song, though with again no breath allowed between, it gets outgunned and shone by its successor. Far From Eye, Far From Heart stalks air and listener with a rapacious glint in its creative eye and a doom pungent atmosphere which grudgingly drips onto a melancholy soaked canvas. The harrowing but elegant landscape has its own moment to provoke and inspire the imagination too as the hordes of sonic hostility holds back for a passage of haunting calm before they converge on ears again with arguably more restraint but greater threat.

For once there is a break, a couple of seconds of nothing between songs before the outstanding Loyal Dog brings its predation into view with a punk inspired prowl and cold post punk toning to the melodies dripping from the guitar of Christian. Stefan’s bass is simply carnal in tone and touch, tempering the chilling but inviting embrace initially offered though by half way that too is spilling rancor and insatiable ferocity. The track epitomises the Shitshifter sound, its merciless intensity and creative gall but also the always present adventure of invention and styles woven into the excruciating storms if they are at times overwhelmed by the fury.

Igod is another minute plus tirade of sound and ire, and another violation easy to get addicted to whilst Nothing In Common in similar form and barbarity just pummels existing wounds with its metal framed emotional bedlam and bitter hardcore contempt. The pair forcibly light ears and appetite before the closing ShitShepherd ensures the union of band and listener ends with a lingering trespass physically and emotionally, and arguably the album’s pinnacle, though many tracks have a case to claim that.

Song and album just hit and violate the sweet spot, though obviously Intruders or Shitshifter will not be for everyone, with you can imagine many barely lasting a couple of minutes of torment, but if filth infested hardcore/death metal crossovers or indeed the band’s other projects, though openly different, are for you, then bliss could be in the volatile air.

The self-released Intruders is out now.

RingMaster 19/08/2015

Copyright RingMaster: MyFreeCopyright

27 Tons of Metal New England – Various

cover_RingMaster Review

And Bluntface Records do it again, thrusting the underground scene at the senses courtesy of another essential compilation of some of the most striking and potential drenched bands around. This time the US label is exploring the underground metal scene from New England, which on the evidence of 27 Tons of Metal New England, is simply writhing with great ravenous bands and sounds. The release is as diverse in styles as it is voracious in creativity and though with the amount of bands and metal subgenres involved personal tastes will obviously find a greater hunger for some over others, it is fair to say that the album from start to finish is a compelling treat with no weak spots, and all the more tastier for being completely free.

The encounter opens with Carnivora and a track taken from their outstanding EP, The Vision. Pessimist’s Tongue is the Danvers quintet at their full blistering best and weaving suggestive ambiences into subsequent tapestries of rabid vocals and rancorous intensity. Yet despite its almost cancerous intent and creative breath, there is anthemic energy and a web of searing adventure from the guitars involved, which in turn sparks addictively imaginative exploits from the band across the song’s corrosive landscape.

It is a scintillating start to the release pushed on by Alterius and their uncompromising melodic death metal trespass on the senses, A Citadel’s Demise. The song comes from the band’s latest EP Voyager, and merges classical overtones into its fluid brutal and seductive tempting. Like being serenaded whilst the beast tears your throat out, the track stalks ears and psyche setting in motion a keen appetite to know more, a success matched by Revere quartet Travel Amygdala and their aggressively smouldering Died by a Bullet. Entangling its inventive metal bred sound with progressive and grunge seeded imagination, the song aggressively crawls over the senses enticing and intimidating, especially as it builds in energy and tempestuous air. There is also a potent sludge feel to part of its character too, the thick prowls between forceful strides of creative and vocal drama carrying the strongest whiff, with ultimately everything uniting for one riveting proposition.

Bostonian black metal trio Ashen Wings comes next, the band’s raw and carnivorous sound a bracing magnetic scourge delivered to ears from Cancerous Bones. As insidious and ruinous as you can imagine, it also spawns a swing to its gait which only adds to the addictive proposal on offer before making way for the just as destructively virulent Scourge of the Hierophant from Sorrowseed. A blend of blackened death metal with a healthy vein of classic and melodic tenacity, the increasingly thrilling track smothers ears and appetite with pestilential persuasion whilst provoking the want to offer vocalist Lilith Astaroth some soothing for her surely shredded vocal chords.

band-contacts-page-127 Tons of Metal New England      Walk the Earth (No Longer) from sludge/doomers Conclave steps up next, the nine minute intrusion an accomplished and enthralling predation cast with rugged heavy riffs and heavily swiping rhythms, all lorded over by just as unpolished and alluring vocals. From their Breaking Ground EP, the song is as effective descending on ears in top gear or in crowding their walls with a lumbering and weighty provocation within a long but never less than thickly engaging incitement.

The same kind of hold is seized by Beneath The Burial next and their track In Memory, its fusion of hardcore ferocity and metal spawned sonic invention a fury of searing grooves, vocal animosity, and subsequently predatory imagination. As the album itself, there is a wealth of flavours emerging across the track musically and vocally, which only adds to the slow but fiercely burning persuasion of the song to inspire a want for more as it makes way for Skin Drone and God Complex. One of the few bands these ears had already come across and previously devoured, the duo of Bluntface Records founder Otto Kinzel and Erik Martin of Erik Dismembered and Critical Dismemberment unleash one of those examinations which you never know whether to fear or whole heartedly embrace, the latter always the chosen reaction of course. Like a sonic scavenger, the track vocally and musically spills its creative industrial/metal animus on to the senses within an evocative ambience which then inspires a melancholic exploration of emotive and creative expression. The song is a cauldron of inventive sound and emotional intensity, a rich picking for those with an avant-garde side to their preferred examinations.

The scorching designs and temperament of Dirty Birdy from metalcore furnace Don’t Cross the Streams is next; band and track a scarring addictiveness which without springing major surprises has ears and heavy enjoyment sealed from the first clutch of seconds. Their triumph is quickly backed by Stoughton power/progressive metallers Forevers Fallen Grace and Clarion of Regret, another song which needed warming to before its potent expanse of craft and enterprise became an inescapable hook, and after them Makavrah with the excellent Awakening The Ancients. The Peterborough hailing doomsters have a sound which is dangerously mesmeric, a senses meddling sonic bewitchment which as shown by its twelve minutes of evolving soundscape, is hex like in its ingeniously dramatic and creative exploration. With echoes of Show Of Bedlam to it, the track is one delicious incessant crawl.

The industrial endeavour of Isolated Antagonist more than lives up to its offering’s title next, Infection a contagious causticity of sound and emotion with vocals to match as it worms under the skin and into the psyche with lingering rewards, whilst the following Composted bring a carnal presence and hostility into the equation with their track OB/GYN O.G. The band’s death metal onslaught has the voracity of thrash and swagger of groove metal to it, and as hungry hues only help to create an immense and irresistible corruption.

Both Charlestown sextet Untombed and Mike Kerr Band keep the riveting roar of the album going, the first with their groove and antagonism loaded death metal antipathy, Criminal Inception. Savage and violently catchy, the track is another which is maybe not gripped by original exploits but is one spilling a fresh venom which leaves a great many of fellow emerging genre bands in the shade whilst its successor is the title track from its creators recently released new album The Truth of the Lion and features Texan vocalist Adrienne Cowan and Jim Oliveira in its classic/melodic metal lure.

Power groove metal is on the agenda next through Before the Judge and their track Bobby D. With a highly agreeable nag of riffs and grooves lining its erosive blaze, the song stirs the blood band-contacts-page-2_RingMaster Reviewwhilst pouring more diversity into the compilation, variety further expanded by The Aberration and their track Bologna Skins are the Next Big Thing. The band consists of Travis O’Connell (guitar) and Jim Cole (drums), an instrumental duo creating, on the evidence of their contribution, compelling proposals of snarling progressive metal loaded with uncompromising attitude.

Melodic death metal quartet My Missing Half scars air and ears next with The Lives I’ve Ruined, a song with essences of The Black Dahlia Murder and At the Gates to it whilst finding its own magnetically inventive nature. The track leaves emotions and senses breathless but hungry for more as so many on the release, including Seeds of Negligence and their maelstrom of varied and inhospitable metal posing as The Reaper. The song is a bruising and vicious temptation of death, groove, thrash, and progressive strains of extreme metal, an incendiary incitement sparking a lust for further confrontation.

Dover trio Cactus Hag drags the listener back into a rich immersion of sludge and doom invasiveness with Grand Lodge of the Mirage, the track an insidious erosion snuffing out light and hope whilst sparking just as strong enjoyment. Its smothering rancor is contrasted by the brighter and superbly volatile adventure of G.O.G. from Side Effects May Include, the song another entwining a mass of different styles into its individual tempest of heavy rock and creatively rabid metal, and another only leaving the urge to go explore in their wake. Which is something which also applies to Pelham’s Epicenter and the thrash fuelled insurgency of See Through. With strands of alternative and groove metal to its robust and tenacious exploits, the track is as anthemic as it is strikingly inventive, and amongst admittedly many, an instinctive favourite.

band-contacts-page-3_RingMaster Review     Fog Wizard get body and passions inflamed again with Fear the Kraken, a rapacious prowling built like Sabbath meets Motorhead with the attitude of Stuck Mojo and the combined snarl of Slayer and Black Flag. One slab of real pleasure is replaced by another and the abrasive kaleidoscope of sound unveiled by Sonic Pulse through Defenders of the Good Time. A brawling festival of power and thrash metal with a flurry of heavy and classic metal hues for greater captivation, the track is a ferocious blaze equipped with drama, familiarity, and inescapable bait.

The heavy weight slab of talent is brought to an impressive end by a trio of bands to also keep a close eye on, starting with the bestial sound of extreme metallers Graveborn. Their mercilessly hellacious and skilled Leviathan is sheer sonic and rhythmic savagery with just as brutishly varied vocals, and another big enticement before heavy/thrash metal Verscythe prove their classic seeds in the richly magnetic Land of Shells.

Completed finally by Vacant Eyes and the melody sculpted funereal death/doom exploration that is The Dim Light of Introversion, a track thick in atmosphere and haunting trespasses for a darkly compelling seducing, 27 Tons of Metal New England is an intensive journey through the depths and expanses of New England’s underground metal scene. It is one of the most extensive and rewarding compilations in a long time which from start to finish, enthrals and assaults, entices and transgresses. If any metal fan does not come away from the encounter with at least a handful of new lusts we would be amazed. So no dawdling, go and get one of the biggest and best free treats of the year,

27 Tons of Metal New England is available for free download @

RingMaster 06/07/2015

Copyright RingMaster: MyFreeCopyright

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PICReputation Radio/RingMaster Review

It is time for the Underground Metal Alliance (UMA) compilation of some of the best underground metal bands in Italian, and once again UMA Compilation 2015 awakens ears and attention to a host of highly accomplished and thrilling encounters. With a line-up selected by fans and the UMA jury, which included members of Exilia, Sadist, Nanowar as well as managers of studios and festivals, plus other bands already part of the selected UMA roster, the album is an eclectic treat which is all the more sweeter through its availability as a free download for all.

It kicks off with Milan symphonic folk metallers Atlas Pain and their track Each Uisge, a rampant canter of rolling feisty rhythms and raw folk tenacity. It roars and bristles with magnetic persuasion lifting its potency further when allowing a Celtic influence to flirt with the aggressive heart of the excellent starter. It is a fine opening continued by Avoral, epic metallers from the same city, and the dramatic War Is Not Over. With nagging riffs, enjoyably theatrical vocals, and muscle-bound rhythms, the track is an attention grabbing bellow which even ears not quite enamoured with their seed genre can find plenty of resourceful and imaginative textures to enjoy and be involved in. In any large compilation you will always find some songs not quite fitting personal tastes but from start to finish it is fair to say that the compilation has little difficulty sparking a healthy appetite for the strengths and unique characters of all those involved.

Caelestis and Calico Jack are another example of the diversity across the release, the first a Naples duo creating provocative blends of post/progressive rock and shoegaze which immerse ears in captivating landscapes and the second pirate folk metallers from Milan who stomp over the senses and into the imagination with their busy and fiery adventures. The band’s songs are poles apart yet alongside each other, Ode Al Mare and House Of Jewelry make a highly satisfying union backed by the following punk folk metal of Evendim, their raucous temptation Whiskey On Fire an instinctive whipping up of energy and participation from those taking a swig of its rousing persuasion.

A web of nu and progressive metal cast by Pescara quintet Fake Heroes is next and quickly emerges as another keen favourite. The strong vocals in On The Hill are a mellow lure within skilfully conjured tempestuous sounds which busily twist and entice around them. Featuring Giacomo Castellano, the song is a compelling embrace of emotive and technical tempting, almost volatile at times though it is soon clear that GorganerA have that area cornered with their malevolent fusion of death and black metal. As shown by Veleno, The band embraces familiar inspirations yet though only one song, as it stalks and barbarously seduces ears there is an open variety of flavours and ideation ensuring the track stands out.

Away From My Fears from Edolo trio Hell’s Guardian is one of the songs which on first listen seem to lack the spark of others but with persistent listens begins revealing its eventful and increasingly enjoyable attributes, the vocals especially growing in stature and raw charm. It is a slow burn of persuasion, just like the following Falling Snow from avant-garde metallers Ideogram, but an increasingly impressing one. The latter’s offering from its first breath casts elegant melodies and evocative sounds in a masterful invitation, the track subsequently growing into an unpredictable and again persuasive offering as operatic and guttural growls bring their striking mix to an unrelenting maelstrom of musical enticement.

Como quartet Ignotum offer a slice of their enjoyable debut album Larvas Mortal God next, the atmospherically fiery and raucously trespassing Hecatomb Memories an intrusive and compelling insurgence of the band’s black/death enterprise. Its mighty incitement is matched by Kanseil and the excellent roar and devilment of their track Panevin, a song which leaps upon ears from its first breath inciting pleasure physical and emotional enjoyment from thereon in with its anthemic and melodic folk metal revelry.

Novara avant-garde metallers Locus Animæ is another band taking longer to get into, their startling sounds and minimalistic ambiences a pleasingly testing adventure with constant rewards ensuring their song, which also carries the band name, grows to be another welcome proposal over time. Similarly Insane Asylum from heavy rockers Mary Brain is a y less immediate tempting compared to other tracks but soon turns into a raucous highlight with its jagged riffs and predacious personality.

For personal appetite and ears, the album hits the sweet spot over the next handful of songs, starting with the excellent Mechanical God Creation and their slab of technical death metal brilliance, Shadow’s Falling. The song is a brutal beast of intensity and craft, a track making you stand up and pay attention with consummate ease. To be fair every song on the album does do that, though maybe few as commandingly as Milan quintet’s offering. It is followed by Lady Loneliness from Misteyes, the song a bewitching serenade of gothic metal led by a beauty clad caress of female vocals and keys. It gets darker and nastier over time but never loses its elegance and grace.

The outstanding rapper/masked guitarist Red Sky is next, his percussively lively and rhythmically compelling track I 7 Vizi Capitali, an undiluted temptation. The track is a quickstep of animated ideas and atmospheric shadows, a riveting jungle of stirring textures and shamanic tones kissed by the pipe seduction offered by guests Kanseil. Its enslaving persuasion makes way for Scum and their ferocious assault on the senses, Becoming Heavier. Thrash bred, punk infested, and woven with a host of metal essences, the song is a delicious and bracing onslaught, rich in craft and unbridled in fury, and quite thrilling.

Gallipoli heavy metallers Serial Vice provide a heftily flavoursome roar next with You Are Heroin, the song another inescapable anthem bellowing from within the album, whilst the blackened death metal fuelled Il Culto Della Pietra reveals its creators Veratrum to be a gripping and quickly intriguing prospect from Bergamo. Both songs are ripe with enterprise and craft, the latter of the two a broad expanse of textures within a mix of blistering hostility and alluring melodies.

The collection is brought to a close by a trio of tremendous creative outbursts, starting with Roma heavy metallers Whisperz and the rabid tempest of metal bait called Malicious Intent. Taken from their self-titled album, the track is a rugged and flirtatious lure of old school and modern metal, a rousing of attention and energy which the following Winterage takes on its own bold journey with The Harmonic Passage, a symphonic power metal recruitment of body and emotions, and yet another inescapable anthem bursting out. If there is still anyone yet to find their feet listening to the release, there is no chance of remaining uninvolved as Wolfang brings it all to a storming end with their fiery riot of Wild Forest. It is symphonic folk metal let loose to ravish air and ears with unbridled passion and energy.

It is a fine end to an invigorating and exciting release. Italian metal is blooming right now and the UMA Compilation provides all the evidence whilst shaping up to be one of the best collections of artists to thrill ears in recent times.

You can get your copy of UMA COMPILATION 2015 as a free download HERE.
RingMaster 24/06/2015

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