The Likkor Men – There Will Be Blood

There is something primal stirring in the depths of the UK rock scene, a lascivious force brewing up filthy attitude stained rock ‘n’ roll which is salacious and destructive, rabid and addictive and it goes by the name of The Likkor Men. The quartet from Redcar has just released new EP There Will Be Blood, a carnal beast of a release infesting the psyche as sonically it tries to live up to its declaration, and a fear breeding proposition it is truly hard to get enough of.

Formed in 2014 supposedly to “keep the members out of trouble”, The Likkor Men create a ravenous sound which is hard to pin down but openly corrupts everything from blues, garage, and punk rock to industrial, noise, and psychedelia. Most likely an introduction of the band to a great many, There Will Be Blood is their second EP but easy to feel the moment The Likkor Men asylum comes under true scrutiny.

The release instantly has the senses challenged with the outstanding Black Widow, noise and samples colluding to tenderise before heavy footed riffs stroll hungrily in as swinging beats bite. Blues grooves entangle the trespass as vocals prowl, a punk throated backing adding to the pleasure as the controlled chaos twists and turns. There is something of The Birthday Party meets Th’ Legendary Shack Shakers as Down fingers the union about the infestation but equally more than a whiff of bands like The Sonics and MC5 in the swamp of sound and dirt though what emerges is a scuzz storm all Likkor Men.

The opener remains the pinnacle of the release but is seriously harassed throughout with next up Young Blood needing little time to seduce and pervert ears and imagination. Ravishing the senses like a defiled fusion of Rob Zombie, Arthur Brown, and The Stooges, the track is wired rock ‘n’ roll as off-kilter as it is skilfully woven to invade and trespass the psyche. Deceptively catchy it is aural loco, a ruinous psych rock invasion infecting the listener like radiation.

Crazed easily applies to Sweet Talkin’ Mamma too, a sexual corruption built on the most addictive rhythmic strolls as fuzzy flames and toxic grooves like spewed by the pied piper like trespass. It is sonic bedlam, an insatiable lure of noise and rhythmic flirtation which maybe is a touch over long but teases and seduces from its depraved start to its libertine finish.

That sexual edge is taken to greater tension within closing song, Hunter. It is a nagging throb of rhythms and heavy riffs beneath sonic breezes of guitar. From the midst, gravel throated vocals, as throughout the EP, stir up the dirty business around them, grooves and hooks seeming to react decadently around them though everything is in its basest most single minded form to simply incite the listener’s rock ‘n’ roll instincts. Sixties garage rock is a rich fuel to the final assault, its contaminated strains sweet liquor within the soiled goodness.

There Will Be Blood will not be for the clean cut appetites among you but for those with wanton urges for rock ‘n’ roll in its grubbiest invigorating form no-one will be left wanting, only feeling very, very dirty.

There Will Be Blood is out now through Moon Skull Records @ https://moonskull.bandcamp.com/album/there-will-be-blood

https://www.facebook.com/TheLikkorMen/

Pete RingMaster 15/09/2017

Copyright RingMaster: MyFreeCopyright

Widows – Oh Deer God

As kids on a rainy day there was nothing better than coming home caked in the dirt rich antics of the day; being mud splattered after playing and revelling in the organic filth on offer. The sound and new album, Oh Deer God, from UK stoner/heavy rock outfit Widows is the sonic equivalent; a dirty, scuzzy plaything which sticks to the senses whilst offering a tank full of just as instinctive pleasure.

Over seven tracks bulging with rabid grooves, ravenous riffs, and vocals that instinctively wear irritability with pride, Widows has unleashed their heaviest and dirtiest escapades yet but without losing the body inciting grooving which helped debut album Death Valley Duchess grab attention back in 2012. The five years between releases has seen the band in their words trade “the desert worship for some more sludgy/doomy elements and it’s definitely a much darker affair.” It has also seen new bassist Phil Emblin come in and link up with vocalist Adam Jolliffe, guitarist James Kidd, and drummer Ze Big; another move which seems to have given fresh depth and weight to a sound bred on the inspirations of artists such as Down, Kyuss, and Clutch. It has been a fair time since the band formed in 2008 and released debut EP Raise the Monolith two years later, a passage which on the evidence of Oh Deer God has seen them become one of Britain’s mightiest purveyors of infestation.

The Nottingham band swiftly has Oh Deer God eagerly fingering the senses with its title track. First the guitar strokes ears, the bass quickly joining in as beats add their imposing bite and Jolliffe growls with an almost toxic intent from the midst of it all. Strolling along with a controlled but feral gait, the song breaks its stride with moments of instinctive boisterousness but then slips back into its natural prowl. Melodic strains simply add to the raw temptation of the track, its stoner breeding complimenting the primal heart driving things. With a touch of Northern Ireland outfit Triggerman meets Clutch to it, the song brings things to the boil superbly before parting for the one minute plus fury of its successor.

Caffeine and Hatred is a short swift violation that just ignites the senses and passions, its punk tempest and web of sonic trespasses, accentuated by the lethal swings of Ze Big, irresistible pleasure. The song is as musically horny as it is quarrelsome, the kind of rabid assault greed flocks to before taking on the rhythmically big boned and sonically compelling Heresy and Venom. As with the first, the song has hips swerving to its grooves and the inner punk grabbing on to its senses puncturing stabs with glee whilst the rocker inside swings from its stoner nurtured tendrils of intoxication. There is a great element of discord in the mix too, an unpredictability which increases the slavery of the imagination.

More familiar essences and designs are woven for the tangy exploits of next up Blue Tuna but wrapping a rhythmically agitated skeleton dancing with more of that expectations squashing enterprise already shaping the album while Ride To The Realm Of Coitus gets to the grain of dirty rock ‘n’ roll with its crawling motion and grubby textures. With the bass a soiled flirtation, the song initially stalks the senses before flicking a switch into a feistily energetic and volatile canter with tart melodic seduction veining a rapacious character built on predacious grooves and riffs.

The blues infested grooving of Baron Greenback Blues across a spine of wonderfully dishevelled rock ‘n’ roll has things hungrily bouncing next, the track a wild and wily incitement of body and spirit with another seriously carnal and glorious bassline stealing the passions before making way for Germanium Buzz which brings things to a fine close. Almost clean cut in comparisons to things before it, the song is the one track the stoner rock tag fully fits though it too is soon uncaging muscular dexterity and body trespassing instincts seeded in other strains of sound, merging both sides with increasingly captivating tenacity.

You can call Oh Deer God and the Widows sound stoner rock, sludge, or heavy rock but quite simply it is just undiluted rock ‘n’ roll and the reason the band’s latest album is one essential slab of prize pleasure.

Oh Deer God is out now through UMC Recordings and available @ https://widows666.bandcamp.com/album/oh-deer-god

https://www.facebook.com/widows666/

Pete RingMaster 24/05/2017

Copyright RingMaster: MyFreeCopyright

Desert Kingdom – Self Titled

desert-kingdom_RingMasterReview

Hailing from the suburbs of Melbourne, Desert Kingdom recently made their introduction to greater attention with their self-titled debut release offering seven slabs of fiercely muscular stoner bred rock ‘n’ roll relishing the band’s inspirations. Certainly uniqueness is not as forceful as the physical power and prowess of the band but there was no escaping a richly pleasing and rousing first glimpse of the potential loaded quartet.

Consisting of vocalist Ritch, guitarist Emmett Young, bassist Brett Wright, and drummer Paul Coste, Desert Kingdom swiftly get down to business as opener You’ll Burn descends on ears with sinew woven riffs and swinging beats. Instantly infectious, it is a commanding coaxing for ears only increasing its potency as choppy tenacity infects those initial chords and a heavy grumble escapes the bass. The raw scowling tones of Ritch are equally as persuasive, it all combining for a fiery slice of stoner heaviness clothed in the influences of bands such as Orange Goblin, Kyuss, and Down.

desert_kingdom_art_RingMasterReviewThe atmospheric, drama soaked entrance of Mafiaso Opera deceptively makes a gentler proposition but its sinister air is soon a tempestuous torrent of catchy beats and predacious riffs. As vocals rage spicy grooves wind around the rhythmic temptation, varied metallic strains linking arms in a familiar yet fresh incitement. Brawling with the senses through every passing second, the track quickly eclipses its impressive predecessor, stomping with raw aggression and captivating enterprise before Doghouse Blues prowls with an equally rapacious intent to that of the previous track while military seeded rhythms impose their agreeable authority. Like a blend of Gruntruck and Pantera with a whiff of Mary Beats Jane, the track irritably rumbles leaving satisfaction full if not quite matching the heights sparked by the pair before it.

If the last track prowls then 7 Years stalks the senses with its doom bred trespass, sonic flames erupting within the pressure as choice grooves entwine voice and the engaging ponderous gait of the rhythms. It too lacks the sparks of those early successes but again only and increasingly pleases as its waspish sound intensifies in tandem with the song’s boisterous aggression with subsequent blues toxicity adding to the fun.

Abstainer rocks like a lustful dog next, its hungry riffs and heftily swung rhythms alone a carnal incitement while Fuck You is sonic belligerence and muscular aggravation bred to raise the spirit as the release re-hits the early plateau it began upon. With spicy hooks and scorching grooves, the track has all the attributes and open potential to raise expectations that Desert Kingdom will come under the scrutiny of the broadest spotlights if not now in the time ahead.

Concluded by the boozy blaze of Whiskey, sawdust and spit rock ‘n’ roll with all the groove laced liquor you could wish for, the release is a very easy to return to stomp. Originality might be a touch on the scarce side but enjoyment is full, something never drawing complaints.

The Desert Kingdom album is out now via Black Bow Records across most online stores.

https://www.facebook.com/heavyrockHQ/

Pete RingMaster 01/03/2017

Copyright RingMaster: MyFreeCopyright

Moth’s Circle Flight – My Entropy

mcf_RingMasterReview

They may have a name which intrigues and lures a look, but it is their sound which ensures Moth’s Circle Flight really grabs attention, especially upon latest album My Entropy. Merging fiery groove metal with the hellacious predation of various extreme metal flavours, the Italian metallers show themselves a formidable and aggressively magnetic proposal. Their music is a rousing incitement which warrants attention and now with My Entropy to the fore, it demands it.

Hailing from Parma, Moth’s Circle Flight began in 2003 though it is probably fair to say that the band hit its stride and now firmly established potency when the line-up of vocalists Gabriele “Gabbo” Rosi and Simone “Pancio” Panciroli, rhythm guitarist Francesco “Baldo” Baldi, and lead guitarist Luca “Pellach” Alzapiedi linked up with bassist “Giupy” and drummer “Simo” around 2012. Since forming though, the band has certainly been a potent live proposition and have played with the likes of Sepultura, Extrema, Exilia, and Goddass over time while releasing an early EP before their well-received debut album Born to Burn in 2009. Recently with bassist Marco “Satir” Reggiani and drummer Fabio “Bersa” Bersani making up the rhythm section, Moth’s Circle Flight released My Entropy, a ravenous assault which sees the band hit a new plateau which could and should put the band on the global metal map.

It erupts into life with Man On The Peak, a distant sonic wind bringing the track towards ears as antagonistic vocals roar. Upon arrival it uncages a host of ear entwining grooves which alone ignite the appetite such their irresistible bait backed by thumping rhythms and the already impressing and enjoyable dual vocal assault. The song relaxes a little as it slips into its accomplished stride, jabbing and confronting the senses with an array of spiky twists and subsequently barbarous turns.   It is a fiercely rousing start to the album, like a seductive fury built on the animosity of Sepultura, the ire of DevilDriver, and the swing of Five Finger Death Punch.

Art_RingMasterReviewThings only get more compelling and furious with the following Ends Of A Shadow, its initial riffs a thickly alluring bait of invasive resonance. Swiftly southern hues seep from the track’s rabid pores too, a Pantera/Down like flavouring spicing up an already greedy appetite for the encounter. The great mix of vocal delivery from Gabbo and Pancio is a magnetic pull on its own; their tones embracing every shade of clean, guttural, and psychotic even occasionally encroaching on a Burton C. Bell toning. There is a touch of Fear Factory to the music at times too within, with both guitarists weaving a masterful challenge and seduction, a more melodic/nu metal-esque hue.

Raise Your Head rouses ears and emotions next; its body a bruising turbulence of craft and sonic dispute bound in melodic tempting. Again the pair of vocalists capture the imagination, backed as resourcefully in voice by the band and their musical web of unpredictability and multi-flavoured invention. The track is another simply whipping up more greed for the band’s proposal and quickly matched in success by the outstanding Late Promises and its tide of carnivorous riffs and rhythms. Bass groans and sonic whines accentuate the fiery character and intent of the song, though again, it all comes perfectly tempered by melodic and harmonic vocal imagination as well as some great off-kilter twists and turns.

The embrace of melody and clean vocal charm opening up An Old Chant takes mere seconds to seduce and impress before its brutality and creative trespass is unleashed to harry and prey upon the senses. As its predecessor, the track is glorious, a busily resourceful and adventurous invasion built on the keenest grooves and sonic scythes aligned to another great drama of voice and sound. It is a web of persuasion soon emulated in its individual way by Write My Name. The song is almost carnal in its inventive assault and irresistible, though it does lose its potency just a touch when it slips into more melodic passages throughout its otherwise gripping prowl. Managing to weave in some hardcore, blues, and glam metal too, the track still feeds a by now seriously hungry want for more, a need equally satisfied by both With Love, With Flames and Bursting Into Existence. The first of the pair is a relentless fusion of diverse flavours and styles, all honed into a bullish involvement and enslavement of ears and emotions whilst its successor is another instinctive predator. Its thrash and death metal scented infestation of ears is inescapable slavery whilst the net of melodic and sonic mystique which colours the songs’ scenery at times, is the inviting lead to some more richly satisfying vocal and guitar crafted enterprise.

My Entropy closes as powerfully and dynamically as it began; Madball making the first voracious assault to whip up spirit and energies, with plenty of that already established unpredictable imagination involved, before Ray Of Ira brings things to a volcanic fusion of nu, alternative, and death metal with the band’s instinctive groove sculpted emprise of sound.

Though there is plenty about My Entropy which is somewhat familiar, everything is either boldly fresh or twisted into an adventure distinct to Moth’s Circle Flight; a band as suggested earlier, worthy of the closest attention.

My Entropy is out now via Logic(il)Logic Records via most online stores.

https://www.facebook.com/Mothscircleflight/

Pete RingMaster 04/05/2016

Copyright RingMaster: MyFreeCopyright

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

Dominance – XX: The Rising Vengeance

Dominance_RingMasterReview

With two already keenly praised albums under their belts, Italian death metallers Dominance are poised to release third full-length XX: The Rising Vengeance and make their biggest impact yet. Uncaging ten ravenous slices of creative animosity and enterprise; the album is an ear grabbing declaration of a band finding a new striking plateau as its sound in many ways comes of inventive age. XX: The Rising Vengeance is not a ground breaking proposal it is probably fair to say yet each track within its creative animus offers something fiercely fresh and imaginatively compelling.

Hailing from Rolo in the Province of Reggio Emilia, Dominance emerged in the early nineties swiftly making a local impact which stretched as their live presence explored the Italian metal scene and the band released debut album Ancient Splendour in 1999. It was another ten years before its successor Echoes of Human Decay was unveiled, the 2009 encounter soon drawing acclaim across the Italian and European metal press.  With a new line-up in place, Dominance are now looking to whip up an even bigger storm with XX: The Rising Vengeance, with a potent degree of success easy to envisage.

XX opens up the release, its instrumental invitation a swiftly magnetic affair as mystique hued guitars tempt and seduce the imagination. Their exotic spices are soon joined by a portentous wall of building sonic intrigue, a merger which blossoms and evolves further as the song casts a melodically suggestive portrait of emotion and imagination. The track eventually leads ears and thoughts straight into the waiting jaws of Journey to a New Life. Within its first breath, as guitars strike and beats batter, the raw throated tones of Massimiliano Marri scowl and trespass the senses; initial seconds where the song already has ears and thoughts gripped. The cosmopolitan hue of the opener also lines its successor’s melodies while rhythms prowl as grooves enjoyably wind around ears and song.

It is a mighty insurgence into ears matched by that of This Is War, another caging of the psyche by rabid riffs and acidic grooves as the swinging beats of Davide Tognoni hungrily descend on the senses. Every note has a certain animosity yet persuasive edge to it, adding to the building intensity and the brewing inventive collage of sound led by the imagination cast by guitarists Gabriel Cavazzini and Luca Alzapiedi. A predator from start to finish, the excellent confrontation is replaced by the equally challenging and pleasing Into the Fog. Once more an individual web of grooves and riffs surrounds bruising rhythms and caustic vocals, the bass of Saverio Rossi a stalking presence in the midst of it all. As in its predecessors, a great mix of attacks in the vocals also emerges to further flavour song and narrative.

art_RingMasterReviewTwisted lives up to its name next ; its body of sound and invention bordering on the deranged and incessantly vicious to whip up a new greed in an already established appetite for the album, while Dear Next Victim dances on the ear initially with flirtatious tendrils of guitar and spicy hooks. That early coaxing only intensifies as the song erupts into a more volcanic proposal though and also when it explores a less intensive adventure of groove metal ingenuity. There is a touch of Down meets Sepultura to the song in certain moments, a compelling and thrilling twist which is matched in imagination throughout by a series of bold twists and dramatically imaginative turns. The track is superb, taking best on album honours with ease.

The savaging of ears by Breathless is no less an exhilarating and galvanic offering, riffs and rhythms uniting in a hellacious assault with a riveting maze of melodic dexterity from Cavazzini involved whilst Just a Reflection is a festival of engaging enterprise  which just gets more volatile and rancorous with each passing invasive minute. Though neither quite matchup to some of the earlier triumphs, each fascinates with their eventful designs whilst exciting ears with their imagination driven prowess, certain success found in the senses badgering, ear nagging tempest of Time to Pay. Again, it feels like ears and being stalked by a hungrily bestial protagonist for a challenging and rousing incitement to become seriously involved in.

Completed by Rise Again, a more classic and heavy metal embracing ferocity, XX: The Rising Vengeance is the wake-up call to the sound and growing creative force of Dominance. It is maybe not a release to turn the European metal scene on its head but easy to expect it help make the Italians a far wider known and devoured proposition. More importantly it leaves thick pleasure in its turbulent wake, that alone more than enough to warrant checking band and album out.

XX: The Rising Vengeance will be released worldwide by Sliptrick Records 0n 8th July across all digital stores and many physical shops.

http://www.dominancemetal.com   https://www.facebook.com/DominanceMetalBand   https://twitter.com/DominanceMetal

Pete RingMaster 04/05/2016

Copyright RingMaster: MyFreeCopyright

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

The Bendal Interlude – Reign of the Unblinking Eye

bendalInterlude_RingMasterReview

Attempting to build on the reputation and acclaim earned through their previous clutch of EPs, British metallers The Bendal Interlude unleash their debut album; a cauldron of sludge, stoner, and blues with psych and thrash metal to sear and ignite the senses. The release is a beast of a proposition; an attention grabber reinforcing and pushing the already firm stature of the Liverpool quartet but maybe one not quite seeing the band going far enough with the new bold elements of flavour and imagination to steer them away from similarly designed offerings over recent times. Nevertheless Reign of the Unblinking Eye is a fiercely enticing and enjoyably rousing slab of predacious riffs, salacious grooves, and thumping rhythmic aggression.

Drawing on inspirations from bands such as Melvins, Crowbar, and Cathedral, The Bendal Interlude have increasingly drawn fans and attention through a quartet of releases, starting with an early Demo followed by the Foal Recordings EP in 2010, a Self-Titled EP the following year, and the Odourama EP in 2013, as well as a ferocious live presence which has seen the band share stages with the likes of Sunn O))), Earth, Orange Goblin, COC, Church of Misery, Red Fang and more. They have also made highly successful appearances at festivals like Hammerfest, Sonisphere, and Desertfest to persistently lure keen spotlights to their emergence.

For Reign of the Unblinking Eye, The Bendal Interlude took a new tact in its creation; guitarist Stu Taylor explaining recently, “We took a shift in direction when writing for the album Reign of The Unblinking Eye. The songs are much more elaborate and have a lot more going on sound-wise than previous releases. We played with time signatures, guitar harmonies, key changes, even laying down a 10-part resonator guitar part. It is by far the heaviest but also most dynamic thing we’ve written to date.” His words are quickly backed up by the album and a collection of songs which in contrast to the “abstract collection of ideas and imagery based around loose themes” which coloured previous releases, lyrically carry a more “autobiographical approach”.

art_RingMasterReviewBuckfast For Breakfast opens the album, an easily relatable repetitive vocal sample the spark to a wall of cantankerous riffs and rapier like rhythms. It is a senses trespassing confrontation, swiftly bound and veined by wiry grooves with richly engaging toxicity to their wandering sonic hands. The raw vocal squalling of Nat Gavin adds to the intrusive hostility tempering the melodic flirtation and the instinctive swing to the track’s stalking gait. It is an ear gripping start firmly backed by the blues intoxication and fiery rock ‘n’ roll of Losing Things. With Gavin’s caustic delivery, tracks are inevitably going to challenge with attitude loaded animosity yet as proven here, The Bendal Interlude merge it skilfully with a melodic/stoner prowess and addictive sonic contagion which gives every assault a captivating and inviting personality.

Next up is The Unblinking Eye and its initial electronically atmospheric suggestiveness which the track evolves into its own individual stomp of classic/groove metal fuelled ferociousness. It recruits body and imagination with consummate ease, the virulence of the grooves and infectious swing and lead hook of the track swiftly installing it as a major highlight within the album. The Bendal Interlude are rocking like a beast on heat in song and album, sparking similar reactions in the instincts and spirit of the listener.

Efram’s Hands provides a brooding groove entangled landscape of ravenous shadows and barbarous energy straight after whilst Pint of Bodies grumbles and rumbles with sonic and rhythmic rabidity whilst infusing a scent of enterprise not too removed from glam rock. Subsequently descending on the senses with a Down meets Cathedral like animosity before shifting again into an evocative melodic calm, it and its predecessor both whip up more greed for the album’s trespass before Creeks Gigantic prowls in with a thunderous rhythmic swagger led by the bass groove of Tommy Lloyd quickly matched by the resourceful craft and adventure of Taylors’ invention on guitar strings. Given further incendiary bite by the spiky beats of Dave Archer, the track is an imposingly catchy and intrusive weave of contrasting and dynamic textures finding kinship in the tracks’ vocal irritability and tempestuous air.

Anthemic and tenaciously delivered rhythms again lead an addictive and predictably groove infested persuasion as Triumph of Fortitudo steps in with bruising intensity and Cancer Bats like punk lined antagonism before stepping aside for the more merciful but equally commanding rock ‘n roll of The Block. Drama fuels every crawling riff and the doom coated breath which soaks a track layered with acidic grooving and vocal rancor. Maybe not as striking on personal tastes as other tracks within Reign of the Unblinking Eye, it still leaves satisfaction full; success sought and easily found by the closing emotional and creative animus of R.I.P.  An at times corrosive venture through varied styles and flavours within a core heavy rock storm, the song is a fascinating and increasingly impressing end to a similarly impacting release.

As suggested earlier, The Bendal Interlude could have dared to push their imagination even further but every play of Reign of the Unblinking Eye certainly reveals new twists within the all-consuming invasion of sound. Time and attention only benefits an appreciation of an instantly pleasing album which has the psyche and passions enslaved by crucial grooves in no time; a success no one can avoid or dismiss.

Reign of the Unblinking Eye is out now via Black Bow Records @ http://blackbowrecords.bigcartel.com/product/the-bendal-interlude-the-reign-of-the-unblinking-eye

https://www.facebook.com/THEBENDALINTERLUDE   http://thebendalinterlude.bandcamp.com/

Pete RingMaster 01/04/2016

Copyright RingMaster: MyFreeCopyright

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

Buffalo Theory MTL – Skeptic Knight

photo - Benoit Nantel

photo – Benoit Nantel

Creating a bruising and boozy riot of rapacious rock ‘n’ roll, Canadian quintet Buffalo Theory MTL are releasing their latest uproar of sound and attitude this month in the boisterously muscular shape of Skeptic Knight. The five-track EP is a roar of debaucherous intent amidst heavy cantankerous sound which, without any major surprises, simply gets you in the mood to feverishly brawl and party.

Hailing from Montreal MTL consists of guitarists Pat Gordon and Yannick Pilon of Vantablack Warship, bassist Gary Lyons, drummer Brian Craig, and vocalist veterans Anton Parr. Between them, they have been part of very well-known Quebec groups such as the Ghoulunatics, Les Ékorchés, and Arseniq 33 whilst Parr’s history includes playing in thrash bands in Brazil. Together they brew a thick and predatory breed of stoner metal infused with thrash fury; a sound which, since the band formed in 2009, has fuelled an early demo followed by debut album Heavy Ride in 2012 and two years later, the Murder Trilogy EP. Both have been well-received proposals backed by a live hunger which has seen the band share stages with the likes of The Atomic Bitchwax, The Naked High, Diamond Head, Skull Fist, Thor, Misery Index, BARF, Insurrection, Iron Giant, Tunguska Mammoth, and many more.

Mastered and mixed by Peter Edwards, Skeptic Knight is Buffalo Theory MTL in full adrenaline pumped, rock ‘n’ roll embracing, voraciousness which Lyons describes as “…our best material to date and it’s damn heavy as usual”, adding “ It has a different sounding production that we like a lot. We completed 5 songs for the release. There were lots of riffs just waiting to be completed and it was hard to choose which ones to release first as we are already prepared to unleash another EP by next year to follow it. We always prefer to gather a few good songs and go into the studio being ready to release something new more often, rather than waiting too long for a LP type of setup with 10+ songs.

BTMTL-Skeptic-Knight_RingMaster ReviewOf course proof of word and success is always in the eating of the pudding and there is no doubting that opener Conspiracy in Paranoland alone is one tasty incitement of new yet prime Buffalo Theory MTL rampaging for ears and appetite to devour. A track knocking around since the band’s early days, it comes built on ravenous riffs, scything rhythms, and a prowling growling bassline to get lustful over. The song initially appears as a proposal just to have a rousing time with but it is soon showing itself a predator. The guitars offer a predacious flirtation led by the boisterous raw tone and vocal delivery of Parr but tempered with spicy grooves and a great guitar and bass nagging which simply helps whip up lustful enjoyment.

The following Punishment is an equally invasive character but centred round an even more bruising thrash seeded ferociousness, a fury bound in acidic grooves and vocal hostility with Pilon potently backing the roar of Parr. With a Pantera/Down like causticity and virulence to grooves and vocals alone, the song romps and stomps with the passions before Get On It swings its sinew sculpted hips as rebellious attitude colludes with bad-blooded rhythms entangled in psyche trespassing grooves. In contrast though, vocals and hooks breed their own more merciful strong anthemic persuasion, adding to devilry to get eagerly involved in whilst being battered around the senses.

The EP’s title track comes next, instantly showing the heaviest presence and thickest web of invasive textures heard yet on the release. It makes a slow, almost lumbering, bestial entrance, relaxes then breaks into a groove infested canter which has body and imagination on board within a mere handful of seconds. That instinctive enticing is helped by the spiciness coating grooves and the arousing impact of the riff driven rabidity which consumes the senses. It is a sonic war machine in hungry motion, the kind of inescapable protagonist which refuses anything less than full involvement in its roar, much like Psychic Enclosure. Like Rage Against The Machine meets Black Sabbath meets Sleep, the closing track riles up and rages against the senses whilst uncaging an imposing contagion of flesh searing grooves and corrosive riffery stalking by merciless rhythms.

It is a fine end to a thunderous encounter leaving ears and pleasure full. Skeptic Knight is heavy duty rock ‘n’ roll to be intimidated by and greedily feast upon. Uniqueness is maybe rare but enjoyment is unrestrained; a proposal few can turn down.

The Skeptic Knight EP is available via Stand Records from February 26th @ https://buffalotheorymtl.bandcamp.com/album/skeptic-knight

https://www.facebook.com/pages/BUFFALO-THEORY-MTL/243777113598

Pete RingMaster 26/02/2016

Copyright RingMaster: MyFreeCopyright

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