Left For Red – All Things Known And Buried

Left For Red Promo Shot

It is fair to say that previous EPs from UK metallers Left For Red, as well as an acclaimed live presence, bred keen anticipation for the band’s debut album in a great many. Now the moment for the band to unleash their first full-length has arrived in the roaring shape of All Things Known And Buried, and a rather tasty and increasingly captivating slab of aural voracity it has proven to be. It is not an album to send the metal world reeling but for a potential fuelled, ear chewing protagonist it leaves a very healthy appetite and rich satisfaction in its wake.

Formed in 2010, Left For Red took little time in raising attention and support locally and further afield with their Black Sabbath/ Judas Priest inspired assault of modern ferocious metal. Live the Stourbridge quintet has drawn potent praise, their aggressively potent performances seeing the band play with the likes of Chimaira, Crowbar, Beholder, Revoker, Evil Scarecrow, Sacred Mother Tongue, and Breed 77 across the years. It was a success matched by the release of first EP Vol 001 – Empty Shell and even more by its 2013 successor Vol 002 – Mercy Flight, an offering luring eager praise from Kerrang!, Big Cheese, and Rock Sound amongst many. It is now easy to expect the same reactions and more with the release of All Things Known And Buried. The album suggests there is plenty more yet to come from the band as their sound and imagination evolves further, much more than the album at times offers but there is no escaping that it grips ears and gives pleasure from start to finish and inspires wave of excitement for the band’s future exploits.

Left For Red - Cover Art   From the brief album intro of Master Call, band and release launch at ears with current single Master Of The Game, a song already sparking plaudits and eager attention from fans and media alike. For personal tastes it is one of the less potent songs upon the album but with vocal roars, crisp beats, and feisty riffs aligned to an infectious weave of enterprise, the encounter awakens ears and attention with accomplished ease. The guitar play of Aaron Foy and Phil Smith slip from impressive to irresistible across the sonic bellow of the song whilst vocalist LC Decoy just demands and receives attention with his great mix of old school screams and ferocious snarls entangled in melodic expression.

Things step up a notch straight away with Crooked Path, Dan Carter opening the song up with a deliciously belligerent and predatory bass line courted by a just as gripping shuffle driven by the sticks of drummer Rob Hadley. It is a superb opening, becoming more flavoursome with guitar lures and tastier again with the emerging of one instinctively addictive groove. Vocals soon blow a dramatic wind into the tempestuous landscape of the song too, again a varied blend from Decoy and band uniting to great effect. With that enslaving groove ringing in the ears, third song Reborn takes over with a blues flaming around another dark and almost carnivorous bass tone. Like Judas Priest meets Tool, the song grows into a melodic blaze, more old school than modern metal but dealing a deck of intriguing ideas and skilled endeavour. It does not quite match up to its predecessor though nor to the riveting adventure of Echoes Of Strangers which comes next. A song which took a while to convince but increasingly fascinated and thrilled over each listen, as the album to be honest, it is a constantly moving and twisting weave of styles and metal ferociousness. At times there is a scent of bands like God Forbid and In Flames to the song, in other moments a more Down meets Lamb of God spicing seeps out, all adding to the growing weight and strength of the track on ears and thoughts.

The second half of All Things Known And Buried truly hits another level and ignites personal tastes more powerfully; it all starting with the grove fest of Shatter. From a resonating distortion kissed bass welcome, the song develops a contagious swagger and melodic invention which has the imagination hooked from the first swinging step. Riffs and rhythms provide the anthemic bait whilst grooves and vocals sculpt the core of the infection being expelled, but all is outshone by the searing fire of guitar creating its solo.

Ascension has feet and neck muscles gripped next; this another song with a virulent tenacious stroll to its body and a ravenous bestial bassline to its arsenal. These strengths are matched by the melodic might and vocal prowess also going to make this as its predecessor, a pinnacle of the album. The song has everything impressive about Left For Red in its body and character, as well as more of the promise lining the album of bigger and bolder things to come.

The elegant beauty of piano led instrumental Dystopia Rising superbly seduces ears and imagination before the almost rabid presence of Utopia prowls and rages against the senses. Hostility and bracing sonic ferocity combine to create a web of fascinating and again thrilling confrontation, the uncompromising yet temperate force of the song keeping the latter half of the album impressively roaring.

Closing with the excellent Solace In Memories, a warm and intensive melodic croon across more volatile scenery of sound, All Things Known and Buried is a stirring offering from Left For Red, and a more impressive one with every encounter. From a more than decent start and a growing strength as each song comes forward, the album hits a potent plateau around halfway and never looks back. It is not one to claim as a game changer for the British metal scene or maybe even the band itself right now, but it does show them to be heading towards making that kind of breakthrough, and deserves an intensive look at by all metal fans.

All Things Known And Buried is available through Burning Halo Records from April 27th

https://www.facebook.com/leftforreduk  http://leftforred.co.uk/

LEFT FOR RED LIVE: 15th May – Mosh Against Cancer Festival – The Lomax, Liverpool; 16th May – Lower George Inn, Gloucester; 30th May – Midlands Metal Crusade – Slade Rooms, Wolverhampton; 20th June – Hard ‘N’ Hevy Fest – The Dollhouse, Abertillery.

RingMaster 27/04/2015

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https://www.youtube.com/watch?v=C0GKtzvLv-g

 

XII Boar – Pitworthy

XII Boar - Photo Landscape 2

Trampled under the heavy booted sounds of their excellent self-titled debut EP four years ago, UK heavy rockers XII Boar have just got sonically fiercer and more virulently compelling over time. Subsequent releases have continued the ignition of a hungry appetite in the British underground rock/metal scene for their rampantly aggressive and virulently grooved sounds, though nothing before matches up to the thrilling Southern fried might of debut album Pitworthy. Bulked up with ten tracks of muscular temptation with a mischievous glint in their eyes, the album is a thunderous stomp of virulently primal and dirty rock ‘n’ roll.

XII Boar hail from Aldershot and first came to light in 2010. It was not long before their blend of voracious metal and heavily slung rock ‘n’ roll was breeding a potent and loyal local following around Hampshire and the South East of the UK. Growing increasingly more distinct and individual to the band over time, their sound takes the richest and most aggressive strains of stoner, doom, blues, and southern metal and turns it into one incendiary blaze of sound, imagine Black Sabbath and Corrosion of Conformity colluding with Motorhead and Black Tusk for an inkling. It is probably fair to say that their early days which included that first EP, the band musically was offering a familiar if exciting proposal but as the Split Tongue, Cloven Hoof EP of 2012 and especially the single Truck Stop Baby last year came and went, XII Boar showed they were breeding their own musical identity, a presence now grabbing the passions in Pitworthy. It still has an instantly recognisable flavouring but now from the band’s own open sound rather than having a thick feel of others, though ripe hints are still a welcome spicing.

Live XII Boar has continued to impress and lure acclaim too, shows over the years with Corrosion of Conformity, Crowbar, ASG, and Karma To Burn as well as appearances at Bloodstock, Desert Fest, and Hard Rock Hell adding to their rising stature. It is a live feel which also seems to vein the new album, its tracks rampaging with that edge generally stages only inspire and immediately adding extra potency to the creativity and energy of album opener Sharpshooter. The song is introduced by a wrestling/boxing match like ring barker, and its entrance lit by a flame of sonic coaxing from the guitar of Tommy Hardrocks. That initial expulsion is swiftly left behind though as grooves flirt with and immediately entice ears as the thumping beats of Dave Wilbraham begin the incessant and invigorating battering which charges up the whole album. With the great heavy throated lure of Adam Thomas’ bass snarling with bestial temptation within it all, the trio has attention and imagination gripped. Hardrocks vocally roars and growls as the music around him, but already there are unpredictable twists and adventures crawling through the song. With older tracks in many ways once established you knew where they were creatively going but in the first song alone, Pitworthy reveals a fascinating depth and exciting tenacity to pull Coverout the middle finger on expectations. Bottomline though is that the track is one commanding irresistible stomp, with all guns blazing and nostrils flared.

It is the same with the following Young Man, and to be honest the rest of the album too. The second song has a stronger blues spice to its fiery blood, toxic melodies and tantalising grooves providing the intoxicating liquor veining and flowing through the Down meets Desert Storm like shuffle. Rhythmically the track is a strongly enthralling and agitated groan whilst vocally it bellows and melodically it flames within a sultry climate embracing ears and emotions. It is compelling stuff igniting the air before the bruising weight of Crushing the P lumbers in and proceeds to press its own intensive and imposing bulk on the senses. Again though, grooves temper the rugged nature of the proposition, whilst inescapable infectiousness wraps the swing of rhythms and riffs. The song is an on-going predation too; every aspect increasing in magnetism until by its conclusion the crawling posture of the song is pure addiction.

The outstanding flirtation of The Schaeffer Boogie emerges out of those final throes of intensity, the track swiftly breaking into a robust and contagious slab of heavy temptation. Grooves swing with inescapable persuasion, casting an irresistible invitation for all to join their devilry, though we warn that their weighty movement will even worry young hips getting involved over long term exposure. Never taking a breath or allowing one, the song is sheer heavy rock majesty; not demanding, except on the body, and seriously exhilarating.

The grouchy tones of the album’s title track comes next, Hardrocks’ vocals a grizzly web of confrontation and attitude, and backed strongly by Thomas whose bass simply oozes cantankerous sounds and ferocity within the thick tapestry of temperamental and predatory sounds. The track is a tempest of drama and shadowed intrigue too, again every subsequent unexpected detour or twist in the nature and journey of the climactic offering surrounded by a rhythmic and riff sculpted catchiness which has feet and neck muscles exhausted.

The short Cajun aired instrumental Crawdaddy Blues is an ok interlude for the first couple of listens but to be honest ignored as appetite wants to dive back into the punk fury of Chicken Hawk again and again thereon in. The track is a brute of a companion, that punk seeded hostility and urgency a ripe tempting against the pungent heavy metal and ravenous rock ‘n’ roll it is aligned to. Pantera meets Converge yet different again, it is another major pinnacle of the already impressive release, a peak matched by Battle Boar. The rumbling rhythmic heart of the track is an anthemic call in its own right, and the fuse and detonator to a turbulent and hellacious conflict of intensive and insatiable energy. Riffs and rhythms collide with hostile intent, ridden by the equally abrasing and assertive vocals, whilst grooves are venomous and flailing in their scything enterprise. The track is a glorious sonic conflagration but too damn short at less than three minutes.

   Rock City is smoky and at times like sonic vapour on the taste buds, a fine musical whisky which slips across the senses with smooth ease before unveiling its bite and spicy tang. As you would expect grooves and riffs make a tapestry of tart and colourful temptation whilst vocals and the deliciously imposing basslines help spark the old school predation fuelling all classic slabs of uncompromising rock ‘n’ roll. Compelling and rousing, the song is another towering anthem setting emotions up for the closing Quint, an eleven minute savaging unafraid to explore every avenue of heavy rock and ferocious metal whilst painting it all with a sludgy stoner hue. Arguably over long for some, every minute of the track is a new scene to run with and imaginative corner to dive down.

XII Boar has had little difficulty impressing and exciting since their first release but have creatively and musically come of age with Pitworthy. It thrusts the band to the frontline of British rock ‘n’ roll with even broader spotlights potentially awaiting as their excellent album surely begins to lure in the world.

Pitworthy is available now digitally and on CD via http://xiiboar.bandcamp.com/

 https://www.facebook.com/xiiboar   http://xiiboar.bigcartel.com/

RingMaster 10/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

Shredhead – Death is Righteous

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Our first dose of Shredhead ferocity came in the excellent compilation album From Israhell With Love of 2012, which collected the best emerging Israeli metal bands around at the time. Many stood out but the Modiin hailing thrashers stole the march on a great many with their voracious onslaught of a track, Knife in a Gun Fight. Taken from their debut album Human Nature released the previous year, the track lit a fuse under a hungry appetite for the band’s sound, something a hindsight look at that first album only made greedier. Now the band has unleashed its successor Death is Righteous, a fury taking their already blistering and incendiary thrash sounds into a whole new sphere.

The eleven track torrent of crippling rhythms and hellacious riffs bound in contagiously toxic grooves, shows a maturity and new enterprise to the songwriting and sound which instantly opens up a fresh powder keg of potential and invention. It turns a great band into a new force in thrash metal demanding and commanding world-wide attention. From a small, raw, and acclaimed proposition which already has been the name on every Israeli metallers lips and gone onto play the Wacken festival Metal Battle in Germany after winning the Israeli Metal Battle in 2012, Shredhead has evolved into an insatiable sonic predator with grooves swinging from the hips and Bay Area thrash colouring spicing up an inventive tempest of sound.

Last year saw the band play with Biohazard and relocate to Berlin, but more importantly record the Tue Madsen (Suicide Silence, The Haunted, Aborted, Sick of It All) mixed and mastered Death is Righteous which they had been working on over the previous year or so. Unsurprisingly highly anticipated, the album goes for the jugular straight away with Devil’s Race. From its first stirring second riffs and rhythms converge on ears with forceful intent, taking a swift pause before cascading again with venom and animosity upon the senses. Vocalist Aharon Ragoza is soon joining the affray, his tones as the music, far more controlled and distinctive from the crowd now but still holding the caustic might and hoarse tone which lit up the first album. His brawling delivery roars impressively from within the cauldron of fierce beats from drummer Roee Kahana which in turn align to the web of grooves and heavily barbed riffs of guitarist Yotam Nagor. It is an imposing and compelling blaze of sound, foot to the floor metal completed by the great throaty lure of Lee Lavy’s bass and an opening tour-de-force setting the release off in scintillating style.

The following LPBZ opens similarly to the core incitement of its predecessor, beats and riffs a familiar beckoning but in no time becoming a bruising punk infused charge of sonic rabidity and Shredhead-Death-Is-Righteous-album-cover-300x300riveting invention. There is toxicity to the grooves which, not only in this song, has a Pantera-esque quality but also a waspish nagging character which increases an already keen appetite for song and album. Its sizzling hostility is matched by that of The Lie which steps in next. It is a song unafraid to develop a contentment to stalk as well as simply rage at the senses whilst coating its grooves and vocals with a southern fried metal edge as it stomps with virulent endeavour. The track’s bracing presence makes way for firstly the groove metal coated predation of Last Words Are Lost and then the volatile character of the album’s title track. The first of the two without stepping from the shadow of the previous songs, lurches with nostrils flared and sinews stretched, offering a mix of Bloodsimple and Exodus in its own unique form. Its successor picks up a recognisable old school hook and lays it openly down before its expressive sonic narrative, the bait soon embroiled in a steady but dirty rage of voice and sound. It is equally prone to exploding with uncaged viciousness and intensity, planting another notable signpost in the new direction of the band’s sound.

The nightmarish bellow of Hallucinations comes next, neck muscles tormented and ears scarred by the outstanding raw bluster of the track. With a tasty solo and melodic spicing intruding on the inventive turbulence, the track equally sets a marker down for band and album which Walk With The Dead straight away emulates with its infection of spicy grooves and concussive beats. Where Shredhead now outshine their previous album and many other bands on Death Is Righteous is with the constantly revealing and giving underbelly of imagination and unpredictable ideation which boils beneath the surface warfare on the senses. Each song is a maelstrom, with some like this one a vat of tenacious invention.

On a minor note there is a similarity across some songs as shown by the ever alluring grooving of Can’t Be Left Alive and its closeness to certain aspects of other grooves and riffs on the album. As elsewhere though, it is not long before those elements find their own individualism or align to a fresh blaze of sonic ingenuity or a striking boom of vocals, this track twisting into an angry storm of fierce attitude and shapely venomous designs.

Both Witness Hell and I Hate Myself skilfully ruffle the senses; the first juggling malicious rhythms and bass grooves within an anthemic and corrosive fever of vocal savagery and acidic grooving. There is a touch of Hellyeah to the unbridled trash scourge, but only one whiff of flavouring in a track which also calls in hints of grind, groove, and punk metal to its brawl of thrash ingenuity. The second of the pair floats in on an evocative ambience. Haunting melodies gently stroke the imagination as a just as mellow bass resonance adds its emotive tinge to the enticement. A slow groan of a vocal adds drama too before closing song I Am next swaggers in with muscles flexed and grooves loaded. Thoughts of Down make an offering but again Shredhead turn any inspirations into their own creative and aggressive frenzy.

The track is an impressive conclusion to an immense and ridiculously enjoyable and inventive thrash riot. Shredhead are no strangers to impressing people but the band has invited the broadest intensive attention upon themselves with Death is Righteous, the first step in possible world domination.

Death is Righteous is available now via Mighty Music

https://www.facebook.com/shredheadband

RingMaster 14/01/2015

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Hellbent & Hammered – Death Rattle

Hellbent & Hammered Online Promo Shot

With far more deep rooted grooves than a wet weather race tyre and the torque to seriously send body and senses spinning, Death Rattle from UK metallers Hellbent & Hammered is a wake-up call for ears and attention to the band’s evolution and presence. Formed in 2004, the London quartet has certainly been through the usual obstacle bands come up against as almost perpetual loses and gains in the line-up create a turbulence to defeat most bands. Stability in that area has been found over the last three years or so and as the band’s outstanding and ferocious new EP reveals, Hellbent & Hammered has only relished in and flourished from that calm.

The band wears their inspirations on the sleeves of very note and viciously swinging groove it is fair to say but twists it into a rich flavour that appetites can only become greedy for. The accompanying press release cites Down, Lamb of God, and Clutch as a trio of references merging to fire up the band’s sound, and it really does sum up the potency and force of Death Rattle if not all the fury and raw enterprise fuelling each track on the encounter.

Since forming Hellbent & Hammered has been an acclaimed force on the live scene, blistering stages alongside the likes of Feed The Rhino, Godsmack, ANVIL, Godsized, Thunderhorse, Head-On, and Sons of Merrick along the way. Their groove metal has been an increasingly potent lure across the south of the UK from the start, but with the current line-up completed in 2011 when guitarist Junior Gouch linked up with vocalist Ryan Le Roux, bassist Dr. Jon Casey, and drummer Simon Bullock, the band has in a way shed a skin to their sound in creating an uncompromising and bordering on toxic strain of groove metal as evidenced powerfully by Death Rattle.

The EP’s title track opens up the seductive hostility, riffs and rhythms creating an imposing wall from its first breath before the first flirtatious groove entwines ears and appetite. There is Hellbent&H coverswagger not only to the increasingly tempting grooving but every mighty swing of Bullock, bassline of Casey, and the grizzled delivery of Le Roux. It is Pantera-esque in so many ways but with a blues toxin and the superb bait of Gouch’s inventive lures and craft, the song provides an invigorating freshness. The first predatory anthem of Death Rattle, the track stalks and overwhelms the passions with ease.

The gripping start is swiftly matched by Hung, Drawn & Quartered; the track showing a more merciful welcome for ears, if only by a hairs-breath, before turning out a relentless rapacious stride of abrasing riffs, crippling beats, and psyche searing grooves. As its predecessor, the song is inescapable in its anthemic tempting and the sonic binding of the imagination, whilst the searing solo of Gouch adds further toxic manna alongside a deliciously throaty stalking bassline which just lights the passions.

The gnarly yet beckoning tones of Le Roux hit the sweet spot too, and in third song All Consuming, which from another irresistible bass bred bait, launches a virulent and corrosive smog of torrential riffery and rhythmic slaughter, he unleashes a delivery of impressive grazing power and fury. The track itself is the most inventive on the release moving from a strong and appealing start into a fascinating cauldron of aggressive adventure and sonic spite.

The EP closes with Built That Way, a powerhouse of rhythmic muscle and sinew sculpted riffs roared over by Le Roux and the blazing enterprise of Gouch. It is an impassioned furnace of grooved causticity amidst a hurricane like energy, with plenty of inventive designs and melodic venom to ignite the imagination all over again.

The track is a tremendous end to a thoroughly thrilling release. There is a familiarity and originality to Death Rattle which aligns for the perfect recipe of grooved mayhem in undoubtedly one of our favourite propositions of the year. Hellbent & Hammered has found the spice to greater things going by their new incitement and the potential to sculpt plenty of major things ahead. A thunderous way to round off a great year of releases sent to us by Garry of SaN Pr, and we thank him for all his help and support, Death Rattle is a must for all groove and seriously anthemic metal fans

The Death Rattle EP is released on Monday 15th December through all digital stores.

http://www.hellbentandhammered.com/

RingMaster 11/12/2014

Copyright RingMaster: MyFreeCopyright

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HELLBENT & HAMMERED SERVE UP STUNNING NEW EP !

Hellbent & Hammered Online Promo Shot

After a prolonged battle with personnel changes, UK groove metallers Hellbent & Hammered’ nationally release their ‘Death Rattle’ EP on Monday 15th December through all stores.

With whiplash riffs, a Lamb Of God and Down honed groove and riot starting vocals from frontman Ryan Le Roux, you’ll want to be in Hellbent & Hammered’s gang. Established in 2004, Hellbent & Hammered have garnered a reputation as one of the South’s premier groove metal bands. However, the fiery foursome also possess a strong bluesy vigour that tips its hat to Clutch. Whatever category Hellbent & Hammered fall under, the scuzzy Londoners will without doubt grab your attention.

Throughout the band’s ten year history, Hellbent & Hammered have persevered through walk-outs, line-up changes and several unreleased EPs before finally re-inventing themselves with their forthcoming new EP “Death Rattle”. This record is their second with guitarist, Junior, who joined in 2011 after founding member Julien sought fairer climates somewhere in the South Pacific. Besides Le Roux and Junior, Dr. Jon Casey and Simon Bullock handle the band’s burly rhythm section, with Bullock hitting the tubs and Dr Jon supplying the bass.

Already known for their face-fracturing live performances, the band have ripped apart a series of UK venues, playing alongside everyone from Feed The Rhino, Godsmack, Canadian metallers ANVIL, through to Godsized, Thunderhorse (Raging Speedhorn & Viking Skull), Head-On, Sons of Merrick and StoneGhost (Snakebite).

The riff beasts’ forthcoming four track EP “Death Rattle” is released this December, and it’s a pedal to the metal, full throttle collection of power metal anthems. The EP’s name sake ‘Death Rattle’ melts your ear drums straight from the get-go with its blistering riffage handed to you by newcomer Junior Gouch, who’s aided and abated by Simon Bullock’s driving beats. The irrepressible ‘Hung, Drawn & Quartered’ just does not let up; imagine Pantera having a knife fight with Mastodon—its sheer brutality. While ‘All Consuming’ flaunts the bottom end groove of Bassist Dr Jon Casey to stunning effect and ‘Built That Way’ brings down the curtain on the record, there’ll be no doubt that your senses have been well and truly battered into oblivion. Hellbent & Hammered do what they say and say what they do. So come on in and join the party….

Hellbent & Hammered release ‘Death Rattle’ on Monday 15th December through all major online distribution platforms

Hellbent&H cover

http://hellbentandhammered.com/
https://twitter.com/hellbentvoodoo
https://www.facebook.com/HellbentandHammered

Mallory – 2

photo groupe

Mallory leaves the man she just married and hits the road, alone, without knowing her life’s about to change dramatically… Across the USA and as far as the Mexican border, starts her initiatory journey where love gets mixed with violence and death. That’s how Mallory learns the tragic cost of freedom… Just as turning forty-seven, she meets four French musicians in a shady bar in Paris: Phil the singer, Mat the bassist, Jé the guitarist and Twist the drummer. As they make friends with each other, they decide to write a musical biography recounting her life…

Hailing from France, Mallory is a blues rock fuelled band which this week unleashes their second album 2. To be honest there is little background we can share about the Parisian band and only by its title assume the release is the band’s second full-length, but what is easy to reveal is that their new encounter is an increasingly gripping and invigorating proposition. The passage above is the premise of the release, the tale of “A girl on the road with a gun in her hand and music in her ears…” The narrative behind and within tracks definitely make for a vivid and cinematic spark for the imagination which the fully flavoured blues and melodic rock invention of the band soundtracks and colours just as potently. It was a slow persuasion initially, though an instantly enjoyable one but over time it is fair to say that 2 provides one richly satisfying and increasingly impressive proposition, maybe not one that lingers long after departure but in its company only pleases without reservation.

Opener Awake emerges from a stormy atmosphere around words from the tale’s protagonists, an intro soon bound in spicily enticing grooves and punchy beats. The song is swiftly strolling with a shadowed rock ‘n’ roll air around a rhythmic swagger, the track bringing hints of Dommin to bear on thoughts as it ignites a hungry appetite for the release. The guitars continue to cast a web of riveting grooves and sonic enterprise whilst bass and drums prowl with skilled temptation alongside the great gravelly vocals. The track is the perfect incitement to start things off; a magnetic lure to grip attention which the following Big Nails twists tighter with its own muscular stomp. Rawer in breath and passion, the track is bred from similar seeds to its predecessor but with gnarly riffs and basslines colluding with the heavy swings from Twist for a caustic tempest, the song is soon sculpting its own individual infestation of ears. The guitar of is a constant tangy baiting alongside the throbbing tones of Mat’s bass, the pair forging an imposing and fiery union matched by the just as feverish vocals of Phil.

The darker presence of Ready steps up next, its first stroking of the imagination somewhere between Volbeat and Misfits in sound but with a subsequent seventies heavy rock flame to its enterprise and a raw blues toning to its ravenous Covercaress, again becomes its own smouldering fire of craft and sonic expression. Its psychedelic air is only a lure for the imagination and senses to devour the song’s suggestiveness, setting up the listener for the even more incendiary success of Bad Monkeys. The breath of The Doors in its predecessor is a clearer spice to the opening of the third track, vocals and guitar uniting for a sultry stroking of thoughts which in turn sparks a slowly broadening melodic intrigue and rhythmic drama in the track. As the previous song, neither quite equals the might and riotous tempting of the first pair but both easily and swiftly leaves ears and appetite greedy for more

The short melodically fuelled instrumental Somewhere, the piece like ray of warmth within a climactic atmosphere, leads into the pulsating swing of Summer Rain. Rhythms are straight away swaying with devilry and seductive funk seeded vivacity whilst around them guitars and vocals shimmer with evocatively gentle resonance. They are soon breaking into their own feisty and fiery suasion of bracing riffs and sonic grooving though, to match the constant lively prowl of the beats and another pulsating bassline. A definite familiarity walks the song, as all tracks in many ways, but it is from an indefinable source which only adds to the increasing appeal of song and release.

The sizzling blues fired enterprise of the guitars is a constant spark in songs, a tempting as inescapable as the anthemic rhythms and bass coaxing, not forgetting the impressive vocals, and virulent bait in the striking presence of Heavy which comes next. Vocal roars, devilish bass seduction, and incendiary flames of sonic acidity combine to make a fascinating weave of musical adventure and drama, the song embracing ears and imagination with something which is best described as Pearl Jam meets The Birthday Party with Down for good company.

The album is completed by firstly the rugged terrain of Runnin’, rhythms again as anthemic as they are skilfully unpredictable whilst sonic enterprise is arguably at its most riveting and searing yet on the release. Once more there is a sense of recognising what you are hearing but it only inflames the success and potency of the irresistible song, especially against the dramatic texture of vocals. Its triumph is followed by the acoustic elegance and emotion of Something, a more than ok melodic blues hug on ears bringing it all to a charming end.

   2 though making a strong first impression, is an album which grows and thrills more potently over time musically and lyrically. Its potential suggests that Mallory is a name we might be hearing much more of and through acclaim coated breaths.

2 is available now @ http://store.dooweet.org/en/home/175_mallory-2.html

http://www.malloryband.net/

RingMaster 24/11/2014 and

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Overpower – Greatness Within

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Casting a groove infested thrash bred temptation of modern metal Greatness Within makes a potent and intriguing introduction to Croatian metallers Overpower. The band’s debut album does not offer ground-breaking rages or startlingly unique tempests but grips attention with accomplished and enterprising twists on a fusion of sound which instinctively sparks a keen appetite for its recipe. It is a roaring and bruising onslaught of rapacious riffs with matching antagonistic rhythms all bound in a web of grooves and melodic acidity which easily ignites the imagination. Primarily it is an entrance which casts Overpower as a formidable protagonist of flavoursome hostile metal.

The band began in 2006, formed by guitarist Daniel Badanjak, bassist David Vukusic, and drummer Frane Velcic. Playing mainly covers from the likes of Iron Maiden, Metallica, and Judas Priest, the band searched for their own direction with original songs over the next couple of years. A few frontmen were tried whilst Velcic left the band, his departure seeing the joining of drummer Hrvoje Dizdar. After the leaving of another vocalist, the band contacted Velcic to come in as frontman for a gig they were playing. Such its success he decided to remain in the band as vocalist before the Zagreb quartet set about recording Greatness Within. With an open vein of inspiration from the likes of Metallica, Iron Maiden, Pantera, Slayer, and Down to the band and sound, the album boils up a skilled and magnetic storm of voracious metal which may not startle but definitely excites

As soon as the opening steely dark throated tones of bass opens up Paid Trip to Nightmare, attention and swiftly after appetite are caught and ready to embrace the opening song. A heavy swipe of guitar brings drama to the sinister air before casting a captivating web of slightly portentous but enthralling colour to the breath of the song. The kick into a thrash fuelled charge is quick and seamless, the track suddenly a savage rage of destructive rhythms and hungry riffs ridden by the raw and rasping growls of Velcic. Exhaustive and thunderously impacting, the track is an explosive start; a searing solo and anthemic tenacity all adding to the compelling bait.

The following Final Laughter makes a purposeful if reined start, riffs and rhythms again hitting hard with an even paced intent whilst the excellent bass suasion of Vukusic is grizzled in bestial voice and presence. More expectations feeding than its predecessor, the imposing brute of an encounter still draws an eager hunger with its muscular rhythmic punches, stalking riffs, and the excellent coarse tones of the frontman. It keeps the album on a richly satisfying course before being put in the shadows by the outstanding Conqueror. Instantly wrapping ears in a melodic enticement, the track has thoughts engrossed, especially when stretching its sinews with predacious riffs and again controlled yet intimidating rhythms. It is a commanding persuasion which steals greater glories with its step into a groove spiced melody inflamed passage of resourceful design led by the excellent switch into clean vocals. It is a masterful and riveting turn which works perfectly with the entwining voracity of sound and intent around it; the song easily the best thing on the release.

Both Life in a Lie and the title track give it a run for its money though, the first emerging from a haunting atmosphere with a Pantera like swagger to its stroll and savage tone to the bass. Soon aided by bewitching grooves and the continuing to impress vocals, the song lurches like a predator of carnal persuasion across thoughts and imagination, setting a danger bred canvas lit by searing flames of guitar enterprise. As most songs there is a familiarity to its body and heart but nothing to defuse its impact and absorbing call. In a different guise its successor is much the same, brewing up a less than strikingly new proposition but gripping attention with resourceful and imposingly attentive sounds to which the return of clean vocals alongside the dirtier delivery only increases the pleasure.

The grievous bass sound of Roulette again ignites a swift licking of lips to which the furious torrent of crippling rhythms and riff sculpted severity thrust forward by the raucous spit of dual vocals brings a wider grin. The track is a thoroughly agreeable rampage across ears and emotions. Anthemic and hard hitting, as all the songs, the onslaught of predation leaves passions full but ready for much more which Monster soon provides in uncompromising style. With a gentle guitar and vocal croon the song transfixes senses and imagination, its opening tale the fuse to exploratory thoughts which are given another dose of incitement by the heavy crawling bestial weight and intensity straight after. It comes with a net of sonic intrigue and vindictive rabidity, courtesy of the bass, a weave ridiculously gripping and deliciously infecting.

The song is a mighty end to an impressive release though there is the Outro to actually bring the album to a close but it is a decent but nothing piece of music which just sits showing its creative muscles. Greatness Within is a powerful debut which without drenching itself in originality marks out Overpower as a potential clad strikingly enjoyable prospect, with already the skills and sound to make large and potent statements.

Greatness Within is available now via Geenger Records and @ http://overpowerzg.bandcamp.com/album/greatness-within

https://www.facebook.com/overpowerband/

8.5/10

RingMaster 09/07/2014

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