Toxik – Breaking Class

As the number of metal bands returning after extensive breaks or simply break-ups often decades earlier keeps going up so are the amount of impressive releases emerging from these reunions. Adding to the list and almost heading it is the new EP from US thrashers Toxik. Offering three tracks of the genre in its old school breeding, Breaking Class is everything that is irresistible within thrash metal with a healthy freshness linked to experience that newcomers can only learn from and be inspired by.

Subsequently one of the most potent forces with thrash once emerging in 1985, New York hailing Toxik released a pair of increasingly recognised as classic albums in World Circus (1987) and Think This (1989) as well as built a potent live stature which included sharing stages and touring with the likes of King Diamond, Testament, Dream Theater, Exodus, Pantera, Candlemass and many more. Disbanding in 1982, interest in the band was clearly evident with the release of a pair of live DVDs in 2007 and 2010. Announcing their return three years after the second DVD with Shadows Fall’s Jason Bittner replacing original drummer Tad Leger, Toxik very successfully toured Europe and South America showing the lingering support for the band. Since then the line-up has seen James D’Maria of Generation Kill replacing Bittner and vocalist Charles Sabin (from the band’s second album, Think This) taking over from original frontman Mike Sanders as well as bassist Shane Boulos linking up with band founder and guitarist Josh Christian. It is a unit which seems to be a perfect fit as Breaking Class ravages the senses, an organic roar driving its rapacious sound and intent from the EP’s opening seconds.

Those first moments come courtesy of Stand Up, the track spiralling from an initial sample woven lure with wiry guitar swirling around senses jabbing beats. Straight away instincts for anthemic metal are awoken, vocals a rousing incitement backed by hungry riffs and a brooding bass line which almost dances with an established appetite for its flavours. There is a great Anthrax like tenacity and tone to the track around its chorus but equally a modern crossover essence bringing whiffs of bands such as Suicidal Tendencies and Municipal Waste into play but all spices assimilated in a proposal familiar, new, and distinct to Toxik.

The outstanding start is more than matched by the EP’s title track, Breaking Class a devilish surge of riffs and whipping rhythms fuelled by an energy and devilment just as evident in Sabin’s instinctively persuasive vocals and tenacity. Christian similarly has ears and imagination hooked with his aggressive and inventive web of riffs and sonic enterprise, never allowing the listener to settle without adding a new twist then another then….

As compelling as it is riotous, the track is itself more than matched by the closing Psyop; that healthy brew of flavours within the opener uncaged again within its more predatory climate and gait and again involved in an adventurous and almost challengingly unpredictable proposal. It maybe old school nurtured but the song, as its companions, show that does not mean things have to be restrained in boldness and imagination and they certainly are not in the hands of Toxik.

With hints of a new album in the works, it is as if Toxik has never been away just taking their time to create what is one of the most enjoyable thrash stomps of recent years.

The Breaking Class EP is released August 4th with re-ordering available now @ https://toxik.bandcamp.com/album/breaking-class

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Pete RingMaster 18/07/2017

Copyright RingMaster: MyFreeCopyright

Whorehouse – Corporation

Eight years ago, Polish thrashers Whorehouse sparked eager attention and broad acclaim with debut album Execution of Humanity. Just recently they unleashed its highly anticipated successor and fair to say it has not taken long for similar reactions to crowd the ferocious roar of Corporation, an album which grabs the listener by the scruff of the neck and hurls them into a brawling, rousing tide of thrash goodness.

Formed in 1995, the Cracow outfit grab the open inspiration of Bay Area thrash for their hungry, social and politically savaging sound. For a band which has been around twenty years, it is maybe a touch surprising that Corporation is only their second album though any length of wait is quickly forgotten once the accomplished tempest of sound and intent is uncaged. Recorded by Dominik Burzym (Mord’A’Stigmata, Atrophia Red Sun) at Studio 67, Corporation flies from the blocks with its title track, guitars gathering their creative thoughts and textures before sending a tide of familiar thrash nurtured but fresh riffs through ears. Rhythms punch and poke with equal hunger, the vocals solo and in band unison as arousing and anthemic as the sounds around them and in no time participation with its chorus alone is lustfully offered. With the guitars creating a web of sonic enterprise across its latter and still relentlessly contagious body, the song makes for an irresistible start.

It is a pleasure trapping success quickly emulated by The Same Old War, the following track a surge of nagging riffs and growling vocals as the bass groans and beats venomously swing. Again involvement with its antagonistic contagion is easy and full, an appetite for the melodic flames shooting across rapacious exploits unstoppable as Whorehouse again colour their sonic storm with imagination catching craft and boldness.

Toxic Dance similarly has body and thoughts bouncing; spicy grooves colluding with predacious riffs from the start before things again settle into a ravenous flow of tenacious riffs and biting rhythms nurtured in the inspirations of bands such as Exodus and Testament. In no time the track is a boiling, brawling incitement of prime thrash metal before Payback launches its own tirade of animosity and torrent of skilfully crafted thrash rabidity. As much as the core riffs, as in all songs, are soaked in genre familiarity, the guitars soon twist things up with their melodic enterprise and sonic unpredictability, a mix matched in the vocals and the uncompromising rhythms led by the magnetically snarling bass.

The virulent savagery of W.W.W.A.W.W.B (We Were, We Are, We Will Be) floods through ears soon after, its tone toxic and defiant, its sound just as incendiary with some of the most delicious hooks and grooves to be found on any thrash album in recent times while Invaders infests the senses with wiry grooves as a torrent of creative drama infects every note and twist within the best track moment within Corporation. It is a status closely challenged across the album to be honest, the following The Silent Unseen making its bid with a furious and volatile contagion so easy to get greedy over.

Anguis In Herba brings things to a powerful close, the track the most imaginative and creatively dramatic on the release. The instrumental is cinematic in its air and striking in its texture rich tapestry of sound. It provides a fine end to an album difficult to pull away from; certainly one helping at a time is not nearly enough to satisfy an appetite for one of the most enjoyable thrash proposals of recent times.

Corporation is available now through Defense Records.

https://www.facebook.com/krkareathrash/    https://www.metal-archives.com/albums/Whorehouse/Corporation/651478

Pete RingMaster 04/07/2017

Copyright RingMaster: MyFreeCopyright

Freakings -Toxic End

Proud in their old school thrash instincts and inspirations, Swiss metallers Freakings continue their prowess at unleashing imposingly tenacious and compelling thrash furies with their new album. Their third full-length, Toxic End is a tempest of openly familiar and rousing textures, a proposal bold in its recognisable breeding. This though does not make for something lacking a fresh and compelling character, in fact within Freakings finest offering yet, it all goes to offer one mouth-watering, energy sapping, and fiercely enjoyable assault.

Formed in 2008, the Basel hailing trio of vocalist/guitarist Jonathan Brutschin alongside the brothers Toby Straumann on bass and drummer Simon, Freakings nudged broader attention from their already local success with 2011 debut album No Way Out. In turn, its successor Gladiator only brought new hungry ears and richer praise the way of the band three years later. Toxic End will simply inspire another wave of support and acclaim, its raw virulence and old school seeding raw magnetism.

Opener Hell On Earth courts ears and instincts for voracious metal within seconds, riffs and rhythms a hellacious onslaught breeding carnally catchy tendencies in the respective grooves and swinging antics which follow as vocals, singular and united roar. There is no escaping Slayer/Exodus bred influences or the severely infectious surge running through the song’s core, lures helping forge a thrilling start to the album quickly supported by the snarling assault of Future Vision. Rawer in air, arguably even more imposing in nature than its predecessor, the song brawls with the senses whilst uncaging its own venomously enslaving sonic bait. As the first and many of those to follow, it is hard to say there are major surprises involved yet the track just grabs ears and thickly satisfies with forceful ease.

Violent Disaster is a matching success, its antagonistic rhythmic trespass bone snapping and waspish grooves addictive as Brutschin’s vocals brawl with the listener. It is a torrent of wiry riffs, bass predation, and scything beats blended with undisguised belligerence and anthemic instincts; every element leaving thick marks on its victims before TxWxNxD sets loose its brutal rock ‘n’ roll. Though offering a few strains seemingly reaped from tracks before it, the song is a thrash anthem to lose inhibitions and swiftly pledge allegiance to, especially once it hits it’s ridiculously infectious swinging stride.

The album’s title track follows, rampaging with ill-intent devouring all before with hostile rhythmic rapacity and the cyclonic dexterity of Brutschin’s guitar. Simultaneously corrosive and catchy, it is an infestation of ears and spirit accentuated further by the ravenous rabidity and predatory charge of Friendly Fire, its body entwined in toxic enterprise flaming out of the guitar. As much as it is an infernal roar, the song has the hips grooving with its seductive swing, a dual invasive tempting impossible to evade.

Through the caustic sonic tirade and rhythmic pillaging of Brain Dead and the vehement siege of the senses that is Price Of Freedom, with its own crippling volley of incendiary beats, band and album savage and bludgeon leaving nothing less than major pleasure behind.  Wave Of Pain straight after is similarly satisfying, its barbarous nature and air a close match to the song before but soon unfurling an individual web of melodic enticement and sonic ire.

The album finishes with arguably its fiercest offerings, and in the case of first up Beer Attack, its most breath-taking raid. Never relenting in its acrimonious blunt trauma causing incitement, the track leaves the senses reeling, prime meat for the final vindictive menacing of No More Excuses which also punishes as it thrills; the body broken and elated in its wake.

Toxic End makes it very easy to find real pleasure in its storm. Certainly there is an element of similarity between some tracks or definitely specific elements making up their tempests but little to deter a lust loaded appetite growing with each and every listen. There is something particular about old school thrash which never relinquishes its potency and Freakings exploits it to the full.

Toxic End is out now digitally as well as on CD and vinyl.

http://www.freakings.ch    https://www.facebook.com/freakings

Pete RingMaster 14/03/2017

Copyright RingMaster: MyFreeCopyright

Bootlegs – Ekki fyrir viðkvæma

Bootlegs_RingMasterReview

With the band recently inking a worldwide management deal with GlobMetal Promotions, we thought a look at Bootlegs’ recent album, Ekki fyrir viðkvæma, was in order.  Formed in 1986 and soon becoming one of the bigger names in Icelandic metal history over the next five years or so, Bootlegs released two highly praised albums in that period before disbanding in 1991. Since then the band has come and gone through a couple of brief comebacks before returning more permanently in 2012. Released last year, Ekki fyrir viðkvæma is the Reykjavik quartet’s latest incitement of raw and ferocious thrash metal, a release metal fans will not want to be missing out on.

WC Monster and their self-titled second album, released 1989 and 1990 respectively, certainly pushed Bootlegs from national success towards recognition upon the broader metal map as too appearances on compilation albums over the next couple of years and a live presence which saw the band break into the likes of Denmark. After coming to an end, the band did come back together for a big reunion concert which was recorded and subsequently released as a live album a few years later in 2006. Before its release though, Bootlegs were already active again, returning in 2004 for a two to three year presence.  Then in 2010, they arose again with original members back; the fresh return followed by releases of the band’s first two albums in 2014 via Minotauro Records. Last year saw Bootlegs enter the studio for their first recordings in over two decades, and emerging with the rather impressive and rousing Ekki fyrir viðkvæma.

With the vocal roars of guitarists Jón ‘Junior’ Símonarsson and Jón Örn ‘Nonni ‘ Sigurðsson to the fore and its energy and intensity driven by the rhythmic predation of bassist Ingimundur ‘Elli’ Ellert Þorkellsson and drummer Kristján ‘Stjuni’ Ásvaldsson, album and sound is old school, thrash in its irritable prime. It is unafraid to offer some punk attitude too, at times songs breaching a Suicidal Tendencies like punkiness, but for the main and in its individual style, Ekki Fyrir Viðkvæma is the perfect fit for tastes bred on the likes of Voivod, Exodus, Metallica, Slayer, and Subhumans.

Front_RingMasterReviewFrom the hungrily abrasive and riotous punk ‘n’ roll of Gervigleði er ógleði, the album has ears and appetite in league with its ferocious intent. It is a great opener quickly matched in success and persuasion by the thrash prowl of Fullur á Facebook. Grooves and hooks collude with rapier like swings from Stjuni in the second song, luring in the listener before uncaging a ravenous assault and devilment reminding of the crossover thrash sounds of the previously mentioned California hailing band.

As the likes of the senses nagging KúkurPissOgÆl and the glorious exploits of Bootlegs fyrir börnin come and go, it is fair to say that major surprises are few yet fierce temptation and unbridled enjoyment unmistakable and inescapable. Within the second of the two, there is also something very familiar about certain melodies and flavoursome hooks yet all escape comparison to anyone in particular as the track steals ears and passions with ease. There is an occasional sense of early Stam1na, passing essences fleetingly bringing the Finnish band to mind as the track provides the first major pinnacle within the album.

Tribute to Thrash is one of the few English sung tracks and more than lives up to its title, swinging along with a snarl and swagger while being as multi-flavoured as its predecessor. With some great guitar interplay involved it is followed by Eitur naðra which explores a darker and heavier canvas of textures and character as sonic flames vein its intimidating posture and tone. The track is just one more highly memorable proposal, whether stalking the listener or in a rampage of niggling riffs and the snakiest of toxic grooves, and swiftly irresistible as too the in the face predation and roar of the excellent Gjallarhorn.

By this point it is fair to say that Ekki fyrir viðkvæma had us hooked, sharing physical and vocal, where we could language wise, involvement with instinctive eagerness. The pair of Fórnarlamb tískunnar and Kjörkassasvín only add to the album’s temptation and uncompromising thrills; both tracks providing an immediate and merciless trespass as anthemic as they are grouchy. They are highly addictive proposals carrying an array of imagination pleasing twists and turns backed by the band’s individual craft; the latter especially intriguing and devilish in shape and resources.

Making less of a dramatic and lingering impression is Poser though fair to say that its antagonistic attack leaves only satisfaction in its wake before Haleluja adds its own creative incitement and SOD III uncages the album’s shortest and most hostile offering yet. Again both leave pleasure full without matching earlier triumphs with the closing Ó Reykjavík providing a final spirit arousing galvanic punk ‘n’ roll stomp to greedily devour.

It is a great end to an excellent release. Ekki fyrir viðkvæma might not be the best thrash album you will have heard this past year or so, though it is in with a real shout, but it is undoubtedly on the frontline of the most enjoyable and ridiculously easy to return to propositions you will come across.

Ekki fyrir viðkvæma is available @ https://bootlegsthrash.bandcamp.com/releases

http://www.facebook.com/bootlegsiceland

Pete RingMaster 11/05/2016

Copyright RingMaster: MyFreeCopyright

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

Endless Recovery – Revel in Demise

ER_RingMaster Review

Just released is the second album from Greek metallers Endless Recovery, a thrash fuelled scavenging of the senses helping to get the new year of metal off to an accomplished and highly satisfying start. Revel in Demise unleashes ten voracious roars seeded in the heavy and thrash metal scene of the eighties but just as keen to involve other extreme spices in their tenacious confrontations.

Formed in 2011, the Athens hailing Endless Recovery soon made their mark on the local underground scene with debut EP Liar Priest the following year. With their first album Thrash Rider uncaged in 2013, the band was already garnering firm interest and support, one fuelled as potently by a live presence which has seen the band over time play with the likes of Deceptor, Enforcer, and numerous Greek underground artists. The follow-up to the well-received Resistant Bangers EP of 2014, the Xmas eve released Revel in Demise makes the band’s thickest forceful nudge on the broadest attention yet.

artwork_RingMaster Review     As ripe with speed metal voracity as thrash hostility, Revel in Demise sets its stall out straight away with opener Sinister Tales, a spicy instrumental of metal diversity magnetically leading the listener into the wilder throes of the album’s title track. The heftily inviting start makes a seamless transition into the more antagonistic and primal nature of its successor, riffs and rhythms an immediate barrage of muscle and attitude driven by the blackened vocal delivery of Michalis Skliros. Group shouts add to the drama already being spun by the sonic dexterity of guitarists Tasos Papadopoulos and Apostolos Papadimitriou, that theatre of temptation courted by the dark primal tone of Panayiotis Alikaniotis’ bass and the uncompromising attack of drummer Michalis Moatsos. It is a quickly gripping beginning to the release, one arguably low on major surprises but rich in full-on incitement.

The following Reaping Fire instantly savages and entices with its torrent of riffs and tangy sonic enterprise whilst Storming Death provides a darker and more hostile environment again coloured with fiery craft and exploits from across the band straight after. Both prove to be just as barbarous as they are welcoming in grooves and hooks, the rhythms and thrash fire in their hearts insatiable provocation driven in top gear. There is plenty of twist and turns to keep predictability at bay too, the first with its spiralling guitar endeavour and varied textures and the second by the vocal scourge of Skliros crawling over the senses as wiry tendrils strikingly vein the tempestuous proposition.

Leather Militia reveals thick eighties inspiration from start to finish but within a muddy tone and air which lifts it into something more intriguing and threatening than it might have been whilst Trapped in a Vicious Circle is a maelstrom of raw fury and adventurous tenacity. At times it is a tapestry of creative clarity and in others smog like intrusiveness on the senses, contrasts working a treat throughout just as Blood Countess does with its torrential invasion of biting rhythms and smothering riffery. It too is a wall of pleasing noise and ferocity veined by searing flames of guitar and captivating grooves, and equally skilled in creating a ravaging as inviting as it is destructive.

A surface familiarity between some tracks is not a major issue when looking deeper into the openly crafted encounters. The excellent Hypnos is a great example, its start and core shape similarly related to its predecessor but quickly given its own character by the cauldron of sonic and melodic enterprise unveiled by the band.

Another lofty highlight comes with Evoke Perdition, the track a hell for leather trespass that bewitches with its nagging grooves and repetitive forcefulness in riff and rhythm, Skliros once again courting the demonic depths with his black metal spiced vocal predation. A definite favourite, the song makes way for the closing assault of Lurking Evil and a dynamically thrilling end to Revel in Demise. The track is a predator, living up to its title with an urgency and creative rabidity which not so much lurks but swarms over the senses to thick success.

The album certainly ends on its biggest high with the last trio of incursions on ears and the soul, but from start to finish Revel in Demise hits the spot perfectly. Uniqueness is maybe not as potent as the instinctive creativity and energy which definitely enriches the encounter, bands such as Kreator and Exodus often reminded, but for an invigorating and thoroughly enjoyable experience Endless Recovery masterfully gets the job done.

Revel in Demise is out now via Witches Brew @ https://endlessrecovery.bandcamp.com/album/revel-in-demise

https://www.facebook.com/endless.recovery

Pete RingMaster 05/01/2015

Copyright RingMaster: MyFreeCopyright

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Demons Of Old Metal Premiere New Single

DOOM 2_RingMaster Review

British metallers Demons Of Old Metal recently streamed their new single “The Quiet Ones” via Puregrainaudio! Taken from their upcoming new album “Dominion”, which was released December 7th, fans of the band can check out their latest offering ahead of time!

Check out “The Quiet Ones” here – http://puregrainaudio.com/audio/demons-of-old-metal-the-quiet-ones-exclusive-song-stream-premiere

Sat somewhere between classic Exodus, Pantera & GWAR; theatrically tinged British metallers Demons Of Old Metal have been making an unholy din across the UK for a while now. And if latest record “Dominion” is anything to go by, they’re just getting started!

Formed at the tail end of 2010 by four veterans of the UK metal circuit with the sole intention of cranking out classically tinged metal and engulfing venues in a sea of blood, sweat and beers. Coupling a cracking knack for writing quality songs, their penchant for schlock horror imagery and an otherworldly stage show, DOOM set about putting together their debut record; “The Demonic Chronicles Vol I”. Released on Halloween 2012, the response from fans and the media alike was overwhelmingly positive and saw the band begin making a name for themselves.

In 2013 the band released “The Demonic Chronicles Vol. II”; a further addition to their stunning repertoire. This was followed in 2014 by the final part of “The Demonic Chronicles Trilogy” which was greeted with critical acclaim in Europe and the U.S. They proceeded to hit the road and carve their mark viciously into the psyche of the British live scene; scoring slots at Beermageddon in the UK, as well as shows in Ireland.

Simultaneously, they began work on their new record “Dominion”. Set for release on December 7th 2015, “Dominion” stands as a huge leap forward, as the band have pushed their musical boundaries and created a work that will no doubt appeal to fans of both the new and old schools. Tracks like ‘You Version 2.0’, ‘Fakeskin’ and ‘Behind The Mask’ are groove laden gems on a record full of brilliance. Tall and short of it; you need Demons Of Old Metal in your life.

https://www.facebook.com/demonsofoldmetal/

Dienamic – Afterlife

Promo Picture Dienamic_RingMaster Review

Norwegian metallers Dienamic offered themselves up as a seriously promising proposition with their debut album Surfing the Apocalypse. Now confirmation has arrived in the rousing shape of Afterlife, an attention grabbing confrontation which still suggests there is more to come from Dienamic and still to be discovered by the band within their creative depths, yet provides one compelling and very often incendiary incitement to leave nothing less than full satisfaction in its wake. The band is still establishing itself in many ways, yet to really step from the crowd, but with Afterlife as evidence is destined to be part of the staple diet of a great horde of metal fans now and ahead.

Formed in 2009 or 10, depending where you look, the Tromsø hailing Dienamic quickly unleashed their thrash fuelled, death lined raw metal via a self-titled EP the same year. That in turn sparked the band’s renowned live assaults and hunger which over the years have seen them tour the likes of Japan, Central and Eastern Europe, and of course their homeland. 2012 saw the release of Surfing the Apocalypse, a swiftly devoured and acclaimed proposal marking the band out as one of the new promise flooded protagonists in the world metal scene. Backed by that live presence, which only helped increase the stature and reputation of the band across 2013 and since, Dienamic has given confirmation of their blossoming sound and impact through Afterlife. With guitarist Eivind Kjær Killie, bassist Kenneth Iversen Muotkajærvi, and drummer Sebastian Jacobsson joining band founders in vocalist Gustav Harry Lindquist and guitarist Stein-Odin Johannessen, a line-up coming together late 2014, and the signing with Italian label Worm Hole Death too, Dienamic is ready to stir up some spotlights and appetites with their new album; something it is already beginning to do with its release a few short weeks back.

cover_RingMaster Review     The Reaping starts Afterlife off, a squeal of riffs the perfect appetiser to the barrage of feisty rhythms and nagging riffs which follow. It is a quickly riveting start which continues to worry and entangle ears in acidic sonic temptation. The grouchy growl of Lindquist is quickly in place to add to the intimidation and lure of the song, his input the trigger for a broadening weave of winy grooves and an addictive torrent of addictive riffs and rhythms. Like a mix of Pantera and Bloodsimple, the song is a masterful and persistently enjoyable start to the album instantly awakening full involvement of ears and appetite which Innocent Gun makes full use of straight after. The second track has a similar basic landscape but in different hues and shades of attitude, musically and vocally. Soon striding with a belligerence to its infectious bait of swinging beats and spicy grooves, the song reveals a whole new character to that of its predecessor whilst being the extension of its creative devilry.

Essences of bands like Testament and Exodus creep into the opening parade of enterprise within the excellent Revolution for Nothing, strains which get repeated throughout in between masterful roars of voice and emotions wrapped in infection soaked, melodic rich exploits. Good unpredictability also enriches the track, not bringing major moments to wrong-foot ears but enough to ensure every twist, each turn in the aggressive flight, is fresh and distinctly inventive, a quality highlighted again within the more primal Where God Feeds. Riffs are carnivorous from its first breath whilst the bass prowls the song with a predatory air as drums sticks swing some shuddering beats. Once more thoughts of bands like Pantera are lured out in the course of the ravaging grooving, as also of others such as Stam1na and Gojira for varying reasons.

The pair of Dance with the Devil and You Still Walk leaves the body breathless and a little greedier for more, the first through its thrash fury bound in anthemic ferocity and rapacious enterprise and the second, if not with quite the same impact, with an evocative storm of more prowling endeavour and skilled craft from each of the band. This is a song which grows and enthrals even more over time whereas others make a more instant impression, like the hellacious and riveting tempest of Generation Reboot. An infestation of rhythmic animosity and grooved seducing that bellows and buffets the senses with raw energy and rabid enterprise, it is easily one of the major highlights of the album.

One of but not THE one, that title falls upon Overthrown and its ordered bedlam of wicked beats, grievous riffery, and emotional intimidation speared by tendrils of sonic imagination. Again it is not easy to say the track is wholly original but all familiarity embraced is twisted into a tapestry of physical discontent and bordering on barbarous seduction as it stirs the passions. Amongst many impressive tracks it is the standout antagonist and more evidence of the quality within and still brewing inside Dienamic.

The album’s title track is breeding similar pleasures next, its fierce opening outpouring evolving into an oasis of melodic metal warmth before erupting into an even more venomous and intoxicating stalking of ears and air. The track is danger and bewitchment rolled into one before the melodic shimmer of The End completes the album. It is a melo-death seeded offering which as elegant and melodically entrancing as it is has a raging fire in its emotional belly, a furnace of angst and intensity which oozes from every pore of the album’s potent finale.

Dienamic are not close to touching their pinnacle yet but in Afterlife show they has all the armoury to become a highly notable presence in world metal and, as here, offer some highly satisfying and very often imposingly thrilling adventures along the way.

Afterlife is available now via Worm Hole Death.

Pete Ringmaster 02/09/2015

Copyright RingMaster: MyFreeCopyright

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