Destroy Planets! – Mass X Gravity

Though only emerging this past February UK metallers Destroy Planets! have made a striking introduction to themselves with debut EP, Mass X Gravity. It bears all the hallmarks of a craft and imagination which has been brewed over time, indeed the band has a sound which has been two years in the shaping and honing, but equally has an unpolished breath to it which only breeds pure pleasure and the potential of greater exploits to come.

Manchester hailing, Destroy Planets! draws on an array of metal seeded styles and muscular rock flavours for the individual confrontation which surges through their first EP. Raw edges meet with ferocious trespasses whilst both collude with melodic temptation and bold imagination; a tapestry of invention and tenacity which needed little time to intrigue and seize attention. Equally Mass X Gravity is a savage and resourceful force of unpredictability which continues to surprise by the listen as its depths expand to devour greater attentiveness.

As quickly shown by opener Ikon, pinning down the sound of Destroy Planets! is a pointless task, its voice as varied and mercurial as it is uniformly striking. The first track itself immediately sparks ears with industrial metal eruptions across its dark brooding but as quickly springs groove and death metal hues upon the senses; an Enter Shikari meets Machine Head meets Cryptopsy like corruption swiftly igniting keen attention and appetite. By the second though its sound is evolving and growing more fascination, a quality just as potent within the vocals of Tanya Wilson, her multi-flavoured and dextrous tones sheer magnetism in the thickly compelling tempest.

It’s fiercely testing and alluring twists and turns are echoed in next up Stars, the track shaping them in its own creative image as electronic and metal bred trespasses unite in a similarly gripping exploit. Wilson casts throat raw and melodic lures with equal captivation as the grooves and riffs of guitarists Aaron Pettit and Nathan Arif intrude upon and bound the senses. Providing a confrontation as feral as it is carefully woven, the track is a contagious predator with individual and united enterprise as well as its distinct imagination matched by that within the following Immortal. The third track instantly casts a Korn/Slipknot-esque shadow over the imagination though it is soon scavenging the senses with its own particular psychosis of sound and emotion. The whipping beats of Adam Tyree again incite as they punish whilst the dark, voracious grumble of Brad Crane’s bass is a perpetually unwavering lure in the creative tempest and especially goes to make one addictively memorable moment within the song and EP when it singularly courts the nightmarishly haunting melodic tempting of Wilson.

Absolution instantly consumes the senses with grooves and toxic ferocity, fellow Brits VNDTA coming to mind not for the first time but again swiftly band and sound casts their own unique creative character to prey upon and feed the imagination. Arguably the most infernal, vicious, and untamed track on the release, the song just compelled keener attention during its length and subsequent revisit while Bed Of Lies hooked equal greed with its calm melodic beginning and subsequent sonic squall; the latter woven in heavy metal threaded spirals and coated in extreme metal animosity as melodic virulence brews and eventually erupts in voice and sound.

The EP concludes with Save Yourselves, a closing inferno of sound and enterprise that descends with venom and ruthlessness but once surrounding the listener treats them to a myriad of textures and melodically seeded endeavour without losing its crushing intensity. It is a song which epitomises the Destroy Planets! sound and craft and its rich fuel of unpredictability which can only lead to greater adventures ahead.

Mass X Gravity is a challenge, a threat and another of the year’s unexpected but true pleasures.

Mass X Gravity is out now.

https://www.facebook.com/destroyplanetsband/   https://www.instagram.com/destroyplanets

Pete RingMaster 30/08/2019

Copyright RingMaster: MyFreeCopyright

Exes For Eyes – Of Strength And Sorrow

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

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

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

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

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

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

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

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

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

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

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

Pete RingMaster 20/08/2019

Copyright RingMaster: MyFreeCopyright

Borders – Purify

Described by the band as years in the making, Purify bares all the intensities, angst, and determination which you can assume accompanied its journey. The debut album of UK metallers Borders, it is a cauldron of emotion, passion, and sonic dissonance delivered with an energy and prowess which demands and indeed commands eager attention.

Lincoln hailing, Borders has been busy luring keen praise and support since their pretty much first days but especially since the release in 2017 of their second EP, Diagnosed. In many ways it was a potent teaser to Purify though the album swiftly reveals it is a massive leap in craft, imagination, and adventure whilst building on the striking groundwork of its predecessor. Live the band is renowned for its dynamic and power soaked presence, one definitely captured within the imposing, often infectiously corrosive, and always compelling tempest of Purify.

The album is a ravening cyclone of varied metal bred styles and textures, a fusion as hostile and brutal as it is skilled and unapologetically captivating. Led by the magnetically bold and versatile tones of Jordan Olifent, the ten tracks making up Purify entice as they devour, arouse as they punish. Opener 731 quickly shares the virulent nature and ferocious intent of the band’s sound, the dexterity in its making as open as the song sidles up to ears from a distance, quickly teasing and enticing with a web of lures from guitarist Gavin Burton. Soon it is dominantly striding forth, the rhythms of bassist Tom Britton and drummer Daniel Hodson inciting and biting as Olifent’s raw throated squalls infest ears and song alike. Continuing to ebb and flow in its aggression whilst concentrating its lyrical observation and emotive intensity across an ever twisting landscape, the song is a powerful start and draw into the heart of the album.

It is quickly eclipsed though by the following Wake Up which from its first breath is seducing and ravaging the senses; djent and death nurtured enterprise colluding with sonic and melodic taunts as vocals again bring a great fusion of attacks to the feral trespass. No prisoners are taken in word and sound with every syllable and note a virulent incitement before Damage Everything jabs and swings at the listener with its own individually contagiousness enmity. It too outshone the song before for personal appetites, an Anti-Clone-esque essence adding to its voracious character and grippingly unpredictable tempest.

The even darker and heavier climate of Bad Blood follows, melodic toxicity uniting with physical ferocity as easily as harmonic backing aligns with Olifent’s flesh scarring causticity. At times there is a portentous calm to the atmosphere of the track, one bringing greater discontent to the breath of the track before its instinctive animosity is embraced and twisted into another major highlight of Purify in the rousing crossover/ extreme discord of War. The track epitomises everything potent in the Borders sound, melodic and bloodthirsty enterprise fused in another savagely inspiring provocation.

As Demon’s Reach, with its equally barbarous and adventurous infestation of imagination and craft, and the hardcore lined Nothing To Lose consume and ignite attention and appetite, Purify only tightened its grip and fascination with next up A World Apart adding yet another creatively fierce and esurient peak to its impressive landscape.

Purify is definitely as album which caught and hooked our ears from the off but provides so much more pleasure and revelation with further attention, each play unveiling another layer and texture to the character and individuality of tracks as proven by the predator that is Faded. With every listen fresh nuances are revealed to its surface blood thirst, melodic and sonic rapacity woven with increasing craft and imagination highlighted by the play with its briefness accentuating its feral magnificence.

Closed up by the boisterously crawling exploits of Walking Dead, a prowling unrelenting devourment of the senses and the political chaos of today, Purify just consumed the spot. The lengthy time of its making has no doubt brought many frustrations to the band but used as further fuel to the rage against the toxic state of the world which has inspired the heart, imagination and skill within one mighty beast of an album.

Purify is out now via Long Branch Records and available @ https://borders.bandcamp.com/

https://www.facebook.com/BordersBandUK/   https://twitter.com/BordersbandUK

Pete RingMaster 21/05/2019

Copyright RingMaster: MyFreeCopyright

Redshift – Cataclysm

With influences to its breeding ranging from “70’s/80’s Rush and Genesis to more modern prog like Dream Theatre and Between the Buried and Me” it was hard to exactly imagine what the debut album from UK metallers Redshift was going to offer. It was an intrigue though rewarded with a release which was as unpredictable as it was fascinating and only increasingly enjoyable by the listen.

Their sound is tagged as progressive metal but that only gives one aspect of the Bath trio’s sound. It embraces extreme metal textures as easily and readily as melodic and classic hues, the band’s technical prowess just as ripe and open within the creative tapestry. For personal appetites there are moments which simply enthral and other times where the record merely held keen intrigue yet from start to finish Cataclysm held court on ears and attention and as mentioned with increasing success.

A concept album depicting the story of an invasion like no other around an engrossing lyrical thread based around honour, love, and a devastating apocalyptic event, the Ben Turner produced and Jamie King (Between the Buried and Me, The Contortionist) mastered Cataclysm easily lured attention with its opener, Overture: Something In The Sky. Immediately the technical craft of the band engaged; the guitar of Joshua Boniface casting a lure of intimation before showing its feral side alongside the driving rhythmic incitement of drummer Jack Camp and the rich lines of bassist/vocalist/keyboardist Liam Fear. The instrumental with its progressive suggestiveness effortlessly had the imagination weaving before the full force of Invasion descends.

The second track rises up from the formers portentous calm, almost hunting the senses and conjuring thoughts before rushing their barricades with vocal causticity amidst guitar spun wiring. The unpredictability and imagination of the band’s sound is soon properly unveiled, the song an aural kaleidoscope of flavours and sonic grains all designed to spread the tale and entice firm attention. Extreme and seductive textures continue to fluidly collude across the compelling proposition, the band’s progressive instincts seemingly honing the attributes of everything unveiled before Call to Arms stirred things up further with defiance and aggression. Yet it too brings an infectious melodic essence to its eruption, the mellower calms in between like the verbal and sonic narrator to the blossoming conflict. As the album itself both are tracks which reveal a little more by the listen, the richness of their narrative and bodies only thickened over time.

Promises provides a melodic amnesty to the friction, its unsettled piano crafted repose the calm before the storm, a tempest announced by church bell chimes and unleashed by the outstanding Fire, Smoke and Thunder. It devours the senses instantly, every angle of its attack carnivorous but equally voraciously virulent, ferocity and barbarous intent in league with dextrous progressively hued enterprise throughout. Easily our favourite track within Cataclysm, it tips a great potent release over into rousingly impressive if leaving the final pair of tracks the unenviable challenge of following its triumph.

Both May Fate Rest Upon You and The Last Stand may miss out rivalling their predecessor but both escalate the album’s appeal, the first with its classic hues over appetite nagging technical prowess and the closing track through its evocative atmosphere and expressive melodic radiance, a redolent beauty across a mercurial landscape which is never far from erupting and at times does so with rapacious agility and expectations defeating invention.

The final song also epitomises the unpredictable nature of album and sound, a core reason of its perpetual fascination and temptation and even after numerous plays we are discovering fresh things to chew on and enjoy within Cataclysm. Suggested as an album for fans of bands such as Opeth, Between the Buried and Me, and Dream Theater, Redshift has provided something well worth checking out for anyone with a taste for adventure.

Cataclysm is available now digitally and on CD @ https://redshiftband.bandcamp.com/releases

https://www.facebook.com/RedshiftBandUK/   https://twitter.com/RedshiftBandUK   https://www.instagram.com/redshiftbanduk/?hl=en

Pete RingMaster 01/05/2019

Copyright RingMaster: MyFreeCopyright

Spreading The Disease – Mindcell EP

From their very first single a few months short of four years back, the sound of UK metallers Spreading The Disease has been a contagious eventful trespass which has evolved almost by the song let alone release.  It has been a growth driven by creative drama and rich imagination which is now unleashing its fullest, most striking roar within new EP, Mindcell; five tracks of ravening ferocity wrapped in bold enterprise which confirms and further establishes the Kent hailing outfit as one truly individual and compelling proposition.

As its predecessor, the Insurrection EP released late 2017, was borne from a bolder step in the character and enterprise of the band’s sound, so Mindcell openly reveals another thick step in its blooming. Into the EP’s fertile and atmospheric asylum Spreading The Disease weave their richest web of styles and flavours yet; uniting the familiar and the adventurously unique in a tempest of sound which just demands attention.

Obsession opens things up, an initial sonic stand swiftly pulling in a tempest of noise, aggression, and vocal ferity. As barbarous as it is there is also an instinctive virulence to the assault which only escalates as the track hits its savage groove. The throat of vocalist Connor Russell Snyder is a fury of emotion and threat but equally an incitement of feral melody as the song breaks from its wild incursion into a voraciously catchy chorus. From start to finish the track is superb, the rhythmic blitz of drummer Jack Apell and bassist Steve Saunders, the band’s founder, as manipulatively resourceful as it is hungrily barbarous and entangled in just as magnetic and enterprising exploits from guitarists James Falconer and Martin Osbourne with each broadening their imagination by twist and turn.

The mighty start continues as Voices rises from sonic mist, the disturbed edge of its intimation fuelling and springing the controlled but hellacious surge of intensity which follows. It too is just a vehicle for subsequent imagination to emerge, dark calm and insecure vocal reflection crooning before erupting in its own bedlamic fury. That too is just a moment breeding another individual moment, the song a fluid patchwork of schizophrenic twists spilling pure magnetism from start to finish; it all crafted with individual prowess and emotive intensity.

The following groove metal swing of The Anger Inside is just as potently captivating, the track equally a bruising and harassing slab of nu meets death metal  soaked rock ‘n’ roll easily and quickly getting under the skin. Apell and Saunders steer the track through ears with sheer power and riveting guile respectively with the sonic cunning and causticity of Falconer and Osbourne similarly stirring and imposing.

Just as forceful and rousing are the vocal exploits of Snyder, their adventure no more potent than gracing next up Waves. Its gentle melodic lapping of the senses borders hypnotic, guitars and bass colluding in an alluring kaleidoscope of temptation before being urged into more caustic endeavour by the scything swings of Apell. Again there is a feral a quality to sound and song even within its mellow serenading and a progressively lined enterprise which adds to its increasing irresistibility and inevitable persuasion.

Conflicted brings things to a just as rich and potent close; the track opening with a groove which is as familiar as it is tempting. Soon though it’s untamed heart infests every emerging aspect, Snyder masterful astride its contagious trespass. To this at times, there is a hue of bands such as American Head Charge and Mudvayne but great essences soon devoured and reimagined by the viral exploits of Spreading The Disease.

Quite simply Mindcell is the finest moment to escape the creative institution of Spreading The Disease, one which should draw the spotlight it loudly declares the band deserves.

Mindcell is out now through Surgery Records; available from all platforms.

https://www.stdband.com/   https://www.facebook.com/spreadingthedisease.official/    https://twitter.com/stdmetalband

Pete RingMaster 16/04/2019

Copyright RingMaster: MyFreeCopyright

Downpour – Self Titled

It has been waiting for its chance to explode on the metal scene for three years and now uncaged, the debut album from US outfit Downpour, is not going to let a little matter of a lengthy delay stop it making a very potent impact. Groove rich, rhythmically merciless, and built on individual craft which commands attention, the self-titled release is a declaration of creative power and intent.

Boston based, Downpour began as a project with no particular expectations and possibly aims except the simple desire to create music; indeed they were “instrumental jam nights among the members [which] offered a respite from real life – things like 9 to 5s, crumbling relationships, bills, and beyond. Their sessions were akin to therapy sessions and the music became increasingly heavy.” As things progressed drummer Derek Kerswill (Unearth) contacted Brian Fair former band mate in and vocalist for Shadows Fall. With its line-up completed by guitarist Matt LeBreton and bassist Pete Gelles, and itself a proposition which could not be denied, Downpour recorded this debut full-length in 2015. The quartet though decided to sit on it until the time was right and everything was in place for the album to be unveiled which thankfully is now.

Musically the album embraces a tapestry of metal bred flavours. Senses brutal groove metal could possibly be said to be at its heart yet in any given moment it can spring forth with progressive imagination or extreme metal predation. It swiftly proves an unpredictable and fluidly evolving encounter indeed which quite simply is metal at its most instinctive and style embracing best emerging with a voice openly individual to its creators.

The Serpent’s Tongue opens up the album, predatory riffs and Kerswill’s rapier swing to the fore but equally strands of citric endeavour entangle the trespass which in turn is accentuated by the familiar and ever magnetic tones of Fair and an increasingly antagonism in that rhythmic antipathy. Savage yet firmly galvanic, the track is superb; hues of bands like Pantera adding to an almost spiteful character but a grudge which invites deeper and greedier investigation as individual flair and prowess inspires a united enterprise.

It is an imagination though which is only broadened across the following Truth In Suffering, a song which immediately weaves a melodically crafted but volatility lined landscape of shadow cloaked intimation and portentousness. Physical and suggestive extremes collide and collude within its captivating body, vocals too aligning raw and melodic dexterity in an encounter which lyrically and emotionally reveals an intimacy to its roar.

Though you could apply certain names as reference to the pleasures with the album by these two tracks and successor Astral Projection there is no denying the distinct personality and endeavours of the Downpour sound and release. The third track has a relatively calmer and warmer presence than its predecessors but again there is an inherent volatility and tempestuousness which keeps expectations guessing and ears fascinated; that and the ever compelling imagination of songwriting and craft that breeds them.

Through the likes of darkly lit and siren-esque Still Waiting and the irritable enmity that is Without The Fear, the album simply continues beguiling and ravaging the senses. The first is pure seduction with Eastern hues to its adventure soaked landscape built upon rolling rhythms and intrigue casting guitar manipulation. It is superb, easily our favourite track within the album where virtually every note brings fresh mystery and adventure with that essence of danger and invasive reprisals, though neither are realised but always lurking. The second rises from its own inviting lure into a wiry entanglement of grooves, riffs, and voracity fuelled rhythms but a mercurial proposition tempered by the melodic toxins and harmonic caresses which rise up. Though eclipsed by the track before, it feels like the former’s dark side in many ways and was just as greedily devoured before Beautiful Nothing had the appetite licking its lips once more through its rancorous virulence and imagination embroiling exploits.

Mountain completes the release, another track which just stole ears and passions with ease. From the vocal prowess of Fair, the album surely one of his finest moments ever, through the rhythmic manipulation and suggestion of Gelles and Kerswill to the sonic weaving of LeBreton, the song, echoing the whole encounter, enthralled and aroused.

Anticipation for Downfall’s debut has been long and keen across media and fans alike and it is easy to expect all to feel the wait has been more than worthwhile, the album basically another of the year’s major highlights.

The Downpour album is out now via Noize in the Attic Records through all major digital platforms and @ https://downpourmetal.bandcamp.com/album/downpour

https://www.facebook.com/downpourmetal   https://twitter.com/downpourmetal

Pete RingMaster 22/09/2018

Copyright RingMaster: MyFreeCopyright

Deathflux – Execrated

With its members previously part of death metal outfit Cacodaemonic and one of our favourites in progressive metallers Akarusa Yami, there was certain anticipation in hearing the debut album from British metallers Deathflux and Execrated certainly rewards that intrigue and excitement. It is a raw and uncompromising trespass upon ears and senses quipped with rich enterprise the imagination quickly took to.

Formed in 2016 by Nottingham guitarist Tom Clarke, who as mentioned enlisted band mates from his former propositions, Deathflux creates a sound which cannot be precisely pinned down. Led by a rousing and enjoyable senses abusing dual vocal attack, the sextet entangle everything from death and heavy to technical and groove metal with plenty more flavouring involved. Their first year saw the Bludgeon, Consume, Transcend EP uncaged, the band’s second bringing the current line-up together with vocalist Adam Jones joining the raucous bellows of Patrick MacDonald. Now Deathflux is ready for full and hungry attention which it is very easy to expect to be crowding them through Execrated.

It is a release which from opener Forsaken which manages to grab ears and captivate as it trespasses the senses while hinting we are just in on the beginnings of even bigger and bolder things ahead. Maybe that means there is an open potential not quite realised within the album yet it just adds excitement for the future to that gained though the bracing assault of the release. The first track immediately infests the listener as the twin fury of the vocals joins the predacious lure of the guitars and instantly threatening touch of the rhythms.  Soon as it hits its imposing stride, the song winds its creatively malicious tendrils around ears, animosity matched in the individual and united antipathy of the vocalists. Often lurching along between its fevered intrusions as imagination fuels twists and turns, the track lays potent seeds for things to come.

The following Consume finds an even more predatory lilt to its voice and presence, extreme and melodic metal converging on ears and each other as again vocals challenge as they align their discontent. Dissonance soaks every note, syllable, and word; its dystopian coating breeding a conspiracy of enterprise and imagination within the track and subsequent album as proven by next up Devolution. Similarly woven yet individual in its character and rapacious attack, the song springs nu metal hues into its infestation of styles and the web of rancor woven from them. It too jabs and snaps as well as careers across the senses, the guitars alone weaving magnetic intrigue and adventure including a delicious groove as rhythms blossom in their predatory dynamics.

Toxin initially dances in ears with catchy intent, it’s pent up animosity and frustrations waiting to be subsequently unleashed through the riveting exploits of vocals and the persistently unpredictable landscape of the song. As much as all its predecessors hit the spot, the track truly grabbed our attention and appetite, that intimation of even richer and bolder layers to the band’s creativity a nagging pleasure.

Easily our favourite track, it is more than backed up by Bludgeon which simply lives up to its title as it accosts the listener but an assault built with an imagination and diversity of touch which at one point seems to embrace inspirations of a Slipknot or Mudvayne in other moments the likes of Fear Factory and Dillinger Escape Plan.

Next up Transcend is even more bullish and irritable, deathcore traits seeping venomously into its grooved trap set by the guitars, Clarke relishing the dynamics as he casts melodic dexterity into the thrilling mix before Exile brings the album to a vicious conclusion. It epitomises every aspect of the band’s sound; from their ferocious energy and nature to the creative touch and technical flair each member brings to the war.

Though first impression were potent, Execrated really flourishes over subsequent plays as each track reveals more of their individuality and invention which might have escaped notice first time around. Expect to be assaulted and richly pleasured by Deathflux’s first album and anticipate being addicted as its potential ignites in the future.

Execrated is out now through iTunes and other stores.

https://www.facebook.com/deathflux/   https://twitter.com/deathfluxband

Pete RingMaster 03/07/2018

Copyright RingMaster: MyFreeCopyright