Jonestown – Aokigahara

Jonestown_RingMasterReview

Beauty and paradise can turn to pain and hell with seeming ease within the hands of mankind; the utopian vision of the charismatic and disturbed central figure in the inspiration to the band’s name a prime example. UK metallers Jonestown seed their sound and lyrical confrontations in such personal and worldly tempests; to borrow words from their bio, “The name Jonestown encapsulates the fragility of our state in nature and in society. We’re oblivious to how fragile we are and how quickly life can turn to death.” Musically, the Brighton band starts in hellish landscapes of sound and emotion too which, as shown by new album, Aokigahara, is then taken to fiercer debilitating states whilst subjecting the listener to one seriously thrilling incitement.

Formed March 2014, Jonestown took little time to impress and lure thick attention. They won the Metal 2 The Masses competition that same year with their first ever gig together being the initial round of the event which they also won. From there they have played with the likes of Soulfly, Monuments, No Consequence, and Black Dahlia Murder , toured with Prolong the Agony, and drew acclaim with performances at festivals such as Bloodstock Open Air in 2014 and in 2015, both Leofest  and Mammothfest. 2016 is going the same successful way as its recent predecessors for the band, starting with the recent release of their stunning debut album Aokighara. Named after the forest at the base of Mount Fuji known as ‘the Suicide Forest’, the release is cauldron of raw and varied metal ferociousness fuelled with a hardcore laced antipathy in sound and tone. It is a creative animus, a web of inventive rabidity and ravenous imagination, and quite irresistible.

Jonestown Artwork_RingMasterReviewIt opens up with Deliverance, a track taking its time to come into view from within a haunting cold ambience. Chilling winds wash provocatively over the senses as a melancholic melody sighs in the background. Soon an imposing wall of intimidating chords and raw intensity looms up though, it in turn erupting into an onslaught of corrosive sonic and rhythmic animosity led by the vocals squalls of Harley Anderson. It takes little time for the technical prowess and unpredictable enterprise of the band to show its impressing nature with guitarist Craig Radford spinning a web of grooves and melodic temptation as a suggestive wrap to his and bassist’s Tony Hardwick predatory riffs and lines, this all without defusing the unbridled rancor of tone and touch of the song.

It is a striking start to the album quickly matched by Cenodoxus and Borderline. The first of the pair is equally as bitter and uncompromising as its predecessor, the senses bruising swings of drummer Rich Owen as virulent as they are punishing. It also pushes the imagination further with a great Korn-esque twist within its Black Dahlia Murder meets Meshuggah meets Murdock like ravishing of ears and emotions. Its successor has its own creative vendetta to share; grooves an infestation as toxic as they are seductive, simultaneously tempering and accentuating the impressive and varied strains of Anderson’s vocal enmity and the carnivorous voice and exploit of the bass.

Mass Extinction Six is a merciless knot of emotional tension and sonic jaundice next, again an assault brought and veined with some richly flavoursome and appetite inciting invention, whilst the album’s title track breeds an emotionally corrupted atmosphere around a whirlpool of virulent riffs and grooves. Without quite matching the earlier pinnacles of Aokigahara, both leave ears resonating and pleasure thick before Aprés Moi shares its own caustic drama. As with all tracks, it is an unrelenting predator, never giving ears a moment’s breath or the imagination time to settle before another raging and contagious outburst of invention and breath-taking hostility erupts to steal attention.

With the mouth-watering emotional discord and physical bedlam of The 33rd Parallel and the sonic terrorism and mesmeric beauty of the equally outstanding Deadweight bringing Aokigahara to a riveting and ferocious close, the album stands as one of the best metal debuts this year and back. At times it almost proves too brutal and invasive to take in one go, but every track brings such a fresh adventure of conflict and emotional friction that tearing away from the album’s grudge proves impossible. Bottom-line is that this is a treat no one should ignore.

Aokigahara is out now @ http://Jonestownbrighton.bandcamp.com

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Pete RingMaster 28/04/2016

Copyright RingMaster: MyFreeCopyright

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Plutonium – Born Again Misanthrope

Plutonium_RingMasterReview

Born Again Misanthrope is one of those great releases which maybe initially leaves ears and thoughts unsure but with deserved attention works its way deep into the psyche whilst proving to be one highly magnetic proposition. The nine-track engagement, with a tone and character living up to its name, is the recently released third album from Plutonium, a one man project from Sweden and an encounter which crafts and in turn captivates with a voracious theatre of raw and dramatic shadows.

Carlsson, more often known as Mr J,. is the creator of Plutonium and a sound which imaginatively merges extreme industrial and black metal, though that over simplifies the sonic adventure within certainly Born Again Misanthrope. Hailing from Karlskoga, the project emerged in 2003 with an early demo appearing the following year. Three years on and debut album One Size Fits All was unveiled with successor Devilmentertainment appearing four years on. With hindsight investigation of those releases, it is easy to assume Plutonium has drawn potent attention and support over the years, even if yet to find itself breaking into the broader spotlights beyond its homeland. Born Again Misanthrope though, might be the key; certainly it is the most imaginatively accomplished and unique proposal from Plutonium yet and given the time a sizeable magnet for ears and eager attention.

The album opens with its title track and a militarist nagging of beats which subsequently sparks a similarly toned parade of riffs. From there blackened toxic grooves spring upon ears and appetite as the dark rasping tones of Mr J. almost crawl through the enveloping muggy landscape. It is a ravenous confrontation unafraid to allow a seduction of melodic calm to join its persuasive trespass of ears and imagination. The collusion of industrial and extreme metal is a hellacious tempting with post punk and progressive twists icing on the pestilential cake. As suggested earlier, it provides a thick challenge initially, taking body and thoughts aback with its unconventional design and aggravation but over plays the song really blossoms into one dramatically compelling affair.

It is a journey and achievement which pretty much applies speaks for the album too, and second song Cortex Vortex whose intrusive invasion is at first a boldly unsettling incitement. Taking time to acclimatise to its creative animus of rabid intensity and a ravenously tantalising sonic undercurrent though, the song emerges as another captivating protagonist of the senses. Its unpredictability is as enjoyably ripe as the diverse strains of styles woven into the corrosive theatre of sound and intent; a soundscape as prone to melodic and avant-garde intrigue as it is emotive despair.

For personal tastes it is when tracks venture into that wrong-footing and seriously diverse scenery that they truly come alive and remove themselves from more recognisable black metal dilemmas. The Inverted Panopticon Experience is such an offering; though instantly taking a hold of the appetite with its death march of debilitating rhythms and corrosively wiry riffs and grooves, it is the industrial and sonic imagination that elevates its stature and lure even though its dominant incessant stalking of the senses never abates.

Casque Strength has that same nagging quality too though this time with a warmer melodic hue to its worrisome nature. Straight away it is working the senses though it holds it back somewhat as a great industrially coloured atmospheric mist descends before returning to its unbridled niggle soon after as the vocals offer venomous predation through it all. Already a virulent strain of persuasion, the track only grows in potency as an enthralling, almost indie rock bred melody and accompanying hooks perpetually vein the venture whilst sparking a bold swing to the torrent of sonic tempting.

One of the clear pinnacles of the album it is followed by the shadow rich drama of The Masque of The Green Demon. A sweltering reflective ambience envelops ears as guitars slowly spread their sultry lures whilst drawing on stoner and sludge bred qualities as the song bracingly shimmers on the senses. Vocally Mr J. never veers from his black metal inspired delivery yet it works perfectly with the heavy rock ‘n’ roll of the fiercely enjoyable track for arguably the most unique moment on the album.

The harsh cold landscape of Renuntiationem comes next; the track a wasteland of warmth and hope that spawns a dark and sombre hued drone laced with just as melancholy rich elegant melodies. It is a provocative and mesmeric flight of sound and emotion that, as many, flourishes with every listen, though time the outstanding Electric Barbwire Crown of Thorns has no need of. From its first electronic/metal seeded assault, the song has ears and appetite enthralled with a web of sonic enterprise within an industrial tirade of noise. Swiftly though, the song twists and turns through inventive detours and imagination fuelled escapades as addictive and infectious as hey comes. Along with Casque Strength and The Masque of The Green Demon, it is reason enough to check out Born Again Misanthrope and Plutonium.

The short instrumental of Alice in Plutoniumland (Two Minute Hate Part III) sparks the imagination next, playing like the haunted soundtrack to a psychedelic kid’s tale set in dystopian X-Files spawned surroundings. It is an ever giving piece for the listener to play with before Confessions Of A Suicidal Cryptologist aggressively leaps on ears and emotions with its furious smog of intensity and cancerous animosity. Fair to say though, the album closer has its own enthralling moments of boisterous catchiness and brazen rock ‘n’ roll endeavour, not forgetting atmospheric synth woven incitement.

The track provides a formidable and potent end to a thoroughly enjoyable adventure which simply becomes more impressive over time. With certain moments of majestic ingenuity backed by further creatively rousing craft, Born Again Misanthrope is a proposal that extreme and industrial metal fans especially should definitely explore.

Born Again Misanthrope is out now @ http://thetrueplutonium.bandcamp.com/

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Pete RingMaster 13/04/2016

Copyright RingMaster: MyFreeCopyright

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The Mountain Man – Bloodlust EP

TMM_RingMasterReview

Like brawling with a bear, the Bloodlust EP leaves concussive destruction and raw mayhem in its wake. It relentlessly ravages and crushes with five tracks of metal ferocity but like an unbridled storm it also leaves the senses energised and hungry for more. The release is the debut assault from Canadian band The Mountain Man; an introduction to a new primal force with potential swinging from every mighty rhythmic blow and sonic tirade.

Hailing from Vancouver,  The Mountain Man draws on inspirations from the likes of The Black Dahlia Murder, Crowbar, Gojira, Lamb of God, and Black Sabbath for their ravenous sound. They are essences easily heard within the band’s first encounter but no more so than the band’s own distinctive and carnivorous imagination and raging intensity. Since forming, the band has earned a potent reputation for a live presence which has seen them play with the likes of 88 Mile Trip, Nylithia, La Chinga, Slaughterhauser, Warrborn, Ninjaspy, Abriosis, Unbeheld, and Dead Asylum. Now it is the Matt Roach produced, Troy Glessner mastered Bloodlust EP ready to spark not only fresh homeland attention but easy to suspect far wider bred spotlights.

Virtually living up to its name from its first breath, the EP opens with the venomous Backhand of God. Its initial touch is a single captivating melody with just a hint of a rapacious edge to it. That background hunger is soon realised as the evocative groove leads into a blistering haze of raw and imposing intensity led by the bestial growl of vocalist Parker.  By now the track is prowling ears, crawling over the senses with a Lamb Of God like predation wrapped in equally intimidating tendrils of guitar enterprise cast by Tyson Tambellini and Jordan Orr. Increasingly invasive and pleasing, the track makes a formidable, attention grabbing start to Bloodlust, though it is quickly eclipsed by the EP’s title track.

Album cover_RingMasterReviewA web of primal rhythms and corrosively roaming grooves instantly ensnare ears  as Parker extends his multi-faceted vocal fury and attack to again direct the tempest. It is an exhilarating and  uncompromising tempest driven by the gloriously thunderous and dynamic beats of Ryan McCreedy, whose hellacious craft is matched in merciless kind by the psyche grinding grooves of bassist Tevyn Pacey. The track is glorious, a torrent of riffs and creative savagery bound in acute melodic enterprise which simply captures the imagination as much as the barbarousness of the track has the body gripped.

Open Graves steps forward next; it also opening with a trespass of a groove impossible to defend against. The song is a dirtier, more muggy proposal than its predecessor but still leaves its all-consuming enveloping of the senses open to ear grabbing imagination and the ever evolving hostility of the rhythms. As the song before, it is maybe hard to say that the track offer s big moments of originality yet every minute provides a collision of fresh violence and creative endeavour which leaves most extreme metal onslaughts heard so far this year, looking a touch pale and uninspired.

Showing greater diversity in their songwriting and ideation, the band opens The Great Decay with a melodic seducing which is as elegant as it is slightly melancholic and certainly laced in devilish intrigue which builds and intensifies into a maelstrom of aggravated emotions and volatile persuasion. There is restraint and unbridled animosity in the song, creative adventure and pure sonic rancor, and numerous other contrasting textures which all unite in an impressive, almost swamp like bellow of provocative suggestiveness. Ending with a brutal predatory charge employing every strain of metal viciousness possible, the track makes way for the closing ferociousness of Ghost.

It too takes to stalking the listener first, but with open barbarism in every aspect of its doom scented and blackened pestilential crawl. Breaking out stoner-esque grooves, if swung by an executioner, the band continues to prove that familiar hues does not mean predictability; the track continuing to weave recognisable yet boldly fresh textures into one mean spirited and fiercely galvanic incitement.

It did not take long to get a lusty appetite for Bloodlust, one which has only increased and got greedier with every outing. We are sure to not be alone in embracing the roar of The Mountain Man, and the recognition that things can only get bigger, better, and more brutal with the band over time. Bring it on!

The self-released Bloodlust EP is out March 25th @ http://mountainmanmetal.bandcamp.com/

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Pete RingMaster 23/03/2016

Copyright RingMaster: MyFreeCopyright

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Guardian – Revolution

Guardan Promo Shot_RingMaster Review

There is a fresh tempest about to savage the British metal scene; a bracing consumption of the senses going by the name of Revolution. It is the title of the debut album from Guardian, a Northumberland quartet which had already shown its creative intent with their earlier Tyrants EP. A long time in the making, the new twelve fury encounter is a ferocious blend of varied metal provocations driven by themes “centring on the balance of life and nature, and an emphasis on the unsustainable damage that humans are inflicting on our planet”, and a wake-up call to national attention for the great invasive roar of Guardian.

The band made their first impact with the aforementioned Tyrants EP mid-2014, inspirations from the likes of Pantera, Machine Head, Whitechapel, and Parkway Drive adding to the varied metal bred textures making up the release’s sound and even more so now, Revolution. Well-received by fans and media alike, the EP was supported by Guardian going on a month long European tour followed by a just as busy series of shows around the UK. Thoughts then turned to the band’s first album, Guardian taking their time to write and create the beast before us and proving suggestions that they are one of Britain’s exciting new breed of extreme incitement.

The short introductory climate of Resolution starts things off, its sombre yet elegant melodies the lining to an emerging portentous air as the instrumental leads ears and imagination into the volatile and combative landscape of the album’s title track. Instantly Revolution is an intimidating threat of wiry grooves and biting riffs against barbarous rhythms, the raw antagonism driven by the throat grazing vocal scowling of Matthew Hall and lit by grooved spicing from guitarist Zac Yates. It is a magnetic challenging of ears and emotions; one sculpted with open enterprise and unpredictable imagination within a ravishing cauldron bred from essences to be found in many flavours from death and thrash metal to hardcore and metalcore.

Guardian Cover Artwork_RingMaster ReviewApart from the fade-out, the track is an immense beginning backed as forcibly by the mazy dynamics and brutal tirades of Politics. Ears are instantly pushed back by its intensity as the predacious nature of the song brews, building until erupting in a hellacious outpouring loaded with the violent rhythms of drummer Joshua Stephen matched in vitriol by the bestial tones of Cory Young’s bass. Yates again veins the storm with toxic but virulent grooves and hooks, their potency successfully riding the crushing breakdowns, as here, breaching the whole of the album.

Innovate devours the senses next, its instant cantankerous character the spark to the song’s savagery in sound and vocal animosity. Inhospitable but again rabidly catchy, the blistering track inflames the appetite for voracious trespasses before the rapaciously energetic prowl of Capitalism matches its triumph. Rock ‘n’ roll to beat up on the world to; the song is an incendiary slab of heavy-duty metal vehemence leaving body and emotions with a want to take on the world.

Through the fearsome heavy metal seeded enmity of Deliverance and the outstanding hardcore toned Catharsis, band and album keep an already hungry appetite greedier, both tracks a sonic web of inventive twists and murderous inclinations before Propaganda provides a rousing if corrosive weave of winding groove honed tendrils to inflame the cancerous tapestry of sound. In some ways the three together provide the pinnacle of the album, each leading and seeming to inspire the following to new creative antipathies before the ‘mellower’ landscape of Hope hugs the senses. Its touch sears the sense from the off and of course it too unveils barbarous sounds and imagination over time, but from start to finish it enthrals with a ‘lighter’ atmosphere and infectiousness absent elsewhere within Revolution.

Nomadic leads the listener through a meandering landscape coated in raw melodic and electric sonic endeavour next, its rhythms building another bad blooded dispute as Hall’s vocals infest the psyche as supporting band roars incite the instincts. It is a crushingly invigorating proposition setting up body and emotions for the back breaking intensity of Ambivalence and finally the ravenous sonic dexterity and rhythmic rabidity of Restoration. The pair creates an intrusively dramatic and explosively volatile finale to Revolution, at the same time giving glimpse of even richer veins of exploration within the Guardian sound.

Revolution is a thoroughly satisfying and enjoyably exhausting release from a band easy to see making strong waves ahead. It is an encounter which might not live up to its name in regard to stirring up the metal scene, moments of surface similarity between some tracks and a familiar feeling to others noticeable if no issue, but for relentless seriously accomplished and stylish metal fury, Revolution is set to wake up thick attention.

Revolution will be available from 22nd January through all stores and platforms.

https://www.facebook.com/GuardianUKNEMC

Pete RingMaster 22/01/2016

Copyright RingMaster: MyFreeCopyright

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Markradonn – The Serpentine Deception

Markradonn Serpentine Deception EP cover_RingMaster Review

Whether calling the Markradonn sound experimental death metal, brass death metal, progressive death metal or any other variation of its invention you wish to describe it as, and all potently applicable terms, the broad brush is that it is one truly unique proposition igniting ears and the imagination. Real and bold originality is a relatively scarce commodity in the music world let alone metal scene right now it seems but the Florida hailing Markradonn is one of those creative protagonists wearing uniqueness as openly as craft and invention. The band’s acclaimed 2013 debut EP Final Dying Breath revealed the rich potential and fiercely imaginative songwriting/composing fuelling the conspicuous sound of the band and now its successor The Serpentine Deception takes it all to another striking and mouth-watering level.

Markradonn is a death/extreme metal band, that is their heart but with its live brass section and similarly bold timpani temptation to simplify the rich flavours and textures woven into their music, they create an emotively dramatic and creatively dynamic proposal unlike anything else out there. As suggested, The Serpentine Deception finds the band exploring their most imaginative work yet. The EP’s tracks reveal more intricacy in their design and sound, a fiercer roar in their bracing confrontation, and thicker intensity in their atmospheric lures, a new evolution in an already fluid sound making a thick impact straight away.

Initiation Through Torment opens up The Serpentine Deception; a cinematic/vocal sample coaxing ears and attention as a portentous whisper skirts the background. In a matter of a few more breaths, the stirring resonance of rhythms and warm swipes of brass unite as a similarly potent predation is uncaged by guitars and the dark rasping tones of vocalist/guitarist/songwriter Haniel Adhar. The blend instantly swamps ears in drama and intrigue, their contrasts colluding in an inviting yet ravenous consumption of the senses. It is a stirring and compelling incitement, the light and almost celebratory blaze of brass, as well as the timpani led rhythmic swing, merging with the dark predatory blackened death honed textures cast through guitar, bass, and voice. There is a feeling of coming of age in the tone of the track too, its protagonist journeying through the song’s title with celebration and tempestuousness around them.

Already hooked, body and imagination is swiftly and fully engaged again as the rhythmic entrance of NIN.GISH.ZI.DA God Of The Tree Of Life draws the listener into a jazzy web sculpted in the embrace of a primal and deviously tempestuous sound. The tapestry crafted is fascinating, a seamlessly and inspired fusion of conflicting elements which leave thoughts as bewildered as they are bewitched and ears eagerly trapped within the hellacious waltz.

The EP’s title track is equally spellbinding; the instrumental a shamanic visitation upon body and emotions as tribal rhythms and the raw tonal call of a didgeridoo magnetically involve the listener in atmospheric adventure. There is a great essence of shadow hued distortion to the track too which shows its ingenuity in brief but masterful glimpses. As meditative as it is evocatively invasive, the outstanding track makes way for The Veil Of Negative Existence Part 1- Ain, Nothingness; an instinctively infectious trespass with its own individual bedlam of resourcefulness and dramatic virulence. There is a touch of Trepalium to the track, a vague scent in the cosmopolitan yet melodically intimate weave conjured by Markradonn, which in turn is walled in by a blackened causticity soaked in rancorous imagination and veined by Adhar’s enticingly cancerous tones. The track is a labyrinth of simultaneous seductive and venom, an invigorating intrusion leaving bodies swinging and appetite inflamed.

Closing instrumental Stillness, Silence Of The Primal Mind is a gentler tantalising of the senses, a sonic travelogue of emotive scenery in an aural landscape painted by melodic guitar and melancholic brass. An immersive flight to which thoughts are given the freedom to cast their own poetic narrative, it brings the release to an enthralling end, well until pressing that play button again which is the instinctive next move.

Working towards the release of their debut album Ceremonial Abnegation Part 1: Excoriation Of The Flesh, Markradonn is one of the true fresh breaths in metal, from its underground to its broadest landscape. As for The Serpentine Deception, that is simply a must investigation for all with the heart for real and rewarding adventure.

The Serpentine Deception EP is available in association with Bluntface Records from December 15th through the band’s GoFundMe page where news of the album and details of a DVD, which will have a collection of performances, a full show with multiple camera angles, and clips from production videos and practices can also be found.

Recording Line-up for The Serpentine Deception:

Haniel Adhar: All Guitars; Vocals

Tim Carter: Drums and Percussion

Jonathan Gabriel Katz: Timani and Concert Percussion; Drums

Richard Blankenship: Principle Trombone and Brass

Dennis Bottaro: 6 string bass, Didgeridoo , Hand Percussion, Guitar

Drew Prichard: Cimbasso; Tuba

Robin Sisk: Tuba

Danny Rowland: Tuba; Euphonium

Austin Kinard: Trumpet and Brass

Gavin Pritchard: Hand Percussion

Nicholas Weaver: Fretless bass, French Horn, and Trumpet (Live)

Beka West: Euphonium, Trombone (Live)

Allen C Raia: Rhythm Guitar (Live)

Jesse Hudson: Vocals and Trombone (Live)

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Pete RingMaster 15/12/2015

Copyright RingMaster: MyFreeCopyright

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Idols Of Apathy – Life Lessons

Idols Of Apathy Promo Shot_RingMaster Review

Truly standing out in the vast horde of metal bands with a hellacious bully of a sound seems to get harder and harder with every passing year and diversely brutal release. Originality is a premium numerous touch upon, often impressively, and few rarely blossom to something which really does stand alone and become the inspirer rather than the inspired. British extreme /tech metallers Idols Of Apathy fall into the former with their sound, but equally strongly impress with their five track tempest of fury and raw ingenuity, the Life Lessons EP. The release is a volatile and skilfully invasive proposition which never leaves a moment dulled by a lack of imagination and passion, qualities woven in with recognisable hues to suggest that influences breed as much of the band’s invention as their own explorations. At the same time though, the highly enjoyable Life Lessons leaves ears and appetite fiercely attentive as a rich fuel of potential hints of even bigger and individually bolder things ahead as Idols Of Apathy evolve.

Idols Of Apathy Cover Artwork_RingMaster Review   Bursting from the Essex landscape in 2013, Idols Of Apathy were soon stirring up a potent local fan base, spreading further afield once they swiftly released debut single Deceiver. Its success was backed by first EP Unheard Words, which was recorded by Dan Keer. Picking up strong national and media recognition, it was the spark to the band sharing stages, to continuing acclaim, alongside the likes of Climates, Canvas, Lock & Key, Shields, Sworn In, Continents, Create to Inspire, Carcer City, and Falling With Style amongst many more. It is easy to see similar and bigger responses to the release and persuasion of Life Lessons coming up, and though it might not roar from that plateau of major originality it powerfully gives the already strong reputation of the band a new shot in the arm.

The release opens with Bipolar, a song inspired by vocalist Jack Dervish’s own condition and living up to its title in sound and character from its first evocative breath. In no time the inviting coaxing is an anger driven and heart spawned tearing of the senses, with a sound seemingly drawing on the savage intensity and hues of a Slipknot, Devil Driver, or As I Lay Dying. The lethal swings of drummer Stuart Roche resonate like masonry through ears and bone whilst the raw vocal invasion of Dervish, backed as strongly by guitarist Dean Chignell especially with his eventful clean tones, abrase and entice simultaneously. It is the web of invasive grooves and technical imagination from Chignell and fellow guitarists Tom Johnston and Joe Gregory that majorly helps turn a very decent track become a striking offering, their entwining enterprise helping the EP get off to an immense and impressive start.

The great creative irritability and hostile dynamics of the first song continues in the following Addiction, its trespass an insatiable incursion into the senses but bolder in its embrace of provocative ambiences and ‘mellower’ textures led again by clean vocals. The song itself jerks around at times like it has creative Saint Vitus Dance, twisting and lurching from idea to carnivorous intent with seamless and eventful prowess. The bass of Elliott Black is a predator in the mix, his lines and lures bestial, and though not always as open in the mix as in the first song are always there tempering or inciting the calmer and fiercer moments.

Once A Cheat / Always comes next, smothering ears in an atmospheric angst around similarly driven vocals before spilling its own animus of sound and emotion. The scything strokes of one guitar collude with a net of off-kilter sonic from another as the track blossoms a turbulence which merges moments of rich catchiness with winds of blustery causticity; the technical craft and ideation of the band from all angles ensuring predictability is an unused issue.

The scent of Whitechapel meets Revocation of the track merges with the rancorous intensity of the following Backstabber too, lining the melodic expression lighting up a track which maybe does not make the same initial impact as earlier propositions within Life Lessons but comes into its thrilling own over time and listens. It is an increasingly virulent tapestry of crippling rhythms and spiky guitar intrusiveness bursting with resourceful vitality and physical tenacity from across the board before leaving Lessons Learnt to bring the EP to an imposing like-minded and pleasing close. As well as essences which savage as old friends, there is an element of similarity between songs in certain areas but always saved from dominating things by the turbulent adventure the band builds each track upon. Whereas its predecessor’s assault was sonic and lyrical venom, the final track feels like it is an understanding incitement, melodic and harmonic essences a hug around the shoulder giving a reassurance echoing the words shared, though it still snarls and bites like a rabid beast too.

Idols Of Apathy is a band destined to more and greater attention, a suggestion hard to resist making on the evidence of the excellent Life Lessons, and if they can find that real element of originality too, the real potential of big things ahead.

The Life Lessons EP is available from December 4th.

https://www.facebook.com/IdolsOfApathy   https://twitter.com/idolsofapathy

Pete RingMaster 04/12/2015

Copyright RingMaster: MyFreeCopyright

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The Five Hundred – Winters

TFH_RingMaster Review

Every now and then, without any debate, lustful pleasure is ignited by a release; by a band exploding on the sweet spot of ears and instincts with something which just seems to know what the passions like. Such an encounter for us is Winters, the debut EP from UK metallers The Five Hundred. It is hard to say what particularly incites such enthused reactions and appetite, the release weaving its fierce tempting with a host of familiar flavours and styles, but every one of its four incendiary tracks is hellacious manna to the ear and imagination; something we suspect to not be alone in feeling.

The Five Hundred emerged in 2014, a Nottingham quintet previously known as DAOR. In no time their fusion of brutal and melodic metal was whipping up ears and thick attention, every strain of extreme metal and numerous other styles seemingly entangled into a compelling maelstrom of enterprise and confrontation which now fuels Winters and already an acclaimed live presence which has seen the band share stages with the likes of Napalm Death, Fear Factory, All Shall Perish, Architects, and TesseracT. Recorded with Justin Hill (Sikth, Heart of a Coward), Winters is the band’s first fearsome roar at national spotlights, and if our ears are anything to go by, heading to rich success in awakening that broader focus.

Winters EP Front Cover_RingMaster Review    The press release suggests that the band switching to 8 string guitars has been a new spark to their sound and invention; whether it has or not, all that matters is that Winters is a full-on tempest of persuasion from first breath to last. The EP starts with its title track and straight away is grumbling in ears through the predatory bass of Andy Crawford, it a grouchy provocateur within a surge of wiry guitar. The hefty swings of drummer Liam Perez show no light in their nature either with each beat a shuddering impact as guitarists Mark Byrne and Paul Doughty weave more compelling bait for vocalist John Eley to spring from with great diversity. Just as musically the release ticks all the boxes so does the attack of the frontman, his fluid mix of clean, punkish, and outright raw hostility equally accomplished and perfectly measured in the split of all his strains of potency.

Death and heavy metal collude with metalcore and post hardcore ferocity though that is a simplifying of the hues creating the first and each track within Winters, as Come Closer swiftly proves. The lead track with a great video in tow, it emerges from a misty sonic atmosphere with military rhythms and emotive vocals, they still more in the background until a ravenous stomp of belligerent rhythms and caustic riffs is triggered. It in turn breeds a sonic blaze which is not so much mellow as less vicious than the surrounding and perpetually prowling ferocity soaking the walls of the incitement. Again at times as punk as it is metal and a constant exploit of seriously enticing elements amidst slithers of unpredictable ingenuity, the track is a ravenous treat but outshone within seconds.

The barbarous majesty of the first two tracks carries on in the outstanding Shutter to the Light, its immediate swagger as seductive as it is venomously violent. Like an anthem for the derailment of all that is hopeful, the track bellows at and trespasses the senses and imagination with enthralling enterprise, yet within its despoiling character harmonies and melodies are unleashed to wrong-foot and seize the passions even tighter. Everything about the track whips up a greedy appetite and pleasure; from the irresistible prime hook to the increasingly formidable vocals and the raging invention culturing the creatively rabid storm.

The EP is closed by The Cannibal Hordes, it also a quite thrilling and blistering arousal of ears and satisfaction. Melodically acoustic in its first caress, defiantly cantankerous from the second onwards, the track spits hostile intent and roars melodic understanding; vocally and musically entwining both with a skilled volatility that ensures expectations never gets proven. As suggested earlier, many elements and flavours are recognisable, bands like Fear Factory, Lamb of God, In Flames, and Hatebreed coming to mind, yet no song utters anything other than something unique to The Five Hundred.

The Winters EP is a crushing and scintillating introduction to The Five Hundred, band you should expect to hear a lot more of in sound and acclaim ahead, if only from our enraptured lips.

The Winters EP is out now digitally and on CD via https://thefivehundred.bandcamp.com/releases

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Pete RingMaster 24/11/2015

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