Acid Reign – The Age of Entitlement

Formed in 1985, British thrashers Acid Reign went on to shares stages and tour with the likes of Nuclear Assault, Dark Angel, Exodus, Flotsam & Jetsam, Death Angel, and Candlemass as well as release mini album Moshkinstein in 1988 and subsequently full-length The Fear and Obnoxious. A final show at the London Marquee saw the band come to an end; that was until 24 years later when Acid Reign returned with a rebooted line-up. Now they have a new album ready to ignite the UK thrash scene, an incendiary device leaving most other offerings this year exposed to its rousing wake.

Like a great many we never had the pleasure of experiencing the band first time around but look set to devour its exploits this time around if The Age of Entitlement is just the beginning of things to come. Led by original vocalist Howard H Smith, Acid Reign thrust a fresh voracious breath upon the metal landscape through their new encounter. Instinctively, thrash metal and its protagonists share a core flavouring as seed to their individual exploits and Acid Reign are no different but they have embroiled it in a host of other rapacious flavours and imagination bred adventures which makes it easy to be greedy for more.

With a line-up completed by bassist Pete Dee, guitarists Paul Chanter and Cooky, and drummer Marc Jackson, Acid Reign quickly gripped attention with the drama of album opener T.A.O.E., a track pushing the senses with its war tempered wall of riffs bound in barbed acidic guitar wiring. With drums banging their own confrontational trespass and melodic flames further igniting its pure temptation, the inspiring instrumental leads to the ravenous jaws of The New Low. Immediately, the second track surges through ears, rhythms a punishing incitement as guitars and bass uncage their own ferocious catchiness. Wired hooks vein the tempest as Smith’s equally manipulative tones further inspire participation in a feral roar which had us quickly and fully locked in.

NewAgeNarcissist equally made brief work of recruiting neck muscles and fiercely flung limbs, Smith’s fierce tones and lyrics riding the insistence with similar dexterity. The swarm of grooves across the song devoured as they sparked the appetite, rhythms just as uncompromisingly fertile before the track unleashes a chorus only the deaf could ignore. Every moment within the ravening song though is pure virulence and creative prowess, qualities just as rampant within next up My Peace Of Hell, a track galloping through ears with nostrils flared and breath aflame. A punk ferocity adds to the theatre of persuasion as too the web of enterprise cast by the ever agile guitars with another galvanic chorus a viral topping to it all.

As mentioned there is plenty that is familiar to the thrash instincts of the band and its songs yet each merges them into a slab of individual confrontation and endeavour as shown yet again by both Blood Makes Noise and Sense Of Independence. The first springs a persistently infectious trespass of groove metal infused, punk dusted, rock ‘n’ roll; essences of bands like Suicidal Tendencies and Infectious Grooves adding to the song’s gloriously insatiable holler while its successor growls with a barbarous grin as more extreme textures infest thrash rapacity. Even so melodic intimation and felicity bare the evocative heart of the song within one tempestuous climate of sound.

The hungrily swung antagonism and contagious face-off of Hardship and the demonic consumption of Within The Woods as ravenous as the Evil Dead themselves simply escalated the grip and impressive presence of the album, the latter eight minutes plus of creative adventure and pleasure nagging sonic acumen while Ripped Apart with carnal intent ravaged and devoured senses defenceless to its almost arrogant catchiness.

The album departs with United Hates, a predacious thrash scourge erupting from a scene of melodic beauty to remorselessly consume and ignite the senses. A deviously crafted yet primal assault of viral thrash brutality, it brings The Age of Entitlement to a close as exhilarating as its beginnings and indeed whole body.

It feels like British thrash is sowing the seeds to another heyday with the strength of releases this year alone, something surely even more certain if others can aspire to the bullish magnificence of Acid Reign and The Age of Entitlement.

The Age of Entitlement is out now via Dissonance Productions; available @ https://acidreign1.bandcamp.com/

http://acidreign.co.uk/   https://facebook.com/acid.reign.thrash   https://twitter.com/AcidReignUKAC   https://instagram.com/acidreignukac/

Pete RingMaster 11/10/2019

Copyright RingMaster: MyFreeCopyright

1000Dead – Self Titled

thousanddead_RingMasterReview

You know there is something happening and worth keeping a close ear on when a record keeps drawing you back and back. The self-titled debut album from Greek metallers 1000Dead is one such proposition. An uncompromising fury of thrash driven multi-flavoured metal, the eleven track assault on the senses constantly grips attention across its growling mass of highly satisfying enterprise. It is a mix of the familiar and of the freshly imaginative and as we have found an encounter easy to get a firm appetite for.

Formed in 2013, 1000Dead hails from Rethymno, Greece. Within their first year, the trio had released a 3-song promo (Promo 2014) which quickly drew favourable reactions and attention. Live the band has also drawn plaudits, sharing stages with the likes of Sabaton, Flotsam & Jetsam, Ravencult, and Wolfheart many others over time with the past months of 2016 seeing the creation of the band’s first album.

Mixed and mastered by John Leledakis, the album opens up with Lying Through Teeth and a fiercely irritable growl from guitarist/vocalist Nick Marinakis. Within a breath, the song is rampaging through ears, thrash bred riffs and thumping beats as merciless as they are inviting with the bass of Peter Leledakis an ear pleasing twang fuelled groan. The deeper into the song it takes the listener the broader its weave of sound and array of hooks and spicy grooves, that initial tempest of sound still the driving force with the addictively nagging  beats of drummer Alex Mouratidis steering the rage as Marinakis grouchily bellows.

The following Unveil Hatred is just as formidable and quickly compelling, though it is swifter into its melodic variety than its predecessor. Its heart is still predatory though, and surges with relentless venom throughout. A sudden drop into a creative maze of unexpected avant-garde imagination is delicious but too short and sadly not repeated while a slower atmospherically hued passage is a less satisfying detour but does little to reduce the enjoyment of the predominantly savage track.

cover_RingMasterReviewPost-war Blues comes next, starting in the distance with a spicy hook which only sounds more flavoursome full in the ear, providing the seed for even spicier inventive grooves and stabbing riffs. Vocals again angrily sear air and ears; Marinakis’s dirty tones a pleasing contrast but equally pleasing conspirator to the emerging adventure of flavours and styles blossoming within the song. From heavy and classic metal to thrash and death animosity, the track’s textures are a fluid kaleidoscope which works really well.

The torrential assault and vicious riffery of the outstanding Bring a Knife to a Gunfight is next, its unrelenting attack littered and interrupted by scything grooves and melodic suggestiveness respectively with the rhythms of Mouratidis and the belligerent tone of the bass pure magnetism to match the imaginative tapestry woven by Marinakis’ guitar. The song epitomises the album, blending recognisable sounds and invention with a unique touch in all of the band’s clean vocals and progressive/alternative metal spiced endeavour.

The track’s gripping creative drama and bold adventure continues through the surging tempest of Noise-pain, the song employing many of the same ideas found in its predecessor within its own choleric design, scything grooves and wicked hooks a joyful proposal throughout. It provides another impressive peak in the album being matched in success and sonic prickliness by This Day We Fight. Again raw aggression and bad tempered attitude colludes with unpredictable twists and enjoyably toxic grooves to grip and feed the imagination. It is a fractious affair which only increases the draw of the album, a reward increasing song by song as each track sees band and release growing in imagination and adventure.

The initially milder climate of Unplug Me is a great coaxing into a waiting aggressive wail though the song as a whole has a more restrained rage which allows further imaginative explorations to be shared by 1000Dead before the bearish heart of their sound is back to ravage and rage within the enjoyably quarrelsome and rhythmically captivating landscape of The Oppressor Syndrome.

Through the cantankerously intrusive and creatively eventful Stonework and the senses scarring onslaught of the seriously brief Cross Section, band and album tighten their hold on before closing off with the uncompromising intensity and punkish contentiousness of Dignity… A Dying Word, one final twist of diversity in the 1000Dead sound and invention.

It is a great end to a powerful and striking introduction to 1000Dead; an impressive starter for the band to become even bolder and unique from. Looking for a label to unleash the album with, watch out for 1000Dead savaging your ears and souls very soon.

Keep up to date with the album’s release @ https://www.facebook.com/1000Dead

Pete RingMaster 14/10/2016

Copyright RingMaster: MyFreeCopyright