Shredhead – Death is Righteous

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

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

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

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

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

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

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

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

Death is Righteous is available now via Mighty Music

https://www.facebook.com/shredheadband

RingMaster 14/01/2015

Copyright RingMaster: MyFreeCopyright

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Onoma: All Things Change

When recently reviewing the excellent From Israhell With Love compilation, a release which highlighted the strength and diversity of metal bands coming out of Israel, one band stood out over what was an impressive line-up of bands and songs. The band was Onoma, a Tel Aviv based alternative metal quartet whose track Bug was an instant addiction with its vibrant and fresh sound, ideas, and energy. Their contribution ensured the need to hear more and the opportunity came when guitarist Asaf Keidan from the band approached The RR for a review of their album. Obviously being professional we deliberated and thought about the offer…for all the time it took to type yes please… and what emerged was an album which excited and thrilled like so few other releases have in recent months. All Things Change is outstanding, an album which took no time in entrenching itself in the imagination and heart.

Onoma, the Greek word for ‘Name’, were formed in 2007 by Keidan, vocalist Elad Koren, and drummer Saggi Chen. Early demo recordings during the first couple of years led to songs like My Drug, Twisted, and the aforementioned Bug, gaining strong attention and praise across the internet and web radio whilst the next two years saw not only an ever increasing interest and following as the band gigged across Israel, but also the addition of bassist Andrei Aframov (ex-Phantom Pain) to the permanent ranks. Last year the band ventured into the studio to begin the album alongside famed producer Sylvia Massy (Tool, System Of A Down, Skunk Anansie, Deftones) who mixed it and James Murphy (Death, Obituary) who handled the mastering, with the band itself doing the production work. What emerged is a release is quite stunning.

All Things Change is an album which incorporates a multitude of sub metal genres to conjure up distinct brews of alternative and nu-metal driven goodness. The band state their influences as bands like Alice In Chains, Korn, Deftones, and Meshuggah, all clear to hear at times, but their spicery does not stop there as at times the likes of American Head Charge, (Hed) P.E.,  Watcha, Marilyn Manson, and Scars On Broadway to name a few, shoot through thoughts as the tracks unleash their inventive craft.

The album starts with Lauds, a short track come intro, which heightens the anticipation of what is too come with its chilling ambient and slightly distressed breath. The release is soon into its stride with Dear God and its military welcoming beats and abrasive riffs. Within moments it settles into a tight heated groove and djent toned rhythmic badgering. The vocals of Koren pick and chew at the lyrics delivering them in a Jonathan Davis like style which is as punchy as the jabbing and combative sounds. Once the melodic whispers turn to shouts there is a Drowning Pool like aggression added to further ignite the senses, the track climaxing on a belligerent and compulsive swagger.

The outstanding start is easily matched by the following Cannot Go and Loser Friendly. The first stalks the ear with tempting riffs and intimidating rhythms, its prowl a disruptive pattern of challenging and deeply rewarding invention. The song stomps and musically curses the ear with an angry intensity and deliberate antagonistic air whilst soothing its wounds with melodic enterprise. The second of the two is a heavy and shadowed Deftones like gaited piece of emotive expression. It has its moments charging with incendiary bursts of energy but at its core is an enveloping provocative slab of passionate might which bruises as much as it exhilarates.

The brilliant Bug ensures there is no dip in excellence or power, though all songs ensure the same. It is one of the most additive songs heard in a long time and a track which only takes one listen to become a best friend. The track is a tempest of melodic and discord driven wonder which captivates and riles up the emotions with equal effect. It has the melodic grace of Absolace, the creative imagination of iBURN, and the mischievous invention of System Of A Down, all driven by the spinal corruption of Periphery. Immense is the only word for it, and as you may have guessed we quite like it.

With the magnificent Animal coming at the ear with the same venomous conjuration as Bug, and the great closing pair of Fight Myself and Nothing Right offering a final ferocity and towering mix of melodic intrusion and muscular violation, All Things Change is easily one of the best things heard this year. Earlier this year we declared nu and alternative metal had been revitalised with the ingenuity of the release from Irish band iBURN now Onoma have shown it is truly thriving and more imaginative than ever.

http://www.onomaband.com

Ringmaster 30/08/2012

Copyright RingMaster: MyFreeCopyright

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Various Artists – From Israhell With Love

Ever wanted to know more about Israeli metal music and learn who are the best upcoming bands in the country? Then your luck has just ridden up on a muscular charger called From Israhell With Love. The album is a treat for all metal fans, its thirteen stirring tracks heralding bands steeped in the sounds of death metal, hard rock, classic metal, gothic metal, and thrash to name a few. There is something for everybody and more besides with what one has to say is a pretty strong and consistent quality line-up of artists no matter your personal preferences.

The CD and free download compilation is the combined work of GlobMetal Promotions (Israel) and V.A.-R.G. Compilations (Russia). GlobMetal founder Kostya Aronberg said when talking about the release “It is a new beginning. I really believe in music, and I think it can fix, what politicians use to break. The relationship between Russia and Israel are not so warm, and I think this compilation, that released in Russia can show all the world, that it doesn’t matter, what religion are you, or what everybody think on you, In the end we all humans, and music unite us.” Whether music can truly bridge that especially from just one extreme aspect of its expansive wardrobe can be debated but as purely a declaration of quality and varied metal it is a treat for who and where ever you are.

The album opens on for us the best track on the album though it is seriously rivalled once or twice as the album unveils its bounty. Onoma is an alternative metal band from Tel Aviv with influences from the likes of Alice In Chains, Korn and Meshuggah among others, and the perpetrators of an impressive and wonderfully stirring start to the album with their track Bug. The track is a bruising thrill borne of feisty riffs, contemptuous rhythms, and heated melodic intention. It takes no time in riling up the senses with incendiary guitar teases and predatory riffs under the direction of excellent vocals from Elad Koren. Fully infectious with provocative and thoughtful sounds it is a mighty creature which incited the need to find out more about the quartet before moving on.

From such a formidable start the fears that the album could expectedly have fallen into a lull were quickly quashed by the following tracks from melodic death metal band Arsenide and a hard rock band we already knew well and loved Metal ScenT. The first of the pair contributes their raging beast of a single Broken Angel, a track which without tearing down walls of the genre to open up new pastures stands tall amongst fellow genre bands whilst Hold On, a song from their album Homemade, easily shows why Metal ScenT is gaining strong plaudits since its release.

Alone In The Dark from power metal band Spiteful was a track which initially did not quite find a connection but within a few plays one found themselves with it lingering in the head after its departure, which is never a bad sign and it was always going to be hard to resist the great Debbie Harry like vocals of Maria Raven Burdelov anyway.

There was a couple of times where the album did not hold the attention but it was down to personal taste of the genre the bands walked, heavy and classic metal bands Switchblade and Loud N’ Clear falling foul of taste rather than from their sounds. On a compilation as varied as this that will always happen but the release offers such a cross section and crossover feel it is no issue overall.

The likes of impressive metalcore bands Bounded By Chains and Design Flaw keeps things raging with the first of the two another top pick of the tracks but the one song to equal the opening triumph of the album is Knife In A Gun Fight from metallers Shredhead . It a storm of ferocious punk driven thrash metal to ignite all combative tendencies. A track to induce whiplash it is a violation no one could or wish to deny.

Not all bands have been mentioned but that is due to space not quality and we have left them as treats for your discovery. From Israhell With Love is an excellent album bringing an introduction of possible new favourites for many whilst delivering great and satisfying sounds for all, and as it is free really you have no other option than to go spoil yourself.

Download the album for free @ http://varg.shurf.ru/music/downloadalbum-4323

RingMaster 12/07/2012
Copyright RingMaster: MyFreeCopyright

From Israhell With Love Track listing:

01. Onoma – Bug
02. Arsenide – Broken Angel
03. Metal Scent- Hold On
04. Spiteful – Alone In The Dark
05. Bounded by chains – End Of An Era
06. Dagor Dagorath – Heaven In Hell
07. Dead on Impact – Progress to Nothing
08. Shredhead – Knife In A Gun Fight
09. Switchblade – Metalista
10. Loud N’Clear – Runaway
11. Fatum Aeternum – False Freedom
12. Design Flaw – Humanity
13. Eyes Sewed Shut – Through Delusions

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