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/

https://www.facebook.com/mountainmanmetal   https://twitter.com/mtnmanmetal

Pete RingMaster 23/03/2016

Copyright RingMaster: MyFreeCopyright

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

Carnac – The Frail Sight

carnac_band_RingMasterReview

There is little we can tell you about Turkish death metal band Carnac, except and most importantly that their recently released debut EP is well worth a concentrated moment of your time. Consisting of four highly accomplished tracks, The Frail Sight is a proposition which may not bowl you over as it treads the line of established genre traits over major originality but it is a release which instils a keen want to come back for more.

Hailing from Ankara, Carnac emerged in 2014 with a sound spawned from the inspirations of bands such as Gojira, Opeth, At the Gates, and Enslaved. As shown by their Bahadэr Sarp engineered, self-produced debut, they have come up with a refreshing incitement unafraid to entangle invasively enticing snake like grooves and uncage a feisty rhythmic agitation within a ravenous death metal landscape. We suggested it was not bereft of familiar flavours and textures yet there is no hiding away that the quartet of tracks also reveals real freshness of craft and character.

The Frail Sight opens with Hericide and a sonic breeze quickly speared by robust rhythms which in turn sparks a heavy footed and invitingly swinging canter. With the hoarse vocals of Burak Yenitepe leading the way, the track proceeds to mix up the weight of its intensity and the charge of its energy without ever relenting in its ravenous impact on ears. Throughout, the guitars of Ozan Turakine and Nurhacı Çeri unleash torrents of riffs and winding tendrils of fiercely spiced grooves to magnetic effect, wrapping round the irresistible virulence fuelling the track and driven by the rapier strikes of drummer Baybora Topaloğlu and the brooding tones of Ünal Akünal’s bass.

Carnac_RingMasterReviewIt is a superb start to the EP, a swift impact maker as predatory as it is rousing and matched in success by the following Menhirs Of Enmity. Its entrance is a kinder melodic coaxing, though it takes little time for a tempest to descend on ears again with a thrash spiced contagion of hostility and infectiousness. By this point the want and ability of the band to keep predictability at bay is forceful. It was a potent part of the first track and reveals more boisterous intent here as the band take the listener on a roller coaster of a perpetually changeable landscape of energy powered flavours and ear devouring textures.

Debaser is the next to challenge and please, it too a wall of confrontation as it builds pressure on ears. Once more the guitars cast a net of hooks and roaming grooves, all skilfully and keenly spun around brutish rhythms and the rasping vocals squalls of Yenitepe. Its body is an attention grabbing cauldron of eager activity and almost sultry invention within merciless death metal stock, and fiercely appealing even though it does lack the same incendiary spark as its predecessors.

Closing track Servant To The Void is the same, missing an indefinable but noticeable element to really stir ears and emotions yet provides a thoroughly satisfying and adventurous challenge to spend plenty of time with. The guitars just about steal the show though bass and drums provide the kind of rousing badgering you just do not want to resist whilst Yenitepe offers his own pleasing incitement of the senses, though a touch more diversity to his delivery for personal tastes would add another potent dynamic.

Carnac introduces themselves in strong style with The Frail Sight with the potential of bigger moments to come openly brewing within its increasingly enjoyable presence. This is a band to keep a close eye on we think.

The Frail Sight EP is out now via Sliptrick Records with its digital outing @ https://carnac.bandcamp.com/album/the-frail-sight

https://www.facebook.com/carnacband

Pete RingMaster 02/03/2016

Copyright RingMaster: MyFreeCopyright

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

The Erkonauts – I Did Something Bad

THE-ERKONAUTS__RingMaster Review

Having missed the release of I Did Something Bad first time around, we as so many others will be, are seriously grateful for its world-wide re-release through Kaotoxin Records. The debut outing for Geneva’s The Erkonauts, the album is a ferociously diverse and increasingly fascinating collage of genres and sound. As thick in unpredictability as it is rich in bold imagination, I Did Something Bad is one of those propositions that heavy duty recommendations swarm to. We can only join the crowd and with two additional new tracks to contemplate and devour for all, the album’s return is a not to be missed a second time treat.

Formed in 2014, The Erkonauts consists of ex-Sybreed members in bassist/vocalist Ales Campanelli and drummer Kevin Choiral, alongside guitarists Adrien Bornand and Sébastien Puiatti. Together they expel a sound which is as punk and heavy rock as it is metal, as much progressive enterprise as it is off kilter imagination. Fair to say the band made a hefty impact with the self-released outing of their debut album in 2014, the limited first and second press of I Did Something Bad greedily consumed with the band’s reputation growing in tandem through their live show and touring voracity. Produced by Drop (Samael, ex-Sybreed), the album is now poised to allow the rest of us slow coaches to dive into The Erkonauts bedlam, as mentioned with a pair of new songs recorded last year for extra rich taste.

The Great Ass Poopery opens up the tempest, a gloriously carnivorous bordering on carnal bassline infesting ears initially to be joined by the kinetic swings of Choiral. Alone it is gripping stuff but add the fiercely shimmering guitars aligned to rousing vocals and the air becomes aflame with rumbling attitude loaded rock ‘n’ roll. In some ways like Fear Factory meets Mudvayne with Suicidal Tendencies orchestrating, the punk metal assault is creative rampancy and virulent energy fired down the barrel of a dynamically hungry cannon.

art_RingMaster ReviewTony 5 swaggers in next, its body similarly spawned to that of its predecessor but swiftly sharing its own consuming tenacity. As biting rhythms and swinging grooves embrace the excellent mix of clean and aggressively rasping vocals, the song is a cantankerous affair but with a body of spiralling twists and sonic resourcefulness which makes other’s references to bands such as System Of A Down and Gojira understandable. As the first, the track is a ravenous swamping of ears with superb clarity within its smothering touch for the swarm of progressive tenacity within to equally entice and shine.

There is a greater initial hostility to the following All the Girls should Die, riffs and rhythms angrily badgering ears whilst readying them for the fluid slip into melodic pastures with emotive mellow vocals. Entwining melodic rock fire with alternative metal flirtation as other elements snarl and grumble, the song ebbs and flows in its sonic ire whilst providing a perpetually compelling persuasion. Again there is a rampant directness upon ears at times, the track managing to be simultaneously predatory and seductive before making way for the electro lit, punk fired triumph of Nola. The first invading bassline tells you all you need to know about what is to come; the track flinging hooks and rapier beats around like a dervish whilst expelling a groove infested sonic devilry around them. Vocals again are as varied and impressive as the maelstrom of delicious sound and the increasing imagination of the aural emprise.

A sultry climate comes with Dominium Mundi, its evocative air a suggestive calm for the imagination to expand upon before the heart of the storm breaks with again addictively stabbing rhythms and aggressively hued vocals. Though it brews an inferno of sound, the earlier haunting peace continues to switch and collude with the raging animosity, leaving ears ringing, emotions aflame, and the body exhausted by the persistent breakout of heavily flirtatious grooves. The latter is weaponry which increases its pull in Hamster’s Ghosthouse straight after. With irritable riffery and stalking beats, the track stalks and infests the senses. Its hardcore/nu-metal infused rock ‘n’ roll is pure temptation as it leads the listener into a following progressive garden of melodic and classic rock. As many songs, how they start is no hint to how they depart and certainly their ever intriguing journeys as superbly epitomised here.

The creeping devilment and sonic rapacity of Gog raises the greed in an already eager appetite with ease, its dark character and lively imagination awash with biting elements and imposingly suggestive textures and flavours whilst Your Wife hugs with an acoustic caress shaped by equally warm vocals. The croon does get feistier across its melody and harmony soaked captivation but never relinquishes its elegance and charm.

There is no escaping the great humour that runs through the band’s songwriting and attitude either ,with its boldest moment coming in the punk rage and fun of 9 is better than 8. It is an unbridled riot, simple as that and impossible not to get physically involved in before Machine brings its own commanding incitement to the party. The first of the new tracks exclusive to the release, it is a growling, thrashing slab of metal diversity. Hellacious in its body, infectious in its armoury of hooks, grooves, and anthemic rhythms, the track is as much punk metal as it is extreme metal toxicity and manna to the ears.

Concluded by the tempestuous Culbutos, it a merger of thunderous confrontation and seductive tempting, I Did Something Bad has all the quality and mastery to leave body and soul enraptured. As the intricately and dramatically woven final song, the album is a creative collage of sound turned into a riveting theatre of invention and fiercely arousing adventure that no one should miss out on.

Quite simply, with a new album proposed for later this year, time is ripe for all newcomers to grab your piece of The Erkonauts via I Did Something Bad.

I Did Something Bad is out via Kaotoxin Records from February 12th @ http://www.kaotoxin.com/shop/page/6/

Check out our interview with Ales Campanelli @ https://ringmasterreviewintroduces.wordpress.com/2016/03/25/exploring-the-roar-of-the-erkonauts-with-ales-campanelli/

https://www.facebook.com/theerkonauts   http://www.erkonauts.com

Pete RingMaster 12/02/2016

Copyright RingMaster: MyFreeCopyright

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

91 Allstars – Retour vers la Lumière

91allstars_RingMaster Review

Not convinced by their name but having no problem breeding a healthy appetite for their ferocious sound, 91 Allstars quickly show themselves to be another voraciously rousing proposition within the French metal scene with new album Retour vers la Lumière. The first encounter from the band since a change in line-up, their second album is a thickly enticing assault of death inspired metal aligned to melodic hardcore and plenty of other ripe spices. It roars and brawls with the senses, grips the imagination, and provides plenty to get excited over as 91 Allstars show themselves ready to take on broader spotlights.

Formed in 2005, the Paris quintet has perpetually drawn praise and support with their releases and a live presence which has seen them over the years share stages with the likes of Sick of it all, Gojira, Do Or Die , 25 ta life, Born From Pain, Mass Hysteria, and Knuckledust. Their first year saw the release of a self-titled debut EP and two years later the band teamed up with Danforth for the split release Destroy The Past. Acclaim grabbed debut album Telle Est la Loi in 2010, its success though already being eclipsed by the dynamic and hellacious enterprise of Retour vers la Lumière since its recent release.

91AS_front_RingMaster Review     The atmospheric Intro starts things off, its portentous air full of drama and suggestiveness which is taken on by the tempestuous nature and body of Omniscience. Immediately grooves and hooks are swinging with zeal as raw gruff vocals incite and rhythms batter the senses from the second track. It is a rousing confrontation, one as magnetic as it is hostile with the track’s death metal canvas coated in thrash inspired animosity and hardcore cultured dexterity.

Across both Mon bien, mon mal and Opprimés, band and ears collide as tenacious and antagonistic elements collude to spring a creative animus as appealing as it is threatening. The first of the two songs lines its assault with gripping hooks and spicy grooves as snarling vocals leads its anthemic nature. There is definitely some familiarity to parts of its textures and air but that only adds to the magnetic pull whilst its successor similarly impresses as it stalks the senses with its rumbling bass cored predation and stabbing riffery. As across the album, certain essences remind of bands such as Black Dahlia Murder and Gojira whereas the hardcore spices offer up thoughts of others like Pigs and Every Time I Die, but it all gets woven into something relatively distinctive to and constantly appealing from the French quintet.

Richesse humaine provides a raw bluster of voice and virulent sound next, its body entwined in wiry grooves and viciously anthemic tendencies whilst Les ombres de la perdition stomps along spilling acidic sonic tendrils from its bulging intensity. Epitomising the whole of Retour vers la Lumière, the pair also explore catchy exploits and melodic incitements, each spinning a tapestry of inventive lures which temper yet accentuate the unbridled force of the propositions.

The impressive intent and heart of the album continues through the ravenous animus of Eclipse éternelle and escalates in the primal trespass offered by L’ère du verseau; both songs fierce contagion with plenty to defuse expectations and further ignite a hungry appetite. Their success is matched by that of L’aube des princes, an aurally rancorous intrusion again leaving a want for more by the final note of its masterful and imaginative violation. With the songs sung in French lyrically we floundered but as shown by the encounter there is no mistaking the emotion and heart of each encounter.

Completed by the incessant infiltration of the senses that is Un sombre destin and lastly the album’s rapacious imagination enveloping title track, Retour vers la lumière is a seriously accomplished and enjoyable proposal. Certainly there is a bit of a similarity between tracks at times which defuses some of its immediate potency but songs and the album as a whole only grows to be challenge which impresses again and again.

Retour vers la lumière is out now via Dooweet Records @ http://shop.season-of-mist.com/91-all-stars-retour-vers-la-lumiere-cd-digipack

https://www.facebook.com/91AllStarsOfficiel

http://www.91allstars.com

Pete RingMaster 05/01/2016

Copyright RingMaster: MyFreeCopyright

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

Nemaind – Eclipsi EP

cover_RingMaster Review

There is not a great deal we can tell you about Spanish melodic death metallers Nemaind though the most important bit of information you need anyway is that their debut EP, Eclipsi, is one heavily flavoursome and magnetically alluring incitement. Its three tracks do not break down boundaries or re-invent existing landscapes within the death metal scene, but it undoubtedly provides one potential fuelled, richly enjoyable sonic tempest to eagerly immerse within.

Formed early 2014, Nemaind hails from Barcelona inspired by bands such as Moonspell, Opeth, Death, Gojira, Insomnium, Caladan Brood, Sylosis, Emperor, and Amon Amarth. Created by vocalist/bassist Ferran C, previously of thrashers Rotten, the band’s line-up was soon enriched by guitarists David C and Gerard B, subsequently followed by drummer Martí F. Recorded in February this year, Eclipsi gives the first introduction to a broader expanse of ears of Nemaind, in turn offering a strong persuasion of their craft and potential.

Eclipsi opens with its title track and instantly has attention and appetite wide awake with a swarm of waspish riffery and fierce rhythmic intimidation. It is a masterfully magnetic start which continues to tempt and work on the psyche as the track breaks into and begins exploring a malevolent landscape of portentous grooves and sonic rapacity. The vocals are varied causticity, their diversity never merging major differences between tones and delivery but enough to ensure more fresh textures in the tempest of sound and the increasing adventure emerging within the outstanding and increasingly impressive encounter. The guitars especially spin an evolving web of intrigue and imagination within the volatile atmosphere and confrontation of the song, adding captivating hues and ideation in the face of barbarous intent.

The following Pareidoniria is similarly sculpted within its own individual character and ravenous air, addiction loaded riffs stalking with unrelenting persistence alongside rapier beats and a throaty bass groove. Musically the track conjures a soundscape Gojira like in rousing dexterity and technical imagination, Insomnium seeded in hostile and ravishing emotional trespassing whilst its melodic ferocity is Corbeaux like. It does not quite match up to its predecessor’s heights yet only leaves a want for more and helps build the intent to keep the band on the personal radar.

The EP is brought to an end with Les últimes llums de tardor, another predatory protagonist this time emerging from a primal sonic mist bristling with thickly flavoursome flavours and ear pleasing enterprise. Initially there is an almost eighties like gothic spicing colluding with broadening winds of sonic and extreme metal drama rippling with creative expression and highly provocative aural colour. It is the least physically corrosive of the three songs, though still showing no emotional mercy, weaving a fascinating design of warm and barren scenery which is always emotively lively and boldly adventurous as it scars the senses.

As the final song’s cold climate dissipates, Nemaind leaves only richly positive thoughts and full pleasure behind. As suggested, it is not the most original release yet every listen brings something fresh and individual against other encounters you may come across with a similar canvas of sound. We suggest taking note of the name and enjoying their debut with the promise of increasingly impressive explorations with the band another lingering aftermath.

The Eclipsi EP is available digitally now on Nemaind’s bandcamp profile.

Pete RingMaster 31/08/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent check out http://www.zykotika.com/

Black Oil – Resist To Exist

Black Oil_RingMaster Review

I think we can all agree it is seriously hard to be truly original in the music scene now and just as difficult to be noticeably unique against the hordes of other bands tempting time and attention. A few though do instinctively stand out through sound or presence to stand many steps from the masses, and one such proposal is US based groove metallers Black Oil. Their sound is a furious maelstrom of various strands of metal, Latin and worldly invention, and a defiant passion which binds it all for one, as shown by their new album, blistering and rousing confrontation. Resist To Exist is a riot in the imagination, a tempest in the ears, and an anthemic incitement just leaving the body alive.

Calling LA home, Black Oil originally emerged from Brazil with a sound crafted and honed with a unique blend of cultures and years of experiences gained by founder Addasi Addasi, whose travels have taken in the life and flavours of over thirty countries. Since forming the band has earned a big reputation and following through a previous pair of acclaimed albums, including the predecessor to their new encounter, the Logan Mader (Machinehead, Soulfly, DevilDriver, Gojira, FFDP) produced the Not Under My Name, as well as a live presence which has seen them play with the likes Megadeth, Fear Factory, All Shall Perish, Soulfly, Otep, Cavalera Conspiracy, Arch Enemy, Anthrax, Cattle Decapitation and many more. Their renowned metal-samba sound and hard hitting politically charged lyrics has made Black Oil a hungrily devoured proposition already, and now with Resist To Exist it is easy to expect even greater reactions and spotlights on the band, the album simply one of the most exhilarating incitements of the year.

cover_RingMaster Review     Produced by Cristian Machado of Ill Nino, with many other contributions, Resist To Exist sees the quartet of guitarist/vocalist Addasi, vocalist Mike Black, bassist /vocalist Drew Petropoulos, and drummer Michael Gomez joined by a host of guest contributions including Fear Factory/Archaea’s Raymond Herrera and ex-Static X/Soulfly and now Fear Factory bassist Tony Campos amongst them. This and the unbridled imagination and ideation soaking songs all goes to create incendiary tapestries of sound and energy which from the opening track makes Resist To Exist one feverish conquest of body and emotions.

It all starts with Rise Up, a song with its intent in its title and success in a character which just will not accept anything less than full involvement from the listener. From its first breath, riffs and rhythms are a cauldron of enticing intensity, a tenacious prelude to swiftly joining and just as quickly virulent grooves. Aligned to the guttural roar of Black, the track is in full violent swing in seconds, its rhythmic hips casting a commanding swagger as guitars and bass cast an inescapable web of searing grooving and infectious riffery. Like Five Finger Death Punch meeting Powerman 5000, but so much more, the track is an incendiary device of invigorating and exhausting metal contagion, raw alchemy to get the blood and energy rushing through anyone’s veins.

The ferocious start continues with the just as explosive Justified where malevolently swung beats and a carnivorous bass tone add their great grouchiness to a wind storm of sonic hostility, and that is just the initial impact on the senses. Soon Middle Eastern hints stir within a spicy expulsion of guitar before the track puts its head back down for another hellacious and rabid stomp. As much death and industrial like as it is a grooved fury, the encounter continues to ignite and incite ears and thoughts before passing the senses over to Callate. The third track, which features Campos on bass and vocals, is a predator of emotional bedlam and creative unpredictability, its sound as diverse and ravenous as the vocals fuelling its inner corrosive rage, and as irresistible.

Exoskeleton savages ears with its vocal and rhythmic hostility next, whilst simultaneously seducing the imagination with a tangy web of melodic grooving and feistily flavoured enterprise. The result is something which roars like a blend of Fear Factory and Devildriver yet equally only has its own distinct animus of sound and intent. It is a flesh searing bellow leaving the body shell shocked and ready to be taken on a fiery ride by the following Combustion. From its initial fierce caress of sound, Latin bred percussion and melodic hues are enriching the song’s rhythmic and sonic tempting, elements of bands like (Hed) PE and Bang Data joining the muscular rebellion and expelling even greater influence as the track springs its bruising anthemic shuffle. Joined by guest Silverio Pessoa on vocals, Black is the ringleader of one addiction forging, body igniting tempest. The guitars alone create an enslaving persuasion with their relentless and evocatively creative twists whilst the percussive aspect of the song aided by Mario Pallais, is simply a puppeteer on the listener.

One brilliant encounter makes way for another in the insatiable shape of Revolution. Featuring and driven by the ravenous rhythmic swings of Herrera, the track is a bestial onslaught but one littered with infectious grooves and sonic devilment. The track is psychotic, never allowing the listener to make assumptions on its direction and with more guests involved, evolving character. The same can be said about Stand Against Everything which comes straight after, the song akin to the last and taking certain aspects of its persuasion into its own persistently evolving and fiery samba.

Resist To Exist closes with Paper Slave, a final aggressive and venomously inflamed uprising of creative hostility and impassioned defiance. It comes shaped with cantankerous riffs, merciless rhythms, and mesmeric invention, bone breaking hostility merging with worldly and emotive resourcefulness. Stuck Mojo and Ill Nino come to mind as it ravages air and ears but again the song in reality is something else again, and though maybe not matching earlier heights, it leaves the listener only wanting more upon departure.

Black Oil brings something different and relentlessly exciting to the metal table with Resist To Exist. Some tracks soar above others in creative adventure and sheer compelling power but all leave a greedy hunger and thick pleasure behind them. Who can want much more than that?

Resist To Exist is available now via Sliptrick Records through most digital stores.

http://www.blackoil1.com/   https://www.facebook.com/blackoilofficial

RingMaster 22/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Sanzu – Painless

sanzu_web_2015_ Reputation Radio/RingMaster Review

With a sound as tempestuous and unforgiving as the dragon-infested rapids swallowing those of evil trying to cross the River of Three Crossings (The Sanzu River) in Japanese Buddhist tradition, Australian death metallers Sanzu make a potent introduction of themselves to the wider metal scene with debut EP Painless. Whether there is a link between band name and the way to the afterlife above we will have to find out, but certainly the Perth quintet provides a journey for ears and emotions with their release just as provocative and compelling.

Formed in early 2013, the Western Australia and subsequently the country’s metal scene have known about Sanzu and their technically ferocious, groove infested turbulence for a while now, but the unleashing of Painless gives the rest of us the opportunity to devour just as greedily their imposingly striking sound. The band is the creation of drummer Ben Stanley and guitarist Century, both former members of Malignant Monster. The addition of vocalist Zachary Andrews and bassist Fatima Curley took the band into the local live scene, their old-school death metal inspired by the likes of Morbid Angel infused with modern metal imagination recalling bands such as Gojira, quickly whipping up fans and attention. After the line-up was completed by second guitarist Mikey Hart, Sanzu ventured into the studio with producer George Lever to record their five track debut. The result was Painless, an uncompromising and gripping fury announcing the band as one seriously exciting newcomer hitting extreme metal.

The EP is instantly stalking and ravaging ears through opener 18 Days of Rain, riffs and rhythms ravenous predators bound in wiry sonic tempting. The track makes a gripping and impressive entrance, continuing that potency as grooves begin winding their way around the hostile spine of the song and the equally intensive examination of Andrews’ vocals. As inhospitable and enraged as it is, the raw tempest is ripe with spearing sonic intrigue, rabid unpredictability, and a web of tech and progressive tenacity, the song rigorously seducing the listener as it tears strips from their senses and psyche.

sanzu_painless_ Reputation Radio/RingMaster Review   The immense start just keeps going in the individual animus of For All, vocals and grooves instantly searing air and ears whilst just as swiftly the song’s landscape twists and turns in on itself to persistently wrong-foot and enthral. Though it is hard to say the band’s sound is majorly original, there is an ingenuity and freshness to its creative malevolence and craft which announces Sanzu as no run of the mill or expectations feeding incitement. The encounter is the perfect example with anything familiar quickly woven into an unrelenting and almost psychotically tenacious maelstrom of ideas and imagination.

The following Defamer brings a swarm of waspish coaxing from its first breath, eventually employing them in a rhythmically sadistic and sonically antagonistic prowl governed by the outstanding squalling tones of Andrews. Every aspect of the band is at the top of its game though, the bold and carnivorous swings and bass groans from Stanley and Curley respectively imposing and inescapably addictive against the savagery and magnetic exploration sculpted and released by the guitars of Century and Hart. This collusion applies across the whole of Painless in varying forms, but arguably is given the biggest pedestal to shine from through the gloriously malicious terrain of the third track.

Intensity and rabidity takes an even more voracious spin with Variant Red next, the track a tempestuous tsunami with less defined textures and scenery than in previous songs but replacing them with emotional turbulence and unbridled bitterness in air and intent. Into its depths though, the storm does clear enough for the guitars to openly spin a tapestry of imagination and inventive dexterity, a lure matched rhythmically and vocally. The provocation is superb, though that again applies to virtually every moment within the EP, but here, ears and thoughts are just spellbound whilst being twisted inside out.

The release is completed by Lunar Crush, a song which from a gentle melodic enticement brews and intensifies a jaundiced antipathy between it and the listener. Usually the oasis in the storm is in the middle of the song, but here it starts the evolution of venomous invention and despoiling intent, every passing minute, indeed second, leading into the jaws of carnal temptation and vicious adventure.

Painless certainly does not describe the experience of listening to the EP but for every nerve turned raw and emotion ripped asunder, the deepest instinctive pleasure emerges. Death metal has a new merciless provocateur in town and Sanzu is its name.

The self-released Painless EP is out now @ https://sanzu.bandcamp.com/album/painless-ep

https://www.facebook.com/SanzuOfficial

RingMaster 16/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net