Kera – Self Titled EP

KERA_BAND_PICTURE_HD_RingMaster Review

With a debut which just seems to get bigger, bolder, and more antagonistically ravenous with every listen, French progressive death metallers Kera have announced themselves on the European metal scene in fine and imposing style. Their three-track self-titled EP is an uncompromising rage of intensity and malevolent energy sculpted through sonic imagination. Whether it is an instant game changer for the band time will tell but the impressive EP definitely makes the statement, we are here, pay attention!

The seeds of Kera began with the demise of metallers Thanatic Eyes, the trio of vocalist Flo’ Lemonnier, bassist Kevin Gastaldi, and drummer Klem’ Baler rising from its ashes and subsequently uniting with guitarists Thibal François and Arthur Heim as a new sound and band emerged through them. Taking their time in this endeavour ensured Kera’s music, as evidenced by the EP, grew and was honed into something full and commandingly flavoursome before hitting ears, not to mention, as again shown by their first encounter, dramatically intimidating. They infuse and twist a progressive death metal canvas with a diversity of spices from heavy to black metal, simultaneously creating unpredictable and striking proposals.

KERA_EP_COVER_HD_RingMaster Review   It is a harsh adventure which begins on the EP with Masters Enslaved. Opening with a haunting atmosphere smothering a seemingly portentous echo of things passed and to come, the track escalates into a tempest of crushing beats, bestial riffs, and sonic toxicity. Grooves are just as swift in their early persuasion as also the raw and hoarse tones of Lemonnier. Already song and band show how potent a mix of spices and sounds drive their sound, the opening assault on the senses ultimately a death bred predation and hostility entwined with captivating slithers and strands of various fierce styles in one hellacious tapestry and increasingly potent incitement.

The gripping start to the release continues with Architect of Silence, the second storm from the band even more venomous and corrosive but an intensity matched in strength by a web of irresistible hooks, inflamed grooves, and a sonic enterprise which sizzles on the ear. It is a beast of a song, just about outshining its predecessor by sheer creative brutality and rhythmic force alone. The sudden moment of inspired calm and melodic tempting within do it no harm either, the track revealing just a little more of the depth of thought and variety in the Kera sound, and more of its creative barbarism.

Both songs also revel in the ability of the Paris band to merge tempestuous and ruinous extremes with skilfully forged and similarly contagious enticements of melodic and experimental designs. It is an intriguing and predominantly successful mix in evidence once again in the closing explosion of ferocious rock ‘n’ roll that is Silence. The track instantly grips ears and appetite with its predatory stalking of the senses, riffs and rhythms a rabid tempting by themselves but only enhanced by the initial scourge of sonic and grouchy vocal spite. In time though the song does lack the adventure so ripe in the first two songs. The range of vocals sharing time in the track are much more appealing when spilling animus through a throat scarring roar than in a cleaner grizzle of a delivery, and there are moments musically where invention is more expectations feeding, these times coincidently aligning with the less effective side of the vocals. Put in to context though, with addictive torrents of grooved wrapped riffs and a mesmeric slip into a progressive calm which in turn breeds a wind of superb individual prowess from the guitars, the track is never less than strong bait.

For an opening proposal, the Kera EP is a highly enjoyable and imaginative confrontation which also seems to be only hinting at depths yet to be untapped by the band in songwriting and sound. Expectations after their first release is that Kera have the potential to sculpt a very strong place in the progressive metal scene; it is just up to them to go for and take it.

The Kera EP is available now via https://kerainvidia.bandcamp.com or http://kera.bigcartel.com/

http://www.facebook.com/KeraInvidia   https://twitter.com/KeraInvidia

RingMaster 23/07/2015

Copyright RingMaster: MyFreeCopyright

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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

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Cerebellion – Regeneration

Promo_Orange-Sky_RingMaster Review

It has been five years since US metallers Cerebellion gripped our attention with their excellent debut album Inalienable; a stretch of time which has not felt as long through many of the album’s tracks and subsequent 2013 single A Better Version, never being too far from our listening for pleasure playlists. Fair to say though and like for so many, there was healthy excitement when being sent their new EP Regeneration. It has proven to be an encounter rekindling an already rich appetite for the Californian quartet, and their compelling sound which has through the new offering shown itself to have grown and matured without losing the distinctive Cerebellion breath.

Formed in 2009, the Long Beach hailing foursome of vocalist Joe Arnold, guitarist John Arnold, bassist Marc Battung, and drummer Jimmy Schultz quickly earned a strong reputation for their inventive fusion of metal and heavy rock, a blend again fuelling the impressive Regeneration. It is an incitement which, as we suggested, has further blossomed, the songs within the EP more diverse within their provocative walls and embracing a sharper and fuller design of textures and flavours. The band has not lost or defused their aggressive snarl either, though it has been honed into a more skilfully provocative and rousing essence which only helps the band’s new release powerfully spark ears and imagination.

All Came to Light starts things off, an initially sultry and melancholic melody slipping from the strings of the guitar. Its potent coaxing is soon joined by a rawer but no less evocative lure of bass and darker guitar shadows, harmonies soon after also adding to the intrigue and emerging drama. With rhythms warming up until things are stirring nicely, they and every corner of song and band explode into a roar of heavy beats and rugged riffs around the dusty tones of Joe Arnold. As existing fans would expect, a spicy groove is soon in the midst of the engaging tempest too, the song a rigorous charge unafraid to slip into gentle melodic caresses with matching vocal persuasion. With a touch of Metallica to it alongside whispers of Alice in Chains, the song ebbs and flows in intensity, bellows and croons in aggression and attitude uniting to draw only a hungry attention for it and the whole release.

ReGen_Front_Cover_Final_RingMaster Review     The following Cold similarly makes a gentle entrance, though this time there is a definite intimidating shadow behind the emerging sound and vocal tempting. Soon the track is into a muscular but reflective stroll, rhythms a dark texture against the lighter but no less sorrow laced enterprise of guitar and voice. Across it the rolling and imaginative beats of Schultz are pure magnetism, their anthemic lures matched by the throaty emotion cast by Battung’s bass and the gnawing riffs of John Arnold, the latter also casting some delicious acidic enticing within his solo and imagination. Arguably the track lacks the richer originality of others, at times providing something for expectations but every time thoughts like that do arise it is fair to say that something twists and turns in the songwriting and song to argue the point.

The variety within the release continues more strongly with both Savior and Nothing Left. The first of the two explores a heavier rock spiced canvas upon which the guitar spins a melodic and groove metal seeded web. As the voice of Joe spreads the narrative with emotive expression and energy, there is an air of bands like In Flames and Avenged Sevenfold to the track, but only spices honed into something, certainly taking longer to persuade than its predecessors, but brewing up an individual and long-term captivation. Its successor is similar in that it slowly burns into the passions and also leaves one of the deepest enjoyments. The song opens with a mesmeric kiss of Spanish guitar, their flamenco spawned melodies like kisses on the senses and a tonic for the imagination. The song is an acoustic seduction, its beauty tempering and complementing the melancholy oozing from every syllable and harmony, not forgetting the bewitching strings which emerge later in the song. Eventually though, the drama has to explode and the thrilling encounter erupts into a rousing intensive finale though with one last acoustic stroke for its last touch.

Cerebellion are back in voracious swing with Thin Ice next, the track from its first breath almost predatory with its scythes of sound and beats, all colluding to forge a prowling enticing and subsequently an adrenaline driven, thrash bred onslaught. Of course the band is never one to settle into one wind of persuasion and they seamlessly and skilfully infuse melodic and calmer swerves into that the at times almost rabid intensity. The track is as anthemic as it is creatively riveting, a song which alone tells you all you need to know about band and sound, and definitely the perfect gateway for new fans into Cerebellion.

Regeneration ends with Forsaken, a fascinating and creatively tempestuous encounter again revealing everything impressive about the band and music. From individual prowess to group imagination, songwriting maturity to lyrical and melodic incitement, song and release only and increasingly impress.

The hefty time between releases has only seen Cerebellion grow into a masterful metal/rock proposition, but you know whilst listening to Regeneration, you still get the feeling there is plenty more untapped inside the band’s creativity. Hopefully we will discover that a little more swiftly ahead.

The Regeneration EP is available now through most online stores and digitally and on CD @ https://cerebellion.bandcamp.com/album/regeneration

http://www.cerebellion1.com/ http://www.facebook.com/cerebellion1

RingMaster 18/07/2015

Copyright RingMaster: MyFreeCopyright

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Animosity Kills – Manipulative

Animosity Kills Gen pub photo_RingMaster Review

The name is Animosity Kills and if the Norwegian band can realise the open potential rifling through their debut EP Manipulative, it could be a moniker you will become very aware of. The four track rumble of metal wears its influences firmly on its sleeve, inspirations from the likes of Metallica, Iron Maiden, Pantera, and Testament clear and familiar attributes, but that does not stop the introduction to the Askøy quintet being charged with fresh and tenaciously modern enterprise. It is a thoroughly enjoyable encounter making a potent nudge on ears and awareness.

Animosity Kills began in the October of 2013 and consists of rhythm guitarists Stephan Høgtun and Rupert Notøy Rødland alongside lead guitarist Mats Bruland, as well as vocalist/bassist Erik Lindelid and drummer Sindre Høgtun Gjelsvik. There is little more we can reveal about them except that on good authority they are one mighty beast live, a suggestion easy to go with going by the energy and intensity of the songs within Manipulative.

Animosity Kills Manipulative Album Cover_RingMaster Review   The EP opens up with Thermic Vision which is immediately badgering ears with a horde of rugged riffs and a wonderful carnivorously dark tone from Lindelid’s bass. With the crisp swipes of Høgtun Gjelsvik’s sticks on skin adding to the already volatile mix, the track is soon into a predatory stride bred from thrash seeds. Swiftly a busyness to the sound and songwriting of the band grabs ears, the creative web as clear as the spices sparking their sound, Pantera and Metallica the obvious references to the imposing and compelling opener. The track continues to prowl and roam over the senses, never exploding as it hints it might and thoughts hoped it would but still providing a captivating and combative persuasion sparking a keen appetite for what is on offer and yet to come.

To come is first of all Lord Of Darkness, it also tall and muscular with fiery guitars and thumping rhythms ridden by the strong vocals of Lindelid. As its predecessor, the song also keeps things turning and twisting with creative regularity, the trio of guitars creating a weave of individual and united resourcefulness which just licks at ears as the rhythmic side of the band tempers their adventure with a bordering on bestial contrast and threat. It is an accomplished and richly satisfying proposal but quickly outshone by the following Ballistic. Even with its firm tempting of riffs lined with slim hooks there is a new air of variety, and so it continues as the song expands into an enthralling stomp of rich contagion equipped with a virulent swagger. There is a touch of Volbeat and Grumpynators to it, the same kind of swinging infectiousness they are known for fuelling the addictive power of the chorus and the rousing riffs leading into it especially. With blistering melodic craft and endeavour pouring from Bruland’s guitar across the similarly gripping adventure sprung by Høgtun and Høgtun Gjelsvik, the track is a show stopper, or should that be inciter.

Manipulate concludes with its title track, a song riding thrash cultured torrents of compelling riffery and pummelling rhythms, including another hypnotic bass snarl, and twisting them into a blaze of instinctive heavy/classic metal. It has the old school air you might imagine but the fire of the track flames with touches of alternative and groove metal as well as simply a bruising and healthy dose of raw rock ‘n’ roll.

It is a fine end to an impressive first taste of Animosity Kills, a band with the promise and tools, not forgetting invention, to forge their own distinct and rich place in the metal scene sometime ahead.

The Manipulative EP is out now @ http://animositykills.bandcamp.com/releases

https://www.facebook.com/AnimosityKills   https://twitter.com/animositykills

RingMaster 17/07/2015

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

 

NG26 – Until My Heart Stops

NG26_RingMaster Review

In the hunt for some prime rock n’ roll which is maybe a touch low on major surprises but has all the attributes and invention, not forgetting rousing tenacity, to start a voracious stomp in a dance hall of wallflowers, then say hello to UK rockers NG26 and their new album Until My Heart Stops. Loaded with ten hard/alternative rock tracks soaked with metal aggression, the encounter is one accomplished and rigorously solid slab of heavy rock unafraid to flirt with melodic adventure or a nest of squirming grooves. Whether Until My Heart Stops will be the encounter to knock your socks off we cannot not predict but for an increasingly great and lingering time it is guaranteed to hit the spot.

The beginning of NG26 seems to vary, some reports saying it was the late nineties and other claiming around 2005 or so. Whatever the actual date, the Derbyshire quartet has risen from igniting the local rock/metal scene to sparking national awareness, primarily to their potent live presence and the release of the album Open Your Mind in 2011/12. Critically acclaimed by fans and media alike, the encounter spawned a trio of successful singles and just as eagerly devoured videos for each. More singles followed with praise and attention, as also the Devil’s Kiss EP of 2013, its tracks making a strong teaser for what now excites ears via Until My Heart Stops.

NG26 consists of two sets of brothers, Chris and Jon Topley, on vocals and drums respectively, alongside bassist Rob and sibling guitarist Rich Shaw, who also plays in Cradle Of Filth and the excellent Emperor Chung. It is a line-up soaked in experience which certainly explains the open tightness of songs and sounds fuelling the album, and is in rich evidence straight away as Never Enough sets things off in thumping style. A fanfare like flame of guitar is the first rich lure, quickly backed by plenty more in the shape of rousing riffs and scything beats. The snarling vocal tones of Chris, backed nicely by those of Rob, only add to the anthemic appeal brewing in ears, melodies and dirty harmonies adding their rich part to the infectious mix in matching potency. With a solo from Rich provides additional icing on the riot, the song simply sparks attention and a swiftly eager appetite.

NG26 cover_RingMaster Review     A blues scent spices the opening guitar enterprise of Daylight Breaks, but quickly expectations are left empty handed as the song slips into a mellow and reflective passage of vocals and enticing melodies, subsequently flaring up again to thrilling effect before going through the same magnetic cycle. The track does not quite have the same bite and rabid feel of the first in the end and in turn lacks finding the same success with personal tastes, yet it is a lingering and thoroughly enjoyable stroll setting up Save It For Me. The song unveils its own mix of alternative and hard rock which from a slightly underwhelming start, breeds a web of riveting grooves and agitated rhythms you would sell your granny for. The song epitomises the whole album in the way that whether individual tastes might not spark with particular moments of songs and release, something is always there on the horizon to stir up the passions again.

   Barely Breathe sparkles with technical and sonic resourcefulness next, its body somewhere between Alter Bridge and maybe Periphery, and constantly keeping ears and imagination on their toes before being outshone by Afterlife and its bordering on psychotic jungle of carnivorous rhythms and ravenous riffs, all bound in spicily caustic sonic vines. The track is a major highlight on the release, its rabid ferocity and imagination channelled through the irresistible skilled and hungry craft of all four members of the band.

A more restrained air covers the following Cease Fire, though it cannot defuse the gripping rapacity of drums and bass or the impassioned energy fuelled the satisfaction filling encounter. Again shocks are few but adventure and enjoyment thick, especially with the vocal twist late. The same can be said of Out Of My Life straight after, another track bursting with the impressive individual skills and potent songwriting on offer, though it too has to give sway to one more peak in the album. Little Indiscretions is the most rugged and cantankerous track on Until My Heart Stops, a blistering mix of groove metal and melodic rock ‘n’ roll especially expelling its most addictive strains of persuasion when it is belligerently growling.

As the album draws to a close, the excellent You Sold Me Lies provides an intensive and dramatic tempest of emotion and compelling endeavour whilst in ending things, Song For Mozaz offers a captivating ballad aligning the expressive tones of Chris to the piano and stringed beauty provided by guest musician Ryan Noon. It is a fine end to the highly enjoyable album, a finish which also shows the strength of the singer’s vocals which at other times do not get, for these ears, the most understanding production on the album, occasionally Chris’ delivery struggling against the swamping strength of the sounds around him. It is a smallish issue for the main and certainly disappears with his impressive presence in the last two songs.

Overall Until My Heart Stops is a highly enjoyable release which might not get the pulse racing as much as it might but definitely gets the appetite wanting plenty more, a success many dream of.

Until My Heart Stops is available now via Holier Than Thou Records @ http://holierthanthourecords.bandcamp.com/album/until-my-heart-stops

https://www.facebook.com/mightyNG26

RingMaster 14/07/2015

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

 

Dark Hound – Oceans

dark_hound__RingMaster Review

Nashville is going to have some major metal explosion to persuade people to stop thinking musically of only its country scene and heritage and you assume would be a feat too far, or maybe not if there are more bands like Dark Hound bubbling away and emerging in its underground scene. The quartet has a sound, as evidenced by their new EP Oceans, which does not yet dramatically startle or threaten the limits of originality to any of the varied metal flavours it skilfully employs yet it persistently entices with something fresh and unpredictable as it provides a thoroughly enjoyable time. The follow up to the band’s acclaimed self-titled debut album, the EP is an immediate and constant adventure of craft and imagination which maybe will not have you shouting from the rooftops but has a fair chance of making Dark Hound a band you hungrily want more of.

The 2009 formed band consists of long-time friends in vocalist/bassist ET Brown, guitarists Elliot Gordon (Clorange) and Evan Hensley (Nightfall), and drummer Josh Brown (Enfold Darkness, Nashvillbilly). Their first full-length pushed their local success into a broader attentive spotlight with accompanying critical acclaim but now with the release of the Frank Serafine recorded Oceans it is easy to expect a more forceful nudge on wider recognition and appetites.

Oceanscover_RingMaster Review     The band’s influences list the likes of Megadeth, Iron Maiden, Pantera, Arch Enemy, Testament, and Dream Theater, numerous hints which do indeed spill in varying degrees from the enterprise and imagination of EP and opening song Thread. Classic melodic enticing and drama opens it up, rhythms commanding as they stir things further and spark the song to hit an infectious and muscular stride. Already imagination is fuelling vocals and the landscape of the song, unexpected and spicy twists wrong footing expectations as the band reveals a potent almost mischievous resourcefulness to their songwriting and ambition. As suggested earlier there is a spread of many spices within the band’s sound, engaging ears here with anthemic thrash and heavy metal aligned to old school and modern creativity.

The strong start continues with To Know End, a song brewing up its magnetic persuasion from its first sonic breath with bass and beats an instant imposing flirtation quickly enhanced by wiry strands of guitar grooving. There is an early predatory swagger to the track too, one emulated in the appealing variety of ET Brown’s vocal delivery with his tones as imaginative as the sounds around him. A sense of familiarity is also, as with every song, a swift temptation but soon woven into something refreshing on the ear and impressing on thoughts. For all the variation of metal involved, again thrash and heavy metal a rich essence, there is a healthy if understated whisper of Suicidal Tendencies blowing across the tempestuous landscape at times, a probably coincidental spicing which just adds something extra to the song and release.

Just as Blind shares a grungier hue to its earthy melodic stroll next, the track more a stalking than a charge but with a volatile belly of energy and voracious shadows constantly giving depth and intimidation to the satisfaction bloating encounter. The band calls their sound metal and that is best as just trying to pin down the flavours within the third song would use a paragraph in tagging it.

The EP keeps its best two tracks for its climax starting with Rearview Mirror, a masterful and incendiary collusion of contagious endeavour and predatory textures twisted into a seriously addictive and fierce waltz of new and old ideation. The track has body and emotions enslaved, recruited to its cause early though even it has to conceive best track honours to the EP’s closing encounter. The title track toys with the imagination through its dark drama from its opening seeds, ears caught at the same time and seduced further by the flowing slip through frenetic and mellow creative scenery. Hooks and grooves are no less potent and relentless, whilst the bass of the frontman seems to get heavier and more bestial with every passing minute.

It is a tremendous end to what is a mouth-watering and severely enjoyable release. Dark Hound has a sound and presence, as mentioned earlier, which does not cause major surprises but it would be unfair not to admit each listen leaves a stronger and increasingly lingering impression. It will be interesting to see how the band continues to evolve but more of the same next time will not be a cause of disappointment.

The self-released Oceans EP is available from 10th July

http://www.dark-hound.com   https://www.facebook.com/darkhoundband

Ringmaster 10/07/2015

Copyright RingMaster: MyFreeCopyright

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Straight Line Stitch – Transparency

Photo credit- Benjamin and Beverly Ross

Photo credit- Benjamin and Beverly Ross

Whether Straight Line Stitch is a band you ultimately take to or not, there is no escaping the fact that their sound demands attention. Their evolving mix of metal and rock is a dramatic and inventive proposition which explodes with fresh and rigorous tenacity in the band’s new EP Transparency. Consisting of six tracks which can uncompromisingly snarl and masterfully seduce, creatively savage and forcibly charm across their individual bodies, the EP is a rousing and fiercely enjoyable encounter from a band which never compromises their sound and invention but still manages to shape it into one easily devoured adventure.

Released via Pavement Entertainment, Transparency sees the Knoxville, TN trio reinforcing their core fusion of metal and hard rock with new transfixing twists and detours whilst retaining its recognisable and potent substance. The threesome of vocalist Alexis Brown, bassist Darren McClelland, and guitarist Jason White have not sculpted a major departure to the impressive offerings within their previous acclaimed album The Fight of Our Lives of 2011, yet the tapestry of ravenous and melodic invention is loaded with greater predacious and captivating temptation than ever before. It might just be a handful of songs but the EP suggests Straight Line Stitch have tapped into a new vat of inspiration and resourcefulness which can only further unfold ahead.

SLSCOV_RingMaster Review     Transparency opens with Out of the Shadows, a brief instrumental intro which entices well enough with its evocative air and elegance but fair to say the release properly gets going once Dark Matter suddenly roars from within the parting kiss of its predecessor. Brown’s aggressive raw tones rage first, swiftly joined by hungry riffs and rhythms bound in a tight vine of alluring grooving. In a matter of a few additional moments, Brown unveils the other side to her vocal prowess, her melodic persuasion casting new colour to the sonic tempting fermenting within the song and providing another step in the ever impressive and seamless diversity in her delivery. A carousel of predatory hostility and alluring pop rock around a carnivorous spine, the song itself is a persistently captivating engagement which is quickly matched by Out of Body.

The third track opens with warm enticing, guitar melodies caressing ears as the gentle tones of Brown flirt with the senses. As bass and drums harden their character, a stronger growl begins lining the song though it relaxes when keys spark harmony rich calmer passages within the song. Like a mix of In Flames and Lacuna Coil yet with an intimacy which gives the encounter its own distinction, the song heftily pleases before making way for Face of God, a track with volatile shadows to its depths and virulent contagion to its anthemic tempting. It is a stirring mix of textures with riffs and bass almost bestial in their intimidation and rancorous sound whilst vocals and melodies cast blazing rays of evocative beauty. Things continue to shift and twist in the body of the outstanding encounter, the EP’s best moment a kaleidoscope of unpredictable and easily digestible enterprise.

Wilderness is a savage provocation from its first breath, riffs and rhythms preying on ears with antagonistic imagination and fury which is soon matched by guitars and vocals and their own aggressive ingenuity. The fierce theatre subsequently slips into oases of melodic beauty, sparking new potent bait for appetite and imagination to feed from even though the blistering track’s dark side is never far from the surface. It is a template taken to its own imposing success by Human Bondage, though the closing song does lack the spark of uniqueness found in its predecessor. Nevertheless it is a maelstrom of rabid almost carnal riffs, grouchy basslines, and almost fell vocal ire entwined with warm and soaring radiance spread sonically and through the dynamic tones of Brown.

The song is a thick pleasure bringing another thoroughly enjoyable and enthralling incitement from Straight Line Stitch to a pleasing end. The new adventures within Transparency may not make it the best offering from the band to date, though it is right up there in many ways, but they suggest something major might just be in the pipeline and brewing very nicely for the band’s next album or proposal.

Transparency is available from June 30th via Pavement Entertainment.

https://www.facebook.com/straightlinestitch

RingMaster 30/06/2015

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