Order Of 315 – Antipi

 

Photo_RingMaster Review

Three years ago French metallers Order of 315 awoke ears and attention with their debut album Near-Birth Experience, a fierce and tenacious offering which only grew in persuasion and stature over time. Now the Paris quartet have returned with its successor Antipi, raising the heat of the qualities and potential found in the first album whilst creating an even more compelling and varied confrontation. Antipi is a rousing incitement and cantankerous roar bred across eleven individual stirring aggravations of sound and imagination. Fair to say the band’s music still wears open inspirations at times but is now really showing its own character whilst unleashing tapestries of varied and aggressively delivered flavours.

Formed in 2010, Order of 315 draw on a host of styles from metalcore and hard-rock to progressive, djent, and alternative-metal; flavours bred in the experiences and tastes of its members with bands such as Black Label Society, Pantera, Machine Head, Slipknot, Stone Sour, Five Finger Death Punch, and Korn amongst individual sparks to their sound and imagination. The 2012 released Near-Birth Experience earned strong attention and acclaim from certainly the metal underground and media with its striking tempest, its seeds now blossoming into the creative voracity that is Antipi. The new album is more brutal yet equally richer in melodic tempting and certainly a more atmospherically volatile confrontation around a heart feverish in its resourcefulness.

Cover_RingMaster ReviewAntipi opens with A Slap On The Wrist and an initial sample stroked by an innocence drenched, single strand melody. It caresses the imagination, awakening ears ready for the swift assault on the senses of jagged riffs, beefy rhythms, and the instantly recognisable and welcome grizzly tones of Edgar Jabberwocky. His voice and delivery is a mighty lure alone easily igniting a pleased reaction in ears to match that being sparked by the growing rabid swing and antagonistic rumble of the sounds around him. The song is bullish rock ‘n’ roll, an easy anthem to get eager teeth into and a hungry appetite from, both fed with every passing swell of bruising enticement.

It is an outstanding start to the album quickly continued by Telescope. From its first groaning breath the track is a more imposing and intrusive proposition with the rhythms of drummer Pablo Civil unruly in their skilled design. Aligned to the predacious air of Grm Lecouflet’s bass, they make for a hostile yet gripping frame entwined by the thick winy grooves of Klaus Kersey, his guitar just as magnetic in primal riffery and sonic enterprise too. As with its predecessor, the track has hips violently gripped with its swinging challenge and ears hooked by its rapacious sound, Jabberwocky leading the incitement as masterfully as ever before The Feather Factor takes over with its industrial metal breeding and groove meets heavy/alternative metal tempestuousness. Subsequent switches into melodic flames bring a relatively undefined familiarity to things but only adds to the thick and captivating drama unfolding within ears.

Without quite finding the same dynamic impact as the first tracks, Abelian still keeps satisfaction fully whetted with its spidery melodic enterprise around a fierce tempest of a heart whilst the following Meiosis almost beats pleasure from the senses with the brutal rapier swings of Civil, though the atmospheric melodies, scything sonic trespasses, and unpredictable landscape of the assault are just as thickly tempting and alluring. Once more there is something recognisable in the spicing of the song but warped perfectly by its great bedlamic nature.

A creative composure lines Rumble Fish, the bass of Lecouflet a prowling protagonist leading the listener into the awaiting animus of the song. It never breaks its pleasing chains though, hinting and provoking with subtlety and atmospheric imagination whilst showing more of the growth in songwriting and maturity of the Order Of 315 sound, something clear across the whole of the album and indeed next up Data Warfare with its Korn meets Bloodsimple like turbulence with just a touch of Fear Factory adventure to it all.

Both the magnetically wiry Greyscale and the senses enveloping Densen keep things mean and keen; the first an inflamed mix of heavy metal and alternative rock as flirtatious as it is menacing whilst its successor crawls through ears with a slight but definite salacious sway to its evocative and intensive rock ‘n’ roll design. Both carry an attitude and hearty intimidation which, with the sonic imagination, sparks a want for more, a success just as easily drawn by the spiralling textures of Unperfect Circles. The track perpetually winds around the senses, the guitars especially influential in tempting out lusty enjoyment.

Drone brings Antipi to an end, the track a tangle of sonic craft and expression ridden by the brawly tones of Jabberwocky amidst a rhythmic tempest. Though in some ways the song takes longer to get to grips with, it is a fine end to another thrilling offering from Order Of 315. To be picky, there is a slight diminishing of unpredictability towards the rear of the release, until the final encounter anyway, but each track only ignites body and imagination to declare Order Of 315 one of the potent fresh roars within the metal scene.

Antipi is available now through numerous online stores.

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Pete RingMaster 21/12/2015

Copyright RingMaster: MyFreeCopyright

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Raptor King – Dinocracy

PROMO BAND RAPTOR KING _RingMaster Review

     Raptor King is a French band which going by their backstory, and tale within their new release, consists of Raptor V, a dino king from the cretaceous era which ended up in 2015 via a temporal gate, becoming trapped in the western suburbs of Paris within Boulogne-Billancourt. Determined to conquer this new world, he enlists two acolytes in guitarist Nightsmoke and drummer Don Coco. Removing the story from the facts we are left with little more to say on Raptor King except, and the most important thing to add, that they create one forcibly stirring and compelling sludge metal roar with plenty more to its voracious and thrilling incitement. There are raw expulsions from hardcore to thrash, heavy rock to well any kind of predatory sound you wish to think of involved in the hellacious Raptor King confrontation too and as proven by debut EP Dinocracy, it sets ears and emotions ablaze.

The band’s music is a bruising and rousing mix of familiarity and fresh creative emprise, all rolled into a sonic animus which chews on the senses whilst treating the passions to metal seeded punk ‘n’ roll anthems easy to get swiftly and fully involved with. The proof is right there with the EP’s opening track Da Fuck Where I Just Lend, and only becomes a stronger convincing and ferocious evidence with each passing encounter. The first track instantly entangles ears in a web of sonic enticement with a warped nature, the guitar wrapping the senses in spidery grooves as skittish as the rhythms around them. Raptor V just as swiftly reveals his thick range of delivery styles, his core tone gruff and ravenous but adept at taking it to rawer extremes or in spreading some unpolished but melodic enticing too. Across the song and indeed release, thoughts grab hints of the bands ranging from Motorhead to Face Down, White Zombie to King Hiss, Black Tusk to Pigs and more, but perpetually the tempest emerges as its own distinctive beast.

FRONT COVER RAPTOR KING DINOCRACY_RingMaster Review   The excellent start is straight away eclipsed by The Campaign, the track crawling over the listener from its breath, carrying an intimidation soon realised in vocals and the thumping roll of beats too. They are in turn aligned to a predacious intent in the bass and guitars, all continuing to stalk until building to a rabid onslaught led by again a great vocal variety acting as one. Track and band are unrelenting in their infesting and bullying of the senses, creating a virulent energy and infectiousness within a barbarous badgering of sound that simply stirs one’s own energy and appetite. There is a definite Killing Joke feel to the song also but again a colour in the rabid tapestry spawned by the band.

Jugular steps up next, launching from a sonic lancing of the senses with a rugged swagger and great entanglement of swinging beats and carnivorous bass predation. Once more that Jaz Coleman and co scent makes a potent and gripping additive in the mix of classic metal tenacity, heavily boned rock ‘n’ roll adventure, and the blackened invasiveness which courts some of the vocals and shadows of the outstanding encounter. Many of those flavours emerge again in the abrasive hostility of Acolytes (Nightsmoke – Don Coco), traits woven perfectly into the ridiculously captivating and enslaving primal stomp. Again you can argue that many aspects of the track are recognisable textures and temptations but with grooves a salacious web as both Nightsmoke and Coco weave a trap of addiction stoking rhythms and Raptor V’s at times reptilian vocals as magnetic as his growling prowess, the track as the EP, provides easily one of most enjoyable and invigorating riots this year.

Dinocracy is brought to a close by In Your Face, a storm of heavy metal and heftily imposing rock ‘n’ roll built on a frame of bone shuddering beats and grumpy antagonism. It is the least impacting song on the EP but due to the carnal and imaginative brilliance of its companions more than anything it might lack. Fair to say with another great blend of vocals, cutting rhythms, and instinctively enslaving grooves, all wrapped in the constant unpredictability that Raptor King work with, the song only excites, impresses, and grows more controlling over time.

A smile is never far from the face across Dinocracy, the lyrical fun as ripe as the invention and resourcefulness of their mighty sound. As suggested it might not be your choice of original release of 2015 but as the most thrilling and creatively anthemic it is in with a mighty shout.

The Dinocracy EP is available now via http://raptorking.bigcartel.com/product/dinocracy-ep

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Pete RingMaster 14/12/2015

Copyright RingMaster: MyFreeCopyright

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Hills N’ Pills – Delicious Nourriture

HNP_RingMaster Review

Some bands breed their sound on one style of music adding their own twists and tweaks, others by crossing over genres, whilst there are some which create a kaleidoscope of diverse flavours and textures for their own creative instincts and imagination to explore. French metallers Hills N’ Pills definitely belong in the latter, turning familiar inspirations and essences into something torn and twisted with its own uniqueness. It is a fluid invention which goes to make their new EP Delicious Nourriture one of the most fascinating and thrilling encounters of 2015.

Hailing from Montpellier, Hills N’ Pills emerged in 2009 from the creative union of vocalist/keyboardist Salim Smili and guitarist Tricot Adrien. Subsequent years saw the release of the Extended Pourriture EP and its successor Experience Fioritures, as well as a number of line-up changes including the departure of Adrien. Equally a constant evolution in the band’s music emerged as more imagination, flavours, and boldness grew and drove their creative adventure. It has all led to a major triumph going under the name Delicious Nourriture. Like a deranged merger of System Of A Down, Skindred, Trepalium, and Hardcore Anal Hydrogen, to try and simplify things, the four track incitement is an epidemic of bedlamic alchemy which insists that Hills N’ Pills is to be seriously taken notice of.

The intoxicating drama begins with Decaled, vocals an instant coaxing quickly joined by intimidating rhythms and just as cantankerous scythes of guitar. The song’s first breath offers up that Skindred reference, ragga tenacity and provocation fuelling the brewing muscle and aggression of a rapidly gripping confrontation. The guitar of Nene Nihaw casts thick lures and spiky grooves on the senses whilst the dual vocal attack of Smili and Thibaud Van Den Berghe offer a perfectly balanced mix of raw, grouchy, and antagonistic variety. It needs little time for the song to also show the unpredictability in a Hills N’ Pills song, a Rage Against The Machine like expulsion leading to an electronic revelry led by the korg of Smili, which in turn opens up a canvas for the blues expression of Nihaw’s invention on strings to enthral from. Perpetually driven by the rousing and bruising swings of drummer Po Niaow and the throaty predation of Nico Diiiou’s bass, not forgetting sheer imagination across the band, the track provides an immense and thrilling start to the EP.

Hills N Pills cover_RingMaster Review   Similar hues colour the opening of Atchoum, a mix of RATM and (Hed) PE teasing thoughts right away but soon evolving into a System Of A Down spiced infestation of ears and appetite within a rabid groove metal tempest. The different traits continue to twist into and entwine around each other as the song shows more of its character, that Trepalium like death metal ferocity a thick ravishing feeding from the off-kilter liquor flowing through the creative veins of the song.

This Thing swings in next, vocal doodling a tempting into the volatile and busy heart of the uninhibited incitement consuming the senses and passions. The song is arguably the most straight forward offering on the EP but still breeds a belligerently captivating and diversity infested savaging layered with rich strains of metal variation, all laced a persistent virulence which takes no prisoners.

The release closes with Funky Shit where electronic flirtation seeds a multi-flavoured trespass of ever changing and gripping enterprise. Once more there is no ignoring the Serj Tankian and company’s inspiration though it is more the frontman’s solo exploits which comes to mind as the song immerses the imagination in its outstanding…well madness is probably the best description.

Delicious Nourriture hits the sweet spot straight away but over further listens is where the depth of the Hills N’ Pills invention and sound really reveals its glory, and where the lust in your pleasure is likely to show its hungry head.

The Delicious Nourriture EP is out now and available through most online stores.

https://www.facebook.com/Hills-n-Pills-103993246327614   http://hills-n-pills.wix.com/musique

Pete RingMaster 14/12/2015

Copyright RingMaster: MyFreeCopyright

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Undawn – Justice Is

UNDAWN-promofoto_RingMaster Review

To quote the press release of Undawn’s new album, “Justice, in its broadest context, includes both the attainment of that which is just and the philosophical discussion of that which is just. The concept of justice is based on numerous fields, and many differing viewpoints and perspectives including the concepts of moral correctness based on law, equity, ethics, rationality, religion, and fairness.” That just about sums up the fire in the belly of Justice Is, and in its individual explorations of varying aspects to the album’s theme. It also hints at the blaze of attitude, intensity, and defiance fuelling the Dutch quartet’s excellent second album. It is a proposition weaving familiar metal bred hues into fresh invention, breeding eager acclaim loaded reactions and the potential to push Undawn firmly into the strongest spotlights.

Formed at the beginning of 2007, Undawn quickly awoke local support through an adrenaline fuelled live presence and a pair of EPs, Dominate the World being uncaged that first year and The Roads To Despair in 2008. Fair to say it was debut album Jumpers which provoked broader attention, subsequently helping the band to play a torrent of shows across Europe. With Justice Is, Undawn have pushed their songwriting and sound to new ferocious heights, digging deeper into their imagination and craft to create a tempestuous weave of diverse and aggressive styles and adventurous flavours aligned to greater explorations of melodic and emotional incitement. The result is a confrontation which has ears aflame and thoughts eager to devour the provocation on offer. It may not be the most original album this year, though it is no cheapskate on fresh invention, but it is one of the most forcibly enjoyable.

Coverart-Undawn_RingMaster Review   Evidence of that comes straight away with opener Coming Home. From its first breath, the track is bullying the senses through bruising rhythms, abrasive riffs, and a mass band roar driven by by the lead vocals of guitarist Michiel Brinkhuis. Instantly ears and attention, not forgetting appetite, are in fully engaged in the provocation, perpetually tempted by the swinging grooves, vocal variation, and the tenacious energy and character of the song. With fellow guitarist Leon Kloosterman and bassist Thijs Brinkhuis backing Michiel vocally to potent effect, the track continues to twist through a weave of melodic and groove metal provoked further by flavours bred in the likes of metalcore and alternative metal. It is stirring stuff igniting a greedy response. in a tremendous start to the album.

The following What Justice Is keeps the heady beginnings going, guitars rich enticement from the off with their potent coaxing quickly reinforced by the growling vocals and rhythmic intimidation of Thijs Brinkhuis and drummer Tom Brinkhuis. By the time everything is united, the song is a sprawling and welcome invasion of the senses but soon realised as only one aspect to the many faces of a song as fiery melodic endeavour and harmonic vocals, the guitars of Michiel and Leon alone a web of sonic invention, colour the tempestuousness nature of the track.

In the Moment boldly strides in next, bluesy tendrils of guitar entwining the raw air and sinew built rhythms that quickly surge through ears along with more of the increasingly enjoyable and seamlessly changeable vocals from Michiel and the band. Like a mix of Pantera, Bloodsimple, and Bring Me The Horizon, the song thrills and spills its impressive traits and imagination over ears and an already hungry appetite for the album; that only given further bait to devour by the resourcefully antagonistic A Bond of Brothers and the sonic maze of Faceless. The first of the pair is a skilful merger of venomous aggression and invasive attitude with flowing melodies and vocal charm to sooth the more grievous exploits of their counterparts whilst its successor sculpts a wiry web of sonic tempting within the mix of emotively clean vocals and gladiatorial growls. Of the songs so far, it is arguably the least unique yet there is no escaping or dismissing the sublimely aligned and merged bold contrasts and conflicting energies.

Moving On similarly only impresses even if without breaking into major originality, especially with a core groove which gets the blood and energies rushing through the body in enjoyment. The skills and adventure of the band is a constant pleasure and an impossible to ignore heart to all tracks, easily proven here by the song’s organically rousing persuasion and too in the following Forever. It opens with a mellow croon rich with the great vocal qualities within the band, continuing to retain that emotive calm and elegance even as turbulence honed walls of intensity and sound grow to frame its evocative flame. The track gets under the skin early on and like any anthem increasingly stirs up emotions with its combined melodic and bullish splendour.

Raw and thrilling hostility shapes Fate next, though of course the melodic invention of the band is a just as heady part of the thumping rampage igniting ears with a blues kissed solo especially exhilarating within the storm before Never Giving Up, which features Björn Strid from Soilwork, takes over. That essence of defiance mentioned at the beginning is especially thick in the dramatic encounter which just seems to get stronger and more compelling with each of its diversely unpredictable and absorbing five minutes, and of course every listen.

Completed by The Puppets of Heresy, another making a strong impact initially but blossoming to greater stature with each dive into its volatile ravaging, Justice Is leaves ears blissfully ringing and pleasure thicker than the grooves helping bring that success. You may have heard more dramatically unique albums this year but many that are more exciting and emotionally fulfilling it is harder to imagine.

Justice Is will be available from December 11th via Graviton Music Services.

http://www.undawn.com/    https://www.facebook.com/undawn

Pete RingMaster 11/12/2015

Copyright RingMaster: MyFreeCopyright

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Adrenechrome – Tales From Adrenechrome

Pic Credit Dave Saunders_

Pic Credit Dave Saunders_

Just like a blurring of reality and fantasy, the sound of Canadian metallers Adrenechrome is a muggy fusion of styles and flavours, and just like a drug addled climate, it provides an adventure which devours and permeates every pore of the senses and emotions. Taking their name from the a fictional drug in the film Fear And Loathing In Las Vegas, Adrenechrome cast a kaleidoscope of rigorous and virulent tempting as creatively progressive as it is thunderously rock ‘n’ roll, as predatory thrash bred as it is spatially grooved, and as imaginatively ravenous as it is simply seductive. The evidence is all there within new album Tales From Adrenechrome, a seven track encounter which from its classic comic like cover, created by Clownbaby and Tim Kehoe, through to its final suggestive note, is a compelling exploration of self experiences, fantasy, sci-fi, and classic literature.

Hailing from Ontario, Adrenechrome began in 2010, formed by veterans of the music scene with bands such as Gaswitch, Shimmy Rabbits, and The Doug Trucker Band in their histories. Debut EP Hideous Appetites emerged in 2012, inspirations from artists such as Pantera, Black Sabbath, Thin Lizzy, Metallica, Mastodon, High on Fire, and Children of Bodom colouring a sound which soon lured strong support and attention to the release and equally the band’s adrenaline driven live presence which over the years has included playing with Corrosion of Conformity, Green Jelly, Ninjaspy, and Manahan. It is a reaction and success sure to be matched and overshadowed by Tales From Adrenechrome as it spreads its creative rabidity from hereon; with it the band ready to breach and incite richer and broader spotlights.

Album Cover - Adrenechrome - Tales From Adrenechrome _RingMaster Review   The album opens with A Familiar Face, an immediate tempting of bold rhythms and melodically spun sonic enterprise woven into a warm instrumentally led tapestry. The track swiftly captivates as its hooks and grooves seduce as the bass swings and drums badger, a union which only captures ears and imagination with vocal harmonies adding just one more flavoursome texture to the album’s initial temptation.

Things quickly get rugged and heavy as Lockstep storms in next; its thrash breeding is full rabid evidence as vocalist Chris Friesen rides his own riffs and the raw flames of fellow guitarist Tim Kehoe. As becomes the norm, the track is soon evolving within ears. The fury of more extreme metal hues collude with heavy Mastodon resembling grooves and a Torche likened web of flavours as the licking of thrash seeded and groove metal honed flames continues. It is riveting stuff, the body and emotions involved in the devilment as easily as pleasure and an appetite for more, which the song continues to offer with its persistently twisting proposal and Black Brubeck continues with its superb jazz lit imagination and progressively sculpted inventive waltz. As avant-garde as something from a Trepalium or a Pryapisme, and as heftily compelling rock ‘n’ roll as a predacious roar from an Anthrax or High on Fire, the song is irresistible; a fascination with mischief in its heart and fiery passion in its soul.

As all tracks, God Sized Shadow is nurtured with the same fire of intent and character, it even more rapaciously dirty and intrusive than its predecessor but with, greater degrees, the same kind of cosmic air and aggressive volatility, the blackened shades of the latter especially potent. Bewitching and intrusive, with the excellent dark grouchiness of Mike Van Dyk’s bass and the lethally swung beats of drummer Matt Copeland gripping, the track is a primal yet worldly blaze with the rawness of a Triggerman and dark seduction of a Faith No More.

The Heart and The Feather instantly incites ears and thoughts as clean vocals impress within a hug of spidery grooves and sonic expression, Friesen becoming even more compelling as he mixes up his delivery with dirtier tones and rasping expression. Musically the song matches him, again that bedlamic quality a perpetual enticement of unpredictability and highly persuasive surprises woven in to a mix of fierce and richly spiced metal and heavy rock styles. Hips are soon swinging and imagination entangled in the proposition, a success just as easily inspired by Hideous Appetites, a manic appearing and skilfully conjured smog of ferocious enterprise and dynamic devilment; a ravenous beast of a song with melodic and antagonistic weaponry.

Completed by the cauldron of warmth and hostility that is The Lead Elephant, a track which majestically merges melodic tempting, sonic trespasses, and cantankerous metal ‘n’ roll within its tenacious and often enjoyably bruising tempest, Tales From Adrenechrome is a thrilling beast. There is no moment where emotions and appetite are not inflamed and pleasure thicker than the grooves it unleashes.

Grabbing a dose of Adrenechrome is a no brainer as far as we are concerned, Tales From Adrenechrome the release declaring a new band to challenge if not quite now certainly ahead those ‘giants’ mentioned.

Tales From Adrenechrome is out now @ https://adrenechrome.bandcamp.com/album/tales-from-adrenechrome and through most online stores.

http://adrenechrome.com/    https://www.facebook.com/Adrenechrome   https://twitter.com/adrenechrome

Pete RingMaster 28/11/2015

Copyright RingMaster: MyFreeCopyright

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The Five Hundred – Winters

TFH_RingMaster Review

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

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

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

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

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

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

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

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

https://www.facebook.com/wearethefivehundred   https://twitter.com/thefivehundred

Pete RingMaster 24/11/2015

Copyright RingMaster: MyFreeCopyright

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Deadly Circus Fire – The Hydra’s Tailor

DCF_RingMaster Review

Casting a creative and impassioned roar which just gets richer and more compelling with every listen, The Hydra’s Tailor is a majestic beast of an album; a release that invasively seduces and cantankerously snarls. The second album from UK metallers Deadly Circus Fire, it has been the source of much attention and highly enthused praise already, so time we thought to get involved in its acclaimed proposal and fair to say disappointment was not on the agenda.

Fusing persistently unpredictable explorations of progressive metal and rock with just as magnetically carnivorous textures, The Hydra’s Tailor is already no stranger to drawing keen attention, just like the band’s debut album The King and the Bishop which was heartily embraced by fans and media alike. Drawing on inspirations such as Tool, Mastodon, and Deftones, the London based Deadly Circus Fire laid down a fiercely inviting teaser for this their latest emprise of sound and imagination through a couple of eagerly welcomed singles and since their release, they have signed with Musicarchy Media for the release of the crowd-funded, The Hydra’s Tailor as well as share stages with the likes of Crossfaith, Funeral For a Friend, and Bleed From Within across the UK and Europe. Right now they are lighting up European venues supporting Skindred on their Pump Up The Volume tour, just as The Hydra’s Tailor does the same to ears and speakers.

Artwork_RingMaster Review     The album starts with In Darkness We Trust, its keys spawned melancholic air embracing the immediately enticing and impressing voice of Adam Grant. The duet is bewitching, a solemn yet magnetic coaxing into the heart of the album and second track Animal. Riffs instantly begin prowling ears as it opens up predatory scenery, vocals again a potent enticement as the firm swings of drummer Paul Igoe resonate and the guitar of Save Addario spins expressive sonic enterprise around the still ravenous riffery. Grant again strikes with compelling vocals, his presence backed as resourcefully and potently by the tones of Mike Enort, whose basslines are no slouch when it comes to casting dark temptation either. Whereas the opener was a minimalistic treat its successor shows the shape of things to come with its unpredictable and seamlessly diverse landscape, it also a triumph in its own right.

The following Where It Lies expands from an acoustic flirtation into another mesh of wiry guitar tendrils and emotive flames, ebbing and flowing in aggression and intensity but relentlessly seducing in charm and adventure. As vocal craft and imagination shadows every step made by the ideation building the track, a scent of bands like Circles and Palms lay upon the fascinating encounter, Karnivool too in the song’s mellower moments but all spices to something already showing Deadly Circus Fire uniqueness.

Victim is another entering with an antagonistic glint in its creative eye, rhythms and riffs aligning their rapacious natures as Metallica-esque grooves line the emerging tempest. This time there is a whisper of bands like Bloodsimple and Lamb of God to another song which needs little prompting to evolve into new pastures of tenacious ideation and compelling craft, subsequently an air of Porcupine Tree and Tool just as suggestive across the outstanding incitement.

Another pinnacle comes with the stunning blaze of Devil’s Opera, a track as infectiously catchy as it is mouth-wateringly involved. It takes ears, emotions, and the imagination on a heady ride of united enterprise and individual exploration, a flight which twists and turns with an inventive turbulence that only ignites the appetite to greedier intent towards album and band. It is a forceful yet respectful invasion of the senses continued in Rise Again, it too aligning riffs and rhythmic rabidity with a fire of sonic invention and emotion driven melodic expression guided by the superb voice and delivery of Grant.

The brief instrumental tempting of Martyrs provides a relaxation for the senses next and a new spark for the imagination to play with before the exceptional House of Plagues groans and grinds ears with guitar endeavour around an enjoyably volatile blend of vocals. That bestial intent continues as melodies catch flame and rhythms jab with the stealth of a predator, all contrasts uniting in a scintillating emprise of emotive and provocative ingenuity, one that gets more ravenous and thrilling over each passing minute. Amongst so many within The Hydra’s Tailor that linger and relentlessly lure constant attention, as the album itself, the track is pure addictiveness as it takes best track honours.

Through the bold air and wonderfully fluid and varied tapestry of Aeden and the climatic atmosphere and soundscape of the album’s title track, The Hydra’s Tailor continues to enthral and tempt lustful reactions, its namesake another especially mesmeric blaze of dexterous songwriting and skills matched in sound. Both songs add thick layers to the epic nature of the album with the next up Turning the Tide equally as mighty with its agitated rhythms and sonic swirl of discontent. Equally within its stormy nature though, melodies brew, calm emerges, and bewitching harmonies entice to engross and excite before the turmoil returns in similarly exhilarating style.

The album is closed by the celestially lit, intensively aired Universe; a song which soars and bullies its way into ears and the psyche whilst leaving a great resonance and glow from its respective merger of harsh and tempestuous textures with absorbing beauty. The song is just masterful, repeating the major success cast before it across The Hydra’s Tailor with its own impressing adventure.

The good things heard and read about Deadly Circus Fire barely do the band justice, and now having been infected by The Hydra’s Tailor it feels safe to say if there are those yet to feel the power and prowess of the band the chance of finding reactions breeding the same kind of enthusiasm as us here, is high. There is only one way to find out of course and that is one of the heartiest recommendations made at The RR this year, go explore.

The Hydra’s Tailor is out now via Musicarchy Media @ https://www.musicarchymedia.com/project/the-hydras-tailor/

http://www.deadlycircusfire.com   https://www.facebook.com/deadlycircusfire

Pete RingMaster 17/11/2015

Copyright RingMaster: MyFreeCopyright

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