No Kings No Slaves – New Lease of Life

Providing a striking full introduction to themselves with debut album New Lease of Life, Switzerland hailing No Kings No Slaves have swiftly proved themselves a compelling proposition. The release is a cauldron of melodic hardcore but an encounter which dares to seek out bold and fresh pastures if maybe not always quite fulfilling the potential that imagination brings. Even so it is an album that scorched ears and ignited the senses as well as raised a hungry appetite for the band’s emotion loaded, tenaciously sculpted roar.

Lucerne hailing, the quintet of Pädi Reichmuth, Julian Thalmann, Philip Heini, Mario Rosso, and Dave Aletz embrace the inspiration of bands such as Architects, While She Sleeps, Bring me the Horizon, Gallows, The Ghost Inside, and Pure Love to their melodic hardcore bred sound though one as suggested relishing the additional flavouring of a varied mix of metal and rock. It has already shaped a well-received EP though New Lease of Life will be the first contact for a great many with No Kings No Slaves and one which will surely draw rich attention their way.

Dealing with issues ranging from transience and social ills to toxic relationships, New Lease of Life is fuelled by a furnace of passion and emotion, worldly and intimate; a fire matched in the intensity and enterprise of its sounds. Album opener, Judgment, swiftly shares that multi-faceted blaze, the song rising from portentous rhythmic intimation with a wave of heavy metal riffs quickly followed by Thalmann’s raw throated, senses abrasing tones. Just as urgently imaginative melodic threads wrap ears, the brief track an intro of sorts but providing a full incitement before the album’s title track erupts. Nagging almost bullying rhythms are surrounded by blazing guitars as again vocals coarsely assault the air but an attack from all quarters which equally captivates, especially the more post hardcore textures and harmonic vocal backing that brings greater potency to the track.

Though a form of familiarity is bred from its hardcore instincts a persistent unpredictability also shapes the alluring character of the album and the likes of the following Ticket To Far Away and Modern Life Slaves. Both tracks sear the senses as much as they melodically stir the imagination, each a tapestry of passion and intensity relishing the recipe of flavours making up their adventurous natures. The second of the two especially hit the spot with its groove metal tinted dexterity, being rivalled by the just as dynamic and multi-flavoured inferno of Humanity’s Curse.

Across the likes of Hell with its intense heart and sonic firestorm, the heavy metal hued A Quiet Place, and Medication with its more classic metal instincts, No Kings No Slaves reveal more of their creative adventure and boundary breaking imagination, the latter pair of the three the best moments within New Lease Of Life for us while after the haunting radiance of a short Interlude, the explosive Our Name Is Greed provides another fiercely memorable moment and pleasure. It is a rousing proposal that singes the senses as it cauterizes ill-will and emotion, rhythms and melodic flames relishing the individual and united prowess of the band.

The final pair of songs, Electric Sky and Losses, similarly flourish through the quintet’s eager embrace of flavours, the first emerging our favourite track as it casts a web of styles and agile dynamics upon the band’s melodic hardcore pyre with its successor similarly explosive and bold in its nature and creative character.

New Lease Of Life is a release which just gets better song by song, its second half majorly arousing the passions and personal plaudits but from start to finish the album only impressed and declared No Kings No Slaves a band attention was made for.

New Lease Of Life is out now.

https://www.facebook.com/NKNSband/   https://www.instagram.com/nokingsnoslaves/   https://nokingsnoslaves.bandcamp.com/

Pete RingMaster 14/03/2020

Copyright RingMasterReview: MyFreeCopyright

Vovkulaka – Self Titled

Having recently devoured an EP featuring four of their fan’s favourite tracks, there could only be one next port of call and that was the self-titled debut album from Ukrainian metallers Vovkulaka. If that introduction to the band impressed and excited then we can only say that this twelve track release had us lusting for the striking sounds and rousing songs it held.

Emerging in 20914, Vovkulaka (Ukrainian for werewolf) is primarily the solo project of Odessa based vocalist/drummer/songwriter VolK but an adventure also featuring members from Bulgaria and the United States with Stone of metallers Contortion providing guitar and its stage line-up up completed by dancers and percussionists Naya G and JuleZ, and guitarist Ivan Manoloff. Vovkulaka creates a voracious sound bred in the heart of industrial and nu metal but one embracing a host of other flavours such as gothic metal and dubstep. Like a fusion of Fear Factory, Korn, Slipknot, Society 1, Type O Negative and Rob Zombie it grips attention but with an individuality which ensures it boldly stands out from anything else. Lyrically VolK’s inspiration and invention finds its seeds in his passion for ghost hunting and the paranormal experiences found as well as more personal issues; shadows and darkness sought and embraced to immerse the listener in the most compelling encounters.

Produced by Darian Rundall (Pennywise, Suicidal Tendencies, Yellowcard), the album immediately had the senses and psyche hooked with its opener, Summon The Demon. The brief track is a rhythmic calling, VolK revealing his percussive skill and manipulation as carnivorously haunting beats conjure an atmosphere from darker realms. It may barely be a bidding escaping a minute but proves an irresistible invitation leading to the equally ravening haunting of Cemetery Voices. Crawling over ears and senses, the track is a heavy but compelling trespass but one already a lively threat through the skittish percussion of VolK around his rapaciously slow vocal drawl. The similarly sinister lures of guitar and electronics only add to the captivation quickly bred, the track a sign if mere hint of things to come.

Darkness Calling follows with again a rhythmic tempting which burrowed under the skin. Electronic fingering and the sonic courting of guitar brings shadows and ears together, the Korn-esque flames of the latter lighting up the earthier but no less infectious declaration from VolK’s voice. The track is superb, its senses grinding grooves and dubstep throbbing swift addiction and quickly matched in potency by the even more esurient intent and drama of My Devil. Keys gently entice with a crepuscular sheen before the track erupts in another ravenous incitement, again psyche burrowing grooves leading the way as raptorial rhythms pounce. The contrast of crystalline electronics and musical predation simply gripped attention, all the while rhythms jabbing and stalking with manipulative animation as gut bred vocals magnetically nagged; a dubstep solo from DJ Gigantor from the band Evol Intent extra creative flesh to feast upon.

Emerging from a calm if again minatory caress Defy enslaved ears in its tenebrous realm; defiance and decay embroiled at the heart of its visceral grumble as it wormed deeper and deeper under the skin through raw-boned but rich grooves and provocatively niggling rhythms. With Volk’s cadaverous vocals ever enthralling, the track easily gripped and inspired the imagination before Priest Hole unleashed its own addictive fall from grace. VolK’s rhythms alone ruptured attention, their deeply probing bait aligned to scurrilous but rousing grooves and the illuminated eeriness of keys. The track quickly made a stake for best track acclaim though quickly challenged by the decayed and vicious malevolence of Death Ground. Nefarious grooves wind around ears as corrupt rhythms surround sinful vocals, the result one glorious ungodly delight.

The band’s acclaimed first single is next, Glory To The Heroes a track breaching ears and keen support across the globe with its release in 2018. Featuring Keith Lynch (Bill Ward Band, Ozzy Osbourne) on guitar and dedicated to Ukrainian soldier Nadiya Savchenko who was jailed in Russia but released in May 2016, the track quickly revealed why it made such a strong impact before, savage riffs and punishing rhythms perfectly set against light shimmering keys and melodic seduction as Fear Factory meets Pitchshifter like industrial discontent corrupts the air.

As the contagious venom and dexterity of Whispered Lies seduced as it invaded and Purple Door writhed and crawled into body and psyche with flesh-eating grooves across bone resonating percussion, the album shared further aspects to the Vovkulaka darkness and sound. The latter is something akin to Korn being violated by Godflesh as angels caress the carcass while The Dark Empty chews on the listener’s emotional flesh with rabid jaws coaxed by feral grooves and maniacal rhythms as VolK’s vocals again direct the rich pleasure.

The album closes with a metal version of the Ukrainian National Anthem though the CD also offers a couple of bonus tracks in a drum solo enhanced Darkness Calling and an instrumental version of Defy.

Vovkulaka is a band which should, if any of the references we suggested to their unique presence appeals, no must, be checked out but be warned such their debut album’s dark triumph there will be no turning back.

The Vovkulaka album is available now across most online stores.

https://vovkulaka.com/   https://www.facebook.com/VovkulakaFanPage   https://twitter.com/VovkulakaMusic

Pete RingMaster 15/03/2020

Copyright RingMasterReview: MyFreeCopyright

Kause 4 Konflikt – Fornication Under Control Of King

photo by ImmortalizR

A barbarous battle cry for uprising and revolution, Fornication Under Control Of King is the voracious new album from French thrashcore outfit Kause 4 Konflikt. It is an uncompromising indeed ravenous slab of sound which left exhaustion, defiance, and thick pleasure in its wake.

Paris hailing, Kause 4 Konflikt first came to attention with 2013 debut album No Better Friend – No Worse Enemy, the Behaviour EP of 2016 cementing their praise luring emergence. Fornication Under Control Of King is a whole new trespass for the senses from them and sure to see keen acclaim; the band’s fusion of thrash and hardcore metal an inescapable predator breeding some of the most striking carnivorous riffs and galvanic grooves. Released via Deadlight Records (Ataraxie, The Lumberjack Feedback, Verbal Razors), the album descends on the senses from its first breath, never leaving them a second to get a foot hold until its last surge of fury departs and even then its touch and stature lingers.

Less One opens up the release, an immediately appealing fizzy nagging inciting attention to which incisive rhythms, strands of steely guitar and vocal samples add greater intrigue amidst a brewing intensity. It is an invitation and character setting introduction which soon triggers the predacious instincts and assault of You Sign for It. Immediately toxic grooves entangle rabid riffs as beats swing with matching voracity. The throat scarring tones of Seb Otis provide a just as rousing incitement, his venom bound raw grievance echoing that of the invasive sounds around him. It is a superb gripping full start to the album, its unpredictable and imaginatively crafted twists as potent and virulent as the track’s uncompromising main assault.

The following God Pretends takes the lead of its predecessor into its own pertinacious onslaught; thrash bred riffs driving the hungry trespass as again the rhythms of bassist KTS and drummer Mehdi bear grudge to the anthemic incitement. The grooves and riffs of guitarists Jay and Alexis entangle in a virulent appropriation of ears and appetite to core the outstanding siege on the senses, the vehemence of vocals extra hostility on one of the album’s major highlights.

Even so from its first breath Nothing for No One simply eclipsed its mighty predecessor, a web of grooves burrowing into the psyche from the off with a contagion as toxic as it is arousing. With each subsequent second, the song escalates in virulence and aggravation, owning our favourite moment within the release as easily as it does the senses and subservient neck muscles. It is a sensational fusion of violence and catchy provocation, Kause 4 Konflikt, if needing to, sealing their prowess at casting barbarously incendiary, contagiously inspiring confrontation.

Featuring mighty industrial percussion band Les Tambours du Bronx, Jaw Breaker takes more time picking its shot though they come with quick and unyielding assertiveness as riffs and grooves unveil their particular toxic avidity. If less vicious and consuming as the previous track it is a rewarding slab of pugnaciousness more than matched in quality and power by the ravening incursion of Scapegoat; itself featuring a guest in the shape of Hatesphere vocalist, Esben Hansen. It is fair to say, as the song before it, the thankless task of reaching the heights of Nothing for No One prove a target too far yet both simply inflamed air and ears to leave pleasure thick and hunger for more even greedier.

That appetite is more than fed by the pair of Ain’t Give a Shit and T.A.R.G.E.T, the first an instant body slam on the senses which only continues to equally abuse and arouse through its rhythmic brutality, vocal ferocity, and sonic temptation. Again the guitars align sonic transgression with noxious melody and grooved intoxication, the combination mercilessly compelling while its successor takes it foot off of the savagery a touch to breed a similarly magnetic encroachment of ears and imagination. It is almost primal in its breath but woven with a skill and deceitful touch ensuring melodies and the relative calm of the song is as invasive and gripping as anything before.

The Whole is another revelling in the broad touch of the band’s craft and sound, an essence maybe overwhelmed by their instinctive almost callous mix of thrash and hardcore in most tracks but always openly there and in richer voice across this and the previous track before Rehab brings things to a close. A final sortie of subversive incitement and vocal defiance woven with a melodic toxicity as seductive as it is corrosive, the track is another fine reveal into the depths of the band’s rich sound and contagious touch as well as their agility to merge it with warmongering antagonism.

Kause 4 Konflikt is a band surely destined to major attention, the exceptional Fornication Under Control Of King a major suggestion it should break out now.

Fornication Under Control Of King is out now via Deadlight Records; available at https://deadlight.bandcamp.com/ and @ https://www.deadlight.fr/ for the CD version.

https://www.facebook.com/Kause4konfliktofficial   https://twitter.com/kause4konflikt

 Pete RingMaster 18/02/2020

Copyright RingMasterReview: MyFreeCopyright

Enoch – Killing Starts Where Hate Begins

Originally released digitally back in 2018, Killing Starts Where Hate Begins from Enoch gets a deserved reboot this month through Soundmass, It’s return brings an additional new track and a gem of a live cut with it and if you missed it the first time around, we can declare the six track treat the perfect way to discover the potential soaked, ear grabbing sound and presence of the New Zealand band.

Formed in 2016, the Auckland hailing outfit fuse essences of groove, nu and alternative metal with their darker, predacious flavours for a keenly individual sound. It is a proposition which trespasses the senses whilst igniting the imagination. Part barbarous and part seductive with every attack between involved, as their EP proves, it is a proposal which crosses the familiar and unique to present something hard to ignore.

EP opener, Pieces, immediately demanded attention, the rapier like swings of drummer Ross Curtain landing with contempt as the song forcibly stirs with the bass of John Brodie beginning its grievous grumble. That alone has us more than attentive and with increasing focus as the guitar of Micheal Germon began unwinding its sonic wiring. Out the senses challenging start, rousing grooves wind around ears before, within a breath or two, the melodic tones of Lorraine Brodie complete the creative palette as the track’s imagination really takes off. It continues to prowl, severely growl, and harass but equally weaves a deviously infectious tempting which is echoed in the dual styled vocals of Lorraine.

It is an excellent start to the release which Reasons Why continues as it uncages its own twin personality of senses demeaning threat and eagerly fertile enterprise. Through her continually twisting and magnetic delivery Lorraine left her potent mark yet again, a highly pleasing incitement matched by the ever writhing grooves and the intense growling of the bass. Fair to say the track swiftly got under the skin before Stranger powerfully strides in springing more of the band’s ear devouring grooves. Bass and drums again unite in a quickly addictive provocation, the former’s low guttural snarl especially inflaming instinctive pleasure before guitar and voice weaved their melodic captivation around it. Germon’s basal growl easily fits with and contrasts the ever fertile delivery of Lorraine, his guitar casting acerbic lines just as rousing as the track reveals a new depth and adventure in sound and writing.

Loner provides more of the same in its own original way, contorting the air with its grooves as Lorraine provides vocal gymnastics with her throat backed by Germon’s voracious roar, every word and syllable either caressed or abused by her agility alone as guitar and bass again emulate the oral gyration with their own particular dexterity. With beats whipping the senses throughout, it too left a thickly pleasing mark while Bow and Be Devoured from its melancholic melodic start builds a steeled woven latticework of craft and imagination, one which preys on insecurities as much as it hugs them.

With Reason Why revisited for a live moment with the band, an example why their stage performance has earned them a potent reputation, Killing Starts Where Hate Begins simply left us hungry for more and eager to share the word.

Certainly there is still more to find in originality and imagination within their sound but Enoch already are a fresh breath for the metal scene and surely destined to be embraced far further afield than their homeland.

Killing Starts Where Hate Begins is out now via Soundmass.

https://www.facebook.com/enoch.nz

Pete RingMaster 28/01/2020

Copyright RingMasterReview: MyFreeCopyright

The Unbroken – Human Crown

It may have been unleashed last year but Human Crown is one encounter you really do not want to have missed. The release comes from Brooklyn metallers The Unbroken and offers five rousing tempests that had us grinning from ear to ear.

The quartet brews a ferocious cauldron from a feral fusion of punk, thrash and groove metal and it proves a potently incendiary mix in this their debut EP. Influences to the band include the likes of Metallica, Pantera, and Slipknot and in some ways there is plenty that is familiar to the release yet from first to last breath Human Crown stands as something aggressively individual and fresh in ears and indeed the metal scene.

Co-produced by the band with John Bender (Breaking Benjamin), mixed by Johan Meyer (Gojira) and mastered by Alan Douches (High On Fire, Mastodon), Human Crown erupts upon the senses with Stuck In The Way, an initial spiral of guitar sparking a thicker volution of groove wiring, the pugnaciously swung beats of Tamas Vajda in the middle. That grooving continues to wind around ears as lead Mark Johnson skilfully entangles the lead vocals of fellow guitarist Chester Oszustowicz, the song forcefully jabbing and inciting as it leads to a chorus which is just as galvanic. There is something akin to American Head Charge meets Mudvayne to the encounter but swiftly it stamps down its own compelling character as the EP gets off to a voracious flyer.

Suffering In Silence follows and quickly lays down its own formidable proposal, rhythms tenaciously marching through a weave of riffs, from which Johnson casts another rich melodic web. Hitting its meaty stroll, contagion soaking sound and vocal attack, the track swings with more of the virulent grooves the band is already proving so fertile with as the bass of Jeff Hinz magnetically growls in the midst of it all, ears and attention eagerly immersed in the thick enterprise making up the welcomed trespass.

Though the track did not quite get under the skin as its predecessor it only had us greedy for more which the EP’s outstanding and spiky title track delivered. Its calm melodic opening made for an evocative contrast to the storms before though a volatile heart is soon exposed as Oszustowicz’s belligerent vocals erupt in the background. As things brew a delicious nagging groove breaks, the vocalist’s snarl riding its rapacious incitement while it all leads to a brief but dynamic chorus, the cycle repeating to further enthral.

Just as addictive is next up I Never Forget, its agile entrance soon the seeding for more of The Unbroken’s unapologetically ravenous grooves and barbarous but welcomingly manipulative rhythms. From start to finish the song savages as it seduces; it’s snarled tone and truculent nature proving as irresistible as the quarrelsome sounds making up its untamed character and inescapable persuasion.

Nothing Left To Sell brings the release to a close, it immediately coaxing ears with a melodic caress full of intimation and elegance and again from the equally warm and intrigue hug of vocals which blossoms a charged and irritable eruption breaks driven by thrash nurtured riffs. The song though is a tapestry of contrasts, the reflective and serene uniting with a disturbed and volatile divergence as the band’s imagination and craft shape another fresh aspect in writing and sound.

The Unbroken is a band easy to see making great strides up the metal ladder especially if Human Crown is a sign of things to come and they exploit its very open potential and prowess.

Human Crown is available now @ https://theunbroken.bandcamp.com/releases

https://theunbroken.band/   https://www.facebook.com/theunbrokenofficial    https://twitter.com/theunbrokenrock

Pete RingMaster 07/02/2020

Copyright RingMasterReview: MyFreeCopyright

Aspherium – The Embers of Eternity

Pic -kim gøran høiberg

Aspherium is a band we knew by name and reputation but never quite found the moment to give the richness of attention that all bands deserve. That has forcibly been amended with the release of their third album The Embers of Eternity, which with thanks to our friend Andrew at Stencil PR who directed us its way, suggests we have definitely been missing out.

Hailing from Moss/Oslo in Norway, Aspherium began in 2007 and took little time in brewing up a progressive death metal sound which was unafraid to embrace plenty of additional flavours; a fusion now in full bloom and imagination within The Embers of Eternity. 2011 saw the release of debut album The Veil of Serenity to a host of positive reviews which its successor, The Fall of Therenia, eclipsed as it took the band’s sound to new heights. Slots at major festivals followed as too a couple of tours alongside Decapitated. A swift hindsight exploration in the wake of the release of The Embers of Eternity revealed why the band received strong acclaim and attention at the time but all before has been just the teaser for the might of Aspherium’s third full-length.

The Embers of Eternity is a concept album imagining the future of our own Earth; “The world has become a desolate wasteland, the album about what happened and why humanity did nothing to save our planet.” Lyrically and in story it quickly proved a compelling adventure which is majorly accentuated again by the exploration of sound and imagination around it as immediately proven by the album’s opening title track. Immediately drama and tension soaks the notes and presence of the emerging track; the guitars of Marius Skarsem Pedersen and Morten Nielsen weaving the intimation. Equally they are the instigators of the erupting surge of aggression and melodic enterprise which descends on the senses soon after, the rhythmic voracity of drummer Bjørn Tore Erlandsen and bassist Torgeir Lyby Pettersen fuelling the upsurge. Similarly too, the vocals of Pedersen make for an uncompromising and magnetic proposition amidst thrash bred riffs and the blackened textures which shape the death bred incitement. As each subsequent track reveals, it is part deceptive too, the viciousness of the assault veined and aligned with melodic intricacies and dexterity as their inherent creative emprise though bred on discontent of a world descending into chaos relishes its beauty too.

It is a striking and compelling start to the release but one still eclipsed by the following As We Walk Through the Ashes. It too launches on thrash nurtured hostility with grooves that wind around the senses with lustful toxicity and similarly revels in the more delicate but no less hungry imagination which subsequently makes every twist and passage until the next aggressive captivation as riveting. Unpredictability also shapes the track and in turn the whole album but with a craft and invention which soon becomes expected and keenly devoured. As its predecessor and the songs to come, it weaves a multi-flavoured incitement which took no time to fully immerse in.

The evocative and melancholy opening of The Fallen Monument bewitches before the track explodes in another cauldron of pugnacious trespass and imagination woven fertility; a tapestry of flavours and creative agility breeding a glorious and rousing proposal lustfully devoured by ears and passions alike. It is the album’s finest moment for us but constantly challenged as A Voice For the Silenced and its successor The Shadows of Creation quickly show. The opening atmospheric suggestion of the first had the imagination immediately submerged in its insinuation, its haunting caresses continuing to manipulate as the track erupts with the second casting matching persuasion in its physical venting and melodic storytelling. It is a volatile and gripping mix which savages as it seduces, preys on fears as it nurtures raw hopes.

Through the individual but unitedly insightful and adroit exploits of Echoes of A Lost World and The Beckoning Spire, Aspherium and their album only increased the magnetism. Neither track quite matched up to the heights of the triumph before them had but each gripped with bold ferocity and unpredictable landscapes before Beneath the Shattered Sky bore its own soulful voice and rich adventurous  enterprise on ears to equally inflame those self-same eager reactions.

Until the Embers Fade completes the album, it’s near on eleven minutes alone a journey and exploration worth investing in the sensational The Embers of Eternity for. It is an engrossing and fascinating end to an increasingly compelling release and a fine example as to why like us once you engage in the Aspherium ravening craft and sound there is no turning back.

The Embers of Eternity is available now @ https://aspherium.bandcamp.com/album/the-embers-of-eternity

http://www.aspherium.com/    https://www.facebook.com/Aspherium    https://twitter.com/aspherium

Pete RingMaster 25/01/2020

Copyright RingMasterReview: MyFreeCopyright

Helldown – In Deaths Hands

The release of their self-titled debut EP in 2016 suggested that Welsh thrashers Helldown had all the attributes to ascend the UK metal ranks, a thought accentuated by their subsequent acclaimed single The Watchers a year later. Now that proposal is about to be made a declaration with the release of new EP, In Deaths Hands, a collection of tracks which whilst suggesting that there is plenty more yet to come from the Swansea outfit, that ascent is well under way.

Formed in 2013 and consisting of blood brothers in vocalist/bassist Ben and rhythm guitarist Matthew Evans alongside drummer Ross Thomas and lead guitarist Lewis Larkman, Helldown have forged a sound bred on thrash, groove, and heavy metal. As the new release shows it is a potent trespass with thrash metal its instinctive fuel, one still enjoyably raw in its voice and tone to provide an edge and bite numerous like-minded bands have let escape in their growth. True uniqueness may still be absent in the band’s voracious sound but as In Deaths Hands proves it can be comfortably overlooked in the fresh trespass on offer.

The EP opens with The Unnamed, a track instantly entangling ears in ripe grooves and preying rhythms before launching into a predacious assault. The sonic invasion and enticement of both guitars make for a keen tempting, Ben’s vocals as the sound earthy yet magnetic within the harassment of riffs and rhythmic aggression. The subsequent twists and melodic endeavour that emerges revels in the prowess of their creators, the track a persistent hungry nagging endowed with that bright enterprise.

The EP’s best track is followed by Mortal Shell, another swiftly revealing intent and character with rapacious urgency. If at first paling against its predecessor, the track only grew in stature and appeal as its ravening riffs and grooves joined bitter beats and the heavy dark resonance of the bass to forge another thickly satisfying proposal.

There is a definite surface familiarity between the songs within In Deaths Hands, the beginning of next up Heretic highlighting the thought yet again it is a track which develops its own presence and enterprise with strength and imagination, the bass of Ben a riveting ingredient in the prowl of the ear grabbing encounter.

Flames of Heresy bring things to a close, its spirals of grooves waspish in their sting and barbarous in the subsequent harassment they inspire from across the band. The gang hollers that break out only emphasize the anthemic air and roar of the track, even as it prowls and stalks the senses between raucous eruptions.

It is a fine end to a release which only left us wanting to hear more from the band and reinforced the thought that Helldown has a very healthy future within the British metal scene.

In Deaths Hands is released January 17th

https://www.facebook.com/HelldownOfficial/   https://twitter.com/helldown_uk   https://www.instagram.com/helldownofficial/

Pete RingMaster 14/01/2020

Copyright RingMasterReview: MyFreeCopyright