Demons Of Old Metal Premiere New Single

British metallers Demons Of Old Metal recently streamed their new single “The Quiet Ones” via Puregrainaudio! Taken from their upcoming new album “Dominion”, which was released December 7th, fans of the band can check out their latest offering ahead of time!

Check out “The Quiet Ones” here – http://puregrainaudio.com/audio/demons-of-old-metal-the-quiet-ones-exclusive-song-stream-premiere

Sat somewhere between classic Exodus, Pantera & GWAR; theatrically tinged British metallers Demons Of Old Metal have been making an unholy din across the UK for a while now. And if latest record “Dominion” is anything to go by, they’re just getting started!

Formed at the tail end of 2010 by four veterans of the UK metal circuit with the sole intention of cranking out classically tinged metal and engulfing venues in a sea of blood, sweat and beers. Coupling a cracking knack for writing quality songs, their penchant for schlock horror imagery and an otherworldly stage show, DOOM set about putting together their debut record; “The Demonic Chronicles Vol I”. Released on Halloween 2012, the response from fans and the media alike was overwhelmingly positive and saw the band begin making a name for themselves.

In 2013 the band released “The Demonic Chronicles Vol. II”; a further addition to their stunning repertoire. This was followed in 2014 by the final part of “The Demonic Chronicles Trilogy” which was greeted with critical acclaim in Europe and the U.S. They proceeded to hit the road and carve their mark viciously into the psyche of the British live scene; scoring slots at Beermageddon in the UK, as well as shows in Ireland.

Simultaneously, they began work on their new record “Dominion”. Set for release on December 7th 2015, “Dominion” stands as a huge leap forward, as the band have pushed their musical boundaries and created a work that will no doubt appeal to fans of both the new and old schools. Tracks like ‘You Version 2.0’, ‘Fakeskin’ and ‘Behind The Mask’ are groove laden gems on a record full of brilliance. Tall and short of it; you need Demons Of Old Metal in your life.

https://www.facebook.com/demonsofoldmetal/

Sonick Plague – Self Titled

You have to be grateful to Sonick Plague and Pavement Music for bringing us not only a blast from the band’s past but giving it a fresh breath and energy, though it is easy to suspect a straight release of their 1988 debut album would have been a treat too for those us missing it first time around. The West Virginian thrashers though have re-recorded and re-energized that rampage, originally titled What’s the Purpose, and uncaged it as a self-titled offering and attention filler whilst the band works on new material. It is old school thrash dosed up with punk and classic metal ferocity, and yes the band’s sound has been emulated, reworked, and twisted many times over the years since Sonick Plague unleashed their album, but still the songs just stir up ears and appetite.

Formed in 1984, the band’s first ‘memorable’ line-up of Ken Cuccaro (drums) and Tim Meehan (guitars), alongside Tony Teodoro (guitars) and Sean Donnelly (bass, vocals) came a few years later, the four behind the band’s 1988 debut album. Though it swiftly gained hordes of new fans and attention, not long after it’s unveiling, Meehan left the band to be subsequently replaced by guitarist Chuck Crilly. From there Sonick Plague undertook their own self-supported tour and shared stages with the likes of Death Angel, Voivod, Gwar, Pantera, Ludichrist, Crumbsuckers and many more. The intensity of that tour and surrounding shows saw the band’s stability shaken, and after a few unsuccessful line-up changes the band parted. It was apparently the sad passing of Teodoro in 2012 that sparked Cuccaro, Donnelly, and Crilly to begin talking musical things again, and with the addition of Matt Dupre, Sonick Plague reformed and set about re-recording their first offering.

     Recorded at the legendary Carriage House Studios, the album quickly gets down to business with Street Wars. An alluring melodic entrance gives no indication of the sonic rioting to come but it does wake up ears and imagination nicely. Increasing its muscle and drama with every passing chord, riff, and spiky beat, the track eventually hits full steam, the vocals of Donnelly ripe with attitude and aggression. We are as many, not able to bring a comparison to the first version of the album but it is hard to imagine his delivery being any more potent first time around. Musically, with age and maturity involved, you can assume the release also has a richer and thicker body, and certainly the opener rumbles and grumbles as if old school thrash was a fresh proposition.

The great starts continues with My Gun, the throaty bass of Donnelly a great coaxing alongside the virulence of driving riffs and concussive swings cast by Dupre, Crilly, and Cuccaro respectively. Settling with an attack somewhere between a lively prowl and an all-out charge, the track bites and snarls whilst a solo lights the air. Of course we have heard this all before in many ways, but from those coming after and being inspired by Sonick Plague and the bands around them in the eighties, and a great many of them definitely labour to make the same highly satisfying assaults as the reworked but undiluted proposals offer on this release.

Both AA and I Don’t Want to Relax churn up air and the senses, the first with a rabid nagging of riffs and crisp beats led by the grouchy tones of Donnelly, and its successor through its military and Celtic teased imagination. The second of the two is pure anthem, enslaving from its opening contagious moments to and across a ravenous landscape of psychotic grooves and quarrelsome riffing speared by rhythms as hellacious as they are viciously precise. The track is thrash bred but simply rock ‘n’ roll in its most irresistible form, and easily our favourite, and probably the best track on the album, despite many challengers. Its punkish character also adds to the anarchic glory before making way for the crushing yet infectiously tempting turbulence of View of Death and straight after the middle finger growl of One Swift Kick. Each keeps body and appetite greedy, the first with its predatory and unrelenting gnawing at the senses and the second courtesy of a deliciously bestial bass sound and another scourge of heavy niggling riffs and contagion spilling grooves; the mesmeric melodic oasis deep into its tempest is pretty juicy too. The track stands aside I Don’t Want to Relax as the pinnacles of the album, each the perfect invitation to newcomers to Sonick Plague past and present.

The pair of Misc Bullshit, with its classic metal hued enterprise within another savaging embrace, and finally NRG brings the album to a great close. The last track simply brawls with the listener vocally and musically, leaving no attitude coated stone unturned in its tenacious and uncompromising carnage, and both songs again showing plenty of accomplished and inventive touches not always fuelled by hostility.

As mentioned we cannot say how much the songs have changed during their re-recording etc. but there is no denying the unfussy but skilled craft and technical ability set loose. This is certainly an album in many ways you already know thanks to those who have followed over the years employing the sounds Sonick Plague and their like inspired originally. It is going to be interesting how the band’s new songs shape up, but easy to suspect they will also offer a thoroughly enjoyable ride.

Sonick Plague is available now digitally via Pavement Music and on CD @ https://squareup.com/market/sonickplague/sonick-plague-cd

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

RingMaster 28/07/2015

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

 

 

Sacred Wind – Sacred Wind

Having had our pleasures goosed by Odin’s wind courtesy of Metal and Curry, the recent single from Welsh Viking bred rockers Sacred Wind; there was no option but to check out the album from which it comes. Released towards the rear of 2014, the thirteen track adventure, also going under the name of Sacred Wind, reveals the full landscape and creative emprise hinted at by our first introduction to the band.

The album is a tale of bold knights, even bolder flatulence, and a rampant hunger for cheese, not forgetting a few buxom women draped around a curry or two. Even more potently the album is bulging with glorious heavy metal and classic rock psalms of heroic deeds and Norse seeded challenges. From its first moments there is no doubting that Lord of the Rings/ Game of Thrones have found a richly mischievous companion in Sacred Wind, an alternative reality comparison, but that cannot hide or devalue the impressive craft and roaring sonic might of band and album.

Opener A Time of Magic is a vocal introduction between grandfather and child, be it a kid with the squeak of an adolescent aged forty plus with one ball dropped and one hovering. Questions from the latter bring an unveiling of the scenery and drama behind the album’s premise from the former, a telling of the background to the quest undertaken by the noble warriors regaled through the songs. These brave souls are called Sacred Wind and the following album title track, their opening scene. Hefty rhythms and fiery riffs make an immediate impression upon ears; the guitar hooks an almost predacious lure matched by the heavily throated bassline courting their attitude. Subsequently keys and raw melodies add to the canvas upon which Memphis bred Viking and vocalist/guitarist Olaf the Berserker reveals the narrative. It is a pungent offering, old school and swiftly anthemic.

The impressive opening song is matched straight away by Metal and Curry, the track similarly an inescapable anthem but with a lighter swagger to its gait and harmonic roar. Whilst meaty hooks and melodic tenacity from Olaf and Grundi the Windy are thrust through ears to seduce the senses, a rhythmic stomp provided by bassist Smid the Merciless and drummer Agnar the Hammered ensures neck muscles and imagination are flush with an appetite to devour the song’s tremendous contagion.

Already Sacred Wind is lighting body and emotions like a mix of Gwar meets Green Jelly meets Judas Priest, though that only narrows down what is a much broader flavour to the album. The band’s humour is just as open and ripe too but only in the lyrical and thematic adventure, their sounds a blaze of creativity and exciting endeavour which has plenty for all metallers, let along those just honed in with just a taste for classic rock ‘n’ metal. It is fair to say though that Hurricane Ass next is purely steeped in seventies metal bred in a bed of similarly aged classic rock. Begging for the power of a certain bodily function to help woo a prospective love, the song flames with sonic enterprise and vocal harmonies, transfixing ears as it heads towards to a firework like display of a finale, beats exploding across its melodramatic sky.

The combative character of Warriors of Asgard takes the success of its predecessor to new heights next, the track sinew and ferocity as the warriors take arms to rescue damsels in distress. Equally though it is unafraid to light their way with beacons of melodic ingenuity through the guitars and the symphonic yawn and soar of keys. The track is a delicious cinematic like escapade, not only a potent visual offering for the imagination to run with but simply an infectious slice of melodic metal.

Both the eighties kissed Sail with Me and the climactic bellow that is Rock, Rock, Rock, Rock Ragnarok keeps things on appealing and satisfying course, though neither can rival the some of the previous encounters. The first covers an emotional realisation brought by romance and the other an apocalyptic incitement to the Gods. Each brings new diversity and intrigue to the album leaving thoughts engaged and enjoyment contented is without setting a fire in their attention, something the power ballad Frigg certainly manages with its dark grouchy shadows and sonic balladry of vocal and melodic expression. Strong the first time and increasing its lure thereafter, the track is a slow burner which as quite a few songs upon Sacred Wind has the ability and persistence to flirt with the memory whenever it wishes.

Fart for Odin, by title alone, needs no help in explaining its narrative to the imagination, it a bar room ode and mead fuelled anthem within a tempestuous sonic and rhythmic turbulence. It is another thumping antagonist to body and fun though soon surpassed by the outstanding Dragon Ships and Women’s Hips. Impossibly virulent from its first sweep of vocals and initial tease of melody, the song brings rock pop from the late seventies, glam metal from the eighties, and nineties folk metal in one irresistible catchy croon. Think Alestorm meets Duran Duran and you get an inkling of the majestic lure of the pinnacle of Sacred Wind.

The battlefield brings the background to My Sword is my Sword firmly into thoughts, the power metal offering soon expanding its tale with horn like calls of the keys and predatory rhythms around the vocal roar of Olaf, all courted by the cantering invention of the guitars. Its spicy persuasion is followed by the celestial instrumental hymn of The Sheep’s Lament, which in turn makes way for the closing celebration of The Power of Cheese, though why anyone would want to crow so favourably about the mouldy stuff beats us. The song, as the previous track is a bonus offering on the album, and brings the release to a riotous yet melodically sizzling end.

It would be wrong to think of Sacred Wind as a one off good time to file away as you might a Green Jelly or in some ways a Steel Panther offering. Lyrically yes it is a roaring laugh but musically album and band stand side by side with any power metal, classic rock offering, just with an extra dose of mischief. Produced and arranged by Andy Coffey, who has a much bigger hand in things then you might suspect, including writing the excellent books which accompany the album’s story, the album is recommended to anyone with an appetite for strong, accomplished, and most of all enjoyable full fat metal.

Sacred Wind is available now via iTunes, Amazon etc. and the Sacred Wind books @ http://www.amazon.co.uk/Andy-Coffey/e/B00LXLNW64/ref=ntt_athr_dp_pel_1

https://www.facebook.com/pages/Sacred-Wind/136135083263791

RingMaster 18/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

Sacred Wind – Metal and Curry

The Vikings came, rampaged, and going by Sacred Wind, left some berserker seed to breed and bide its time before invading the classic metal timeline. The band from the hill sculpted landscape of Llangollen in Wales is the embodiment of Tolkien like mischievous adventure, heroic wrongdoings, and salacious revelry. They also create a classic metal incitement which sears and excite body and soul, as proven by new single Metal and Curry.

Taken from the band’s acclaimed self-titled debut album, itself an invigorating march of anthemic riffs, fiery melodies, and soaring hair wilting vocals, the new single tells you all you need to know about Sacred Wind and its dynamic sound. Like a Terry Pratchett inspired Friday night out narrated by firm tongue in cheek lyrics and a similar rascality in presence, Metal and Curry leads the listener by the hand into dens of liquor running devilment.

With the band members going by the name of Olaf the Berserker (lead vocals/lead guitars), Grundi the Windy (lead guitars/backing vocals), Smid the Merciless (bass guitar/backing vocals), and Agnar the Hammered (drums and percussion), newcomers to Sacred Wind might expect something like Gwar meets Green Jelly or Spinal Tap. The band though swiftly evades those thoughts taking firm hold by unleashing a sound which is as skilfully accomplished as it is dramatically fiery and an energetic presence which makes Alestorm seem reserved. The band’s album is all the evidence needed to suggest Sacred Wind is one of the UK’s brightest heavy metal protagonists, Metal and Curry even swifter proof.

Its first breath is a stomping invasion of heavy footed beats courted by a predatory bassline and swiftly bound in sonic enterprise. The potent start relaxes a whisper to open up the way for the rich vocals of Olaf to harmonically roar, his entrance accompanied by meaty hooks and melodic tenacity from the guitars. As maybe you would expect from the band and its creative backgrounds, there is a swagger to the song which translates to every swing of a drum stick and forceful plucking of strings, not forgetting a raucously anthemic chorus expelled by the band. The core of the track is not startlingly original you could argue but with a glorious flame of craft and enterprise from guitars which includes a highly magnetic solo, it soon establishes a unique and ridiculously contagious presence.

It is a beast of a song but more inviting than barbarous and an irresistible recruitment of neck muscles and voice. The song is a wonderfully rowdy doorway into the heart of the band’s album but also sums up the character and devilish presence of Sacred Wind as a complete proposition. Accompanied by a trilogy of books written by Andy Coffey, who might just be involved even deeper in the band we say in a whisper, Sacred Wind is a Norse bred Sláine corrupted Game of Thrones theatre in many ways but with a musical creativity and rich blaze of a sound which puts many established classic metal bands to shame.

Explore the whole world of Sacred Wind @ http://www.sacredwind.co.uk

RingMaster 20/01/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.thereputationlabel.today

Mongrel – Evolution

Towards the end of last year US punk metallers Mongrel released the single Snakes to provide a very appetising taster for their next EP whilst simultaneously reconfirming themselves as unique and passionate provocateurs of antagonistic punk rock and dirty metal. The band now unleashes that highly anticipated Evolution EP, a release which surely places them on the precipice of a well-deserved intensive world spread spotlight. Sealing a spot on an impending cover mounted CD of the renowned Terrorizer magazine as well, The Boston quartet are poised to make the next big step in recognition. It is an ascent their releases have threatened to spark for the past couple of years but it is easy to feel and expect that Evolution will be the potent fuse that achieves the breakthrough.

Formed in 2003 by guitarist Adam Savage, Mongrel has earned themselves the reputation of one of the hardest working and increasingly acclaimed bands in the underground of metal and punk rock. Each one of their releases has thrust the band on another lofty step though it was the addition of vocalist Jessica Sierra in 2010 where things truly clicked into place and the arguably dormant fire in their already impressive sound and presence erupted. From The New Breed of Old School EP of that year through the following Declamation EP in 2011, there was a new potency and venom on the grooves, hooks, and rhythms which core Mongrels’ invention. Alongside these successes the band live has earned a reputation most bands could only dream of, their sharing of stages with the likes of GWAR, Korn, Otep, Sepultura, Prong, Halestorm, Wednesday13, Fu Manchu, Dizzy Reed, Misfits FEAR, Blitzkid, Trashlight Vision, Michale Graves, Mindset X and hordes more garnering tides of fans and recognition. The Reclamation album of 2012 saw the band ascend to new heights in songwriting and imagination which now Evolution pushes further forward. Recorded with Jim Foster (POD, Nullset, Sully Erna), mixed by Dave Fortman (Slipknot, Evanescence, Godsmack), and mastered by Howie Weinberg, (Metallica, Nirvana, Soundgarden, Pantera), the EP is a stirring anthemic brawl which is as contagious and addictive as it is raw and lyrically uncompromising.

Snakes opens things up and as soon as the initial controlled blaze of guitar from Savage hits the ears there is a sense of impending infection which is soon confirmed by the crisp beats of drummer Mike Hogan and even more so by the riveting vocals of Sierra. With the pulsating bass groan from Michael Ariza added to the mix, the song is rapidly into a potent stride heading towards its virulently compelling chorus. The band takes little time in enslaving the imagination, treating it further with a seamless drift into a smouldering sultry passage with emotive guitar rubs and a glow to the voice of Sierra, a lady who seems to own ears, thoughts, and songs whether she is roaring with antagonism or seducing like a temptress. Building up its energy and passions throughout the lighter flight, the song creates a dramatic crescendo of a finale which leaves appetite licking lips and emotions looking at a lustful hunger.

Mongrel have a certain distinct sound which never deceives its source but within that the band with Evolution seems to be exploring their punk side this time around, the first song giving a major hint which the following Oxygen Mask elaborates on within a still heavily insatiable metal toxicity. An acidic groove hits ears first, though rhythms and a great gritty bassline is courting its coaxing. Pulled together by the commanding vocals, the track twists through a predatory intensity and gait, Savage spearing the air with metallic vines of sonic bait. Persistently turning with singular moments for the bass and guitars to flirt with ears, the song recalls essences of Siouxsie and the Banshees, certainly if they had embraced metal. Imposing but respectfully forceful the track backs up the immense start easily even if without matching its heady heights.

That first plateau is equalled by Consumed; a deliciously abrasive enticement of caustic hooks and senses burrowing grooves. Guitars worm under the skin within seconds with rhythms swinging punches soon after, the combination a hungry platform for the dark hearted bass sounds and rich vocals to colour their canvas. Unleashing a swagger to match the almost brutal energy, the song stomps with epidemic irresistibility, those spiteful grooves especially inescapable whilst sonic hues sculpted by Savage in an engrossing solo provide further rigorous colour to the outstanding incitement.

Best Revenge has the hard task to follow the triumph which it does with a rawer hostile punk enticement, the bass finding a carnivorous throat to its presence and the guitar a combative attitude to its riffs and squalling flames. Once again though it is caged by great controlled rhythm work by Hogan and led by the expressive might of Sierra. The track is not as immediate as others on Evolution but emerges as another pinnacle with punk nostrils flaring and metallic muscles challenging.

The release is concluded with another sizeable success with the riotously catchy Over And Over. An addiction forging bassline sparks ears first before riffs and rhythms cascade upon the lure to build a rampant canter of punk rock. Hooks and grooves from both stringed antagonists grip with a constant temptation whilst Sierra swings syllables and intent into their barbed scenery with the expected but never under-appreciated skill and passion she brews. It is an exhilarating conclusion to a tremendous encounter, leaving ears, thoughts, and passions bursting with greed for more.

Guiding their sound to a side step in many ways from that taking Reclamation to such heights, Evolution stands side by side with its predecessor’s undoubted success and quality, though with a heart for well-crafted punk rock if pushed the EP shades it. What is clear for all though is that Mongrel just goes from strength to strength whilst evolving with a constant flair and voraciously appetising enterprise. It really is about time the band was known worldwide and Evolution might just be the trigger.

Evolution is available on iTunes on May 20^th and via all major online retailers and streaming services from June 3^rd with physical copies available through Mongrel, Unable Records and Amazon.

http://www.MongrelBand.com

http://mongrel.bandcamp.com

9.5/10

RingMaster 16/05/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Mongrel – Snakes

The first release since the outstanding Reclamation album of 2012, US punk metallers Mongrel unleash their new single Snakes and continue to set new standards for themselves and aspiring rock/metal bands. Taking from their upcoming Evolution EP which is slated for an early 2014 release, the new track employs all the renowned and expected inventive and addictive aspects of the band but gives them a new fire to burn explosively within further exploration from the band and their songwriting. As anthemic and contagious as you would expect from the Boston quartet, Snakes reinforces the hunger of their fans for their bruising, riotous sounds whilst laying down plenty of bait to recruit new greedy hearts.

Formed in 2003 by guitarist Adam Savage, Mongrel has over the years evolved into a highly sought after live band and a formidably potent studio encounter with a wealth of releases strikingly marking their steady and continual rise. Since forming the band has laid waste to stages alongside the like of GWAR, Korn, Otep, Sepultura, Prong, Halestorm, Wednesday13, Fu Manchu, Dizzy Reed, and the Misfits numerous times as well as touring with others such as FEAR, Blitzkid, Trashlight Vision, and Michale Graves, all the time continually drawing acclaim. Equally from the start their releases have lit up the passions of fans as well as the independent airwaves, the band a regular on the likes of shows at http://www.Audioburger.com and The Bone Orchard podcast, but it is fair to say that the full potency and heart of the band exploded when they enticed vocalist Jessica Sierra into the fold, her snarling vocal beauty igniting something lying dormant in the band with previous frontmen. Through The New Breed of Old School and Declamation EPs on to Reclamation, Mongrel has grown and evolved into an intensive and magnetic force which Snakes only elevates further.

The single wastes no time in tempting the ears as the guitar of Savage skilfully strokes the extremities with his inviting riffs, its call soon joined by a pulsating bass call from Michael Ariza and the crisp beats provided by drummer Mike Hogan. Settling into an open temptation, the power and thrust of the song is taken up another level as Sierra punches the lyrical intent forcibly and melodically into the imagination. All the while there is a reserved but persistent groove which wages seduction upon the senses throughout the song, it enticing greater passion and hunger from the listener and it is fair to say that at this point the single has submission already in its hands. This is not enough though it seems as the instigator then shifts seamlessly into an evocative and intimidating yet smouldering flame of sonic endeavour and emotive persuasion which has the band pushing their boundaries and ideas without losing their core energy and intensity. The moment is brief but potent and makes for a building step for the final adrenaline lit finale. There is a certain pop punk element to Snakes which arguably has not appeared before with Mongrel and it is a refreshing move brought with craft and adventure which avoids eroding any of the band’s confrontation and  inciting invention.

It is hard not to be excited and full of impatient anticipation for the Evolution EP thanks to Snakes, but the wait will be relatively short and the single ensuring the time is well fed with its incendiary exploits. A name your own price release at Mongrel’s Bandcamp profile, the single is the perfect invitation for those new to one of metal’s best ‘undiscovered secrets’.

http://www.mongrelband.com/

http://mongrel.bandcamp.com/music

10/10

RingMaster 29/10/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Chariots of The Gods: Tides of War

     Exploding out from the depths of the underground, Tides of War the debut album from Canadian metallers Chariots of The Gods, is quite simply sensational, a metal album of the highest order. It offers no indulgency or pretences to mislead on paper or aurally, but openly knows what it is good at and delivers those aspects with a passion and force which few other bands certainly recently have matched. Fusing diverse textures and sounds from melodic metal, thrash, and death, their music and album is simply a tour de force of metal.

Formed in 2007 by guitarist Mathieu St-Amour alongside bassist Christian Methot and guitarist Christian Carrière, the Ottawa band grew into a quintet with the addition of drummer Rich O’Neil and vocalist Renaud Jobin. Soon impressing live, the band released to very strong responses their Reverence EP in 2010. The release pushed them onto another level locally and sparked better opportunities live for the band, though the end of the same year going into the next saw the departure of Methot and Carrière. Moving forward though Chariots of the Gods brought in long-time friend and guitarist Dimitri Gervais and bassist Payam Doryani and set about laying waste with their towering sound. The band has bruised stages alongside the likes of Misfits, Voivod, Despised Icon, Kataklysm, Blind Witness, Misery Index, Martyr, Fuck the Facts, Blackguard, Neuraxis, and The Agonist, over the years and now burst into the world with their triumphant first full length release.

The Glen Robinson (Gwar, Annihilator, Queensryche, Voivod) produced album is a thrilling tempest of insatiable riffs, rhythms which make demands no one should be forced to take but do willingly, and deliciously confrontational vocals. Spread throughout there is also a melodic and sonic enterprise which burns like an invigorating furnace and combined the result is one of the most impressive metal albums in recent years. Self released, Tides of War immediately from its dramatic and compelling opening instrumental Overture has a hold over the ear and thoughts. It is brief yet the perfect atmospheric lure into the epic intensity and drive of the album starting with the ravaging Seventh Weapon. The first seconds consists of thumping beats and sizzling guitar twists around the ear before expelling a ferocious breath through the squalling scowls of Jobin and an avalanche of rhythms. Now settled into its fearsome charge the track towers over the senses with the intensity and expansive reach of a storm. Across its bristling sinews and colossal breath, the track unleashes a whip lash triggering attack from O’Neil, exceptional and fiery melodic persuasion from the guitars of St-Amour and Gervais, and an irresistible raptorial vocal devouring.

As in the first full song, Blind Assassin reveals the prowling might of bassist Doryani; it is not always an aspect with as much clarity as the other elements but removed would undoubtedly leave a big gaping hole and when the heavily consuming notes find clarity of voice, the songs just bulge with impressive shadows. The third track is a less forceful entity than its predecessor with a sonic elegance which lays rough caresses over the ear, though it is not lacking any demanding spirit or heart either. It arguably pales a little against the previous track but outshines so many efforts from other artists.

Each and every track is immense and in varying degrees offers hints of the influences which vein the sound. Within the likes of Ambrosian Wings, the Russian Revolution inspired pair of the crushing Revillusion (1905) and the voracious Severing the Bloodline (1917), and the violently smouldering Red Skies, as examples, essences of the likes of In Flames, Norther, Testament, Lamb of God, and August Burns Red are apparent and add extra spice to the rich sonic menu of the band. As to be expected some songs reach the highest pinnacles and the biggest highlights on Tides of War come firstly with the title track. It is a thunderous rampage of sizzling guitar magnetism and invention driven by again the tumultuous and outstanding rhythms of O’Neil.  It is the perfect blend of aggression and melodic persuasion which chews up the senses whilst treating them to a fine dining of sonic imagination. Further lofty heights come with the senses grasping and obliterating Collapse of an Empire with its delicious spearing flames of melodic intrigue, and the corrosive and glorious Unbound which also features Aleksi Sihvonen from Norther.

The album is not just intensity and brawling aggression though as to perfectly break up the onslaught there are a couple of compelling instrumentals in the enthralling shapes of Snow Falls On The White River (1914) and Nebula, both beautiful pieces of music in their very different guises and far from interludes and fillers.

Tides of War is an exceptional creative ambush for the heart with a rage of the fullest rewards and an expressive depth of unbridled undiluted metal. You may not have heard of Chariots of The Gods before now but that is sure to change very soon as their album is exposed to the wider world.

http://www.chariotsofthegods.net/

RingMaster 29/01/2013

Copyright RingMaster: MyFreeCopyright