A.D.D. – Core

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It may be labelled as hard rock, but the roar of sound which escapes the craft and imagination of Chicago band A.D.D. is just as much metal and punk, and very often more so. It is a fiery and aggressive mix which makes the band’s second album Core, one of the most enjoyable slabs of voracious rock ‘n’ roll to be heard this year and most likely moving forward. It is a release which does not dramatically startle yet leaves ears and emotions seriously gripped and hungry. It is not an obvious classic encounter either yet can stand toe to toe with those which might be offered such label in creative tenacity and sheer pleasure. However you see and hear it though, Core is an encounter which does what all great rock albums do, leaves the listener breathless, adrenaline soaked, and highly excited.

Though still a young band A.D.D. (Analog Digital Disorder) are no strangers to attention and increasing acclaim. Their first album was been an eagerly devoured and purchased introduction on CD and download whilst live the quartet has only impressed and built a potent stature through shows with the likes of Korn, Chevelle, Halestorm, Sevendust, Alterbridge, and Buckcherry amongst many. Equally they have played and left events like Throttlefest, Summerfest, and WIIL Rockfest with success and praise soaking their wake. Now the band is ready to breach the broadest spotlights with Core, and such the impact on personal ears it is hard to see them losing any momentum in their ascent, indeed only accelerating it. Mixed by Tadpole (Disturbed, 3 Doors Down, Staind) and mastered by Grammy Award winner Trevor Sadler, the Pavement Entertainment released album hits the sweet spot straight away and never relinquishes its ultimate grip again.

I Regret sets things off in immense style, the track an instantly robust punch of rhythms and an aggressive snarl of riffs bound in spicy sonic tempting. There is grouchiness to its attitude, epitomised by the throaty growl of bass, and an instantly matching snarl to the voice and delivery of Matilda Moon (Margaret Young). Her vocals roar and soar with emotion and aggression across the song, simultaneously offering a warm and melodic vitriol which reminds of punk metallers Mongrel and their front lady Jessica Sierra, and indeed the song has a feel of their US compatriots but in openly individual ways. It is a mouth-watering opening to Core, melodies and harmonies as ripe and pungent as the more hostile elements of the outstanding encounter.

Print     The following Not My Way comes with a more even tempered but no less compelling presence. Moon and guitar embrace ears initially with expressive restraint before the track erupts with predatory riffs and heavy jabbing beats in a furious and highly flavoursome weave of sound. Part confrontation but more magnetic croon, the song captivates and tantalises with evolving adventure. The guitars of Dave Adams and Jeremy Sparta alone absorb an eager appetite but aligned to the pungent rhythms and Moon’s increasingly impressive tones, it is a mouth-watering trap for the imagination and passions.

Hear Me Now steps up next with muscles openly flexing in every swiping beat from Jason Delismon as aggression wraps every snarled syllable from Moon. Though it has a fuller melodic rock canvas to its thick bellow, there is still that metallic intensity and punkish roar at large, the track all the better for it, and something missing from Was My Life next. It should be noted not everyone will feel the same about the song, but for personal tastes it is one of two times where the album goes astray. Led by the vocals of Sparta, who right away we emphasize has an impressive voice and embraces the soft/hard rock balladry of the song with skill and inventive colour, the track simply breaks the flow and charge of the album with its soft hearted endeavour. It is a potent showing of another side to the band’s sound and songwriting but feels out of place in the surge of the release. It is a personal thing though and as the saying sort of goes, “it’s not them it’s me”.

Attention and emotions are flying and rigorously enthused again with the voracious Damn Thing, a rhythmic trap of a song with bracing and soaring melodies aligned to matching harmonies. Crossing a volatile landscape of ideation and aggressive sound, the guitars and Moon simply enthral across the song’s lively length. Their passion and invention helps build an anthemic incitement which is imposing and rewarding from start to finish whilst the closing snarl of the song just sends shivers and tingles down the spine, a reaction swiftly soothed by the melodic charm and warm caress of So The Pain. Vocally and lyrically emotive, and soaked in an angst lit aural embrace, the track blossoms a provocative web which brings whispers of one of the band’s influences, Heart, as well as more classic rock imagination through the guitars. The fade-out is disappointing but the song a fascinating and exciting encounter showing even more of the depths to A.D.D.

Nightmare is next and also explores a broader and calmer weave of melodic rock but comes littered with dramatic and inventive twists from guitars and vocals around a carnivorous spine of bass and drums, whilst its successor Nothing Left, sees the band turning back to the more recognisable hard and classic rock recipe but with a fiery and thrilling intent to its melody rich power ballad canvas. It also has a tempestuous air and agitated nature in riffs and rhythms which makes for an unpredictable and highly enjoyable proposal.

So Much is seeded from that classic bed of inspiration also but this time as with Was My Life, lies like a cuckoo in the cradle of the album despite also being a skilfully and impressively sculpted proposition. As the earlier song, others will devour it with greed and rightfully so, but for our tastes it finds barren ground and a want to dive into album closer Black to keep the exhilarating growl and tempest of Core in top gear. The closing song is a beast of a track, from vocals to riffs and rhythms to sonic toxicity, a predator of ears and emotions unafraid to add tangy spicily coated melodies and harmonies to its seduction. As it started, Core goes out on a pinnacle, finishing off nothing but lofty peaks to be honest, despite a couple of aberrations in our likes.

A.D.D. is a band poised to leap into the big time, if not with Core certainly sometime ahead, and with seriously thrilling albums like this already fuelling their rise, it would be stupid for anyone to wait.

Core is available now via Pavement Entertainment on CD @ http://official-a-d-d-store.myshopify.com/collections/frontpage/products/a-d-d-core-cd and digitally on most online stores.

A.D.D. has upcoming live shows at…

Fri. Mar. 27th – Mojoes – Joliet, IL – HEADLINE CD Release show

Sat. Apr. 4th – Crazy Coyote – Burlington, IA

Sat. Apr. 11th – Freakster’s Roadhouse – HEADLINE – Pontiac, IL

Thu. April 16th – Nevin’s – HEADLINE – Plainfield, IL

Fri. Apr. 24th – On the Rox w/ Wayland – Jacksonville, IL

Thu. May 7th – Mojoes w/ Black Stone Cherry – Joliet, IL

Sun. May 10th – High Noon Saloon w/ Y&T – Madison, WI

Sat. June 5th – Metal Grill – Milwaukee, WI

Fri. July 17th – Rockfest – Cadott, WI

https://www.facebook.com/Analog.Digital.Disorder

RingMaster 25/03/2015

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://reputationradio.yooco.org/

The Senton Bombs – Phantom High

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If there is one thing predictable about UK rockers The Senton Bombs, it is that they will persistently offer feisty dirt encrusted, punk fuelled rock ‘n’ roll. You can always assume a fresh fiery breath driving each and every offering unleashed by the Blackpool hailing quartet too. It has so far been that way since the band’s first album, Sweet Chin Music of 2009, and it continues with new EP Phantom High. Consisting of five diverse songs all bred from punk ‘n’ roll aggression and carrying a hard rock swagger, the encounter is quite simply an attitude loaded stomp of raw and feverishly flavoursome rock ‘n’ roll.

Formed in 2004, The Senton Bombs has been a regular draw of praise and increasing attention thanks to their passion driven live performances and trio of albums, of which Chapter Zero in 2013, brought the thickest wave of acclaim yet. You know what you are going to get with the band; sounds and songs which devour the energy out of the body and feed the instinctive rocker in us all, but equally each of their releases to date has pushed the band’s music and invention in bold strides and ahead of the band’s fourth album later this year, Phantom High is exactly the same. It suggests a new strength of diversity emerging in their songwriting but similarly an even more potent roar and snarl of the rock incitement which sets them apart from most.

The EP opens with its title track, and from the initial sonic scythe of sound, swiftly has ears, feet, and emotions engaged in its adrenaline soaked charge. Vocalist Joey Class uncages his recognisable and alluring tones almost as soon as riffs rub invitingly on ears and rhythms jab with eager intent. Guitarists Damien Kage and Johnny Gibbons proceed to weave a bait of aggressive riffery and spicy enterprise as the track continues its contagious stomp, a solo especially tangy on the ear, whilst drummer Scott Mason and the bass lines of Class sculpt a frame to it all which is anthemic as the roar of the song itself.

10520105_10153295061197281_6683385127408093904_nThe track is an irresistible persuasion and straight away matched by the similarly outstanding Lights Over Phoenix. Whereas the first song was a riot of dirty hard rock and aggressive punk tenacity, the first single from the EP is a more pop punk seeded infection. Small but potently coaxing riffs are aligned to the equally mellower delivery of Class’ sandy tones, a tempting entrance which instantly has ears keen and toes tapping. Bass and beats need little prompting to add their punchy contributions soon after whilst the guitars flame and entice with gripping eagerness and temptation. A more restrained but no less addictive romp to the first, the track strides with unbridled infectiousness and tantalising enterprise creating an encounter sounding vaguely like a mix of Turbonegro and Hagfish, but ultimately all Senton Bombs.

   Black Chariot slows the energies down if not the enthusiasm for the release next. It is a blues rock spawned prowl, employing more classic and southern rock flavouring than anything they have bred before. The vocals are impressive, cleaner and clearer than those usually offered by Class and just as compelling, and  easy to hope they are used more ahead, but in tandem with the dirtier delivery.

The excellent croon of a song allows a breath to be taken by the listener too, enabling a restocking of energy before Passions of the Passive Aggressive unveils its own blues rock inspired bellow of aggressive and chest thumping, belligerent rock ‘n’ roll. Actually the song does not really explode at any point but through its taunting stalking of ears and urgent eruptions of intensity and scorching voracity, it again has limbs, neck muscles, and emotions inflamed.

Phantom High is finished off by the excellent Surf 6-66, again hard and classic rock thrust into incendiary punk ferocity. Think The Ramones embroiled with Mötley Crüe and you get an inkling of the lingering devilry bringing it all to a mighty close. The excellent song epitomises the EP as a whole, The Senton Bombs sound we have come to eagerly devour navigating new variety and insatiably captivating waters.

Phantom High is not a stop gap release before the band’s new album but a massive teaser of bigger and bolder things to come from the band giving further evidence that The Senton Bombs are one of those shaping a new heyday for British rock ‘n roll.

Phantom High is available from March 23rd via Holier Than Thou Records

http://www.sentonbombs.com/bio   https://www.facebook.com/thesentonbombs

RingMaster 23/03/2015

Copyright RingMaster: MyFreeCopyright

https://holierthanthourecords.bandcamp.com/track/lights-over-phoenix

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

Zoner – Euharmonic Elevation

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Here we have an album which if in the mind to, you could pick at and suggest a few deficiencies but there is no escaping it is also one compelling and enjoyable proposition. The release in question is Euharmonic Elevation, the second album from rock/metal band Zoner. That is a simple description for a proposition with a sound which draws on a myriad of styles and flavours in its almost deranged invention. Release and band are a one of a kind, though each also draws on open inspirations which we will come to shortly. It all results in a collection of songs which hold few major surprises yet are one big and riveting surprise.

Zoner is the solo project of Antonis Demetriou, a musician and songwriter hailing from Nicosia, Cyprus. His music as mentioned is bred from a vast array of spices across numerous decades, and his band as described by Demetriou himself, “a rock/metal band with influences ranging from ‘ABBA to Zappa’ via all the VERY best in pop, rock, prog, punk, funk, disco, hard, heavy and thrash!” 2012 saw the release of debut album Spectraphonic Deviation, and now the artist returns with its successor, again a self-released, recorded, and produced offering, deserving of intrigued attention.

As opening track In the Name of Creativity establishes itself in ears, the first thing with captivates about the sound is its strange similarity to Bill Nelson, well his Red Noise guise certainly. Zoner is a more voracious and heavier proposition but from vocals to the sonic invention, there is a definite if coincidental feel of the ex-Be Bop Deluxe man to proceedings. The first track strides with muscular rhythms and stirring riffs from its initial sonic invitation, swiftly settling into a heavy rock and classic metal fusion. Vocally Demetriou is engaging and though he is arguably not a natural vocalist, any weaker moments are more than compensated by his inventive expression. The song itself continues on to explore new progressive and melodic textures, its technical intricacies as potent as the simplicity in which everything successfully fits together.

The enjoyable start is swiftly continued by the stronger lures of Hail Rock ‘n’ Roll, a rock ‘n’ pop romp living up to its title with hook laden riffs and an equally addictive bassline. Thumping beats only add to the contagious drama whilst the swing of the song forms the lead into a catchy chorus as flirtatious as the intrigue wrapped guitar work. Its finale of persistent title chants is irresistible and sets ears and imagination up nicely for the melodic elegance and croon of Patience of a Saint. A smouldering landscape of sonic enterprise, the song is an easily endearing encounter. The vocals are similarly mellow and it all makes for a partly mesmeric offering until it unlocks its heart of classic rock tenacity. It loses some of its grip from this point but still holds attention with unpredictable twists and keys sculpted tempting.

Politics of Modern Love steps in next and soon steals top honours on the album. The song makes a low key start, coaxing the listener gently before revealing a predatory prowl of riffs and dark toned vocals. It is a transfixing and thrilling turn, a post punk/ experimental adventure with a minimalistic air leading to a full blaze of striking imagination and creative exploration.

Both A Wasted Life and Are You the One keep ears and appetite satisfied, the first again bringing an eighties new wave/ post punk tempting to its theatrical hard rock canvas. As its predecessor, the track is riveting scenery of pungent sonic interplay and tenacious enterprise, an enthralling dance with recognisable flavours and expectations defeating invention. Its successor is equally unpredictable but does not have the same success with personal tastes. At times it is a stirring and invigorating exploit but in other moments, especially its start, leaves emotions flat. When it does hit the mark though, primarily when it unleashes its aggression, the song is a feisty enjoyment ending on a much loftier peak then where it started.

Early thoughts and expectations of The Sabbath Waltz arising from its name alone are soon confirmed by its muscular riffs and heavily landed rhythms. It is heavy metal with a sinister tang and melodic flaming, but again reaping spices from previous decade in its colourful web of sound and creative thought. Imposingly magnetic, the track crawls over senses and psyche, leaving another lingering lure easy to want to hear more of.

The closing Turning Point of No Return is an acoustic crafted ballad with Latin bred drama and character, another which misses our appetite but easy to see being a rich pleasure for others. It is a decent end to a release which keeps luring attention back its way. It has shortcomings; the production in certain areas shallow and not helping vocals at times but Demetriou himself has admitted that he is not really an engineer/producer but handles these tasks out of necessity. It cannot defuse the core quality, passion, and invention of the music and songs though. There are also other elements which at times you might wish for something different or for them to be tweaked but it is all relative to taste and again only increases the weight of the potential of the artist and sound, suggesting that given the chance to record with the right people and circumstances, Zoner might just have something very special lurking inside.

Euharmonic Elevation is available now on CD and across most digital stores.

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

RingMaster 17/03/2015

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://reputationradio.yooco.org/

Crashgate – Tear It Down

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The UK rock scene is a bubbling cauldron of predatory invention and ferocious enterprise right now, especially in the underground scene. Kent band Crashgate is one of the reasons and right to the fore of the bands picking up steam to seriously challenge and stand aside the big boys in the future. Further evidence of this comes with new single Tear It Down, a raucous and rousing slab of aggressive rock ‘n’ roll fusing metal fury to a melodic hard rock tempest.

An attention grabbing proposition from almost day one after forming in 2011, Crashgate has increasingly grown in sound and stature. From a feverishly supported local attraction, the Deal hailing quintet has inspired a national bred buzz around themselves thanks to an adrenaline fuelled live presence and equally impacting releases. 2012 saw the band’s first release, the B.O.B EP igniting a breath of greater interest but it was debut album Crude Jokes, Death Notes & Unicorns which pushed and confirmed Crashgate as one of Britain’s rising rock talents. 2014 was a highly successful year for the band which they now continue with Tear It Down, a track hailing from their first album. Ever insatiable live and working towards their second album, Crashgate are at that point where big spotlights are surely beckoning.

Tear It Down opens with big bulging beats which soon lure in just as hungry and feisty riffs. It is a powerful lead which is only reinforced as the impressive vocals of Craig Sheridan start to roar alongside the fiery enterprise of guitarists Brian Andrews and Toby Dorman, both also providing some bracing backing snarls and vocals. The song soon shows it has a melodic heart but within a body unafraid to threateningly growl and unleash a predacious assault, an intimidation driven by the heavy swipes of drummer Richard Keeler and the black hearted and alluring basslines of Shaun Roche.

The single continues to kick up a thrilling storm, hooks and twists as addictively persuasive as the main blazing thrust of the thoroughly compelling proposition. Tear It Down confirms British rock is in a very healthy state and thanks to bands like Crashgate and songs like itself, a voraciously exciting one too.

Tear It Down is available from March 2nd

http://crashgateofficial.com     https://www.facebook.com/CrashgateOfficial

Upcoming Crashgate live date…

March 3rd – @ The Lady Luck, Canterbury

May 2nd – Noize Level Critical RACPA UK Festival @ The Maze, Nottingham

May 3rd – Stevefest @ The Astor Theatre, Deal (not announced yet)

June 20th – Festiv Isle, @ Quex Park, Birchington

July 10th – @ The Diamond Lounge, Doncaster

July 25th – Kent VW Festival, @ Headcorn Aerodrome

August 21st – Strumerville

RingMaster 01/03/2015

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://reputationradio.yooco.org/

 

Madre De Dios – Self Titled

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It is hard to get enough of out and out heavy booted rock ‘n’ roll, especially when it comes in the kind of shape of the self-titled debut album from Italian rockers Madre De Dios. Consisting of eleven tracks which blaze away with all the instinctive and prime essentials any thumping rock song needs, the quartet’s introduction is a stomp of impassioned energy. The band is not interested in break down walls of originality it is probably fair to say but in bringing a release which anyone can give their bodies and pleasure to, the band has an undoubted success on their hands.

Hailing from Bari, Madre De Dios was formed in 2010 by guitarist Stefano Pomponio aka S.P. Jesus (Natron). The band’s first line-up was completed by bassist Gigi D’Angella (Anuseye), vocalist/guitarist Gianpaolo di Stasi (Stainer), and drummer Marco Ninni (Swedish Death Candy), a foursome who’s live presence was soon luring in increasing masses of devoted fans. Over time a more stoner-esque character emerged in their heavy rock ‘n’ roll propositions, their sound continuing to evolve as a shuffle in personnel saw vocalist Frank Bizarre (The Missing, Cafè Bizarre) and drummer Vince Floro (Stainer) replace di Stasi and Ninni respectively; the latter joining the band after his predecessor had recorded the album in 2013, and a year’s break for the band soon after. As the album, swiftly shows, the band’s sound draws in numerous spices from varying decades to create something familiar yet fresh and compelling. With shows with bands like Bud Spencer Blues Explosion also on their CV, 2015 is looking like turning into a potent and break-through year for Madre De Dios, especially as their album grips many more appetites like ours week by week.

The albums gripping devilry opens with The Evil Guide, a song exploding from a crotchety riff into a full on assault of bracing grooves and pungent rhythms within a blaze of melodic enterprise and tenacity. There is an immediate snarl to the song but equally a captivating infectiousness, every element an anthemic lure in the rigorous persuasion of the excellent incitement of feet and appetite. Just as swiftly the craft and creative attitude of the band is an open temptation too, every swing of the sticks, casting of tangy grooves, and vocal expression drenched in a stirring energy driven by personal adventure.

The same applies to the following High Living in the Sunshine, well every song on the album to be truthful, the track making a more deliberately controlled entrance but loaded with thick MoftheRspicy grooves which make slavery of ears and imagination right away. Exploring a potent mix of hard and classic rock, the song is soon leading the listener in a sing-a-long chorus and head nodding participation for the slower but catchy stroll of its surrounding verses. Not as dramatically persuasive as its predecessor maybe, the song is still soon a masterful treat, and even more so once bluesy stoner bred temptation begins to colour the song’s increasingly appealing canvas.

That blues tang is just as ripe in Flamingos! which comes next, its rich spicery again merging with a more classic roar of rock as jabbing beats keep an antagonistic edge to the rhythmic side of the infectious encounter. This virulence is exploited further in the similarly sculpted Big Head. Coming straight out of the previous track there is an unmissable similarity to certainly the riffs and grooves of the song, though that is tempered by the excellent grizzly growl of D’Angella’s bass and the ever engaging dusty vocals of Bizarre, not forgetting a grunge meets stoner air which at times has a slight feel of Kyuss and Gruntruck to it.

I Crashed Your Car opens up our favourite part of the album, its rhythmic agitation and fiery melodies an exciting and inventive embrace for the magnetic vocals and creative majesty of Jesus’ solos. The throaty bassline also adds further irresistible bait for ears, its dark presence contrasting and complementing the increasingly imaginative weave of raw and spellbinding melodic ingenuity. As great as it is though, the song is just the appetiser for the delicious exciting meals of Shake it Baby and Mad City. The first as so many, just slips out of the song before with seamless and natural ease, and straight away unleashes an enthralling and invigorating rock ‘n’ roll dance. Like a sonic epidemic, the track is soon infesting ears and psyche, not to mention body and soul, as riffs and beats unite in a merciless temptation whilst grooves and vocals toy with the passions. Hooks are spilled left right and centre across the adventure whilst the bass has lips licking in excitement even just thinking about its lures. The brilliant proposition is matched by the just as insatiable tempting instrumental which follows, Mad City a foot to the metal juggernaut of toxic riffs and just as venomous grooves within a tempest of rhythmic and sonic charging. If you are aware of the equally addictive Buzzcocks track Late for the Train from Love Bites, you will understand the unrelenting potency of the track.

A mischievous nature adds to the raucous bellow of Ordinary Man next, the song another creatively stormy and exhaustingly fun rock ‘n’ roll romp matched by the excellent cover of The Beatles’ Helter Skelter, renamed Mater Skelter here. The Siouxsie and The Banshees version still holds the heart but Madre De Dios’ cover definitely gives it a run for its money at times, the band not twisting it around too much but still giving it their own spirited slant.

The album is completed by the stoner blues breathing Merry Go Round Song, a song which seems part Pearl Jam and part The Black Crowes, with a scent of Clutch but again finding something more to stand out, and lastly by the spatial adventure of Orbit. The final track seems to draw on all the flavours permeating album and sound so far, casting them all into its own individual escapade of eighties, nineties, and modern day rock ‘n’ roll. Like the album as a whole, it makes no demands and makes accessibility and enjoyment a done deal within the first handful of seconds, but as on all tracks it offers plenty of imagination and enterprise to be an intriguing and thrilling proposal at every turn.

If you want ground-breaking stuff, want to have your boundaries pushed into new realms, Madre De Dios will please to a certain extent but if you want rock music to leave you bloated on undiluted pleasure and fun then band and album is a must.

Madre De Dios is available on most digital music platforms and CD through Red Cat Promotion.

https://www.facebook.com/madrededios2010

RingMaster 27/02/2015

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://reputationradio.yooco.org/

The NX – Night Heaver

Photo Credit_ Robbie Shakeshaft Radcliffe Studios

Hitting the listener like a venomously swung sledgehammer in its first breath and proceeding to increase in hostility and brilliance from thereon in, Night Heaver simply blows thoughts and emotions away. The debut EP from British hard rock/metallers The NX, the four track onslaught is a dramatic and breath-taking introduction to a band sure to make a major impact on the UK music scene if their first trespass of the senses is any evidence.

Possibly the strength and quality of Night Heaver could be expected as The NX features former members of The Casino Brawl in its line-up; nothing is ever guaranteed though and the band swiftly show they are a unique and potential drenched proposition in their own right with the EP. Formed a few years ago in the north east of England, The NX soon bred a potent reputation and following as they proceeded to ignite venues with their live presence, which over the years has seen them play with the likes of The Chariot, This Is Hell, Enter Shikari, Bring Me The Horizon, Penknife Lovelife, Heights, Yashin, Job for A Cowboy, The Casino Brawl, Deaf Havana, Devil Sold His Soul amongst many more. Returning from a prolonged hiatus, the band unleashed their creative fury again from the end of 2013, a new line up and appetite to create more contagiously aggressive shows and sounds driving the band’s return, which has included so far successful tours with Funeral For A Friend, Hacktivist, and The Blackout. It has all added to a growing anticipation for the band’s debut EP, and there is no doubt that Night Heaver feeds all hopes and wants with ease whilst providing much more.

Lonnie Johnson’s Greatest Hit is an immediate raging bellow in the ears but equally a compelling web of heavy rock grooves and spicy hooks with a tempestuous rhythmic incitement. Quite swiftly like a blend of Every Time I Die, Turbonegro, and Cancer Bats with its own distinctive roar, the track takes no prisoners. The venomous vocal squalls of Warby Warburton intrude and entice with rasping causticity whilst the spicy hooks and scorching grooves of Mark Thirtle seduce and scar with equal tenacity. There is also great unpredictability to the track which shines out, PromoImagethe sudden twists and dips into intriguing and at times sinister invention, mouth-watering and ear catching.

It is a potent start but personally just an appetiser for bigger and better things to come, starting with The Great Unwashed. The second track immediately has a dirty air to its breath and opening riffs, an antagonistic nature which is urged in by the great bassline cast by Glen Holmes and spread with intensity through the swiftly following blaze of guitar punctured by the viciously swung beats of drummer Luke Walker. Every syllable spat from Warburton comes with a soaking of malice, a rancor matched by the rest of the track though it too is unafraid to offer catchy hooks and anthemic vocal calls against the clanging steely tone of the guitars and an overall merciless ferocity.

Yet another plateau is breached with the following The Day It Rained Forever, the opening grouchy coaxing of another irresistible bassline aligning to thumping beats for the first potent bait from the song. Soon though it is prowling and seducing as great cantankerous vocals, which initially hold a sobering air, add their interest in proceedings before they are venting with rich malevolence amidst a web of tangy grooves and psychotic rhythmic enterprise. As hardcore punk as it is metallically infused, the song is a glorious maelstrom which twists and turns as if it has the creative mania of St. Vitus Dance. Equipped with a closing noise fostered chorus which is impossible to leave alone, the track is one big reason for suspecting The NX will take their history to new major climes.

It is a suspicion done no harm by the other songs and especially the raging Let Sleeping Dogs Lie which brings the EP to an immense close. In a way opening in similar fashion to how its predecessor parted, the track brawls and violates the senses with another hardcore bred ferocity and corrosive inventiveness. Every riff scowl and hostile vocal expression exhausts and smothers the senses which in turn are invigorated by an incitement of hard rock melodies and spiky hooks which erupt and surge from time to time across the ever evolving provocation.

The song is an outstanding end to a tremendous release, the kind of debut fans were hoping and delivering a startling and thrilling adventure which declares The NX as a new inescapable force in British rock ‘n’ roll.

The Night Heaver EP is available from February 23rd on EP and digitally via Footloose Records and all stores.

https://www.facebook.com/thenxofficial

RingMaster 23/02/2015

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

Nightblade – Crisis has no Prejudice

Nightblade - Band pic (1)

Formed in 2010, it is fair to say that UK‘s Nightblade has been a pungent force of muscular hard rock and NWOBHM inspired tenacity which with its increasingly potent evolution in sound, has been a presence locally and increasingly further afield, commanding keen notice. The tail end of last year saw their finest offering yet in the shape of magnetic EP Crisis Has No Prejudice. Consisting of three tracks that impressively fed an ever broadening spotlight on the band, it is now being reinforced by the release of its title track on February 9th.

The emergence of the Kidderminster hailing Nightblade has been ripe with successful shows alongside the likes of Snakecharmer, Diamond Head, Graham Bonnet(ex-Rainbow, Iron Butterfly), and Uli Jon Roth(ex-Scorpions) amongst many. Alongside that, the quartet has unleashed a clutch of highly persuasive encounters, from debut album Servant To Your Lair in 2011, through its successor Closer To The Threshold two years later to their current temptation Crisis has no Prejudice. All have found an eager welcome not only at home but across the metal world, as well as with its media. The latest EP is another step forward in their ascent and its new single, a big lure into their accomplished and stirring sound.

The track immediately has ears bound in a tangy grooved and crisp rhythmic persuasion, one courted by a just as potent and sturdy bassline. Within a few breaths, a melodic web is adding its thick tempting as the equally magnetic vocals almost prowl with the song’s narrative. There is a great rawness to the certainly melodic tone of the vocals; an edge which matches the predacious stride of Crisis has no Prejudice and its anthemic but stalking presence. It is fair to say the song, and in many ways the band’s sound is not worrying the boundaries of originality, clasping faithfully the essences of their inspirations, but with a fresh breath and creative adventure of classic metal enterprise, sits enjoyably apart from much of the crowd offering similarly sculpted bait.

2015 has the potential to be another big year for the quartet of vocalist Mark Crosby, guitarist Dave Parish, bassist Bill Fitzsimmons, and drummer Eddie Neale; it has certainly got off to a powerful start with Crisis Has No Prejudice.

Crisis Has No Prejudice is released on Feb 9th 2015 via the usual digital outlets with a physical copy of the EP also available @ http://www.nightblade.co.uk/music.php

http://www.nightblade.co.uk

RingMaster 07/02/2015

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