Czar – Life Is No Way To Treat An Animal

cover-front_RingMasterReview

Finding something which stands out from the crowd let alone presents something truly unique gets harder and harder but Czar and their new album Life Is No Way To Treat An Animal easily tick both boxes. Creating a compelling experimental, bordering on psychotic, brew of sound bred in the raw essences of anything from progressive metal, hardcore, and grind to mathcore, post punk and more, all woven with avant-garde tendencies, the Tacoma, Washington based Czar infest ears and infect the psyche with relish. Certainly it is a challenge not all will take to, yet every intrusive assault, off-kilter trespass found within their album has an instinctive infectiousness which rewards as it devours. Like a mix of Dillinger Escape Plan, Mr. Bungle, and Psyopus, yet as suggested creating its own individual character, sound and indeed Life Is No Way To Treat An Animal is one of those times when you really feel something special is in the making.

The album makes a subdued entrance with the beginning of Owls, etc; electronic throbs and melodic coaxing a minimalistic but potent lure. Soon the enjoyably strained and captivating tones of vocalist Dr. Landon Jared Wonser join in with lively beats and a brooding bassline alongside. The track is still restrained but smouldering greater volatility in its belly. With the funk of Red Hot Chili Peppers and the progressive lilt of The Fall of Troy laced into its Every Time I Die like swing, the song never does explode and only benefits from that teasing of expectations for a thrilling start to the release.

Too Many Yetis quickly follows; its agitated heart and enterprise a caustic invasion as the guitar of Nicholas J. McManus drizzles sonic psychosis upon the rhythmic battering of drummer David Joseph Dorran Jr. and Peter Joseph Ruff’s throbbing bass meandering. Its brief but potent escapade further whets an already awoken appetite before Arachnochondriac casts its unhinged waltz on the senses, guitars a web of irrational melody and bass a roaming grumble as the keys of Christopher Duenas intensely sizzle. It is a frenzied ear twisting affair as magnetic as those before it with its unstable yet skilfully nurtured trespass.

Antelope Mask steps to the fore next, it’s extremely short hunt the perfect appetiser for Beware the Flies, Orestes and its unleashing of a post punk woven landscape littered with cold stabbing riffs, steely grooves, and vocal predation. The eye of its tempest sees keys sharing a classical beauty as harmonies float behind the corrosive squalls of Wonser, the combination as riveting as it is enjoyably testing as it leads ears into the Latin kissed melodic festivity of Vultures Never Eat In Peace. This is a hot bed of unpredictability and cracked emotional turbulence hugged by the toxic sonic craft of guitar and the perpetual imposing enticement of rhythms; drama soaking every twist, sinister deceit each throat spewed syllable.

With a psychedelic lining, The Worm Enters the Moon prowls the listener next, its theatre of sound and imagination sharing attributes found in UK band Japanese Fighting Fish and indeed Dillinger Escape Plan. The open variety of the flavours making up the band’s sound and individual songs is already clear and only reinforced by Canine, No Eyes Just Teeth, spoken word nestling in raw lo-fi sound and straight after the ferocious punk and metal bedlam of Shark Cancer, a track suffocating and igniting the senses simultaneously. Its mordant assault is then matched by that of The Golden Calf, its breath scathing and touch scalding yet equally captivating as it fluidly shifts from venomous pattern to corrosive irritability; and even when the movement is more of a clunky sidestep it works perfectly.

Through the creative surf hued snare of Mister Reindeer and the melodic calm of Domesticated Wolves, ears and imagination are effortlessly reeled in with the rest of the body disturbed into compliance by the predatory jazz infested mania of the exceptional first and the poetic serenade of the second. That track is an oasis in the certifiable invention and nature of the album, a gripping dementia fuelling the crumbling climate and emotional erosion of You Were a Comatose Lion and in turn the jazzily bipolar Wine Hog, both revealing an array of crazed facets to their attention demanding personalities.

So often a nineteen track release is sharing a filler or four along the way but there is no such moment within Life Is No Way To Treat An Animal, the celestially bent x̌ʷiqʷadiʔ provoking grateful reactions while Blind Mice provides a bewitching espionage of twisted enterprise and haunted frenzy with interruptions of dark repose with their successors in Prawn and after that RxABBITS invasively exploring and stretching the psyche respectively. The later of the songs is especially striking with its incendiary fusion of raw and composed sonic belligerence.

Concluded by the minimalistic lure of Taking Roadkill to the Vet, a track warming up to the task of seducing the listener with sonic malignancy through every second of its low key but haunting  electronically spun three minutes,  Life Is No Way To Treat An Animal is a rare gem as creatively murderous as it is formidably tempting. Czar themselves are a fresh breath which you will not have to go searching for; their music and talent will do the hunting.

Life Is No Way To Treat An Animal is out now @ https://czar.bandcamp.com/album/life-is-no-way-to-treat-an-animal

http://czarband.com/   https://www.facebook.com/czartheband

Pete RingMaster 08/02/2017

Copyright RingMaster: MyFreeCopyright

Grabbing the throat of attention with Chasing Sounds

chasing-sounds_RingMasterReview

Uncaging their own individual punk fuelled snarl from the heart of Austria, Chasing Sounds is a band with a sound as young and fresh as its existence and already beginning to stir up real attention. We recently seized upon the chance to find out more in interview with the rising band, taking a look at their origins, debut album, and what drives them forward…

Can you first introduce the band and give us some background to the band’s beginnings?

We are Chasing Sounds a melodic HC/Punk band based in Vienna, Austria.

I’m Attila one of the founding members, I play bass and try to “sing” harsh backing vocals in the band. I’m the songwriter, and since I compose mainly on guitar, I record all the guitars and bass in the studio as well. The band was ”officially” formed by Mate (drums) and me on Aug. 8th 2013 which means; it was the day when we put together our very first song ‘Knock Out which later became our first single along with a music video to it as well. Mate and I knew each other since elementary school, and we’ve been in our first garage band together back in 2005. We managed to break up before we even had a singer or a gig. We remained friends though, hung out and knew it way before that we were gonna end up in a real band together. The only question was when. It took us ”only” 8 years to get our shit together. So everything was planned, it wasn’t just a lucky coincidence. In early 2015 Florian (singer) and Mate K. (guitar) finalized our line-up, so I moved backed to my beloved bass. This was the original plan, and it seemed to work for a while

So you were in other bands before; how has those experiences impacted on what you are doing now?

Myself (Attila) have played in a lot of other bands before, the latest was a now defunct progressive punk band (or however should I label the genre) called Good Reason. In that band I had the challenge to keep up with 3 very talented amazing musicians. I learned a lot from those guys.

I was in another HC/Metal band before and a shitty metalcore band too. Mate (drums) was in 2 progressive metal bands Dysentery and Disconcrete. They’re both defunct now, but released great music, you can find them somewhere on the internet I guess…

What inspired the band name?

That’s an awesome story, we had the band name way before we had any material written or we even went to jam under the name Chasing Sounds. It was one of those average high school night outs, me (Attila) Mate and another friend of ours were hanging out drinking and smoking at Mate’s Grandma’s basement; our usual spot to hang out after going thru all the bars in Bratislava. We were pretty drunk and under the influence of other substances, listening to some weird electro music, playing around with words Mate spat out Chasing Sounds. We knew it at that very moment that this will be our band name if we ever manage to put a band together. I remember this like it was yesterday. This was around 2010.

cs3_RingMasterReviewWas there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

I wanted to combine all the styles of music which I love. Most of the songs are heavily guitar driven, I like fast punk rock parts, great grooves and sing-a-longs. I knew it from the start how I wanted my band to sound like, and I think we’re on the right path and even the people seem to get it. Sometimes we get these crowd responses that “dude you guys totally sound like Ignite, Rise Against or Strike Anywhere” which is really sweet to hear and is a huge compliment. Even tho’ I don’t really hear it this way, but for sure those bands influenced us as well.

Do the same prime things still drive the band when it was fresh-faced or have they evolved over time?

I always set goals for us. When it was only the 2 of us it was about writing songs, getting a singer and a guitar player so I could switch to bass, and have a line-up and start playing gigs. Then it was time to record an album, make videos, tour, and the same thing over and over again. Now of course we want to play bigger and better shows, play more in general, do another record. We are searching for a Booking Agency or Promoter who would help us with the booking of our gigs and bigger tours. So if you’re reading this, give us a hint or spread the word. Thx!

How would you say your sound has evolved since it began?

Since the band itself is really not that old, the sound is pretty much the same. We use the same equipment we did 2 years ago, and everything sounds pretty much the same, when we play live. I’m gonna experiment with new sounds and different songs on our next record, so if you guys will still follow us, you can expect something different, but again, it’s not gonna be a radical departure, I mean we’re not gonna start playing bluegrass or something like that…

Any progression within the band and your music is more of an organic movement or more the band deliberately wanting to try new things?

It was all organic, once we compose a new song and we like it, we will keep it even if it’s not exactly what the rest of the songs sound like. I think this is one of the best parts about creating music, you’re basically unlimited in what you’re doing; you can play the same melody, chord progression or whatever in a million ways, you just have to pick one you like the most.

Most of the songs we write are not planned. When I say to myself that now I’m gonna sit down and write a great song, it’s not gonna work that way.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach to creating and playing music?

Since I’m the songwriter most of the times, things that happen to me personally, things I see happening in my near and own experiences and after hearing a great song from somebody if it kicks me in.

Is there a particular process to your songwriting?cs-art_RingMasterReview

I’ll just sit down with my guitar and noodle around. If something catches my attention I’ll try to build a structure around the main riff, and turn it into a song. Then I record it on my phone, and will bring it to band practice. If it’s not total bullshit and Mate’s feeling it too, we jam on it add or take away parts and will go back to it. If we like it we keep it in mind and will work on it the next week. This is the usual writing process we follow. Sometimes we just come in, take our instruments and start from zero. If the musical chemistry hits at that point, something magical can come out. This is the unusual side of how we write music, and how our best songs were made. See Yesterday’s no Different.

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop as you record?

Since it’s really not affordable to go into any studio, get stoned or drunk, and just jam on a riff and call it a song we don’t do that. I think nowadays 90% of the bands won’t to that, because it’s just a waste of a lot of money. The times when record labels gave 1 million dollar recording budgets to bands are over. It just makes no sense to do it in my opinion unless you have your own studio.

Give us some background to your latest release.

Our debut album Elektrobioscope came out on December 3rd 2015 so as your reading this, it’s gonna be one year old in around two weeks. I think there is a little bit of everything on this album; people who listen to Hardcore, Metal, Punk or any other sub-genre of this music will find, at least one song which they will like. Just take the opening song Here we Are, it’s an instant throwback to the 90’s skate punk scene, fans of fast paced bands like Pennywise, No Use For a Name  and similar will probably like it. Another song Spirit of AC is again very pop/punk driven like late 90’s Blink 182 it’s got that Dude Ranch feel to it. An album which created a musical milestone in my life, and if anyone wonders what does ”AC” stands for its Atlantic City, the place where we hung out and got the inspiration for this song. Moving on to other songs on the album; Corrupted Bullshit, Knock Out, and False Flag Attack are straight up old school hardcore songs, with a great portion of NYHC vibe. Fans of Madball, H2O, Biohazard, Agnostic Front should check them out. Especially when we perform them live, that’s where all the energy comes out, and if the crowd is feeling it those are the best moments of our shows. Then we got the title track Elektrobioscope and Yesterday’s no Different which are the more serious songs, and definitely the best ones on the whole record. Judge it yourself and give it a go, the album is on our Bandcamp page you can download it for FREE!

Can you give us some insight to the themes and premise behind it and its songs.

The topics of the songs are mixed. Everyday life feelings, anger, various events happening in the world, motivation, abstract, love, break-up…

Flo writes the lyrics based on what he wants to write about or after listening to the instrumentals. Or, when Attila writes a riff or the basics of a song he gives them a working title or brings an idea for a song name – Flo can relate to this and might write lyrics to that title.

Tell us about the live side to the band, presumably the band’s favourite times?

As mentioned above, you will like us playing live because there is so much energy going on stage that you either enter that bubble and forget everything outside of it or you stand still, which means something is wrong with you. This isn’t positive or negative energy. It can be both, but most importantly, it’s fun!

cs2_RingMasterReviewIt is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there still the opportunities to make a mark if the drive is there for bands?

There are hundreds of bands coming and going in a matter of couple of years. A band might start with something huge which gives them attention at start but nobody cares if they break up in a year or two. It’s more about staying stable, keeping your fans up-to date, being productive and never get bored pushing what you like to do the most.

How has the internet and social media impacted on the band to date?

The internet is a powerful tool which connects people. Social media has levels which allow smaller bands to stay connected easily with their fans on a daily basis. Of course it can be used at a much bigger scale.

Once again a big thanks for sharing time with us; anything you would like to add?

We sell two type of T-shirts as merch and some more designs are about to come. They look great so get you some and support us haha. We ship for free!

https://www.facebook.com/chasingsoundsband   https://chasingsounds.bandcamp.com/releases

Pete RingMaster 28/12/2016

Copyright RingMaster: MyFreeCopyright

Yugal – Chaos & Harmony

Yugal_RingMasterReview

We have had a little bit of a wait for their debut album, having been impressed and increasingly hooked on the Yugal sound through previous EP Enter the Madness, but anticipation has been forcibly rewarded by one richly enjoyable confrontation in the shape of Chaos & Harmony.

Carrying an organic continuation of their earlier sound but with the more unique surprises and elements its predecessors lacked, Chaos & Harmony is a fierce and imposing tapestry of contrasting and conflicting textures spun from the seeds of hardcore, death, and thrash metal. Its sound reflects the disparity yet balance suggested by the album’s title and the band’s Tibetan language derived name, both a representation of “the concept of universal duality” where two antagonistic constituents are indivisible.

Hailing from Vannes in Brittany, the 2010 formed Yugal lured awareness the following year with the demo From Pain to Pleasure before six track EP Illusion of Time two years later sparked concentrated attention upon the quartet which Enter The Madness reinforced and pushed on in 2014. The time between EP and album has seen the band hone their sound and songwriting to new heights and though at times it feels like Yugal are still on the way to rather than having found their final sound, Chaos & Harmony has replaced any ‘deficiencies’ before with a new individual and fresh forged imagination boldness.

The album opens with the gorgeous enticement of Khamsin, a Middle Eastern flavoured lure of guitar within seconds leading a seduction equally hinting at the entangling musical dissidence to come. The instrumental’s melodic romance and exotic charms are courted by shadows and the portentous thump of anthemic beats; a union which entices but with an element of intimidation before Once Upon a Lie rises up to consume ears with rapacious riffs and bludgeoning rhythms. Wiry grooves are soon entangling the song as the throbbing bait of the bass grips ears as potently as the throaty growl of vocalist Guillaume. A commanding fusion of death and thrash, the song is quickly a potent proposal but truly comes into its own as suggestive melodies and psychotic twists begin to emerge; each more glimpses than song changing elements but all adding drama and unpredictability to the song.

cover_RingMasterReviewHeavy Mental follows devouring the senses with vicious riffs and senses whipping beats as grooves taunt and the bass subsequently spins its own threat loaded magnetic dance. Drops into reserved but more predatory passages surprise and thrill as too the variety of voice and melodic enterprise; it all an absorbing web spun again by From This Day I Will Rise in its own individual design. Opening with a Breed 77 like coaxing, again as exotic as it is welcoming, the song looms up around that continuing lure with a wall of imposing rhythms and grouchy riffs. It is a threat which never fully lands but evolves into an invasive and invigorating trespass again still cored by the Eastern elegance and mystique the track started with.

From one superb offering to another as Dogma prowls and taunts the senses; its muscular rhythms and choleric intensity almost bestial but again an aggressor on a leash which allows clarity to the elements within and their infectious union. A further momentary pull on its reins allows a calmer attack opens the flood gates to thrash inspired riffs and an energy which alone invades and excites, though that in turn only leads to another twist in the song’s mercurial and relentlessly impressing landscape.

The imagination and cantankerous aggression already lighting the album continues as Illusion of Time stalks and flies at the listener with open fury, though a respite from the enterprising hostility is forthcoming through the brief instrumental Interlude. A close relation and in many ways continuation of the opener and an echo of the melodic beauty lying within the tempest of the previous track, it seduces ears and imagination before they are again under siege, this time from the barbarous attack of Silence is Golden. It too is an uncompromising tapestry woven with animosity and a virulent catchiness which is as venomous as it is addictive; each further bound in spicy melodic strands.

Another stirring moment within Chaos & Harmony, its quality and success is matched by the punk infused Lost Mind, the band’s hardcore influences at their most vocal but sublimely countered by the wires of Eastern promise which circle them and the variety of vocal imagination, something the band should definitely explore more ahead.

The album’s title track closes up Chaos & Harmony, a proposition which more than lives up to its name in tone and sound as it relentlessly courses through ears. Raw and rugged it ensures the album leaves with force and though it does not live up to what came before, the song  confirms Yugal as a band coming of age and ready to grant global attention.

Chaos & Harmony is out now on iTunes and through other stores.

https://www.facebook.com/Yugalofficial

Pete RingMaster 07/12/2016

Copyright RingMaster: MyFreeCopyright

Born to Burn – Welcome To Reality

btb_album_2016_RingMasterReview

Savaging the ills of the world we live in as well as the senses, French antagonists Born to Burn have just released their debut album, an encounter which challenges and impresses in equal measure. Welcome To Reality is eleven raging trespasses born from a fusion of 90’s hardcore and various metal bred influences. It is also a persistence of aggression and animosity bound in a sound which weaves familiar textures into the band’s imaginative invention in an encounter which only and increasingly grabs attention and an eager appetite for its ferocious presence.

Formed in 2013, the Tours hailing quintet release their first demo the following year, which with their intensive live shows soon placed Born To Burn as one of the vital ingredients in the local metal/hardcore scene. Linking up with Dooweet Agency earlier this year for its release, the band have just unleashed Welcome To Reality to further their presence and reputation across their homeland and into wider shores. Such the raw power and creative tenacity of the album alone, it is hard to see the band failing to ignite wider and keener interest in a sound which rampages through ears while despoiling and exciting the senses with extreme bearish irritability.

The album opens up with Welcome and waves of warning sirens, their portentous calls sending clues to the threat to follow. All the time building in intensity and drama, the track eventually breaks into a predacious prowl with its instrumental intrigue and danger leading the listener into the waiting trap of Who Are You. Initially the song carries on with the restrained but imposing nature of its predecessor but eventually uncages its muscular venomous intent while still continuing to stalk the senses and imagination. With open distrust and ire in the imposing presence of the great vocal growl, a character matched by riff and rhythm, the track invades and persuades with an easy to embrace potency; winding sonic enterprise and toxic grooves a delicious topping.

btb-wtr-front_RingMasterReviewHammer quickly takes over and soon reveals a bolder tempestuousness and urgency in its attack as thrash scented riffs collude with rhythmic spite whilst vocal and lyrical causticity bears down on thoughts. As bullish and adversarial as it is, there is a swing to its gait and catchiness to its design which makes the punishment so easy to devour whilst revealing more of the swiftly showing invention in the Born To Burn songwriting and imagination.

Its inescapable qualities are matched by those of the blunt force trauma that is Seven, a track punching and jabbing its way with raw brutality but exposing subsequent wounds to another array of invasive but captivating twists and turns. The guitars spin a web of melodic and sonic adventure throughout, never diminishing the force of the attack but giving it additional striking appeal before Finish Him offers its own predatory sonic conflict with a rhythmic violation of scything beats and bestial bass which almost single handed ensures a greedy appetite. With threat loaded vocals and biting riffs bound in the inventive tartness of the guitars adding to the rancor, the track is irresistible as too successor The Shield which from its opening darkly alluring bassline just increases the enslaving enticement layer by imaginative layer.

Through the acrimoniously infectious storm of Pigs, with its more classic heavy metal spicing, and the rapacious tapestry of Warm Up, the album only tightens its grip on ears and appetite. The second of the two is an unpredictable and eventful fusion of punk and alternative metal wound in fiery grooves and dirt encrusted vocal harmonies. It is constantly evolving and exploring dark shadows and boisterous ideation before Dark Walk and its shamanic quarrel envelops the senses to relentlessly bewitch and bruise. All the time though it’s hardcore heart is blossoming, subsequently taken control and driving the still relentlessly contagious tempest.

Welcome To Reality is concluded by firstly Loud, another creative predator at ease prowling or savaging the listener and lastly Mars which entangles ears in blissfully corrosive grooves from its opening breath and only proceeds to turn that pleasure more lustful with every passing adventurous incursion.

The way the album is set up, with each subsequent song it becomes bolder and more inventive, in turn unique with the potential of greater things to come just as open. Born to Burn has something different about them which is already marking them out as a very promising proposition but once further realised there could be no stopping them becoming a major violation and treat on the senses.

Welcome To Reality is out now across most online stores.

https://www.facebook.com/btoburn

Pete RingMaster 23/11/2016

Copyright RingMaster: MyFreeCopyright

Into the Storm – Where the Merfalo Roam

Photo by Ken Lapworth (2015)

Photo by Ken Lapworth (2015)

Into the Storm is a band which gate-crashes your senses with a sound as savagely compelling as it is venomously intrusive. It is equally a proposal layered with an enterprise which ensures releases like the Seattle quartet’s new album, Where the Merfalo Roam, steals the imagination and defiles the psyche with ease.

Consisting of the band’s most adventurous and expansive tracks yet, Where the Merfalo Roam is an exploration or should that be fall into an abyss of “discontent, oppressive governments, dystopian eras, and the connection between the cycles societies go through.” A tar thick assault of sludge/doom rapacity unafraid to venture into bolder and starkly diverse strains of sound, the album is as openly inventive in its complexities as it is uncompromising in its raw animosity.

Produced, engineered, and mixed by Derek Moree, Where the Merfalo Roam opens with Truck Van Trailer, instantly trespassing ears with a dirty melody which subsequently ignites a barrage of bestial riffs and ravenous rhythms; yet there is a swing to them which tempers the violence and invites closer involvement. Dirt encrusted vocals bring their ire to the challenge just as quickly, scowling within the sonic and melodic toxicity cast by the guitars of Brant Kay and Matt Jahn and pure predacious ferocity sprung by bassist Oliver Reeves and drummer James Reeves. Becoming even more absorbing as the band break out a Cajun flavouring towards its end, the track is a mighty and riveting start swiftly matched across following tempests.

Ghostmaker is next, prowling the senses with ursine irritability and weight. A bruising punkiness adds to the track’s imposing weight and intensity reminding a touch of Pigs as it stalks and consumes as one primal entity yet reveals a tide of individually effective elements and textures. Its relentless tirade is contrasted by the doom lumbering of Seduced and Disappointed, a black melancholy again stalking the senses but in a slow, light vanquishing mass still prone to rabid eruptions. The two tracks show the variety fuelling the corrosive heart of the album, a diversity continuing within the torment ridden I Gotta Get the Bees Outta My Teeth and the bewitching unrest of Wellwisher. The first of the two sonically niggles and rhythmically pounds, combining both with emotional and multiple vocal antipathy as piercing guitars weave a web of captivating tension while the second is a melodic seduction around an emotional turbulence shared through the rasping angst of the vocals. The simmering beauty eventually boils up into a plaintive lava-esque squall with melodies still suggestively captivating as tempestuousness blossoms around them.

its-where-the-merfalo-roam_RingMasterReviewFeaturing the guest talent of trumpeter Alexis Tahiri, the following Maturin ignites appetite and imagination further. Starting out as a beguiling flame of Mariachi spiced sultriness, the track smoulders, feistily simmers, and eventually steps aside for a barbarous immersion of ears and spirit. Even then melodic suggestiveness is a heady incitement as rhythmic bad blood invades, the song leaving no minute short of unexpected and riveting drama; a weave just as potent within the cancerous air and emotion of Maths. Somehow the track manages to be mesmeric too, haunting the psyche as it defiles the senses and stirs the imagination.

Fell Off A Horse is next unleashing a few seconds over a minute of rabid punk rifled bitterness before Jobbernaught tantalises with inviting melodies and catchy rhythms on its way to infesting ears with its own emotional and sonic malignity. Both tracks leave pleasure thick and the soul blackened and prime for the closing brutal rock ‘n’ roll of the album’s title track. Where the Merfalo Roam strolls in with a vendetta to its swagger and open infectiousness to its enterprise even when turning into slow, psyche winding incursions upon body and emotion. With violinists Kim Pack and Sarah Pendleton bringing melancholic grace and beauty to the song’s emerging and all-consuming emotional and sonic volcanic storm, the track is sheer magnetism; a mighty end to a similarly impressive release.

Where The Merfalo Roam punishes as it rewards, withering body and emotions as it invigorates them. It is not going to be for everyone but for invasive sludge/doom/hardcore hearts, it is a must.

Where The Merfalo Roam is released November 11th via Alive and Breathing Records and @ https://intothestorm.bandcamp.com/album/where-the-merfalo-roam

https://www.facebook.com/rideintothestorm/   https://twitter.com/intothestorms   http://rideintothestorm.nfshost.com/

Pete RingMaster 09/11/2016

Copyright RingMaster: MyFreeCopyright

Art Of Burning Water – Between Life And Nowhere

cover_RingMasterReview

It is fair to say that any proposition from Art Of Burning Water is not for the faint hearted or anyone looking for melodic refuge. The trio’s sound though, and indeed new album Between Life And Nowhere, is something that a passion for ruthless noise with a penchant for violent infectiousness should and will eagerly embrace.

The London based threesome of drummer Mike, guitarist/vocalist Grief, and bassist Kunal create hardcore sandstorms of sonic intolerance and rhythmic barbarity; twisted punk ravages which are as pestilential as any plague but built on grievous grooves and piercing hooks ridden by the rawest of throat ripping vocal squalls. It is a trespass which has fuelled a host of releases from the band since 2003 and provided one half of an impressive split 7” with Nervous Mothers earlier this year. True to say, the band’s sound may have alienated as many as it has befriended but those hooked on their creative hostility come with zeal many bands would pay for.

A fury of ten songs over twenty minutes, Between Life And Nowhere has no times for niceties and flies at the senses from its first breath. A sonic lance and sample triggers Rambo Survival Techniques into life, the guitar an intrusive wave of sound backed by the thumping beats of Mike and Kunal’s grievous bassline. With Grief’s flesh wilting vocal spite soon infesting all, the track grumbles and rumbles like a bear with toothache, searing the senses whilst teasing them with an underlying catchiness which in turn lines the even more hellacious heart of Prime Example Of A Lonely Child. The track ebbs and flows in its intensity, never releasing ears from a sonic abuse but taunting the imagination with its primal instincts and another sampled incursion as spicy grooves and hungry riffs join in cantankerous intent.

The excellent Barbara O’Reilly comes in on the final sonic twine of its predecessor; swiftly uncorking its caustic toxicity with a punishing persuasion before the twenty odd seconds of You simply erupts in primal cancer upon the listener which in turn is followed by the less nasty but just as intrusive adventure of To Be Brave. With swinging beats linking up with a growling brooding bassline, the song makes a calmer entrance, the guitar teasing and inviting before the full tempest of emotion and rage at the track’s heart ruptures into its virulent sound. Twisting from raucous hostility to predacious stalking across its irritable body, the song quickly hits the sweet spot.

The acerbic melodic nature of Voivodian Solutions To Die Kreuzian Problems just as rapidly ignites ear though any kinder essences are lined with their own venom and soon involved with unbridled rancor as shown again within the infectiously woven drama of Alesha and the scathing rapacity of Prone To Bouts Of Hopelessness. The first of the two entices and brutalises with every harsh rhythm and heavy metal infused grooves, its punk ‘n’ roll almost welcoming but only to an awaiting destruction while its successor crawls over the senses with its poison on full show before savaging with full malevolent energy.

A handful of seconds is all that Baby Without Your Love has and needs to share its distorted enmity, leaving the quarrelsome and increasingly violent punk ‘n’ roll of Kindness Is Strength to bring the album to a fine and feverish close.

As suggested earlier, Between Life And Nowhere is not going to find a home in everyone’s ears, something it and the underrated Art Of Burning Water seem to revel in. Both offer punk/hardcore which leaves the kind of scars which sorts the men from the boys and both deserve a portion of your flesh and attention.

Between Life And Nowhere is out now via Bigout (France), Sleeping Giant Glossolalia (USA), and SuperFi (UK) and available @ https://artofburningwater.bandcamp.com/album/between-life-and-nowhere

https://www.facebook.com/aobwmusic   http://www.superfirecords.co.uk/aobw/

Pete RingMaster 21/01/2016

Copyright RingMaster: MyFreeCopyright

Dead Hands – Nobody Exists on Purpose EP

thumbnail_ep-cover_RingMasterReview

Just over a year ago, we were taken by and aback by the noise infested fury of British band Sexwolf! and their debut release, the Hangin’ With The Boys EP. Our submission to their senses devouring sound was followed by their demise in the first half of this year. It was a frustration though quickly replaced by intrigue as three quarters of the band, linking up with one half of fellow Midlanders A Werewolf and a second guitarist, emerged as Dead Hands. They have just released debut EP Nobody Exists on Purpose and fair to say any gap left by the loss of one band has been more than filled by a new encounter which sears ears as it excites them.

Creating a maelstrom of fiercely infectious noise from texture reaped from the likes of mathcore, hardcore, grind, and numerous other punk and metal based savagery, Dead Hands have taken little time to stir up attention and it is easy to hear why with Nobody Exists on Purpose. The six track violation is an irritable tempest of abrasive sound and toe curling intensity delivered through an invasion of twisted hooks and demented grooves within a sonic savaging fuelled by some viciously catchy enterprise. It is merciless, at times painfully inhospitable, and constantly a joyously addictive abuse of body and senses.

It all starts with the band’s recent acclaimed single Open Bracket. Straight away guitars are squirting sonic toxicity, tangy riffs soon joined by the heavy insatiable rumble of bass and the scything viciousness of drummer Jenks’ rhythms. It is intensive furious stuff just as infectious as it is barbarous with Richard Phillips spilling his lyrical and vocal venom into the compelling mix. All the flavours mentioned above and more are in open sight within the furious turbulence, all adding to the thick lure of the track.

It is a sign of things to come within the EP, the following Elephants Crush People just as crabby and uncompromising and just as fascinatingly littered with unpredictable trespasses, inventively virulent hooks, and ear catching twists. A mix of The Chariot, Every Time I Die, and Dillinger Escape Plan is an obvious but maybe closest equivalent to the Dead Hands roar with additional Cancer Bats/Brutal Truth hostility.

Diving Board (Jack Christ-Ho) instantly and fractiously devours and punishes while gripping the appetite with more virulently contagious enterprise, it all springing from the Jenk’s initial rolling rhythms. Guitarists Niall Jones and Dabby Gough in turn lay their creative snares, further unavoidable traps as the song overwhelms and sparks body and mind into lustful responses. Of course this is not going to be for everyone but if noise does not annoy but inspires than Dead Hands have the ability to raise the strongest ardour through songs like this and its successor Buck Angel’s Challenging Movies. Arguably the catchiest proposal within the release, the track is a quarrelsome stomp led by the deliciously testy tone and grooves of Daniel San Mogg’s bass, its truculence matched by that of the guitars and vocals. Moments of calmer, post punk lined imagination only adds to the thrilling character of the song, the pinnacle of the EP with ease.

The closing pair of 7 Days (of Craig David) and Close Bracketté finish off Nobody Exists on Purpose, the first a mouth-watering ear plundering wall of heart bled enmity and sonic rancor while the last blasts and tangles ears in a tetchily red-blooded incursion of technical and emotional fury. Both tracks also come equipped with even bolder invention and experimentation and it is no coincidence that as each song gets braver the EP only gets stronger and more irresistible ending on a rousing high.

 Nobody Exists on Purpose is superb, a triumph in many ways with its seeds in the previous exploits of Dead Hand members but blossoming into not only something totally new to them but distinct to pretty much anything else out there. It is a must!

The Nobody Exists on Purpose EP is out now @ https://deadhandsband.bandcamp.com/releases

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Pete RingMaster 14/10/2016

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