Hell Night / Sweat Shoppe – Split

A new split on Encapsulated Records sees two of St. Louis, Missouri’s finest come together for one simply tremendous encounter. The release features five tracks shared between Hellnight and Sweat Shoppe, a quintet of tracks which all unerringly got under the skin.

Pic by David Torrance

Hell Night provides the first two tracks within the split. Formed in 2014 by guitarist Andy White, the band additionally consists of bassist Eric Eyster, drummer Adam Arseneau, and the distinctive tones of former Shadows Fall and Overcast vocalist Brian Fair. Their sound is a ferocious yet instinctively animated fusion of metal and punk and as emphasized by the duo of offerings here fraught with virulently incisive hooks and grooves.

Their first track is Unincorporated, a predacious nagging of enterprise which is part feral part manipulation from its first breath. Fair’s rasping roar is soon infesting the invasive contagion, that array of flavours a rapacious entanglement squirreling its lures in ears and psyche. The track is superb, not richly unique yet wholly individual to the quartet as too its companion Overburden. Heavier and slightly more intense in its gait and tone, the song also webs the senses in the niggling prowess of guitars and bass as Arseneau’s beats bite and arouse. Its melodic undercurrent is just as tempting, new wave hues lining its understated but potent tease within the more carnal trespass.

Hell Night’s outstanding duo of tracks as quickly matched by the trio uncaged by punksters Sweat Shoppe. Another foursome, the band emerged in 2015 and includes members of The Disappeared, Horror Section, and The Timer as well as Ultraman vocalist Tim Jamison, the full line-up completed by Justin Haltmar, Gabe Usery, and Andrew Brandmeyer.

Lost and Mean is the first of the band’s tracks and immediately barrages ears with its unfussy yet skilfully honed attitude and ferocity. Its old school tone is instantly addictive within the minute and a half of punk belligerence, riffs unleashed and hooks uniting for a catchy invasion which continues within the even briefer Circumstance. The track’s hooks and riffs are ravenously contagious within the darker tone and climate of the song, aiding its inescapable persuasion and addictive trespass whilst reminding a touch of British punk legends Angelic Upstarts.

The final track from them is Clawing Brain, another antagonistic scowl of sonic contagiousness and rhythmic contempt around the attitude loaded vocal release of Jamison. It completes five tracks which do the highly enjoyable business with raw passion, energy, and imagination as well as a bit of intimidation. If either Hell Night or Sweat Shoppe has yet to hit your radar, their coming together here is one unmissable introduction and you can enjoyable further songs from both outfits on the Quarter Hour Of Power compilation also from Encapsulated Records; each release available digitally and on 7” vinyl now @ https://www.encapsulatedrecords.com/collections/releases   https://encapsulatedrecords.bandcamp.com and other stores.

https://www.facebook.com/hellnightus/   https://www.facebook.com/sweatshoppemusic/

Pete RingMaster 10/07/2018

Copyright RingMaster: MyFreeCopyright

Cancel – Dark Reveries

Dark Reveries is the new album from Swiss hardcore fury Cancel; a release which echoes its titles with tracks which savagely grab you from reality to immerse in rousingly, often carnally raucous dissonance. It makes no compromises in its assault and attitude loaded irritability but tempers the compelling causticity with flirtatious imagination whilst declaring the Luzern quintet ready to seize global attention.

Founded in 2011, Cancel has released a host of ear grabbing proposals around a richly received debut album in Circle of 2015. Their sound has evolved across each encounter and ventures a whole new plateau of enterprise and devilry within second full-length Dark Reveries. It is tagged as hardcore but freely ventures across the landscapes of noise, punk, metalcore, and post hardcore with each individual song.

It opens up with Mind Burial, instantly expressing raw vocals and sound upon the senses as rhythms closely prowl. Stalking the listener, the track soon hits a more urgent stride without losing all its restraints; captivating attention with every passing second of its Coilguns meets Red Tape like assault. An instinctive groove seizes its moment to enslave as rhythms continue to prey, all the while the band’s imagination brewing and taking a thicker hold on the album’s thrilling start.

The following Hysteria surges through ears with punk ‘n’ roll rancor, beats thumping with flirtatious violence as group shouts and urges accompany individual temptation. It is a seriously enjoyable and insatiable trespass emulated in its own way by successor Golden Rats but given a whole new web of twists and turns to become scorched by and addicted too. Both tracks reveal more of the bolder hunger and adventure in the band’s sound; exploration further stretched and exploited within the invasively mercurial Death Cab. As its punk heart bellows and ensnares like a malicious Shevils, the band’s rock ‘n’ roll instincts gains momentum, the great blend of vocals following the imaginative endeavour. Wiry grooves and the brooding growl of the bass only add to the unbridled magnetism brewed and devoured.

Poor Man’s Sermon is pure seduction from its first breath, the song slowly unwinding its unpredictable body note by note, clean syllable by alluring word until strolling through post punk/rock terrain courted by throat raw vocal toxicity. It is a fascinating affair and mix which only intensified its ire and hold by the second before the punk hostility of Chased Feelings ripped through ears. It too though embraced a mix of flavours and urgencies within its brief tenure, making way for the anthemic roar and challenging antipathy of Freedom On A Cross. As its predecessor, the track swiftly got under the skin with its predacious swing and inescapable curse of hooks and grooves.

The following minute and a half sees You`re Everything I`m Not ravage the senses, its Converge-esque punk feud colluding with rock ‘n’ roll arousal to manipulate and enslave while Human Machinery straight after sees Cancel spark the imagination more forcibly in its minute of instrumental darkness than many bands do in a ten minute plus flight of suggestion.

Dark Reveries finishes off with its title track, another song which is on the hunt from its opening seconds of sound and invention but with an eagerness which refuses a negative response. It is a swing and purpose which shuffles its attack but cores it with an infectious lure which never deviates from its intent and success.

It is a fine end to an album which just impresses further by the listen. Cancel might not grow to be one of Switzerland’s greatest exports but already they are definitely one of its most pleasurable and captivating.

Dark Reveries is available now @ https://cancel.bandcamp.com/

 http://cancelband.com/   https://www.facebook.com/CancelBandOfficial

Pete RingMaster 03/07/2018

Copyright RingMaster: MyFreeCopyright

Hot Sauce Pony – Burnt Ends

With the debut album from Hot Sauce Pony prowling anticipation, the UK outfit unleash its first lure in the shape of the carnally seductive Burnt Ends. The track is a ravenous teaser of that forthcoming self-titled offering, a song which has calm, beauty, and ruin colluding for a frustratingly but imperiously short one minute plus.

Formed in 201, the London band consists of vocalist Caroline Gilchrist, guitarist Ross Davies, bassist Stephen Gilchrist, and drummer Anna Dodridge. Their sound is a unique fusion of noise and punk rock with grunge, post punk, and hardcore hues. They call it Avant Hard; we call it in regards to the new single feral sensuality. The track and the upcoming Steve Albini (Pixies, Nirvana, PJ Harvey) album follow a first single in Fenced In which aroused rich attention and intrigue. Burnt Ends more than builds on its ear grabbing success and thick potency with a moment where extremes unite to devour the senses with beauty and ruin.

From its first breath Burnt Ends had us licking lips, the charred growl of the bass a bestial temptation matched by the just as roasted snarl of the guitar. Swiftly the melodic siren tempting of Caroline’s vocals drew ears deeper into the cremated offering, the slow manipulative swing of Anna’s beats just as irresistible. Like a fusion of Horse Party, Morass Of Molasses, and Mudhoney with a whiff of Young Marble Giants yet firmly individual, the track just got under the skin and into the psyche as hips continued to sway to its primal groove.

Such the pleasure, it really does frustrate when the track stops suddenly and without warning barely a clutch of seconds past its first minute. It leaves nagging, teasing fingers though as its elements continued to echo in thoughts long after departure.

Leave them wanting more is the key to success some say, and without doubt the hunger for the band’s eponymous debut album is on the point of rabidity thanks to Burnt Ends.

Burnt Ends is released June 22nd via Brixton Hillbilly. The band also has first single Fenced In available as a free download  @ https://soundcloud.com/brixton-hillbilly/fenced-in-by-hot-sauce-pony

Upcoming Hot Sauce Pony live dates:

23rd June Club 85, HITCHIN

30th June Betsy Trotswood, LONDON

16th August – HY-Brazil, BRISTOL

https://www.facebook.com/hotsaucepony/

Pete RingMaster 20/05/2018

Copyright RingMaster: MyFreeCopyright

Gutlocker – Cry Havoc!

It is a release which has no qualms in punishing the senses and venomously attacking the psyche with its irritable and grievous intent; an encounter seemingly hell bent on leaving charred remains behind in its vicious sonic wake but it is hard to return that enmity when every twisted trespass and grievous throe inflicted leaves you hungry for more. The perpetrator of that creative animosity is the Cry Havoc! EP from UK sludge punks Gutlocker, a quartet of visceral noise and groove breeders which you may fear liking but find no other option available.

Born and bred in darkest Woking, Gutlocker emerged in 2012 inspired by the likes of Pantera, Mastodon, and Lamb of God and have since gone on to share stages with the likes of Trepalium, Evil Scarecrow, and Raging Speedhorn among others and made a reputation enhancing appearance at Download. We will be honest, Cry Havoc! is our long overdue introduction to the quartet of vocalist Craig McBrearty, guitarist Peter Tucker, bassist Ben Rollinson, and drummer Dean Walker but possibly the perfect moment to be infested by their sonic animus.

The release opens up with Bitter Memory and immediately devours the senses with predacious riffs, merciless rhythms, and the vocal individuality of McBrearty. His rancorous tones twist and squirm by the syllable, a trespass as magnetic as the tempest of sludge metal bred sound around him. Grooves invade and beats rupture as the track parades its grudge carrying enterprise, a raw irritation spawn incitement which crawls deeper under the skin by the minute with its multi-flavoured sonic antipathy.

The great start evolves into the equally violent and compelling No Burden, a matching cauldron of hellacious noise and emotions cast in its own individual likeness. As in the first, there is a great hardcore insurgency lurking in the lining of the track’s prowl and adding to both the songs’ continued blossoming listen by listen.  Unpredictability similarly adds to their prowess in music and voice if not to the same heights of our favourite track within Cry Havoc!

Stuck is simply superb, a web of creative deception and ingenuity never going where it suggests or expectations assume. Straight away it is weaving with cunning devilry and with vendetta in its veins, swaying away like a Pantera coaxed cobra as McBrearty spills his bad blooded venom. Captivating in seconds, addictive soon after, the track just outdoes itself minute by minute as guitars and bass collude in predacious imagination, its pinnacle coming as a bass and drum swagger ignites a manipulative noise rock discordance as fully catchy as it is unexpected.

As great as the other three are, the track steals the show but not before being worried by closing encounter, Welcome to Fucktown. As those before, it stalks and crawls over the senses sharing rancorous breaths and malignant invention matched in kind by the vocals. There is tension in every note and second, malice too especially oozing from McBrearty’s throat and heart, it all going to make the final song one fearsome but captivating incursion.

Uniqueness is still a relatively rare find within modern music but Gutlocker have a good handle on it already and are on the path to making it a key weapon.

Cry Havoc! is available now through most online stores.

https://www.facebook.com/gutlockeruk

Pete RingMaster 24/04/2018

Copyright RingMaster: MyFreeCopyright

The Amsterdam Red Light District – Sapere Aude

Though The Amsterdam Red Light District seized major plaudits as they boldly established themselves within the punk/hardcore/rock scene with second album Gone For a While in 2014, the release still missed stirring up the kind of fervour in us that others were finding the certainly highly enjoyable encounter. It seems that we were just waiting for a particular undefined spark which has now undoubtedly caught within the France based band’s new fury, Sapere Aude. THARD’s third album is a beast of a roar, as ferociously infectious as it is instinctively irritable and emotionally tempestuous and for us by far the best thing the band has unleashed.

With inspirations found in the likes of Refused, The Bronx, The Ghost of a Thousand, and The Bled, Europe has been the broad sounding board for the 2005 founded band’s sound over the past few years, THARD sharing stages with the likes of Refused, Anti-Flag, Thrice, 36 Crazyfists, Comeback Kid, and Slayer alongside their own successful shows and tours. This month sees the band off on their travels again with Sapere Aude lock and loaded in their arsenal.

It opens up with Nobody Moves Like You and a spiral of acidic grooves and heavy handed rhythms which lure ears and attention like a magnet. Swiftly it settles into a tempestuous stroll as catchy as it is belligerent, Elio Sxone’s vocals an alluring temper in its midst backed by those increasingly captivating grooves cast by guitarist Maxxx Comby. A blend of hardcore and metal, the track has a natural swing which alone infested the appetite with the dark tones of Greg Clert’s bass adding to the instinctive temptation. Vocally Sxone brings adventure and diversity to match the raw and skilfully woven sounds around him in one glorious inventive brute of an introduction.

The following The Best Is Yet To Come is just as quickly and intrusively gripping. Featuring Cancer Bats front man Liam Cormier, the track simultaneously grumbles and seduces in voice and sound, the rhythmic trespass of drummer Julien Chanel driving its intent and forceful urgency as the guitar and melodic aspect of the vocals bring a ferocity tempering enterprise. As its predecessor, it demands and commands willing attention with adventure and imagination.

Two songs in and already the album has whipped up personal passions missed by previous offerings and only ups the ante with the fiery punk ‘n’ roll of Need. Again vocals and music create a cauldron of contrasts and ferocity with balance and adventure, the song having something of Every Time I Die meets The Ghost of a Thousand to it as it too inflamed the senses and appetite before Wild Life sparked its own blaze of praise and ardour with its hellacious creative clamour. Blending various aspects of ferocious intrusion and melodic captivation to its punk metal, vocal harmonics adding to the drama, the track simply whipped up greedy attention.

Carry On is an infection of temptation, tenacious hooks and riffs colluding with the song’s emotional irritancy and rousing breath; all bound in an enterprise as persistently catchy as it is rapacious. It all comes though with an ebb and flow which only increases its fascination and imagination while Over The Fence in turn uncages a sonic squall and a senses battering rhythmic dance which holds similarities to its predecessor before unveiling its own quest of creative discontent.

The turbulent spirals of Waiting For The Day needs little time to incite intrigue and imagination next, its opening web subsequently draped in vocal and sonic dispute again as magnetic as it is corrosive in a psyche infecting mix which nags and harries as it bruises and excites. That raw incursion is only intensified in The Whole City Burns, its melodic metal aligning with feral punk in an invigoratingly abrasive holler loaded with spiky riffs, barbed hooks, and melodic fire.

The album concludes with firstly Evil Stakeholders, a slab of crotchety yet melodically bewitching raging which maybe did not quite inflame as others before it but only reinforced the impressive character and force of Sapere Aude. Its title track is the final offering, an outro of intimation and samples reflecting the portentous state of the world with bursts of rhythmic incitement. Maybe better served as an intro to the album in some ways, it is a fascinating last breath to one striking release.

From first note to last Sapere Aude truly stirred our fullest passions, that anticipation for bigger bolder things ahead sparked by its predecessor more than realised in a release sure to feature as one of the year’s greatest moments.

Sapere Aude is out now via Red Light Records.

https://www.tarldtheband.com/    https://www.facebook.com/tarldtheband    https://twitter.com/tarld

Pete RingMaster 08/03/2018

Copyright RingMaster: MyFreeCopyright

Bailer – Self Titled

Currently in the midst of a tour across Russia, Irish metallic hardcore quartet Bailer recently unleashed their new creative tirade in the shape of a self-titled EP. The five track fury is a brash and uncompromising slab of rapacious hardcore; the kind of trespass in sound and emotion the band has already drawn thick plaudits for yet everything about it is richer, bolder, and creatively more mature than their previous successes.

We got hooked on the Bailer trespass back with the Shaped By The Landscape EP of 2016, the PTSD EP a year later only cementing their lure on personal tastes. It has to be said though they were just appetisers to the thick goodness of the band’s latest offering. Whether the band’s sound has come of age time will tell but certainly it has breached a new plateau as Bailer continue to prove themselves one of the most exciting and imaginative prospects within the hardcore scene.

Lying For A Living sets things off, its initial scene setting interrupted by the vocal blast of Alex O’Leary amidst a concussive surge of sound. Featuring guest vocals of Xander Coughlan from Emigra, the track invades with an infectious swing and irritable attitude, the creative clamour of Chris Harte’s guitar uniting with the cantankerous throat of David Cleere’s bass and the vicious swings of drummer Sean Conway. It is a gripping affair, imaginative twists adding to the adventure with craft and composure rather than force and only escalating the temptation.

Tuesday Blues follows, the track also leaping head first upon the senses as guitar and rhythms crowd the hostile attack of the vocals. The heavy snarl of bass is simply irresistible, its enmity as catchy as it is imposing and matched by the song overall as sonic endeavour and emotive discontent collude with a headstrong but composed intent. As within those around it, every second brings intrigue and drama, both aspects embroiled in ferocity and adventure.

That imagination again fuels the feral exploits of Long Gone, a song from its first moments almost dancing in ears with invention and unpredictability within the familiar Bailer insurgency. With Adam Carroll from Zoax guesting, the song flirts and captivates with striking enterprise which never seems to settle in the moment but is always looking for a new twist to explore. As carnal as it is captivating, the track infests the psyche before Feel It More brings its capricious but skilfully nurtured antics to bear upon the senses. There is an almost progressive wind to the Bailer sound which especially teases and flirts with the imagination here as ears are accosted and the senses chewed.

Closing track is Death Is A Reminder, a rousing slice of rock ‘n’ roll which has the body bouncing from its first breath as rhythms entice as senses cower from its predatory character. With another guest in the shape of Red Enemy’s Kevin ‘Lefty’ Letford, the track prowls and subsequently trespasses with sonic volatility, its mercurial nature voracious but with a seriously infectious intent.

The new Bailer EP is one of the year’s early treats; a triumph from a band which just grows from bold exploits to greater adventure by the release and will surely be one of those guiding the hardcore scene over coming years.

The Bailer EP is out now @ https://bailerofficial.bandcamp.com/

https://www.facebook.com/bailerofficial

 Pete RingMaster 20/02/2018

Copyright RingMaster: MyFreeCopyright

Of Legions – Face Value

With already a rather potent reputation for their voracious live presence, UK outfit Of Legion offer the fullest introduction to their hardcore ferocity with debut album Face Value. Enticingly irritable, enjoyably raw, and emotively abrasive, the nine track trespass is a potential rich suggestion of a band carrying all the qualities to make a lingering mark on the British hardcore/punk scene.

Emerging in 2015, Stoke hailing Of Legions have evolved a sound which could be said to have found its true roar around the release the following year of second EP,. They have continued to hone it with essences of metal, rock, and punk blossoming within and as evidenced by their first album, though it still feels like it has a way to go to fulfil its potential, it is a sound that has grown into one ear grabbing, imagination stirring proposal. Alongside, the quartet has further earned increasing plaudits with a live presence which has seen them share stages with the likes of Gideon, Desolated, Silent Screams, Liferuiner, Martyr Defiled, TRC, Machete 187, Continents, and Brokencyde. Now it is Face Value looking to push the band’s growing presence and fair to say it makes for one hefty invitation to ears and awareness.

The album’s title track opens things up, Face Value looming in from a distance with heavy coaxing riffs and crisp rhythms; already that multi-flavoured mix of sound grabbing ears. Once in full view, the initial vocal blast from Luke Mansfield triggers a rapacious surge of sound and emotion but one which prowls rather than violates to great effect. Swiftly it is all over the song brief but a great start setting up a real appetite for the rest of the album which the following Let Loose soon feeds. It instantly walls ears in a tempest of intensity and noise, the scything swings of drummer Nath McCue full of ill-intent next to the thick grumble of Ollie Lewis’ bass. With Mansfield venting with emotive passion, the guitar of Sam Morrey casts an enterprising web of intrigue and animus which just grips attention, the four way combination uniting in another two minutes plus of creative animosity and pleasure.

La Familia is another which prowls the listener, its threat and energy in check but fully felt as riffs and rhythms badger rather than strike the senses. With hungry hooks and rhythmic imagination at its centre, the song easily keeps predictability away before Worthless springs a bedlam of acidic grooves, vocal discontent, and rhythmic voracity. It similarly twists and turns with adventure and tenacity, blending familiar essences with real imagination carrying Of Legions individuality.

Grouchy bordering on choleric, Scum crowds and bullies ears next, Mansfield leading its corrosive holler with his throat scraping outpourings. Yet at its core is the most irresistible of grooves which inspires a similarly infectious lining across all traits as it leaves the senses withered, even more so with its final bearish incitement.

Even in their individuality, all songs to this point have their seeds in recognisable hardcore beddings but with Suicidal Thoughts the band really push themselves as progressive lined melodies and atmospheric intimation envelop ears as vocals share emotional scars. It is a compelling start which develops into a melodic rock/punk stroll, Morrey colouring it with some great fiery yet suggestive melodies. Leaving food for thought and a whole new current of potential flowing from the band it is another inescapably enjoyable moment within Face Value.

With the adversarial and constantly shifting dynamics of No Loyalty and the bullish rock ‘n’ roll of Hard Time, the album only confirms its potency if neither track quite stirs personal tastes as forcibly as other songs. Nevertheless, each only builds on the blending of styles the band embraces before Wormfeeder brings things to a close with its snarly intrusive quarrel. With death metal essences in its barbarous and suffocating tempest, the track is sonic pestilence and so easy to willingly succumb to.

Face Value is a great next step in the Of Legions’ growth, yes there are elements which might not grab as much as others but its promise is undeniable as too the enjoyment it delivers.

Face Value is out now.

https://www.facebook.com/OfLegions     https://www.instagram.com/of_legions_uk/

Pete RingMaster 20/02/2018

Copyright RingMaster: MyFreeCopyright