27 Tons of Metal New England – Various

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And Bluntface Records do it again, thrusting the underground scene at the senses courtesy of another essential compilation of some of the most striking and potential drenched bands around. This time the US label is exploring the underground metal scene from New England, which on the evidence of 27 Tons of Metal New England, is simply writhing with great ravenous bands and sounds. The release is as diverse in styles as it is voracious in creativity and though with the amount of bands and metal subgenres involved personal tastes will obviously find a greater hunger for some over others, it is fair to say that the album from start to finish is a compelling treat with no weak spots, and all the more tastier for being completely free.

The encounter opens with Carnivora and a track taken from their outstanding EP, The Vision. Pessimist’s Tongue is the Danvers quintet at their full blistering best and weaving suggestive ambiences into subsequent tapestries of rabid vocals and rancorous intensity. Yet despite its almost cancerous intent and creative breath, there is anthemic energy and a web of searing adventure from the guitars involved, which in turn sparks addictively imaginative exploits from the band across the song’s corrosive landscape.

It is a scintillating start to the release pushed on by Alterius and their uncompromising melodic death metal trespass on the senses, A Citadel’s Demise. The song comes from the band’s latest EP Voyager, and merges classical overtones into its fluid brutal and seductive tempting. Like being serenaded whilst the beast tears your throat out, the track stalks ears and psyche setting in motion a keen appetite to know more, a success matched by Revere quartet Travel Amygdala and their aggressively smouldering Died by a Bullet. Entangling its inventive metal bred sound with progressive and grunge seeded imagination, the song aggressively crawls over the senses enticing and intimidating, especially as it builds in energy and tempestuous air. There is also a potent sludge feel to part of its character too, the thick prowls between forceful strides of creative and vocal drama carrying the strongest whiff, with ultimately everything uniting for one riveting proposition.

Bostonian black metal trio Ashen Wings comes next, the band’s raw and carnivorous sound a bracing magnetic scourge delivered to ears from Cancerous Bones. As insidious and ruinous as you can imagine, it also spawns a swing to its gait which only adds to the addictive proposal on offer before making way for the just as destructively virulent Scourge of the Hierophant from Sorrowseed. A blend of blackened death metal with a healthy vein of classic and melodic tenacity, the increasingly thrilling track smothers ears and appetite with pestilential persuasion whilst provoking the want to offer vocalist Lilith Astaroth some soothing for her surely shredded vocal chords.

band-contacts-page-127 Tons of Metal New England      Walk the Earth (No Longer) from sludge/doomers Conclave steps up next, the nine minute intrusion an accomplished and enthralling predation cast with rugged heavy riffs and heavily swiping rhythms, all lorded over by just as unpolished and alluring vocals. From their Breaking Ground EP, the song is as effective descending on ears in top gear or in crowding their walls with a lumbering and weighty provocation within a long but never less than thickly engaging incitement.

The same kind of hold is seized by Beneath The Burial next and their track In Memory, its fusion of hardcore ferocity and metal spawned sonic invention a fury of searing grooves, vocal animosity, and subsequently predatory imagination. As the album itself, there is a wealth of flavours emerging across the track musically and vocally, which only adds to the slow but fiercely burning persuasion of the song to inspire a want for more as it makes way for Skin Drone and God Complex. One of the few bands these ears had already come across and previously devoured, the duo of Bluntface Records founder Otto Kinzel and Erik Martin of Erik Dismembered and Critical Dismemberment unleash one of those examinations which you never know whether to fear or whole heartedly embrace, the latter always the chosen reaction of course. Like a sonic scavenger, the track vocally and musically spills its creative industrial/metal animus on to the senses within an evocative ambience which then inspires a melancholic exploration of emotive and creative expression. The song is a cauldron of inventive sound and emotional intensity, a rich picking for those with an avant-garde side to their preferred examinations.

The scorching designs and temperament of Dirty Birdy from metalcore furnace Don’t Cross the Streams is next; band and track a scarring addictiveness which without springing major surprises has ears and heavy enjoyment sealed from the first clutch of seconds. Their triumph is quickly backed by Stoughton power/progressive metallers Forevers Fallen Grace and Clarion of Regret, another song which needed warming to before its potent expanse of craft and enterprise became an inescapable hook, and after them Makavrah with the excellent Awakening The Ancients. The Peterborough hailing doomsters have a sound which is dangerously mesmeric, a senses meddling sonic bewitchment which as shown by its twelve minutes of evolving soundscape, is hex like in its ingeniously dramatic and creative exploration. With echoes of Show Of Bedlam to it, the track is one delicious incessant crawl.

The industrial endeavour of Isolated Antagonist more than lives up to its offering’s title next, Infection a contagious causticity of sound and emotion with vocals to match as it worms under the skin and into the psyche with lingering rewards, whilst the following Composted bring a carnal presence and hostility into the equation with their track OB/GYN O.G. The band’s death metal onslaught has the voracity of thrash and swagger of groove metal to it, and as hungry hues only help to create an immense and irresistible corruption.

Both Charlestown sextet Untombed and Mike Kerr Band keep the riveting roar of the album going, the first with their groove and antagonism loaded death metal antipathy, Criminal Inception. Savage and violently catchy, the track is another which is maybe not gripped by original exploits but is one spilling a fresh venom which leaves a great many of fellow emerging genre bands in the shade whilst its successor is the title track from its creators recently released new album The Truth of the Lion and features Texan vocalist Adrienne Cowan and Jim Oliveira in its classic/melodic metal lure.

Power groove metal is on the agenda next through Before the Judge and their track Bobby D. With a highly agreeable nag of riffs and grooves lining its erosive blaze, the song stirs the blood band-contacts-page-2_RingMaster Reviewwhilst pouring more diversity into the compilation, variety further expanded by The Aberration and their track Bologna Skins are the Next Big Thing. The band consists of Travis O’Connell (guitar) and Jim Cole (drums), an instrumental duo creating, on the evidence of their contribution, compelling proposals of snarling progressive metal loaded with uncompromising attitude.

Melodic death metal quartet My Missing Half scars air and ears next with The Lives I’ve Ruined, a song with essences of The Black Dahlia Murder and At the Gates to it whilst finding its own magnetically inventive nature. The track leaves emotions and senses breathless but hungry for more as so many on the release, including Seeds of Negligence and their maelstrom of varied and inhospitable metal posing as The Reaper. The song is a bruising and vicious temptation of death, groove, thrash, and progressive strains of extreme metal, an incendiary incitement sparking a lust for further confrontation.

Dover trio Cactus Hag drags the listener back into a rich immersion of sludge and doom invasiveness with Grand Lodge of the Mirage, the track an insidious erosion snuffing out light and hope whilst sparking just as strong enjoyment. Its smothering rancor is contrasted by the brighter and superbly volatile adventure of G.O.G. from Side Effects May Include, the song another entwining a mass of different styles into its individual tempest of heavy rock and creatively rabid metal, and another only leaving the urge to go explore in their wake. Which is something which also applies to Pelham’s Epicenter and the thrash fuelled insurgency of See Through. With strands of alternative and groove metal to its robust and tenacious exploits, the track is as anthemic as it is strikingly inventive, and amongst admittedly many, an instinctive favourite.

band-contacts-page-3_RingMaster Review     Fog Wizard get body and passions inflamed again with Fear the Kraken, a rapacious prowling built like Sabbath meets Motorhead with the attitude of Stuck Mojo and the combined snarl of Slayer and Black Flag. One slab of real pleasure is replaced by another and the abrasive kaleidoscope of sound unveiled by Sonic Pulse through Defenders of the Good Time. A brawling festival of power and thrash metal with a flurry of heavy and classic metal hues for greater captivation, the track is a ferocious blaze equipped with drama, familiarity, and inescapable bait.

The heavy weight slab of talent is brought to an impressive end by a trio of bands to also keep a close eye on, starting with the bestial sound of extreme metallers Graveborn. Their mercilessly hellacious and skilled Leviathan is sheer sonic and rhythmic savagery with just as brutishly varied vocals, and another big enticement before heavy/thrash metal Verscythe prove their classic seeds in the richly magnetic Land of Shells.

Completed finally by Vacant Eyes and the melody sculpted funereal death/doom exploration that is The Dim Light of Introversion, a track thick in atmosphere and haunting trespasses for a darkly compelling seducing, 27 Tons of Metal New England is an intensive journey through the depths and expanses of New England’s underground metal scene. It is one of the most extensive and rewarding compilations in a long time which from start to finish, enthrals and assaults, entices and transgresses. If any metal fan does not come away from the encounter with at least a handful of new lusts we would be amazed. So no dawdling, go and get one of the biggest and best free treats of the year,

27 Tons of Metal New England is available for free download @ http://bluntfacerecords.com/27-tons-of-metal-new-england

RingMaster 06/07/2015

Copyright RingMaster: MyFreeCopyright

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

Being As An Ocean – Self Titled

BAAO2015_live_RingMaster Review

Unleashing the successor to their acclaimed album How We Both Wondrously Perish of 2014, US melodic hardcore band Being As An Ocean, easily reinforce their already potent reputation with a new self-titled proposition. Building on what fuelled the last release whilst pushing its boundaries and imagination that little bit more, the new album is a captivating and fiercely accomplished offering, and though it did not consistently set our ears ablaze, it is one of the most refreshing encounters heard this year which at its heights is seriously rousing and in its less dramatic moments simply thorough enjoyment.

Creating emotive and tempestuous incitements from a fusion of melodic hardcore, post-hardcore, and metalcore, to condense the veins of flavours running through their sound, the Californian bred Being As An Ocean swiftly engages attention and imagination with the opening to first track Little Richie. Mellow keys and vocals unite for the initial atmospheric coaxing though that tender lure is soon engulfed in crisp beats and caustic vocals aligned to more merciful flames of guitar. It is a striking proposal which evolves with every emerging passage of ideation, continually revealing fresh invention whilst remaining as imposing and provocative as possible.

The strong start is quickly eclipsed by the following Ain’t Nobody Perfect where the ear gripping vocals of Joel Quartuccio reveal strong emotive textures in a varied delivery, an emotional success matched by the powerful clean tones of Michael McGough. Personal tastes mean the latter’s cleaner range is the one which sparks the appetite most but there is no escaping the strength and quality of Quartuccio’s aggressive squalls and spoken expression, and the way he masterfully uses them. The guitars of Tyler Ross and McGough similarly abrase and seduce across this and each track, their raw base an inflammatory persuasion on ears and individual imagination at times a spellbinding emprise to anticipate and devour.

IMP006_RingMaster Review The Zealot’s Blindfold spills angst and ire with every turn in its thick emotive landscape, vocals the rigorous vehicle for their narrative. Their expulsions of emotional fire are tempered and inspired by the eventful lines from Ralph Sica’s bass whilst drummer Connor Denis muscularly punctuates every expression offered. The track is another slice of seriously resourceful songwriting with an interpretation which is barely anything less than venomous. With the guitars and McGough’s soaring melodic tones the biggest thrills, the impressing encounter makes way for the excellent Sleeping Sicarii which has ears and appetite hooked from its opening of an almost senses grinding torrent of repetitive grooves. It is a stirring start which slips a touch as a spoken delivery aligns to a more relaxed enticement, though the bass seizes another chance to throatily seduce at the same time. The song comes vivaciously alive again when intensity and virulence breaks out to raise the temperature and thrills, a potency matched by a tremendous flight of choral harmonies later in the song amidst McGough’s rich croon.

A similar template feeds the heart and ferocity of Judas, Our Brother next, again Being As An Ocean masterly moving through melodic and predacious scenery within constantly varying climates. The song also reinforces that each track needs close attention and time to reveal all the nooks and creative crannies within, greater rewards as thrillingly shown here and proven again by the fascinating Saint Peter always the result from immersing under the surface tempest. Melancholic yet elegant keys hug the spoken narrative of Quartuccio to open up the subsequent song, guitars a quickly joining enticing within a brooding atmospheric charm. In no time though, Being As An Ocean expels crescendos of creative theatre and emotional energy, again the lead vocalist a gripping unchained protagonist within a rich and expansive web of sound.

Though not quite sparking as consistently as its outstanding predecessor, the emotional fire that is Forgetting Is Forgiving The I still provides moments which simply bewitch whilst only arousing thick satisfaction whilst The World As A Stage merges a celestial melodic shimmer with the raw Quartuccio antagonism to create a compelling storm of heart driven reflection and turmoil. As much as it is forcibly abrasive and caustic, the song is melodically turbulent, once more an intensive tapestry crafted and unveiled by the band.

The closing pair of first Sins Of The Father and lastly …And Their Consequence bring the album to an enthralling close. Both tracks twist through fiercely voracious and emotionally subdued drama across their dynamic proposals, the first almost burning with passion and sonic anxiety whilst its successor is even more emotionally apprehensive and musically incendiary with it’s searing anthemic blaze led by Quartuccio in full passion backed just as potently by McGough’s impressive voice.

The tracks are again evolving adventures providing a great end to an impressive release. As suggested earlier personal tastes waned in some aspects of songs, certainly over initial listens, but the fact that a constant returning to the release and a lingering persuasion bred by individual songs is a persistent outcome from every listen, provides the evidence to the success of Being As An Ocean, band and album.

Being As An Ocean is released in Europe and the UK on 6th July via Impericon Records and available in the US now through InVogue Records

https://www.facebook.com/BeingAsAnOcean

RingMaster 06/07/2015

Copyright RingMaster: MyFreeCopyright

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

 

American Fangs – Dirty Legs

American_Fangs_RingMaster Review

As much as we, like so many, are always looking for something uniquely new and ground-breaking to fascinate and ignite the passions, there are undeniably times a masterful fusion of existing designs and textures in one irresistible slab of full on rock ‘n’ roll is just as thrilling. Dirty Legs from US rockers American Fangs is such a riotous treat, an embrace of established and recognisable essences honed with new hooks and inescapable virulence then immersed in high octane energy and dirty intent. The result, one of the most scintillating and ferociously outstanding stomps unleashed this year from a band set to replicate home success and surely stir up hungry appetites around the world.

Hailing from Houston and formed in 2008, the American Fangs sound is described as a blend of post hardcore and alternative rock/metal, flavours certainly erupting within the band’s songs but equally tracks are punk, hard rock, and as uncompromisingly contagious as any form of pop rock. Band and sound swiftly drew attention as a live presence in the US and the UK, American Fangs touring with the likes of Deftones, Papa Roach, Four Year Strong, Sevendust, Hollywood Undead, and Chevelle over the years and making highly praised appearances at festivals such as SXSW, Rock on the Range, Carolina Rebellion, Rocklahoma, Festapalooza Shreveport, and Ship Rocked. Backed by their acclaimed self-titled debut album and their first EP, the quintet has become a greedily followed prospect, if not quite to the same level in Europe as in the US, though Dirty Legs will surely change that with, to follow up a potent performance at this year’s Download, its worldwide uncaging.

Opener Slavery Wedding swiftly sets the tones for the album, its immediate swipes of hefty rhythms and caustic riffs an attention grabbing eruption driven by the dirty scowl of Gabriel Cavazos’ vocals. There is no hiding place as the beats of drummer Micah Miller seem to intensify their assault with every punch and the guitars of Kenyon Puntenney and Chris Goodwin turn more toxic with every riff, chord, and eventually a blaze of seriously seductive grooves. Like a mix of Every Time I Die and Cancer Bats in league with UK band Bite The Shark, the track is primal rock ‘n’ roll turned into an anthemic riot refusing to take no for an answer.

Dirty Leg_front.eps_RingMaster Review     The outstanding start is instantly matched and surpassed by Death of Me, a scuzzy epidemic of insatiable hooks and rhythms within a bruising sonic infection. Cavazos again leads the incendiary confrontation with an ear gripping delivery which is soaked in attitude and enterprise and backed by the equally potent tones of bassist Kyle Shimek. The latter’s string sculpting is just as imaginative and enticing too, offering a grouchy lure throughout but especially exploiting the passages of ‘relaxation’ to unveil the most predatory funk lines you will ever come across. As its predecessor, the song is high on adrenaline and ferocity, taking no prisoners lyrically and in its voracious presence.

Counting Wolves has an even rawer texture and air to its quickly pleasing roar, the song merging the passion and hookery of a Billy Talent with the agitated emotions and fury of a NOFX, then twisting it into American Fang’s own demandingly catchy revelry. Once more band and album is drawing full submission from body and thoughts, though fair to say the excellent song still pales against the might of Say What!, carnivorous rock pop at its best. Everything about the track is ravenously addictive and anthemic, body and soul whilst being tenderised by punishing rhythms inescapably entangled in wiry riffs, clanging hooks, and a blazing vocal roar.

Shimek’s bass begins unveiling new bestial, primeval tones in Leukoplakia next, its dark lure aligning with stalking grooves and barbarous beats as vocals crawl menacingly over the senses. Despite all that intimidation, there is again pure virulent alchemy at work which only incites the listener to dance whilst snarling at the world with the song. If rebellion needs a soundtrack this is it. The breath-taking incitement eventually seeps into the following Black Eyed, though the body is not given any time off here either, the song a kinetic jungle of pungent rhythms courted by spicy and inventive twists within an alternative rock/punk stomp.

Few albums hit an early peak and keep it going across their length without even slight dips but Dirty Legs does, in fact it just gets stronger and more tenacious as it goes as if it is feeding off the reactions and energy of the listener. Bukkake Summer proves the point, a slice of rock ‘n’ roll which takes the rowdy exploits of the previous track and sculpts them into its own punk ‘n’ roll harvest of nagging riffs, growling contagion, and mischievously rousing vocals, all punctuated by sinew loaded rhythms. Imagine a mix of The Ramones, Turbonegro, and The Senton Bombs and you have a hint to another delicious brawl on the album.

Both Brazlian Axe and We Stand Apart keep the thrills and creative spills coming, the first a raunchy blaze of rock ‘n’ roll with tangy hues to guitars and vocals creating around a resonating rhythmic spine whilst its successor is another proposal lock ‘n’ loaded with barbed hooks and intoxicating guitar resourcefulness. With vocals as much a cheerleader to the imagination and virulence of the song as they are a feverish protagonist to the combative strength of the lyrics, the encounter steals top dog honours on Dirty Legs, though only by a shade such the might of all.

Both tracks inflame ears and emotions whilst keeping the album burning creatively and aggressively, each only inspiring thoughts and appetite to crave more before being fed by closing track You’ve Got Future Written All Over Your Future. It is a heavyweight turbo-charged rampage which pretty much sums up the might and inventive craft of the album. As throughout the whole release, there is plenty to recognise and offer possible comparisons to, yet American Fangs simply use all flavours and seeds for their own devilish intent to riveting and incendiary effect.

Quite simply Dirty Legs is rock ‘n’ roll baby and it does not get much better than this!

Dirty Legs is available from July 4th via Best Before Records @ https://www.bestbeforerecords.com/Shop/DownloadDetails?rid=BBR_RE_24 and http://www.amazon.co.uk/Dirty-Legs-Explicit-American-Fangs/dp/B00XUVZ7YA

https://www.facebook.com/americanfangs http://www.americanfangs.net

RingMaster 04/07/2015

Copyright RingMaster: MyFreeCopyright

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

 

Call To Arms – Invictus EP

Call To Arms_RingMaster Review

If the members of Call To Arms are as young as photos of them suggest, then it is hard not to be gripped by intrigue and excitement as to how good this band could become given the impressiveness of debut EP Invictus. Made up of five voracious and inventive metal tempests, the release hits the listeners straight between the eyes with its raw hostility cast into imaginative and confrontational anthemic persuasion.

The band began in 2013, formed by vocalist Dean Donnelly alongside original bassist Jordan Conway. Quickly the line-up was completed by guitarists Daniel Tyrell and Niall Ennis, lead and rhythm respectively, and drummer Ben Deane. Concentrating on honing their sound for the first few months, it is fair to say that the Ballymun hailing Call To Arms quickly whipped keen vocal attention and support. Making their live debut at The Academy, Dublin as part of The Blastbeat: Battle of the Bands, the band has gone on to share stages with the likes of Avatar, Fozzy, and Chelsea Grin and personnel wise seen Alex Caffrey replace Conway and recently after the recording and release of Invictus, Deane leave the band.

Produced by Joe Cleere, Invictus as suggested earlier, is an imposing and striking entrance by the band, needing very little time to make a potent impression as opener Our Salvation gets to work on ears and appetite. Featuring guest vocals from Sam Gorman of Enshrined, the track builds a thumping invitation with rhythms and spicy grooves, its lure heavy metal bred but keeping in its creative pocket for now, the subsequent rage fuelling its presence. Soon hitting a thick stride though, vocals spill antagonism and combat in their raw tone and delivery, matched in kind by the bass as the guitars spin an infectious web of hooks and abrasing riffery. It is like a mix of Biohazard and Killswitch Engage in many ways, yet has a freshness which especially hits as band and song twist in unpredictable and gripping enterprise. As it evolves and expands its imagination, a psychotic influence hits the song’s compelling bassline and vocals, their moment to stalk the psyche only leading to another ferocious assault posing as the climax.

Cover_RingMaster Review     Bullet With Your Name steps up next bullying ears with vocals and ravenous sounds though yet again there is an infectious spine and adventure to the track which has you welcoming its vicious assault. As in its predecessor and songs to come, there is as much a punk/hardcore richness to the tempest as a thrash/metal breeding, though it is the latter spawning another magnetic persuasion of emerging imaginative twists and endeavour. The individual skills and resourcefulness of the band is also in open evidence as well as an eagerness to push ideas and textures with elements of discord and unpredictability.

The release continues to impress and reveal new aspect within the band’s songwriting and sound as Imprisoned Darkness unleashes its fury next. Opening with a mesh of acidic grooves which in turn spark a delicious hook which can only be described as Dead Kennedys like, the song rallies attention and emotions. Those initial lures continue to grip within a sonic and vocal abrasion unafraid to colour its animus with elements of classic metal and metalcore like hues. It is inescapable persuasion though soon outshone by the upstanding Mirrors, its opening military in rhythmic tempting and militant in attitude. Once more metal and hardcore unite in one hellacious and infectiously alluring examination veined by skilled and flavoursome grooves amidst rich sonic exploits. The track takes top honours within Invictus and if you want a teaser before braving the Call To Arms onslaught, it tells you all you need to know about band, sound, and their stirring potential.

The EP is closed by The Core, a final uncompromising anthem you just know will have venues throbbing with bodies and attitude. Thrash and punk bred, the track is an intense and incendiary end to a tremendous first look at and feel of the Call To Arms sound and presence. Invictus is pleasingly raw and shows the band still finding its unique feet but there is no doubting that we have one rather promising and exciting protagonist in our midst which can only get big, bolder, and more fearsome.

The Invictus EP is available now @ http://calltoarmsirl.bandcamp.com/releases

https://www.facebook.com/CallToArmsIRL/   https://twitter.com/CallToArmsIRL

RingMaster 03/07/2015

Copyright RingMaster: MyFreeCopyright

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

 

William English – Basic Human Error

w.english_RingMaster Review

The most intimidating and thrilling cauldrons of hostility are those which spit and burn even before you get dirty and scorched within their blistering ferocity, and so it is with Basic Human Error, the debut album from UK noise violators William English. It is a release which singes flesh from ears and boils the senses from its first breath alone, only impacting and thrilling with harsher and richer intensity once you actually delve into the depths of the seven ravishments. The Norfolk quintet lit a fuse in the passions with their first single from the album Bud Vessel a couple of months ago, but hindsight shows its triumph barely scratched the surface of the wonderfully hellacious Basic Human Error

The William English sound is a prowling rabidity of doom enriched, tar thick sludge which is just as open and voracious with heavy strains of hardcore, noise, and dark metal. It makes for a menacing and uncompromising proposition yet one with an array of virulent toxic grooves and rapier like rhythms aligned to slithers of invention embroiled in anything from punk to noise to post punk. It is an invigorating and punishingly exhausting consumption of body and psyche, which only gets fiercer and more scintillating with every listen.

Cover_RingMaster Review   It is Bud Vessel which lights the touch paper to the album, its two minutes plus of vicious addictiveness an instant onslaught of barbed hooks and spicy grooves encased in fuzz soaked, snarling causticity. With mercilessly stabbing beats from drummer Joe Woodbury in the driver’s seat, the track careers through ears with the squalling hardcore tones of vocalist Shane Miller an acidic burn in the hostile and contagious smog of the song. Stoner seeded grooves spring their bait throughout too, everything colluding to ignite ears and emotions in a blaze of cancerous temptation.

The opener is as much a punk roar as anything else and quickly contrasted yet emulated in many ways by Life Of A Fisherman. The song is a slowly invading protagonist, a crawling and persistently expanding threat initially which once settled kicks up a gear and unveils a masterful swagger rich with ravenous and inviting grooves around a volatile nest of barbarous rhythms. Spilling sonic ire and addictive lures with every passing minute of the track’s weighty length, guitarists Ryan Carter and Dave Vickers sear and ignite the senses and imagination respectively, their hostile invention, as across the whole band, forceful and riveting whether slowly trespassing through or raging with tsunami effect at the listener.

The epic assault finally makes way for a just as intensive examination from Seaweed, a track venomously lapping ears with steady persistence, and as the last, creating moments of sheer violence. The bass of Callum Gibb is a predatory stalker within the crushing weight and intensity of the song whilst vocally Miller uncages his full punk spite and expression, especially devouring the air with an effect covered might when the song slips into a cavernous, post punk spiced, doom soaked passage of insidious calm. The torrent of rugged riffs and rhythms provide a constantly evolving and nagging proposal but as other aspects around them are regularly unafraid to switch gait and hostility as the ever gripping drama of the grooves persist in their addictive tenacity.

     Captain Tugboat unleashes its own distinct violation next, bringing extra tang and ingenious unpredictability to a fury of hooks and toxic grooves in a presence which embroils torment and rage in one corrosive and once again irresistible animus of sound and emotion. As the album, at times the track sparks thoughts of bands like Eyehategod and Buzzov*en but equally of others like Coilguns, KEN mode, and Neurosis; raw whiffs just as suggestive in the following Grandpa Sorrow Pt. 1, another taking such elements and sculpting them into something solitary and predacious to William English. The track stalks the senses with a laboured but hungry intent from start to finish, eventually dissipating for A Monger to cast its individual sonic coaxing and bracing creative hostility. There is no escaping its slow encroachment and the subsequent raptorial explosions breeding mouth-watering savagery, nor the spellbinding effect of its unbridled barbarity in tone and sonic enterprise. Bass and the song’s truculent atmosphere provide a bestial embrace, the vocals an ever shifting in delivery and belligerence throughout whilst the guitars emerge carnivorous in invention and enthralling in craft for another viscous treat.

The album closes with the eleven minute sonic opus of Grandpa Sorrow Pt. 2, a full journey in its own right exploring every flavour and inventive corner within the William English invention, ability, and sound. It is as dramatically appealing and darkly ruinous as the world we live in, every passing second and twist a creative cacophony of raw seduction and jaundiced attitude shaped by fearsome tapestries of viscid sludge spawned ingenuity.

The track is a tremendous end to a thrilling first album from William English. Basic Human Error is sure to be an encounter seeing many fleeing for the hills in fear but similarly one to breed plenty of lustful hunger and stalker like attention for its creators. We are the latter and suspect we will be heftily joined in that club over the coming weeks.

Basic Human Error is available now via Grandad Records @ https://williamenglishband.bandcamp.com/

and http://grandadrecords.bigcartel.com/product/basic-human-error-william-english

https://www.facebook.com/WilliamEnglishBand/

RingMaster 01/07/2015

Copyright RingMaster: MyFreeCopyright

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

 

Infidel – Self Titled EP

Infidel_RingMaster Review

Providing a fresh snarl and roar to the hardcore scene, US punks Infidel introduce themselves with an impressive attention grabber, their self-titled EP. Hailing from the perpetually stirring hardcore scene in Detroit, the quartet recently signed with Imminence Records and has taken little time in slamming their potency and anthemic credentials down on the table with their first provocation. It is also an encounter rich in contagious resourcefulness which whilst the songs are bellowing with confrontation lyrically and musically, they are also flirting away with striking invention. Excitement certainly brewed listening to Infidel with a strength which few bands in the genre have stirred so tenaciously over recent times.

The band’s sound is a skilled mix of old school strains of hardcore with fresh hostility and imagination whilst lyrically they set their sights on anything from animal rights and patriotism under fire to police injustices, the two political party system, and positive incitement promoting “never giving up on life when the road gets tough.” Both aspects of their songs make an immediate and strong impression as the EP opens up with Patriotism Under Fire, the song starting with a sample of the opening scene from Jarhead, its unifying bellow quickly overrun with rhythmic artillery and a torrent of raw riffery equipped with swift infectiousness. In full stride soon after, the song relaxes a slither as vocalist Andrew Thomas uncages its lyrical and impassions intensity, almost immediately raising its ire and aggression again to match and raging like a mix of Stuck Mojo and Minor Threat, the track getting heavier and more voracious with every passing minute.

infidelcoverRingMaster Review     The attention grabbing and appetite igniting start is soon surpassed by What We’re Made Of, a rigorous stomp fuelled by melodic contagion and antagonistic defiance driven by inventive hooks and violent rhythms respectively. There is a touch of Shelter to the catchier side of the song, its tempering infection the perfect contrast to the eager bruising wilfulness and energy, and their union a swift anthemic enlistment of body and emotions.

Call Of The Wild follows and from its first breath it is sonic and emotional rebellion stirring up air and thick satisfaction. Featuring Keith Allen of GhostxShip, the track is as militant as it is inviting, the drums casting a rousing incitement matched by the increasingly spicy invention and antagonism of guitars and bass. Loaded with magnetically uncompromising vocals, the track roars incitement and contumacy quickly matched by similar confrontation in Protect And Serve straight after. As the EP opener, there is a metal seeded ferocity to the encounter which seamlessly slips into a melodically coloured but no less aggressive turn of imagination. With guest DJ Bean of For All Who Fail involved, the song stands toe to toe with the listener, eye balling them with rigorously anthemic sounds whilst challenging the seeds spawning its narrative and emotion.

Next up is Politics, a track built from the same kind of template and core sound but quickly establishing its own adversarial identity with scything rhythms and spearing riffs. Their union provides the frame for swarms of sonic incitement and almost psychotic grooves to strike and if that was not enough to draw keen submission, a burst of melodic vocals and enterprise only lights song and ears further before parting with a final fierce growl for a superb cover of the H2O track What Happened? .

Bringing the outstanding release to a thoroughly enjoyable close with their stirring cover, we can only suspect that Infidel is a band destined to be soaked in attention and acclaim as more engage and become thrilled by this and their subsequent and evolving exploits. Fair to say, hardcore has a new spark to its fire in the belly.

The Infidel EP is available now via Imminence Records.

https://www.facebook.com/Infidel586

Ringmaster 26/06/2015

Copyright RingMaster: MyFreeCopyright

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

Tvivler – Negativ Psykologi #1

photo by Mads Ogstrup Nielsen

photo by Mads Ogstrup Nielsen

A rousing of the passions like no other; that is probably the best description of the effect the debut EP from Danish noise punks Tvivler had on our tender ears. Bristling with four tracks of something between post hardcore, noise rock, and sonic ferocity, Negativ Psykologi #1 is a blistering trespass of rabid virulence, an addiction in the making for fans of anyone from At The Drive-In and KEN mode to Kabul Golf Club and Coilguns. Band and release has a sound and presence though which is equally unique from those suggestions, a personality and freshness of its own which translates as one of the most exciting debuts in recent times.

Formed last year, Tvivler (Danish for doubter) hails from Copenhagen and comprises the united talent from numerous other Scandinavian bands. Vocalist Thomas Burø is a member of Lack whilst bassist Morten Ogstrup Nielsen is part of instrumental progressive metallers Town Portal. Completing the line is guitarist Thomas Feltheim from Obstacles and drummer Morten Clausen, the pair also part of hardcore band Children Of Fall. The quartet bring an eclectic mix of styles from their other projects into Tvivler but yet again the band emerges with something wholly distinct from those spices and other propositions breeding a similar assault of sound.

front coverReputation Radio/RingMaster Review   The first instalment in a 7″ trilogy, Negativ Psykologi #1 simply explodes in ears with the first breath of opener Almanak, guitars spreading a sonic rub quickly joined by raw and catchy riffs amidst scything rhythms as well as the scorching tones of Burø. There is an immediate contagion to the encounter, hooks and grooves uniting in a web of irresistible sonic flirtation whilst vocals squall with a just as gripping persuasion. UK band The Gaa Gaas spring to mind at times as the tones of Burø climb over the wiry strands of guitar, his magnetic pull the perfect temper to the carnivorous enticing from the throat of the bass and the emerging dance of surf and post punk imagination.

At two minutes it is far too short but in its brief presence an inescapable slavery of ears and emotions making it easy for the following Tænder to turn up the heat and passions. It too has no interest in offering a gentle entrance, bundling itself through ears in a ball of antagonistic bass and jangly guitar temptation courted by Clausen’s concussive beats. It is a thick assault of busy sound but with a clear centre from which Burø unveils the narrative with acidic prowess. Living up to its title, the song switches around with striking invention and rhythmic agitation, guitars and drum sticks a maelstrom of unpredictability to which the bass provides its own twisted grudge. With a whiff of bands like The Mai Shi to it, the tempest is an anthem to the primal and disorientated amongst us and quite scintillating.

Træfælder opens on a portentous ambience wrapping church bells, but an atmosphere taking less than a second to become a cauldron of unsettling suggestiveness leading to a furnace of guitar causticity and raw vocal bewitchment. As imposing and abrasive as the delivery of Burø and in turn the backing of the band are, they expel a ringing harmonious lure which is as seductive and disturbing as the kaleidoscope of psyche sucking adventure around them. The song’s title means traps and there is indeed no escaping the addictive hold of the song, another living up to its name and keeping ears with a greedy appetite chained.

The EP finishes with Tyndhudet, the harshest, most disorientating fury on the release. Each track within Negativ Psykologi #1 gets progressively rawer and violent, the closer bringing the release to a hellacious and abrasing finale. It is not all raw confrontation though, Tvivler again spinning a weave of infectious hooks and addictive grooves which just light body and imagination. Drums and bass are bestial it is fair to say against that alluring tempting but even they have moments where lust gets the best of them and they ease off a whisper to add fresh flirtation.

The track is a glorious end to a stunning encounter. Tvivler and their sound is not going to be for everyone of course but if those hints earlier get the juices bubbling and indeed post and neat hardcore as well as noise and punk rock too, then Negativ Psykologi #1 is going to bring some ecstasy to your lives.

Negativ Psykologi #1 is out now @ http://tvivler.bandcamp.com/releases

https://www.facebook.com/tvivler

RingMaster 23/06/2015

Copyright RingMaster: MyFreeCopyright

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