Sibiir – Swallow & Trap Them

sibiir_web_RingMaster Review

Sibiir is a quintet of experienced musicians from Sigh & Explode, Jack Dalton, Do You Love Melena? and Call:Vega who decided to unite in 2014 to get together and craft some heavy and intense tunes that would reflect their mutual love for the heavier and darker side of music.” It is safe to say on the evidence of their two track debut Swallow & Trap Them, intent has been brewed, explored, and rabidly achieved. A fusion of hardcore ferocity and spite, atmospheric black metal trespass, and murky post metal despondence, the band’s sound and release swarms the senses with carnivorous intent and suffocating malevolence. Yet in its depths there is an instinctive contagion which flirts from within the raw tempest, a compelling lure which just pulls you further into the savagery.

sibiir_cover_RingMaster Review    Swallow & Trap Them is one of those proposals which will alienate as forcibly as it enslaves, not easy to imagine the encounter leaving too many in the middle ground undecided on their take on the fury. That intensity just adds something to a release though, an imposing take it or leave it air virtually demanding a reaction of some sort and certainly the two tracks from the Oslo band enforces that question.

The title track comes first, bestial rhythms and just as feral riffs descending on ears in horde like fashion. Already there is hostility which has the senses withering, even more rapidly once the throat shredding tones of Jimmy Nymoen sear air and song. That initial torrent of barbarous bruising continues throughout but to it guitarists Tobias Gausemel Backe and Steffen Grønneberg spin sinuous sonic enterprise and intrusiveness speared by the predatory call of Kent Nordli’s bass and the quite simply lethal swings of drummer Eivind Kjølstad. It is a maelstrom of energy and rancorous emotion but one unafraid to seed infectious hooks and addictive textures that ebb and flow across the volatile and continually evolving canvas of emotional and physical punishment.

You cannot say that second song These Rats We Deny is a lighter affair but from its first breath it has virulence to its character and smog of noise which just grips from the first second and never releases its hold even as the track throws itself through tortuous scenery and malevolent climates. Bands like Nerv and NVRVD come to mind during the fierce incitement, though it is hard to think of many fuelling their corrosive turbulence with the insidious addiction forging seducing that both tracks carry but These Rats We Deny especially exploits. Finally embalming ears and appetite with the juices of allegiance through a glorious chorus of anthemic band roars, the track and release leaves a big grin on the face and spark for lust in the passions.

You might suspect that Sibiir touched the sweet spot in personal tastes for us and will definitely do so for a great plague of others. These are the first two songs written and recorded by the band and let us hope not the last conjured by the get together of talent, for Swallow & Trap Them is nothing short of violently majestic.

Swallow & Trap Them is available from September 4th via Disiplin Media.

Pete Ringmaster 04/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent check out http://www.zykotika.com/

In Evil Hour – Built On Our Backs

Photo Helen Templeton Photography.

Photo Helen Templeton Photography.

How do you back up debut album which a great many, us included, called a modern punk classic. Well with another equally blistering triumph of course. Easy on paper and in thought but not so simple in deed but that is exactly what UK punksters In Evil Hour have done with new EP Built On Our Backs. The follow-up to the exhilarating roar that is The World Bleeds Out, their new six-track new fury is a furnace of attitude and defiance loaded with lethal hooks and virulent contagion, all honed to incite and inflame ears and thoughts. To put it simply, it is hardcore punk rock at its ferocious best.

Darlington bred, In Evil Hour formed in the summer of 2011 drawing on inspirations from bands such as AFI, Black Flag, Sick of it All, and the Nerve Agents. Very early on the quartet was becoming a potent presence and draw on the live scene, shows with the likes of Leftover Crack, The Misfits, H20, and The Creepshow earning a quick reputation as one exciting onslaught which was further confirmed by their first EP, the Antipop Records released Tell Your God To Ready For Blood of that first year for the band. The World Bleeds Out really awoke attention and fevered appetites with its unleashing in 2013 on STP Records, its release at that year’s Rebellion one of the highlights of the weekend for band and fans.

With a tour alongside the $wingin’ Utters and their own jaunt into Europe and around the UK this August under their 2015 belts, In Evil Hour have provided another rousing and irresistible storm with Built On Our Backs. As you might suspect it is a collection of socially and politically challenging furies immersed in songs which spit fire and boil infection ripe seduction. The EP opens with Progress, which spins immediate bait of alluring guitar before broadening into a full enticement of spicy riffs, sharp hooks, and pungent rhythms. The persuasion is complete with the recognisable snarl of Alice’s voice, attitude and defiance dripping from every syllable as the track whips up an even keener and catchy aggressive stomp. Fair to say the song does not offer something to majorly blow ears and thoughts away, whilst undeniably heavily pleasing body and appetite, but rather provides the perfect base and launch pad for greater adventure to erupt from, which it certainly does with Blood and Majesty.

cover_RingMaster Review     To be honest the difference to the individual characters of the two tracks is nothing big or particularly definable yet the second song just pushes the right buttons to a more lusty reaction. Its first rumble of riffs and scythe of beats carries a spark suggesting a mighty tempest to come, an explosion of voice, riffs, and barbarous rhythmic enterprise confirming it swiftly after. Melodies and vocals have a toxic edge to them whilst Gareth’s guitar and Gib’s bass just grumble and growl with their particular torrents of caustic endeavour and nature. Throw in scarring swings from drummer Mike and you have one glorious addiction at work.

There is no way anyone could resist getting fully involved with the song, physically and vocally, and the same applies to Ascension. Its first touch is a ‘mellower’ vocal alluring from Alice against a raw riff, though there is that ever present snarl just adding its edge to her tones and being fully exposed across the track as it brews up an intensive and energetic blaze which once fully aflame, provides another surge of irresistibility and senses igniting provocation. That early melodic calmness is never driven away though, seizing the moment in a mouth-watering detour which is just not long enough before the creative raging is back igniting the air.

The bass of Gib leaves a tasty morsel of bait in the third song and again lays down an early bestial lure within the following EP’s title track, an anthem with vocal hooks and temptations galore and antagonistic ingenuity a plenty. It defies the listener not to physically leap on board as it brawls lyrically and musically, a challenge almost as potently thrown out by Bright Lights. At one minute and a large nudge, the track in some ways does not have long enough to establish its own uniquely corruptive web of tempting but still offers a storming slice of creative aggravation and enjoyment to get teeth fully into before Predators brings Built On Our Backs to a might close.

The track is prime In Evil Hour, every existing and newly discovered quality and skill in songwriting and sound within the band uncaged in its melody ripe hardcore and angst driven combat. A battle cry for the twenty first century and daily living, it is superb and the perfect end to an EP emulating its success in a themed journey across the elevation of hope, hard work, and rewards but resulting in exploitation and worse. As ever In Evil Hour play hard, hit hard, and have set free another standard setting fury for modern punk.

Built On Our Backs is available now via most online stores and digitally as well as on CD at the band’s Bandcamp and Bigcartel store respectively.

Pete RingMaster 03/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent check out http://www.zykotika.com/

Harmorage – Psychico Corrosif

JF_016_HARMO_NB_RingMaster Review

Grouchy, irritable, and persistently lighting ears with its dirty metal forged rock ‘n’ roll, Psychico Corrosif is one of those offerings which seems to have no intent to fumble with startling originality but would rather create a brawl from recognised textures and hues to ensure a highly flavoursome and enjoyable time is had. That you certainly get with the second album from French metallers Harmorage. It rumbles and grumbles like a bear with a sore head whilst throwing in plenty of twists and adventurous elements; none dramatically unique but all leaving another strain to the overall pleasure gained from its dirty rock ‘n’ roll.

Harmorage began in 2004, formed by the Lyon hailing Chalon brothers, vocalist Daniel and guitarist Nicolas. 2007 saw the release of their debut album Berserker as well as the addition of bassist Frédérick Fiaschi to the band’s ranks. In between we cannot say what consumed the band’s time but fair to say they have honed their sound and made a heftily persuasive studio return with Psychico Corrosive. Also featuring latest band member Bertrand Minary, the drummer joining Harmorage last year, it is an encounter which seems to grow and become more antagonistic with every listen as nuances and initially hidden depths come out to play, in turn making each involvement with its body increasingly satisfying.

Harmorage - Psychico Corrosif - 2015_RingMaster Review   Psychico Corrosif sonically shudders as it awakens through Reveillons nous!, resonating tremors and a haunting dance of disorientating sounds, didgeridoos included, converging on ears before a metal groove emerges from a clearing and throws its familiar heavy metal hues forward. This seems to spark sinew crafted rhythms and tangy riffs before the grizzly tones of Daniel add their hoarse textures to the incitement. His French sung delivery and imposing riffery carries a touch of Irish band Triggerman which adds great shade to the more classic metal breeding of the grooves and guitar enterprise. With the bass a bestial growl throughout, it is a strong start to Psychico Corrosif emulated and surpassed by its title track. The second track immediately springs a web of psychotic tenacity in imagination and bedlamic sound which is strung together by the rhythmic intent and prowess of Bertrand. There is a sense of System Of A Down to the unpredictability and discord lined stomp, a touch of bands like Arcania and Yugal also toning the tempestuous snarl and fury of the excellent encounter to great effect.

The following Le fer dans la plaie also comes off of an initial predatory bass growl, its alluring bait tempered a little by the melodic acidity which quickly joins the tempting. A quick pick-me-up comes with the bundle of vocal causticity and twisted array of guitar tenacity which blooms throughout though, the latter bursting into a captivating glow of melody rich enterprise across the track before Scarifiés stamps its ruggedly creative resourcefulness on ears and enjoyment and after, the dirty punk ‘n’ roll of Je condamne et j’accuse spews attitude and trashy rock ‘n’ roll to rousing success. In most songs there are skilled slips into contrasting and temporarily wrong-footing exploits which again give something slightly familiar a fresh character and temptation, this pair fine examples and results of that arguably not pushed enough adventure within Psychico Corrosif and indeed Harmorage.

The atmospherically compelling Aurore boréale grips the imagination next, though as within most songs a thrash seeded charge from riffs and rhythms aligns to rapacious grooves cast by guitars and bass to eventually take hold. Simultaneously exploring a progressively honed landscape infused with coarse stoner bred and melodically cultured scenery, the song is a weave of individual textures and fascinating flavours all colluding for another slab of revelry which relentlessly grows in intensity and persuasion.

The rhythmic seducing opening up Images du monde is instant slavery leading to a crotchety roar of attitude and sound, a confrontation unafraid to twist and turn through groove and heavy metal devilry on a fluid whim as it lights a fire in body and passions. The best track on the album it is ablaze with its inventiveness of turning old friends of sound into something aggressively refreshing and creatively unpredictable, as shown by its smouldering oasis of atmospheric peace and melodic serenading just after midway. It is an experiment and boldness the band hints at throughout the album but is finally given its own head here and almost as freely in the closing pair of Mon anarchie and Droit et fier. The penultimate song again makes great use of merging punk and grooved rock spices with metal voracity, the drum skills of Bertrand especially gripping against the sonic squall and Daniel’s earthy rasps. The final track kind of sums up the punk, metal, rock ‘n’ roll union that is the Harmorage sound; a muscular and ratty bellow of belligerence happy to throw the listener off the scent with unexpected drifts into smooth caresses and imaginative detours. Simply growing in strength and persuasion over each and every listen, it is an electric end to a mightily pleasing release.

Psychico Corrosif is raw and at times a touch too familiar with its originality, though not necessarily the storms they brew them up in, but there is no escaping it is also one rip-roaring slab of pushy fun and that definitely works for us.

Psychico Corrosif is available now

Pete RingMaster 03/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent check out http://www.zykotika.com/

Grim Vision – War Agony

Grim Vision Pic_RingMaster Review

Living up to its title, War Agony is a battlefield, a savage blood spilling assault on the senses and emotions, but a ferociously compelling one. With three tracks of uncompromising hardcore/extreme metal rancor, the new EP from German band Grim Vision leaves scars, bruising, and a toxic taste in the psyche whilst providing a form of contagion that any band would offer blood for.

The Hamburg hailing and 2013 formed, Grim Vision consists of Bibo, Max, Claus, and Schmauke, a quarter releasing debut EP, With Those Who Favor Fire in 2014 to stir up plenty of attention. It was a brutal introduction to their black and death metal influenced hardcore roar but in many ways just a teaser to the creative and physical might of War Agony. Released through Bastardized Recordings, its songs unleash a fury themed through poem-based lyrics about the destruction, war and agony caused by humanity in the 19th and 20th centuries. To be honest, its narrative is primarily a mystery through the harsh and raw delivery of the words, vocals another hellacious texture amongst many others, but it does not defuse the overall impact of tracks, their raw emotion and merciless persuasion.

BE092 Grim Vision - War Agony Cover_RingMaster ReviewFallen Soldier is first up upon War Agony, its initial sonic searing just the spark to an even more vicious beating by rhythms and a wall of riffs. There is no escape, every angle is covered by the onslaught but within the tsunami of spite, the bass breeds a carnivorous and gripping groove and the song virulent infectiousness forcibly driven by the swinging scythes of drum sticks. It is punk rock at its nastiest, metal at its most cancerous yet together they breed something as catchy as it is punishing. With hooks and increasingly rousing grooves aligning with anthemically violent rhythms, locked in an animus of noise and intent, the track is a rigorously magnetic start to the encounter.

The following War Machine is just as uncompromising and addictive, every creative and body bred sinew loaded with ire and each individual riff drenched in hostility, whilst vocals blend a mix of both as the track again stirs up an infection of toxic air and furious incitement. Whereas its predecessor was an all-out tempest, the second song twists into more controlled and predatory adventure towards its close, an unpredictable and pleasing turn which lays the seeds for the most inventive and diverse song on the EP.

The closing Ten Minutes opens with skittish percussion and beats around seemingly distorted samples. As it embraces the slow, menacing gait of a bass prowl, echoes of war and damaged lives continue to share their voice to the ‘mellow’ passage before sonic smog of doom bred rapacity crawls over song and senses. It is a caustic cloak brewed by guitars which brews up and boils over into an animalistic ravishing with nostrils flared and unbridled antagonism. Again though when hell lets loose there is an inventive resourcefulness within a web of addictive bait which hooks ears and appetite as potently as the raging burns them.

War Agony is obviously not for all, but anyone with a taste for extreme metal and punk crossovers, especially those cultivating the angriest noise and malice, should get a huge pleasure out of Grim Vision’s new furore.

The War Agony EP is available from August 28th on limited edition 7″ vinyl and digital formats through Bastardized Recordings.

Pete RingMaster 28/08/2015

Copyright RingMaster: MyFreeCopyright

For more independent exploration check out http://www.zykotika.com/

Shitshifter – Intruders

cover_RingMaster Review

Shitshifter’s sound is a blizzard of raw emotion, vicious intensity, and a rage as primal as the dirt at the centre of the earth. It also breeds a bewilderingly contagious energy and incitement aligned to persistently fascinating and unpredictable imagination. It is devastating aural liquor that ensures the German band’s album Intruders is one hellacious and invigorating proposal. This is a release and artist which certainly is not for the faint-hearted or for those needing a safety net with their music. For all who have an appetite to bleed from the ears, delve into toxic emotions, and go places which the Geneva Convention would like to cover if it could, Intruders has the attributes to be a punishing revelation.

It maybe should be no surprise that Intruders is as vicious and compelling as it is with its founders other projects including I Am the Bayonet, Hungry Lungs, Twinesuns, and Nvrvd; bands which have offered plenty of brutally creative treats, the last two in very recent times. The trio of drummer Tobias, bassist/vocalist Stefan, and guitarist Christian, formed Bielefeld based Shitshifter in 2012, fusing the fiercest, most inhospitable strains of death and sludge metal with hardcore viciousness bred on raw crust/d-beat causticity. It is a mix which is unafraid to dip into varied flavours and inventive detours at times, but primarily is cultured to corrupt the soul with pestilential enterprise whilst lyrically tearing into religion.

Worth It and invasive smog of sonic confrontation is the album’s first touch, this soon joined by heavy footed, predatory rhythms alongside the rasping venom of Stefan’s vocals. From here on in, music and voice spew toxicity with every note and throat searing squall, never relenting even as the carnivorous and scarring tones of bass pace sludgy tendrils of guitar, their union creating a barbarously addictive swagger as the senses are scorched by the tempest of intensity and sound. The track’s gripping qualities continue with Kings And Queens, the second song evolving from the final sonic intrusion of its predecessor into just over a minute of even more corrosive and gripping enmity. There is no mercy given or wanted as guitars vein the track like lava and rhythms somehow craft an anthemic nature to the mass onslaught.

Again one scourge of sound and invention slips into another as The Demagogue takes over, the track almost skipping into ears and psyche before unleashing a cancerous cacophony of sound and intent equally as barbaric and skilfully addictive as offered as the last song, though with again no breath allowed between, it gets outgunned and shone by its successor. Far From Eye, Far From Heart stalks air and listener with a rapacious glint in its creative eye and a doom pungent atmosphere which grudgingly drips onto a melancholy soaked canvas. The harrowing but elegant landscape has its own moment to provoke and inspire the imagination too as the hordes of sonic hostility holds back for a passage of haunting calm before they converge on ears again with arguably more restraint but greater threat.

For once there is a break, a couple of seconds of nothing between songs before the outstanding Loyal Dog brings its predation into view with a punk inspired prowl and cold post punk toning to the melodies dripping from the guitar of Christian. Stefan’s bass is simply carnal in tone and touch, tempering the chilling but inviting embrace initially offered though by half way that too is spilling rancor and insatiable ferocity. The track epitomises the Shitshifter sound, its merciless intensity and creative gall but also the always present adventure of invention and styles woven into the excruciating storms if they are at times overwhelmed by the fury.

Igod is another minute plus tirade of sound and ire, and another violation easy to get addicted to whilst Nothing In Common in similar form and barbarity just pummels existing wounds with its metal framed emotional bedlam and bitter hardcore contempt. The pair forcibly light ears and appetite before the closing ShitShepherd ensures the union of band and listener ends with a lingering trespass physically and emotionally, and arguably the album’s pinnacle, though many tracks have a case to claim that.

Song and album just hit and violate the sweet spot, though obviously Intruders or Shitshifter will not be for everyone, with you can imagine many barely lasting a couple of minutes of torment, but if filth infested hardcore/death metal crossovers or indeed the band’s other projects, though openly different, are for you, then bliss could be in the volatile air.

The self-released Intruders is out now.

RingMaster 19/08/2015

Copyright RingMaster: MyFreeCopyright

The Old-timers – Turn It Off/Turn It Up EPs

The_Old-timers__RingMaster Review

With a sound which just seems to get more essential and invigorating with every proposition, South Africa based hardcore punk band The Old-timers release not one but two new EP’s to stir up ears and thoughts. Featuring four tracks each, Turn It Off and Turn It Up explodes in ears with the now renowned Old-timers sound and faith bred lyrical contemplations looking at today’s issues, but both and especially Turn It Off come entwined in fresh twists and captivating hooks, evidence of the band’s continual growth.

Consisting of Cape Town vocalist Dave Emerson and Port Elizabeth hailing guitarist/bassist Donovan de Necker, who live twelve hours apart, and recently new drummer Phil Harris who also plays in Boise punk band False Idle, The Old-timers have previously made a potent and increasingly attention grabbing impact on the global punk scene with their releases, debut album Soli Deo Gloria in 2012 their first thick temptation though the band had already lured ears and appetites, including those of Thumper Records with the Not Dead! Nor Are We! demo. They have been followed by even stronger encounters earning matching increases of acclaim in the shape of the Spiritus Sanctus and Be Reconciled EPs of last year. Each encounter has pushed the band’s old school inspired hardcore sound fuelling minimalistic but impassioned explosions posing as songs forward, and no surprise that both the new EPs follow suit, providing some of the best tracks to come from the band simultaneously.

The_Old-timers_TurnItOff_RingMaster Review     Turn It Off opens with the sturdy tempting of Untouchables; riffs and rhythms a nagging lure from its first breath as Emerson brawls with words. Little changes as the song broadens with tangy grooves and twisty hooks aligned to gleefully jabbing beats, that niggling quality an inescapable anthemic lure firing up voice and sound around. It is an excellent start to the EP, matched by the volatile energy and accusing nature of Televangelist. It too is ripe with gripping rhythms and delicious hooks, and a slim but open vocal variety which alone captures the imagination.

Featuring the alluring voice of The Lead’s Ninah Llopis, Homeless Friends steps forward to steal best song honours across both releases, her siren like tempering to the roar of Emerson emulated in the melodic and fiery exploits of de Necker on both guitar and the moody bass. With scything strikes from Harris adding to the drama, the song brews a stirring antagonism which never quite explodes but gets under the skin wonderfully, especially when flirting with the extra spice of Llopis. As much as the music has moved on again from the band, lyrical prowess has too, songs seeming more concise and impacting in that aspect with this a prime example.

The encounter closes with the intimidating Crowns which from its opening heavy and imposing resonance of bass, has ears and imagination in the palm of its hands, and though it subsequently breaks into a more expected hardcore like accusation and aggressive stance it carries plenty of unpredictable hooks and twists to offer something newly enticing.

Second EP Turn It Up reveals a street punk energy and tone with its first track Broken Glass, the song a more restrained but no less aggravated and energetic proposal to those upon the The_Old-timers_TurnItUp_RingMaster Reviewcompanion EP. For less than a minute and a half it ignites air and appetite before the drama fuelled Angela boldly leaps in with its almost poppy punk theatre of sound and easily devoured contagion.

No Regrets, which features Sef Idle of again False Idle, follows with its caustic stomp of punk/hardcore belligerent sound and praise to him above, whilst an extended cut of a song which first appeared on the band’s debut album brings the EP to a close. This City is the kind of punk roar The Old-timers are recognised for, and a song which still sparks greed and energy in limbs and thought even after a few years.

Whereas Turn It Off has the wealth of unpredictable adventure and invention in songs, Turn It Up has the diversity of punk flavours. Both complement each other perfectly and again provide plenty which those without the faith the band passionately infuse their music with, can also greedily devour. The Old-timers get better as they grow older and with the band donating every penny of digital and physical sales of both EPs to U-Turn Homeless Ministries in Cape Town, they are a must for all punk fans.

The Turn It Off/Turn It Up EPs are available now through Thumper Punk Records and Veritas Vinyl, as well as most digital stores.

RingMaster 18/08/2015

Copyright RingMaster: MyFreeCopyright

If I Die Today – Cursed

If I Die Today_RingMaster Review

There is a torment in the heart of the new album from Italian post-hardcore band If I Die Today, and a tempestuous air which lives up to any ideas inspired by the name Cursed. There is also an invasive and at times punishing darkness and emotional trespass coursing through the veins of the encounter but equally an imagination loaded, gripping enterprise which ensures it easily stands out against any other similarly sculpted and bred offerings. Cursed is destined not to be for everyone, and will frighten many off with its searing intensity and emotion  but there is no escaping that it announces If I Die Today as one of the more fascinating incitements in the post and hardcore scene.

If I Die Today emerged in Mondovì in 2007 and by the early months of the following year had released their self-titled debut album through Wynona Records. The release enabled the quintet to tour their homeland and share stages with numerous bands, that success reinforced by the You Are Alone EP in 2009, again unveiled to strong and positive reactions. It was the same with second album Liars the following year, its potent presence luring greater attention and acclaim cross Europe, the band following it with shows across Italy, Hungary, France, and the UK as well as playing alongside artists such as Sum 41, Offspring, No Use For A Name, Simple Plan, Face To Face, Taking Back Sunday at Bologna’s Independent Days Festival. The band’s workload and reputation continued to grow as 2012 saw the release of the Postcards From The Abyss EP and If I Die Today playing with bands like Every Time I Die, Good Riddance, and H2O as well as going on a tour taking in Russia, Ukraine, Germany, and venues back home. Since then more venues and countries have been scorched by the band’s sound, before and after the recording of Cursed last year, which with its worldwide release through Sliptrick Records sets a new chapter in the rise of If I Die Today.

image1_RingMaster Review     It’s opening handful of seconds are an inviting temptation but in no time Jesus becomes a searing sonic wind blowing over thickly jabbing rhythms and coming loaded with spicy hook lined enterprise from the guitars. Vocalist Marco Fresia roars just as swiftly and intensely in the tempest whilst the caustic breath and heart of the track is perfectly tempered by the magnetic lure of the throaty bassline from Morgan Ferrua and the controlled rhythmic dance cast by drummer Davide Gallo. There is no escape from the sheer energy and emotional turmoil of the song though or its flesh scarring sound with its virulent onslaught as gripping as it is intimidating.

In the sheer wind tunnel like delivery of the song there are essences of bands like Kabul Golf Club, KEN mode, and Statues in its creative adventure and tenacity, a potent mix continuing in Adams which is another instant arousal of attention and appetite with thumping bold beats and bracing vocals. Settling down a touch once established, though still a bruising confrontation, the guitars of Antonio Aresu and Michele Testa spin a web of raw aggression and intricate sonic seducing whilst the bass creates another deliciously alluring and individual line of bait. As its predecessor, the song is an epidemic of punishing and invigorating incitement, pure abrasive adventure to get your teeth into and drool over before it fluidly flows into Lucifer and its own exhausting tempest of scarring emotion and increasingly volatile and creative ferocity.

Through Patrick and Elisabeth, band and album continues to wither flesh and create emotional tension but again with plenty of fresh twists and adventure to their canvases. The first of the enthralling pair comes in a hostility lit slow shuffle with numerous expulsions of energy and vocal angst but also tendrils of flirtatious grooves and addiction breeding rhythms. There is no compromising with an If I Die Today proposal and no chance of being subjected to anything mundane or predictable as shown by this and its successor. Elisabeth maybe offers less uniqueness within the album than other tracks but it too is ripe with seriously enticing slithers and caresses of sonic ingenuity and melodic seducing, all resulting in less than two minutes of exciting violation.

Faustus borders on barbarous with its bestial weight of sound and energy but counters it with a tapestry of punkish hooks and twisted sonic imagination that simply whips the passions into a maelstrom of lust whilst The Ancient Mariner prowls the psyche and taunts ears with its fusion of noise rock and punk in stormy hardcore antagonism. Both tracks are glorious, adding their full thrilling and inventive weight to the unrelenting persuasion of the album.

An even fiercer punk venom courses through Vincent, the song openly revealing the inspirations of the band with its Every Time I Die meets Converge like onslaught. There is plenty more in the depths and brutish body of the song of course, lots to get greedy over before the album’s title track gives Cursed a whole new climate to explore. The band is tagged as post-hardcore but the closer is the one song which perfectly fits that billing, the rest a wonderful bedlam of styles and flavours. With a blackened and frosty air to its invasive ambience over hauntingly cold scenery, the track is an inhospitable drift through a dark and emotionally tortuous landscape compellingly bringing the album to a highly provocative and startling end.

Instantly gripping, Cursed only gets more powerful, persuasive, and emotionally penetrating with very listen. It certainly lingers and leaves scars in its wake too, but only to please and make demanding reasons to go back into its merciless majesty. If I Die Today is one of the truly exciting bands in the post and neat hardcore scene, Cursed shows exactly why.

Cursed is out now through Sliptrick Records.

RingMaster 12/08/2015

Copyright RingMaster: MyFreeCopyright