Murdock – Dead Lung

MURDOCK-Promo1

How to describe Dead Lung, the new album from Dublin trio Murdock? Well quite simply it is a BEAST! In sheer power, ferocity, and primal instincts the album is a devourer of senses and psyche. Similarly though it has all the creative wile and lithe characteristics of a predator and once it has its claws in there is no escaping the savaging of hardcore, noise, or the technical trespass assaulting ears and igniting the imagination. Dead Lung is just immense.

Since emerging Murdock has earned an increasing and devoted following to go along with the reputation bred of being one incendiary device live. It is a devastating experience which in the words of the band has the attitude, “If you are not bleeding or exhausted, what is the point?” The band has ignited stages alongside the likes of Every Time I Die, The Dillinger Escape Plan, Unearth, Sick Of It All, Lower Than Atlantis, Coilguns and numerous more, either on tour or at individual shows but now it is their debut album Dead Lung, released via Basick Records, that is poised to be the detonator to greater intensive climes, and with little to surely stand in their way such its might and hellacious alchemy.

The album opens with the first single taken from it, Deer Noises. It is a track going for the jugular from its first breath, riffs gnawing the senses whilst rhythms venomously batter them, and it is fair to say that the sonic spicing wrapping both is up to no good either. It is a magnetic entrance enhanced further by the raw vocals of guitarist Aidan and the contagious elements flaring up in the tempest of sound and emotion. It is not just an infectious essence emerging either, an inventive unpredictable flurry of fierce and melodic twists adds to the gripping turmoil too. Coilguns comes to mind listening to the song but equally spices of bands like The Ghost of a Thousand and Kunz tease thoughts, all mere whispers in the roar though as the album gets off to a thumping irresistible start.

Albumcover   The band has so many weapons that impress, that unpredictability a major one outside of the sound itself and it continues to seduce across the album starting with I Am Not A Continent next. This also has the listener’s throat in its sonic jaws from the first second, guitars and bass snarling and ravaging the senses whilst the beats of Ronan show more restraint yet still unload with a punishing intent. Slips into mellow scenery equipped with sultry harmonies and progressive beauty virtually flirt with the listener inside the encounter too but always they have to submit for the similarly riveting fury fuelling the proposition.

A lustful appetite is already brewing by the time What You Don’t Like takes over; its psychotic character and agitated rhythmic bait a swift proposal to be feared and embraced. It is even angrier than the rages before it but also in some ways lacking the same addictive quality, though this is more to do with personal preferences across Dead Lung. The track seems to lean deeper in the hardcore side of the band compared to its more evenly sculpted predecessors but also arguably more experimental ideation with its Deftones like detours. It provides another fascinating incitement though but one soon surpassed by the band’s latest outstanding single Erk. An avalanche of rhythms bruise and inflame ears first, riffs and sonic ferocity just as toxic from within the storm. The bass of Rob lays down a mean throaty lure throughout the increasingly anthemic and volatile brute of a triumph also, but the song is a success again unafraid to slip into melodic beauty and evocative caresses. Its hooks are sheer addiction on top of it all and the band gets more accomplished in ability and imagination in three and a half minutes than most others will across a whole album.

Narrowcasting finds a post punk coldness and monotone elegance to its prowling presence next, the song managing to sound like a hybrid of Palms meets late seventies band Artery. It is just as intimidating in its doom lined mellowness as it is in the outbursts of pent up vocal and sonic vitriol and takes album and listener on a completely new direction to what came before whilst continuing in the same vein as the previous provocations. The track is mouth-watering stuff matched by Brainface which explodes in the face after the brief jazzy and progressive instrumental seduction of 51 West 95th St. This leads straight into the sonic windstorm and blistering inhospitality of Brainface, a relatively short punk brawl clad in noise rock devilry and furious dissonance.

Neither The Signal In The Noise nor Leave Me Here For The Crows take any prisoners, the first a scorching and scarring sonic consumption speared by magnetic rhythm invention, warped slithers of unconnected styles, and rabid vocals. Once feeling in the senses returns, there is only pleasure for the might and thrilling violation of the track, the same applying to its successor. This takes a more controlled assault to the senses yet is still a volcanic maliciousness which intensifies its potency and weight with every passing swipe and grazing riffs, whilst its core groove just makes the tongue pass over lips.

Juices spill again with the cyclonic Old Blood Dead Lung, a glorious beating with convulsive rhythms and a bass sound you can only describe as demonic. The guitar enterprise and vocal vehemence of Aidan strip ears of their stability magnificently and in no time the track is locked in as a favourite across the increasingly impressing album.

It should be noted that every glimpse of the song we are trying to portray is as just that, choice moments in the ever evolving and twisted landscape of the tracks, each conflicts you can make assumptions and have expectations over but will never get a full handle on until heard, as Vebalectomy next. It is hardcore and punk in its heart but a broad and constantly shifting diversity of sound and ideation in presence, and arguably this is one of the more straight forward tracks in its make-up.

      Dead Lung comes to a close through firstly the portentous doom seeded Nineteeneightyfive, a sinister and almost meditative soundscape as hypnotic as it is threatening and lastly Monographia which blooms from within its predecessor and returns to the post punk hued atmosphere and persuasion glanced over previously in the album. The vocals of Aidan and Rob are smouldering caresses within the raw and caustic but similarly reserved sounds, though in time it all becomes a turbulent and bracing proposition.

It is a superb end to an engrossing and simply thrilling album. Even the pair of singles put out just before Dead Lung barely gave a true picture of the variety and scintillating depths of songwriting and adventure of sound to be found within it. The list already is getting long for possible album of the year contenders but there is no other option than to add Murdock’s name to it.

Dead Lung is available now via Basick Records @ http://music.basickrecords.com/album/dead-lung

https://www.facebook.com/murdocknoise

RingMaster 17/04/2015

Copyright RingMaster: MyFreeCopyright

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Oaths – Stag Party

Oaths - Promo Shot

Never hurts to make a good first impression and UK band Oaths certainly have that intent nailed with debut EP Stag Party. A busy and furious storm of hardcore and melodic rock, the five track fury is an imaginative entrance by the Manchester quintet. Arguably it is too imposing and tempestuous on first listen to really appreciate the rich potential and creative tenacity within its walls, but proper attention soon reveals band and release to be an exciting and compelling proposition.

Consisting of vocalist Topher, guitarists Curtis and Michaela (the latter also providing vocals), bassist Jack, and drummer Chris, Oaths emerged in 2013 with inspirations from the likes of The Dillinger Escape Plan, Glassjaw, Every Time I Die, and Norma Jean in their creative arsenal. Last year saw the band hitting the road around the country, earning a potent reputation for their live presence and a success continuing into 2015 with the band recently completing a tour with Faces of Eve. Produced by Mike Bennett from Empires Fade, Stag Party is the band’s new mighty nudge on national awareness, a release which goes for the jugular from its first breath and tugs away on the senses and a keen appetite from thereon in.

Oaths Cover ArtworkThings instantly boil up with opener Lover Another, though its initial touch is abrasing if relatively calm. The raw hardcore bred vocals add a swift aggravation to the brewing atmosphere as do the similarly imposing beats which punctuate the impending intensity. It is a rising tempest though which relaxes just a little as a melodic enticing from the guitars adds to the harsher riffs and rhythms, and similarly a more melodic vocal delivery joins the caustic roars. Passion and angst is soon raging again amongst the fresh progressive and variety filed textures of the song, everything from rhythms to sonic endeavour evolving in imagination and fascination.

The strong start is matched by Idols / Rivals, a track fuelled by punk aggression and melodic adventure which ebbs and flows in aural intensity on the beaches of the senses. As in its predecessor, there is a great unpredictability to the offering which brings intrigue and exciting twists to a more familiar yet no less captivating hardcore seeded canvas. Every move from raw aggression and hostile atmospheres to harmonic elegance and melodic beauty is seamless musically and vocally whilst combined it finds has a clarity wrapped place for every aspect in the impressing proposal.

Hank Moody continues in similar style, an almost beauty and the beast collision of textures uniting for a dramatic and riveting incitement. The song does not quite grip as tightly as those before it for an undefined reason though the fact it does not seem to have the constant distinctiveness of those before might be one factor. Nevertheless everything about the song is in firm hold of ears and attention, the driving rhythms magnetic and the guitar enterprise at times simply bewitching, whilst vocally, and especially on the cleaner side of things, it is potent and enjoyable theatre as the contrasting tones share the lyrical and impassioned heart of the song.

As good as Stag Party is already, it hits personal tastes perfectly across its final two songs, turning into a raucously contagious slice of rock ‘n’ roll at the same time. Amsterdam comes first and though it is still a hardcore and progressive/melodic rock eruption the song discovers a contagious virulence and creative exploration which emerges as more gripping hooks, spicier grooves, and rhythmic imagination. At times bestial and in other moments a fiery seduction, the song is superb and swiftly matched if not surpassed by the closing I Am The Danger.

The band’s current single, the track is instantly addictive and ruggedly infectious, bounding in on intimidating rhythms and an enthralling sonic escapade. Riffs from the guitars and bass snarl, whilst their individual hooks are venomously poppy; traits explosively aligning to the increasingly impressing vocals which burst from across the band. Within a thumping cage of fierce beats, the track is exceptional and with the previous song alone, ignites a real appetite for Oaths and their increasingly thrilling sound.

Stag Party is a release to take your time with; first impressions are good but only get better. It also sparks an expectation to see Oaths grow into a strong and potent force within the hardcore scene, not only at home but further afield. If not they have certainly unleashed one intensely enjoyable debut anyway.

Stag Party is available from April 13th through all platforms.

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

RingMaster 13/04/2015

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Roaring with sounds and words: talking Choking On Illusions with Mario Strasser

Mario Strasser

It is not as if hardcore is lacking bands with new voracious ideas and sonic explorations but there are times when one has that extra essence or imagination which sets the passions a flutter. One such encounter came forward this past month from German band Choking On Illusions in the shape of their second and compelling album Rest/less. It is a beast of a melodic hardcore incitement as fiercely confrontational as it is inescapably compelling, a seriously exciting encounter. Offered the chance to dig deeper into album and band, we grabbed it with both hands plying vocalist Mario Strasser with questions, exploring the origins and heart of the band, the creation of Rest/less, and a final bombshell.

Hi Guys, many thanks for sparing time to talk with us.

You’re welcome; thanks a lot for giving us the opportunity to say some words!

Can you firstly give us some background to the band and its beginnings?

Well, originally this band started as five kids from a church’s youth group who wanted to play heavy music. Over the years one member after another changed and now I (Mario/Vocals) am the only founding member remaining. With the change of members the band experienced a change of both musical and lyrical style and yeah, REST/LESS pretty much sums up who and what we are now.

Did you have any particular aim and intent with the band and its music from those opening days?

We’ve always been very focused on lyrical content because we never wanted our music to be “just” music. From what I learned about heavy music there has always been more to music. There has always been a message behind it. Be it a positive or negative one, all the artists I admired had something to say and that is something I wanted to keep going with the music we created.

10402430_10152928515889656_5317035852149746870_nAs evidenced by your new album Rest/less, you are shaping hardcore with a fresh and fiercely imaginative mix of flavours and ideas. Did you always intend explore the hardcore core of your sound with this level of adventure or has it evolved organically over time?

I guess you could say that our music evolved over the past few years just the way we evolved as musicians and just human beings. When you grow up you learn to think outside the box and see what is beyond the boundaries you set yourself. That pretty much sums up how we wanted to write our latest album.

It is fair to say, without any disrespect to past members, Choking on Illusions found its creative stride and potency around 2011 when the current line-up came together. What was different and provided the spark for the band to go to the next level?

Thank you, that is pretty much what I and everyone in the band thinks. I guess you could say that some of the guys from the first incarnation of the band were just not that much “into it”. Being in a local band can be pretty hard and it takes a lot of time, energy and money to keep going and so the other guys kinda got lost along the way.

The following year saw the release of acclaimed debut album Guide me home. Now as we mentioned you have unleashed the outstanding Rest/less, how do you see the evolution between the two releases?

The period between the two records was a time where we spent a lot days on the road. We played about 100 shows in 2 years, which is a lot for 5 guys that still try to balance their personal life with being on the road a lot. I think that is something you can really hear on the record.

Did you approach the new album with any specific idea or direction which differed majorly from its predecessor?

When we recorded Guide me home we pretty much only recorded all the songs we had written as a band. For this record, we had an amount of about 30 songs written, out of which we selected the 11 songs you can hear on the album.

You recorded it at Mysterium Studio; this is an environment which you find easy to create within, or are studios generally the same if you exclude the personnel?

Mysterium Studio used to be an amazing place. It has now been closed down because of our producer Arkadi moving to America, but we always had a great time there. Arkadi is one of the most talented guys I have ever met and there has always been a great chemistry between him and us. The atmosphere always resulted in maximized creativity and it he has definitely to be credited for challenging us to broaden our influences.

Tell us about the recording of Rest/less.Choking on Illusions Cover

We started recording the album I think in May 2013, with the first version of it being written, yet untitled; [it was] chaotic and simply just no really good to be honest. We started tracking drums, but about two weeks into it we all decided that this just wouldn’t do it for us. We wanted to put out a better record with better songs, so we went straight back to writing songs. After all, only 4 Songs remained from the first attempt of writing an album. 3 months later in August 2013 we entered the studio again, this time with the songs that made it to the album. I think it took a total of only 10 days to record it, but we had to deal with a lot of delay und unprofessionalism from people outside the band (for example “guest vocalists” being unable to record or to even respond to messages which resulted in them ultimately being cut out apart from Robbert from Wasted Bullet who did an amazing job) so it took until about June 2014 until the whole record was finished.

Do you try to enter the studio with songs basically complete ultimately or are you a band which evolves songs once inside its walls?

We usually write all the songs before and it’s just some minor changes, additional leads or instruments that develop during the recording process.

How does the songwriting process generally work within the band?

The songs are (and have always been) written by me. I write the songs, program them and show them to the rest of the band. Then we get together and work on the songs. Make them better, rewrite them sometimes and try to put them into the best form possible.

We found that Rest/less, though a striking beast from the off, actually grew in its depth and imagination over numerous listens. It took time to explore all the fascinating enterprise beneath its imposing roar. We liked that immensely about the album; was this something you expected might be the case with some listeners?

Thank you; that is definitely something we wanted to achieve. I always like it when an album can still grow after the first time listening. I wished for our music to be something like that, so it’s great to hear that this is the case for at least some listeners. We included a lot of depth in both music, with additional guitars and additional instruments, as well as the lyrics that require a certain will to explore from the listener.

The album is released through Bastardized Recordings, your first with the great label. How did the link up happen?

We were playing a show with our friends in The Green River Burial where Marco from Bastardized Recordings was also attending. From the guys in TGRB Marco knew that we were in the process of recording our new album and after seeing us live he came up to us and expressed his interest. As soon as our record was done he listened to it and he instantly wanted to release our record through his label.

Choking on Illusions Pic2Did knowing they would release it put an extra spring in the step making the album or was the union after recording?

We were done recording before we started talking to Bastardized, so that didn’t affect the writing or recording process.

What is next for Choking on Illusions?

Unfortunately, we will only be doing our last tour and then we’ll go on indefinite hiatus. We were already joking about releasing the songs we never recorded during the time this band was in existence right after we break up, but I don’t really think that that is going to happen.

Once again thank you for talking with us. Any last thoughts you would like to leave us with?

Thanks so much for giving us a chance to talk, we feel extremely blessed to have people care about what we pour our hearts into. Thank you!

Read the Rest/less review @ https://ringmasterreviewintroduces.wordpress.com/2015/03/26/choking-on-illusions-restless/

https://www.facebook.com/ChokingonIllusions

Pete RingMaster

The RingMaster Review 06/04/2015

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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://reputationradio.yooco.org/

 

 

YORKSHIRE YOUNG GUNS KILL THE SILENCE RELEASE DEBUT RECORD!

Kill The Silence Online Promo Shot

Taking from a collection of influences, spanning from Reuben and Lower Than Atlantis to Bring Me The Horizon, Kill The Silence come at you from Leeds and nationally release their self-titled debut EP on Monday 20th April through all digital stores.

Consisting of Jason Walsh (Vocals/Rhythm Guitar), Sam Rickerby (Lead Guitar), Jack Townend (Bass) and

Reece Cockayne (Drums), Kill The Silence were officially formed during the middle part of 2013. Show invites and festival appearances soon began to take shape. To date, the foursome have played extensively through the north, rounding up support slots and festival appearances with Fearless Vampire Killers, Blitz Kids, Max Raptor, The Family Ruin, Attention Thieves, Ashestoangels, Yashin, Mallory Knox, The Defiled, Dinosaur Pile-Up and Rolo Tomassi. The hi-octane rockers have also picked coverage from BBC Introducing and internet radio, and have been featured as Kerrang!’s Local Heroes.

The time is now ripe for Kill The Silence to step up and reach out to a national audience, and the band have the right tools in the shape of their new EP. The juggernaut rhythms and soaring chorus of their current single ‘Get Out! Get Out!’ start up the record, and it’s a perfect introduction for the wiry quartet. The punchy grimy hardcore of ‘Darling’ is next up and it’s an engrossing slab of adrenaline fuelled punkcore. The pounding onslaught of ‘S.S.D.D.’ continues to batter your eardrums before ‘Chapter II’ caps off the EP with its blistering riffage bonded with oft-kilter phrasing. Kill The Silence now hit the road with their record in tow, so stay tuned to their social sites for tour announcements.

-KILL THE SILENCE RELEASE THEIR SELF-TITLED DEBUT EP ON MONDAY 20th APRIL THROUGH ALL STORES-

Kill The Silence PromoImage

https://twitter.com/ktsilenceband

https://www.facebook.com/KTSilenceOfficial https://www.youtube.com/user/KTSilenceOfficial

Choking On Illusions – Rest/less

Choking on Illusions Pic2

Hailing out of South-West Germany, Choking On Illusions is a band which looks like they are about to be on the receiving end of an enthusiastic roar of attention. The reason being their new album Rest/less; a beast of a melodic hardcore incitement which is as fiercely confrontational and emotionally voracious as it is inventively compelling. On first listen, it is not one which instantly leaps from the crowd though it certainly is a more riveting and fascinating encounter than most, but over time it reveals an imagination and craft which leaves ears and attention gripped. You would still not say that the second full-length from the Saarbrücken quintet is going to turn the hardcore scene on its head, but it definitely gives it an exciting proposal to chew over.

Formed in 2008, Choking On Illusions has frequently awoken keen and increasing interest in their presence; a self-titled EP in the following year starting the growth which was backed and nurtured further by a two track demo in 2010 and the band’s keenly supported live presence. It has been from the current line-up’s coming together a year later though that the band and their sound really hit its stride, as established by their well-received debut album Guide me home in the summer of 2012. Alongside all these moments the band has similarly drawn great praise and following through shows with the likes of Stick to your Guns, Comeback Kid, Terror, Evergreen Terrace, Hundredth, Counterparts, and La Dispute amongst a great many, as well as tours with The Green River Burial, Wasted Bullet, Chronograph, and Seasons in Wreckage. It all only reinforced and enriched their emergence in the hardcore scene. Now the band is lining up to burst into the broadest spotlights with their Bastardized Recordings released Rest/less, and given the time and focus it needs and deserves, it would be hard to expect anything but further potent success.

The opening Intro is a decent enough emotional scene setter, guitars melodically eloquent within a heavily brooding atmosphere whilst leading ears and imagination into the jaws of the following album title track. The second track bursts into life with ravenous rhythms and fiery riffs, each intensifying as the vocals of Mario Strasser begin their agreeable roar and the guitars of Jannik Aulenbacher and Maciej Spiczak align in a tempting mix of caustic riffery and sonic enterprise. It is when singer and melodies really erupt in an infectious and lively embrace that the song truly comes alive, their brief expulsion of revelry infecting the subsequent antagonistic side of the song which too develops an intriguing mix of catchiness and emotional provocation. It is a great start to the release, and like the album, it takes time to explore all its twists and depths, though its appeal and appetite sparking potency is swift.

Choking on Illusions Cover   The following Sleepwalker explodes in a creative and impassioned tirade you expect to hear in a hardcore based offering, continuing to feed with satisfaction those thoughts but twisting them into fresh endeavour through the persistently thoughtful and skilled ideation of the guitars. As in its predecessor though, there is a particular moment where the good song ignites into something greater, and here it is the lull in the sonic tempest where the bass of Christian Pontes takes over with a richly carnivorous bass tone matched in intimidation by the muscular swings of drummer Dustin Ueckert. It is a mere moment in the passage of the track but again seems to instil a new attitude and impact into the following adventure and passion of the proposition.

Both Left Unsaid and 13 rage and bellow with explosive and intriguing creativity, the first punctuated by the thickest rhythmic jabs yet on the album but tempered by a tantalising flame of impressive vocal harmonies and guitar crafted melodic acidity. The song continues to be unpredictable and enthralling, a slip into an acoustic landscape bewitching in company with calm and captivating clean vocals. Its heart felt and raw emotion though is soon back filling the senses, and again it is fair to say this also seems to return with a new air and vitality in its angst and sound. It is of course all sparked by the band’s dramatic adventure in songwriting and sound, with these moments seeded in a strong array of flavours outside of hardcore. They are essences not always apparent at the start of songs but emerging impressively throughout and something the band will hopefully utilise even more ahead as this is when Choking On Illusions impressively breaks free of any formulaic hardcore restraints and expectations. The song’s successor is the same, spinning a recognisable initial weave of sound and aggression built on open invention before sculpting a predatory net of rhythms and sonic imagination. It is the most straight forward song on the album in many ways but when relaxing into a smouldering embrace of warm melodies and intimate vocals to again cast a new light on its body and heart.

The disorientating dazzle of guitar and rhythms at its start sets Borderlines off in fine style and initially it is a shame it is not a constant incitement throughout the excellent track, the band preferring to unleash it in bursts amongst the muscular antagonism of the song. The truth is the band get it right, its intermittent diversity makes for thrilling eruptions of bedlam in the ferocious roar of the song and the subsequent melodic poetry charming from its heart. The song is superb, whilst the album simply gets stronger and more exciting with every offering.

The peaceful radiance of Interlude allows a breath next, its brief instrumental a classic hug of keys but as the intro, embraced by a more and increasingly turbulent ambience. Its beauty makes way for the fiery energy and intensity of Broken Song, a blaze of an encounter with deep anxiousness to its air and hostile emotion fuelling its fury. It is another which simply grows in weight and persuasion as it reveals more invention and unpredictable ideation once established in the ears; post and melodic hardcore colouring its ire as forcibly as a punk viciousness.

A new peak is set with the hellacious charge and presence of Death Waltz next, the track a thunderous predator of the senses unafraid to draw on noise rock and metallic essences to ignite its creative battlefield. Complete with soaring harmonies and sonic intricacies, the song is a raucous anthem and impassioned croon simultaneously, and quite sensational in its distorted and scuzz lit brilliance giving next up L.O.V.E. a hard task to emulate. It gives a mighty effort though with a bass sound from Pontes which is raw and carnal in touch, whilst a blistering furnace of sonic rapacity and vocal incitement treats the senses. It also has that fresh onslaught of punk hostility to it which seeps into the album’s latter tracks to enjoyable success.

Closing track Baptism – Funeral enters on a rhythmic enticement from Ueckert which alone secures hungry attention, and continues to drive and ignite the solemn and melancholic heart of the increasingly ferocious encounter. It is a mighty end to an outstanding release, one sure to put Choking On Illusions on the widest hardcore map and suggesting potential of greater things yet to come, though more of the same to be fair would not be too disappointing either.

Rest/less is available from March 27th via Bastardized Recordings @ http://shop.bastardizedrecordings.de/product_info.php?products_id=2411

https://www.facebook.com/ChokingonIllusions

RingMaster 26/03/2015

Copyright RingMaster: MyFreeCopyright

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

 

Unrest – Grindcore

unrest1

If there is one perfect example of something doing and providing what it says on the tin then it has to be the debut album from US aggressive fury Unrest. Called Grindcore, the twelve track ravishment is the genre in full voracious assault, a vicious and hostile incitement as raw and uncompromising as it is virulently compelling. It and the band has a sound which is stripped bare of all unnecessary deceits, a proposal revealing the raw heart of the songs and inspirations breeding their fury and voice. It is an incendiary persuasion embracing caustic vocals and a primal passion, and one of the year’s mightiest insatiable roars so far.

The album has been one long awaited and highly anticipated offering, its origins going back to 2006 when vocalist/guitarist Steve Jansson and drummer Chris Grigg unhappy at the demise of Nasum, decided to try writing their own grindcore thickly inspired by said band. They soon enlisted friend and bassist Brooks Wilson and produced a horde of songs, played numerous live shows, and recorded their debut album in 2011. It was an offering never released, the band deciding it would need to be heavily recorded at some point in the future. Other projects and opportunities came up for members in the meantime, Grigg continuing with black metal band Woe which he founded in 2007, whilst Jansson and Wilson went on to found TrenchRot, Crypt Sermon, and Infiltrator. Last year the original mixes to the album were re-discovered and found to be usable. New vocals were recorded that summer, followed by the album’s new mixing, and now via Unspeakable Axe Records, Grindcore sees the cold light of day, and in return gives us a merciless snarl.

unrest cover     As soon as opener We’re Calling You Out unleashes its rage and sonic ire, thoughts of Nasum, as intended, surge forward, as do hints of bands like Napalm Death, but equally and continuing over the rest of the release, there are plenty of new essences and blistering invention which makes it so much more than a homage to its inspiration. The first song slips in on a piercing sonic lance of pain, threatening and gripping attention ready for its subsequent forty seconds or so of grindcore toxicity. All three members bruise ears in their individual ways, rhythms a hellacious onslaught whilst the guitar singes the senses. The infernal raging led by Jansson’s vocal squall continues into You Take and beyond, the second song battering ears with a muscular rhythmic intent from its first breath, inviting a carnivorous bassline and tone within the next, and casting a rabid assignation between it and the psyche thereafter. The bass grooving is pure predation, equalled by the furious scourge of guitar enterprise and its own grooved tempting, but ultimately the track is a malicious conquest of senses and emotions.

The seriously brutal Inaction, as well as the following grievous violation posing as Quit raises the ante and intensity of sound and pleasure. The first is a riveting tsunami of spite and rancor which merges sheer unbridled savagery and slow venomous stalking into one addictive raging. Its inhospitable hardcore tendencies only add to the gripping persuasion whilst its successor is simply bestial in tone and aggression, carrying a rancor which makes the brutality of its predecessor almost lightweight in comparison. Once more the trio toy with gait and ideation within an intensive tsunami, never deviating too far from its core rampage but bringing plenty to challenge expectations and ignite the imagination. The track flows straight into Protest Culture, though it is no simple continuation but an individual torrent of musical bad blood bred from the same inventive and instinctive grudge.

Through the tangy and provocative, almost doomy terrain of Faith Is A Hearse, the thrash/death tirade of Anything To Shock, and the swaggering violence of Nothing (That’s All You Have To Give), band and album uncage further creative adventure, merging new stirring flavours and spilling thicker antipathy across the individual grudges. Each offers a new twist in sound and invention within the album too whilst still flourishing in that Nasum inspired base camp, and all leave ears and appetite greedier, a hunger Identity In The Internet Age and Consumption feed with their respective blackened hardcore ravaging and thrash fuelled rabidity. Both are also virulently contagious as they bruise and scar the senses with their ruinous appetites.

The album comes to a formidable close via firstly the exhausting and sonically scalding False Brotherhood and lastly with the rhythmically addictive and antagonistically crabby Drown, and though neither quite matches what came before, both bring a fine slab of delicious nastiness to create a thoroughly enjoyable close.

There are some tracks upon Grindcore which hit the sweet spot more than others but all impress and prove the long wait for the album, indeed a release from Unrest, was really worth waiting for. Hopefully the band can remain an on-going provocation hereon in with more sounds bred in thrilling and pungent toxicity.

Grindcore is released on CD March 24th via Unspeakable Axe Records @  http://www.unspeakableaxerecords.com/purchase/index.php?main_page=product_info&cPath=66&products_id=240

https://www.facebook.com/unrestgrind

RingMaster 24/03/2015

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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://reputationradio.yooco.org/

Rapture –Trials

Rapture_bandphoto

   Rapture is a Christian hardcore band from Los Angeles, a quartet making a rather striking introduction to themselves with debut album Trials. Recently signed to OnTheAttack Records, the band has also made their first proposition a name your price download, which with some stomping punk bred tracks the reward, is an invitation hard to turn down.

The band was formed last year by four friends who wanted to create and explore the music which excited them whilst also sharing their faith and love of Jesus Christ, an inescapable but not over imposing aspect of their enjoyable first release. 2014 as a musical year was a low key affair, the band only playing a couple of shows, but as this year broke the band decided to concentrate on their music and hit Birdcage Studios to record Trials with Allen Falcon. Approached by On The Attack Records who wanted to be involved in the album’s release, Rapture now make their first potent persuasion on ears with a full year of shows planned to back its unveiling.

The release is opened by Intro, though it is a little more than merely that. From the great growling bassline starting it off, it aggressively snuggles up to ears with abrasive riffs and vocal squalling, providing an unsurprising but swiftly anthemic and pleasing proposal all within 51 seconds.

Its fine start is matched by the fiercer but no less gripping Legacy where again the lively beats of drummer Tony Rangel demand keen attention whilst the grizzly basslines of Isaac Guerrera Rapture_Trials_albumcovershow themselves to be quickly compelling. The song is a confrontational prowl of ears, though as lyrics show, is more face to face with its own personal angst than solely challenging the listener, a showdown further driven by the accomplished riffs and enterprise of guitarist Garrett Gutierrez and the furious tones of vocalist Richard Haro.

Kingdom Crew steps in next with a rawer air and rhythmic chest beating. The band has been referenced to bands like Terror, Dynasty, and, xLooking Forwardx but certainly this track suggests a merger of early CIV and Shelter as a starting point in its bracing texture and sound, whilst Enemy Lines next rumbles and snarls with a slight air of The Bronx in its rapacious hardcore incitement. Though again surprises might be said to be low, everything about the track from its tenacious rhythms and grainy riffs to the vocal fight and group calls leaves a healthy pleasure and appetite in place.

The tempestuous Deceiver bellows and entices next with magnetic enterprise and attitude before the outstanding Nothing Else brings it all to an impressive close. The final song features Joel Muniz of Dynasty, and treats the listener to a rampaging march of inventive rhythms from Rangel aligned to the ever tempting bass endeavour of Guerrera. That is just the creative spine though of the most inventive track on the album, guitars alternatively spearing and spreading through the air with spiky imagination whilst Haro and band raise voices to their faith. It is Rangel which steals the show here to be honest but as elsewhere it does not work without the rest of the band’s impassioned enterprise and impact.

Without forging something strikingly original but avoiding anything majorly predictable, Trials is a promising and pleasing entrance by Rapture. This is a sure fire recommendation for all raw punk fans from a band with undoubted big potential.

Trials is available now via OnTheAttack Records as a name your price download @ https://ontheattackrecords.bandcamp.com/album/trials

https://www.facebook.com/pages/Rapture/1403442699960183

RingMaster 12/03/2015

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