Sealclubber – Stoical

pic Richard PJ Lambert

pic Richard PJ Lambert

Bludgeoning the senses with the same barbarism as its creator’s name would suggest, Stoical is a nastily and invasively compelling proposition that leads to a greed for more. The release is the debut album of UK band Sealclubber, a tempest exploring the potential found in the band’s first release back in 2013 whilst breeding new intrigue and promise to get wound up in. As their sound, the album is as corrosive as it is adventurously imaginative and certainly not going to be for everyone, but with its ferocious blending of sludge metal with crust infested hardcore and post metal ambiences, it is a proposal confirming Sealclubber as an impressively challenging incitement for ears and emotions.

Hailing from the Black Country, the Sealclubber stepped forward late 2012 and swiftly sparked attention and acclaim in the underground scene the following year with their Witch Hunter Records/ Carnage Club released Sticky River EP. Also nudging mainstream media focus in certain quarters with their first offering, the Stourbridge quartet backed up their potent emergence with a praise luring live presence which soon spread across the UK. 2015 was a quieter affair with line-up changes and setbacks but now the foursome of vocalist/guitarist Simon Blewitt, guitarist Joe Parkes, bassist Stephen Williams, and drummer Simon Ingram are ready to infest the world with their sludge punk trespasses through Stoical which is unleashed courtesy of North American label Medusa Crush Recordings.

sealclubber_art_RingMaster ReviewBand and release consume the senses in epic style with its nine minute opener Tales of a Romanian Horse Whisperer. Instantly an atmospheric bitterness confronts ears as climate and guitars boil with their relative intent until it all explodes in a ravenously rousing hardcore/punk ‘n’ roll onslaught led by the throat bred squalls of Blewitt. No mercy is given by the raging yet it is soon showing another side to its nature by twisting and turning in on itself with stabbing rhythms and a creative discordance which is not that far removed from post punk and math core agitation. The track continues to masterfully and enthrallingly roar through a host of flavours infused into its volatile hardcore trespass; every new turn the giver of mouth-watering enterprise and imagination and a ferocity of heart and attack. At one point the guitars are spiced with a spicing which is best described as Devo-esque but as everything, rabid through to atmospheric, it evolves into another freshly magnetic intrusion in the blink of an intimidated eye.

The outstanding start is matched in sonic kind and rhythmic antagonism by Haima; a predatory violation led in, amidst a collage of guitar cast venom, by the dirtiest primal bassline likely to be heard this year. Tar thick yet blisteringly athletic, the track infests body and psyche with its creative vehemence and raw vocal animosity. It too provides a horde of riveting hooks and anthemic turns from within a destructive fever before stepping aside for Catalogue of Failings which uncages its own doom seeded depression of tone and emotion. Like a hungry bog on Dartmoor, the song sucks the senses and imagination into an unforgiving animus of emotionally corrupted sound, proceeding to prowl around them with hostility thereon in whilst suffocating any light or hope which might make a defence to the thrilling creative pestilence.

Leaving a lingering impact, the song slips into St Jude’s Waiting Room, Dead For 12 Days and a haunting imagination sparking interlude/detour resembling a limbo-esque netherworld which inspires different ideas to its presence with every listen. It in turn flows into the stark and cold landscape of Vows of Silence and initially another great post punk like coaxing before the track descends on the listener with rancor and corrosive intensity. The song takes a moment out as the wake from its initial assault continues to resonate before exploring a tempestuous and emotionally provocative post metal/ambience sculpted landscape which in turn only builds itself up into another fearsome outpouring.

I Only Desire The Things That Will Destroy Me In The End completes the release, its twelve minute instrumental a darkly cinematic and emotional flight through sinister atmospherics and melancholic ambience. It too is a canvas for the imagination to adventurously explore whilst closing Stoical with a fiercely dramatic yet seemingly accepting embrace of emotional suffering and turbulence.

In some ways Stoical is an incitement of two halves; its first trio of tracks are a gloriously and creatively volatile theatre of craft and virulent enterprise with the final three immersions into dark and debilitating depths and emotions. They are two plateaus though which thrill and increasingly impress as Sealclubber more than live up to their early promise and the more demanding expectations bred within the anticipation for its release.

Stoical is released on February 5th via Medusa Crush Recordings on CD, limited cassette form, and digitally with a vinyl version possibly on the cards later.

https://www.facebook.com/sealclubbersludge   https://sealclubber.bandcamp.com/

Pete RingMaster 05/02/2016

Copyright RingMaster: MyFreeCopyright

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Massacres – Brutus

Massacres Promo Shot_RingMaster Review

With a sound that does a fair job on the senses replicating the suggestiveness of their name, UK hardcore quartet Massacres have announced their introduction in ferocious and heftily enjoyable style with debut EP Brutus. The four-track fury is a merciless tempest of hardcore antagonism and belligerence loaded with punk rock hooks and a rock ‘n’ roll breeding which just compels ears and incites the body. Bolder things may be heard this year but for thoroughly exhilarating and fresh imaginative hostility, Massacres hits the floor running with Brutus.

Formed in the Spring of 2015, Massacres swiftly set about creating a collection of ravenous tracks before unleashing them on the live scene to increasingly fevered and acclaiming responses. Soon references were understandably offered to the likes of Every Time I Die, John Coffey, Pissed Jeans, and Cancer Bats; spices easy to bring up whilst listening to Brutus which the band began working on last summer. Uniting in Stakeout Studio with producer Jason Wilson (Reuben, Fightstar, The Ghost Of A Thousand), the London quartet emerged with an EP that barges into ears, bullies the senses, and ignites a keen appetite for more.

Massacres Cover Artwork_RingMaster ReviewOne Of The Boys launches at ears first, a nagging sonic scything from the strings of guitarist Kris Mayzee colluding with the similarly stabbing vocal spikes of Dave Rogers as the track gets a foothold in the psyche straight away. Soon venomously prowling the senses with urgency and grouchy invention, bruising intensity and burrowing hooks aligning for a potent lure, the song irritably stomps like a mix of Every Time I Die and Reuben with the additional animosity of Cancer Bats yet equally Norwegian band Shevils and British noise fiends The St Pierre Snake Invasion are nudged into thoughts to describe the predominantly individual flavour of the song and indeed subsequent release.

It is a rousing and increasingly addictive offering powerfully backed by the rawer viciousness of Death Knell. Again hooks and grooves are a persistent tonic in the volatile climate and character of the track; grooves especially spicy and insatiably alluring as they wind around the pleasing vocal variety shown by Rogers. The bass of Martin Walker is a bestial incitement, though it too develops an irresistible swing at times as it bridges the scorching temptation of guitars and the insistent brutality of Andy Sartori’s rhythmic swings.

New single Everything I Want To Do Is Illegal rages next; exploding off of a singular tendril of guitar bait with robust rhythms, fiery grooves, and the uncompromising emotive squalls of Rogers. As Max Raptor like infectious as it is The Ghost of A Thousand like choleric, the track is a dynamo of energy, hook loaded enticement, and unbridled emotion with the band giving their virulent all in craft and arousing intensity.

To The Victor, The Spoils brings the release to a close by crowding in on ears with a controlled barrage of predatory rhythms and vocal crabbiness amidst intrusive sonic enterprise. Within the stormy confrontation though, kinder melodies hang in the shadows where equally a catchy gait lurks, both waiting to escape the combative swell of sound and discontent. It is a intent that never occurs as such but all the time they add inescapable imagination to the unforgiving animus of the song.

Brutus is a strong and, more importantly, thoroughly riveting entrance by Massacres on the UK hardcore scene, an area of ferocious rock ‘n’ roll easy to see the band growing to be a driving force of if they fulfil their potential.

The Brutus EP is available through all platforms on from February 5th.

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

Pete RingMaster 04/02/2016

Copyright RingMaster: MyFreeCopyright

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Hardcore Mob Hiraeth Hit The Road In Support Of Lost In Despair

Hiraeth_RingMaster Review

London based agro mob Hiraeth are set to hit the road in support of Danish melodic metalcore quintet Lost In Despair for a fiery five date run, which starts in Cardiff on Feb 19th.

Hailing from the suburbs of London, Hiraeth wasted no time erupting onto the scene in 2015 with their stunning debut EP “The World Ends With You”, quickly building a name for themselves in the underground Melodic Hardcore scene, and scoring solid reviews from the likes of Metal Hammer & Terrorizer.

Combining high energy onslaughts in the vain of Gallows, and infectious melodies, that stand beside bands such as While She Sleeps and Defeater; Hiraeth are certainly on the brink of captivating a deprived audience across the UK with their sonic battery.

The band are set to play the following dates on the tour:

Feb 19th – The Bunker – Cardiff

Feb 20th – Cobblestones – Bridgewater

Feb 21st – The Lemon Factory – Swansea

Feb 22nd – Sticky Mike’s Frog Bar – Brighton

Feb 23rd – The Unicorn – London

 

With a new EP firmly in the wings, and more shows booked across the year, Hiraeth are looking to make even bigger waves in 2016. Watch this space.

Ondt Blod – Finnmark

ondt_blod_RingMaster Review

If the opening weeks of January are anything to go by, we are in for a mighty year of emerging potential drenched bands, seriously thrilling releases, and propositions to make your toes curl. One such prospect to add to the already expanding list encapsulating all three of those aspects is Norwegian band Ondt Blod and their debut album Finnmark. The ear grabbing release is a ridiculously gripping collection of fury fuelled, antagonism sculpted tracks infused with unpredictable imagination and virulent contagion. It is a rousing incitement as sure to get you cursing the world as dancing feverishly on tables from a band already easy to suggest big success is coming the way of.

Formed in 2013, Ondt Blod comes from Norway’s most northern county bearing the same name as the band’s album. Since emerging, the quintet has earned a mighty reputation for their “crushing and intense attitude on stage”, a success including playing with bands such as Gallows, Blood Command, and Kvelertak. Drawing on inspirations from the likes of JR Ewing, Blood Command, and Kaospilot, Ondt Blod’s songs, as on the album, come with themes revolving around un-employment and industrial communities in decline as well as self-contempt and small town pride. Produced by Yngve Andersen (Blood Command, Girl Army) and mixed and mastered by Ariel Sivertsen and Brad Boatright respectively, Finnmark pulls no punches yet it also offers one of the most uncompromisingly catchy hardcore proposals in recent times.

ondt_blood_cover_RingMaster ReviewWithin seconds, the band has feet and hips as involved as a swiftly eager appetite for the band’s sound as opener Svarte Daga stomps in with nagging riffs and grooves amidst just as irritable yet anthemic rhythms. The grouchily growling tone of Kristoffer Joel Høe’s bass and in riffs in general easily hits the spot even before the raw rousing tones of vocalist Aslak Heika Hætta Bjørn, melodically backed by the alluring calls of the band, whips up a frenzy courted by a sonic web spun by the guitars.

It is a storming arousal of the senses and emotions backed up craftily by the less intensive but just as agreeably hooked littered Nye Lydspor. Not quite pop punk but certainly with a warmer tone and grin to its aggression, the song has a touch of Zebrahead to its engagingly volatile character again marked by a stirring bass snarl and the nagging prowess of guitarists Alexander Våga Mortensen and John Nilsen. The pair creates a fevered tempting which gnaws the senses as it leads the body into unbridled revelry, this enterprise just as tempting within Kompis Med Satan and its enjoyable blend of vocal deliveries. With each track sung in Norwegian, lyrically tracks are a mystery but the heart and emotions driving all are as open as the hefty and predatory swings of drummer Håvard Rushfeldt.

Tragedien Kommer brawls with the senses next, stamping its rhythmic feet as throats bleed with their roars before twisting things on their head by introducing a chorus of upbeat, almost ‘grown up’ vocal propriety and then going through the enjoyable process again as punk rock hooks and flirtatious ingenuity leap at ears. The track quickly has ears and emotions drooling, as too does the waspish irritancy of Gjengtegn and its belligerently devilish parade of unpredictable twists, sonic expression, and vocal dexterity.

Take any track from Finnmark and it epitomises the Ondt Blod sound and invention though no song sounds the same as proven again by the chest beating roar of Symbola. Like CIV meets fellow Norwegians Shevils, the track buzzes busily around ears as it burrows deep under the skin and into the psyche. Punk and hardcore colludes once more with fresh faced melodic drama and unbridled infection showered lures, the album’s variety unrelenting with the bruising and at times inhospitable 9900 Sodoma proving as it rages with ire upon the senses next. Equally it teases with some glorious anthemic bait led by hooks and the increasingly impressing vocal adventure across the band before Betongtro bears its vitriolic soul with creative tenacity and concussive intensity across calmer reflections and melodic detours.

The album is completed by firstly Brent Jord and its thick cloudy squall of sound and muggy sonic persuasion and finally the album’s title track which explores strains of post punk within its irritated disposition of emotion and sound. As its predecessor, the song moves into darker depths and richer arrays of flavours across its evocative landscape, and though it maybe does not make the same immediate impact as the riots before it, the tempestuous exploration grows to only enhance the enjoyment and invigorating experience of the album.

Norwegian hardcore seems to be going through a noisy, thrilling heyday right now with Ondt Blod right there helping lead the way, not only at home but as Finnmark proves, across the genre as a whole.

Finnmark is out now via Loyal Blood Records

https://www.facebook.com/ondtblodband

Pete RingMaster 20/01/2016

Copyright RingMaster: MyFreeCopyright

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

Cold Night For Alligators – Course Of Events

Bandphoto_RingMaster Review

Course Of Events has been a highly anticipated debut album for a great many fans and followers of Danish metallers Cold Night For Alligators, a release off the back of an impressive live presence and reputation which no doubt was also facing a lot of expectations. A mighty slab of inventive sound to get teeth and the imagination into, it is easy to suspect that those awaiting its arrival will now be basking in thick pleasure whilst newcomers to the Copenhagen quintet, well we will be eagerly exploring with intensive attention.

The Cold Night For Alligators is described as a fusion of progressive death metal with brutal technical hardcore. That is apt enough to some extent but ultimately does not come to close to really covering the rich adventure and thick diversity fuelling the album’s tracks. The release is a creative kaleidoscope of fierce and seductive textures aligned to fluid unpredictable twists and flavours as much seeded in djent animosity and atmospheric ventures as they are in that initial description and the broad expanse of melody honed progressive metal. At times the album simply ignites in an open inventive blaze and in other moments entices with a fascinating tapestry of sound and thought which benefits further from even closer attention, but from start to end it only lures ears into wanting more of the album’s striking exploration.

Artwork__RingMaster Review     Starting with Considering Catastrophy, the Daniel Braunstein [Volumes, Fall in Archaea] produced album swiftly entangles the senses in a web of djent spiked riffs and melodic psychosis, this surrounding the forceful and potent roar of the vocals. Straight away there is a heart fuelled mania to that vocal delivery which, whether clean, harsh, or gutturally spawned, comes as an outpouring of raw emotion. Musically the song lurches and flies at the senses or comes in an ambling coaxing with just as strong enterprise to it as metal and rock strains unite in an invigorating and intensely fascinating proposal. As becomes apparent across the rest of the album, a mere listen or two only deprives ears of the underlying depths and imagination building up the layers of the song, that intensive attention mentioned earlier only breeding potent rewards.

There is a familiarity to the album just as there is something uniquely fresh about it; the likes of Periphery and Opeth springing out at times and there is no escaping a Meshuggah spice or two nor moments of Mars Volta meets The Dillinger Escape Plan. As shown by latest single Followers though, Cold Night For Alligators weave it all into their own distinct design. The second track is a formidable blend of sonic contagion and vicious aural antagonism, evolving from one compelling beast into another exciting unforgiving brute veined with psyche invading grooves and avant-garde seeded imagination. The track scars and exhilarates the senses, igniting body and imagination with each raw and inventive moment before the just as thrilling Calculated Accident provides its own animus of metallic hardcore built sound infused with melodic enterprise.

That earlier mentioned vocal mania is emulated in sound across Course Of Events, each track a raging roar but able to skilfully slip into just as emotively fiery but mellower confrontations at will. Inconsistent is easy evidence, its opening hug of jazzy spiced guitar invention and harmonic vocals an engaging but volatile seducing which increasingly brews rousing animosity and fire to lead the song into just as magnetic new directions, subsequently fusing all its roads into a one drama of sound and persuasion.

Both Art and Retrogress keep ears and appetite greedy, the first with its skittish djent lined, progressively psychotic emprise and the second through a more barbarous and volatile bellow of emotion and sound led by the ever impressing array of vocals. Both tracks grow in the ear, each making a strong first impression but blossoming further over time, again something applying to the album as a whole and to be taken on board when checking out Course Of Events.

From the strong caress of short instrumental Eunoia, more flavours are woven into the proposition through Querencia where vocals are especially potent as melodic tendrils invade the body of uncompromising intensity and at times almost rancorous fury which steers the encounter. With exotic flirtations and jazzy smiles, the song is an enthralling and again increasingly powerful and enjoyable offering matched by the infectious rabidity of the exhausting Daydream; another creative maelstrom to bravely sink into.

Completed by Brother and its alluring and rousing emotion, Course Of Events is a powerful and so often beguiling encounter. It is unique yet recognisable, inventively ravenous but similarly melodically endearing, and when given time to make its persuasion helps get the metal year off to a great start.

Course Of Events is released January 11th through Prime Collective.

https://www.facebook.com/cnfadk   http://www.coldnightforalligators.com/

Pete RingMaster 11/01/2016

Copyright RingMaster: MyFreeCopyright

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

Tirades – Lifetime of Wars

Tirades _RingMaster Review

It all started in February 2014 when guitarist Munoz was in the Andes. His car broke down along the Los Libertadores and help was far away. Out of nothing came Nauhel, an Indian from the Mapuche tribe in Chile.

Nauhel invited Munoz to his camp and insisted that Munoz stayed overnight. It turned out that Nauhel was a musician in traditional Mapuche music, and Munoz had 20 drafts to what once would become Tirades’ debut album. Munoz and Nauhel exchanged musical ideas throughout that night as the moths danced around the bonfire. Nauhel gave Munoz the name “Pülü”, meaning insect in Mapuche, to commemorate the moths who kept them company through the night. This night caused all other musical projects to be set to side, and Tirades became the main priority from here on out.

That is the background to a band which unleashed one of last year’s unexpected and seriously exciting roars in the shape of Lifetime of Wars. A slow start release wise to a new year always allows for a catch-up of propositions that initially escaped but deserve attention and without doubt the first album from Norwegian hardcore protagonists Tirades qualify. Whatever its origins and seeds, Lifetime of Wars is a glorious and challenging slab of rock ‘n’ roll which rousingly embraces a web of noise and punk fuelled flavours driven by imagination stirring adventure.

Album cover_RingMaster Review     The September of 2014 saw Bergen hailing Tirades enter into the recording of their album with producer Andrew Neufeld (Comeback Kid). Alongside guitarist/vocalist Esteban Munoz, also the drummer of Social Suicide, stood bassist/vocalist Remi Arefjord also of Jeroan Drive and guitarist in Social Suicide, Of Grace and Hatred drummer Mathias Simonsen, and guitarist/vocalist Markus Den Ouden from Blodig Alvor. Together they have created a confrontation as sonically intrusive and emotionally cantankerous as it is anthemically and energetically inspiring. Released in the latter moments of last year through Fight! Records, the punk ‘n’ roll blaze is an immediate contagion drawing, as mentioned, on varied spices of metal and punk driven rock ‘n’ roll to brawl and stomp with the listener.

Fear The Saviour is the first potent incitement, the opener springing from a suggestive guitar spun invitation into a predatory stalking of the senses with beats and bass leading the way. Tribal spicing colours Den Ouden’s bait whilst the bass of Arefjord has a carnivorous tone to its snarl, both tempered by the ethereal vocals and wiry enterprise of guitar. Electro spicing equally adds more drama and texture to the post punk scented introduction, the song playing like a blend of Morkobot and Tones on Tail as it leads ear and an instantly awoken appetite towards the bracing confrontational tempest of Death Bell. Smothering ears in thumping beats and sonic provocation from its first breath as vocals challenge, the track swiftly has body and emotions aflame with its rousing and contagious canter. Subsequent clean vocal chants and the ever primal tone of the bass only add to the lure of the rousing seduction, the song twisting into the infection loaded hardcore and corrosive rock ‘n’ roll which fellow Norwegians Shevils are as equally adept at unleashing, they the closest comparison coming to mind for the uniqueness of Tirades.

The exhilarating stirring of the passions makes way for the more barbarous riot of Ghost, though it too is soon evolving within ears as the band explore fresh hues and resourcefulness employing varied styles. Far too short for personal greed, the track gives way to Sleepless. Featuring Kvelertak guitarist Maciek Ofstad, the track evokes defiant attitudes with its aggressive bawl of sound and voice, only adding to the chest beating potency with catchy moments of clean vocal led incitement. As its predecessor, a major highlight is uncaged, a song which is as imaginatively unpredictable and addictively alluring as it is fiercely exhaustive and more than matched by the exceptional Precious Demon which flows out of its tail blast. Further invigorated by Social Suicide vocalist Marius Jahnsen and Tarjei Strøm, another maelstrom of invention and noise rabidity descends upon and swallows the senses, it too inciting lusty involvement with its caustic collusion of diverse textures and punk rock aggravation.

There is a touch of NVRVD and Bear to the track whilst in its successor Relignorance a spatter of The Great Sabatini teases as it’s more restrained hardcore hostility allows vocal melodies and noise rock tendrils to captivate from within the fierce romancing and subsequent haunting atmospherics unleashed. Volatility is as much a constant in a Tirades song as attitude and ferocity and the track embraces all within its compelling design before Reach Victory batters forcibly on ears and in turn Skin scorches the sense with its sonic toxicity and ravenous intensity. The first of the pair is an abrasive bellow with its own line in dynamic rhythms and agreeably searing hooks matched to the constantly anthemic vocals whilst its successor is an emprise of punk belligerence and feverish imagination drawing on another diverse range of metal, heavy rock, and blissful noise

False Prophets keeps the fires of satisfaction burning forcibly next, its skilled merger of contrasts and addiction forging ingenuity making the appetite greedy whilst immediately after Never Again grumbles and rumbles like a bear with a sore head; one wanting to tear apart the body and dance with the skeletal remains. It is hard to remember in recent times a crushing destructive protagonist as virulently catchy and irresistible as the superb song, though within the album it is just one of a band of demandingly contagious and rabidly inventive trespasses.

The album is completed by the acoustic croon of 1996, an evocative piece of stringed and acoustic expression shaped by voice and emotion which only impresses but still pales against the sheer magnificence of what came before. A bonus remix by Ralph Myerz also adds to the thick enjoyment of Lifetime of Wars, an album which hopefully is the first of many given the other commitments of its creators.

In a recent review we remarked on the pinnacle 2015 ended on in the number of seriously striking releases unveiled. Tirades are another one in the list, maybe the very best of that moment and in the cream thrilling the whole year.

Lifetime of Wars is out now via Fight! Records through most online stores.

https://www.facebook.com/tiradesofficial

Pete RingMaster 08/01/2016

Copyright RingMaster: MyFreeCopyright

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

91 Allstars – Retour vers la Lumière

91allstars_RingMaster Review

Not convinced by their name but having no problem breeding a healthy appetite for their ferocious sound, 91 Allstars quickly show themselves to be another voraciously rousing proposition within the French metal scene with new album Retour vers la Lumière. The first encounter from the band since a change in line-up, their second album is a thickly enticing assault of death inspired metal aligned to melodic hardcore and plenty of other ripe spices. It roars and brawls with the senses, grips the imagination, and provides plenty to get excited over as 91 Allstars show themselves ready to take on broader spotlights.

Formed in 2005, the Paris quintet has perpetually drawn praise and support with their releases and a live presence which has seen them over the years share stages with the likes of Sick of it all, Gojira, Do Or Die , 25 ta life, Born From Pain, Mass Hysteria, and Knuckledust. Their first year saw the release of a self-titled debut EP and two years later the band teamed up with Danforth for the split release Destroy The Past. Acclaim grabbed debut album Telle Est la Loi in 2010, its success though already being eclipsed by the dynamic and hellacious enterprise of Retour vers la Lumière since its recent release.

91AS_front_RingMaster Review     The atmospheric Intro starts things off, its portentous air full of drama and suggestiveness which is taken on by the tempestuous nature and body of Omniscience. Immediately grooves and hooks are swinging with zeal as raw gruff vocals incite and rhythms batter the senses from the second track. It is a rousing confrontation, one as magnetic as it is hostile with the track’s death metal canvas coated in thrash inspired animosity and hardcore cultured dexterity.

Across both Mon bien, mon mal and Opprimés, band and ears collide as tenacious and antagonistic elements collude to spring a creative animus as appealing as it is threatening. The first of the two songs lines its assault with gripping hooks and spicy grooves as snarling vocals leads its anthemic nature. There is definitely some familiarity to parts of its textures and air but that only adds to the magnetic pull whilst its successor similarly impresses as it stalks the senses with its rumbling bass cored predation and stabbing riffery. As across the album, certain essences remind of bands such as Black Dahlia Murder and Gojira whereas the hardcore spices offer up thoughts of others like Pigs and Every Time I Die, but it all gets woven into something relatively distinctive to and constantly appealing from the French quintet.

Richesse humaine provides a raw bluster of voice and virulent sound next, its body entwined in wiry grooves and viciously anthemic tendencies whilst Les ombres de la perdition stomps along spilling acidic sonic tendrils from its bulging intensity. Epitomising the whole of Retour vers la Lumière, the pair also explore catchy exploits and melodic incitements, each spinning a tapestry of inventive lures which temper yet accentuate the unbridled force of the propositions.

The impressive intent and heart of the album continues through the ravenous animus of Eclipse éternelle and escalates in the primal trespass offered by L’ère du verseau; both songs fierce contagion with plenty to defuse expectations and further ignite a hungry appetite. Their success is matched by that of L’aube des princes, an aurally rancorous intrusion again leaving a want for more by the final note of its masterful and imaginative violation. With the songs sung in French lyrically we floundered but as shown by the encounter there is no mistaking the emotion and heart of each encounter.

Completed by the incessant infiltration of the senses that is Un sombre destin and lastly the album’s rapacious imagination enveloping title track, Retour vers la lumière is a seriously accomplished and enjoyable proposal. Certainly there is a bit of a similarity between tracks at times which defuses some of its immediate potency but songs and the album as a whole only grows to be challenge which impresses again and again.

Retour vers la lumière is out now via Dooweet Records @ http://shop.season-of-mist.com/91-all-stars-retour-vers-la-lumiere-cd-digipack

https://www.facebook.com/91AllStarsOfficiel

http://www.91allstars.com

Pete RingMaster 05/01/2016

Copyright RingMaster: MyFreeCopyright

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