Silent Jack invite fans to ‘Play The Game’!

SJ PTG PR Photo

Silent Jack To Release  ‘Play The Game’

 

 Birmingham based hard rockers Silent Jack are ready to unleash a hail of hard rock with debut album ‘Play The Game’! The follow up to 2012’s ‘Snakebite’ EP is thirteen tracks of pure, unfiltered rock straight from the home of heavy metal. Under the expert guidance of veteran producer Alex Cooper at Arkham Studios, the band has spent the best part of a year distilling the power of their live shows into a single full-length release.

 Playing balls-out hard rock in the vein of classic acts such as Guns N’ Roses, Mötley Crüe, Whitesnake and Led Zeppelin, Silent Jack bring it all to the table. ‘Play The Game’ features the crushing riffs and clean vocals that have wowed audiences around the country, with fan favourite tracks like ‘Too Many Women’ and ‘Whisky And Me’ joining newer cuts such as ‘I Am The Law’ and ‘Make It Right’. Rockers around the world will definitely find something they like on the album and Silent Jack can’t wait to unleash it.

 The band have been firing on all cylinders this year, reaching the finals of both the Bloodstock Metal 2 The Masses competition (Birmingham, July 12th) and the Hard Rock Hell Highway To Hell competition (Sheffield, September 5th-6th), and have recently been announced for the Saturday of this year’s Degeneration Fest (Nottingham, August 28th-30th).

‘Play the Game’ is set for release in September this year, and the band will be hosting a launch party at The Roadhouse in Birmingham on September 13th.

 

http://www.Silent-Jack.com     http://www.facebook.com/silentjackband    http://www.twitter.com/silentjackband

Dendera – Pillars Of Creation

Album line-up

Album line-up

UK metallers Dendera whipped up plenty of eager attention and acclaim with their debut album The Killing Floor two years ago and now with its successor Pillars Of Creation poised to ignite ears and appetites with its own unique character, it is easy to expect the Portsmouth band doing the same again with greater success. Embracing a fresh roar of modern rock and invention with their heavy/classic metal breeding in their new offering, Dendera has honed a more distinct sound to themselves, not one to reinvent genres but undoubtedly one to really set the band apart from the tide of likeminded bands.

Since releasing their first encounter, the We Must Fight EP in 2011, it is fair to say the band has had the attention of fans and media alike, a ready to praise spotlight elevated by the release of The Killing Floor in 2013. Live too the band has earned a potent reputation and stature, touring and sharing stages with the likes of Saxon, UFO, Fozzy, Skindred, Firewind, Alestorm, Unearth, The Sword, Orange Goblin, Grand Magus, Ill Nino, POD, Soulfly, Kobra and the Lotus and….well the list goes on. Now the quintet of vocalist Ashley Edison, guitarists Stephen Main and Tony Fuller (the latter having left the band after the album’s recording to be replaced by David Stanton), bassist Bradley Edison, and drummer Andy Finch return with a seriously mighty slab of metal and with ease the band’s finest moment yet.

Dendera cover_Reputation Radio/RingMaster Review     Pillars Of Creation opens with Claim Our Throne and quickly has intrigue and imagination awake with the track’s opening melodic suggestiveness. Its entrance sets the scene, casting a rich and welcoming landscape yet one with an initial melancholic air which as its depths and scenery builds and expands, evolves into a more intimidating presence. Eventually riffs and rhythms build imposing walls whilst hooks and grooves colour the increasingly compelling emergence of the track with inescapable temptation. In full stride the song roars with the impressive vocals of Edison leading the way as guitars and bass lay down magnetic bait through riffs and enterprise. The old school essences of bands like Iron Maiden and Saxon, which heavily coloured the band’s first album, are still clear hues in song and album but more spices now in a bolder and more creatively individual proposal from Dendera. It is not ground-breaking stuff as mentioned but the band has cultured something rich in variety and resourceful in exploration, and as shown by the starter and reinforced by subsequent songs, created a sound which will send fans into bliss whilst offering plenty for those who maybe do not have an appetite for a classic form of metal to have eager interest in.

The impressive start is matched by Bloodlust, the song straight away living up to its name and exploding with a far more raw and predatory presence than that of the previous song. Thrash spiced riffs are rampaging through ears from its first breath, they and rhythms whipped up by the confrontational vocals. It is a tenacious and grouchy encounter which mellows out for its melodically fiery chorus, but is soon back stirring up air and blood with the same insatiable surges of intensity and sound which it first erupted with. Its blend of contrasts is a fluid and alluring invitation, a persuasion emulated again in the stormy nature of In High Tide. A cantankerous tempest of rock ‘n’ roll, the track aligns sonic croons with bestial snarls and rugged hostility, their fluid passage making for a fascinating and increasingly anthemic incitement on ears and emotions.

Already across three songs, Dendera has infused elements from groove and melodic thrash to varied heavy rock, an involvement never diminishing just evolving and changing across every song starting with the stalking of senses that is Disillusioned. Another song reeking attitude and carrying an almost primal swagger, it prowls ears with an intimidating air driven by the ever impressive and masterful rhythmic webs of Finch. Groove wise there is a definite Pantera edge and swing to the track’s core lure, one in many ways copied in the excellent vocal persuasion of Edison and potently backed by the band’s roars and the guitar endeavours of Main and Fuller, especially with a seriously tasty and incendiary solo.

The Daylight Ending is a sweat and spit encounter, rhythms and the delicious bass bait of Bradley Edison a barbarous proposal matched by riffs whilst guitars and vocals carry an aggressive

new line-up

new line-up

nature to their provocative and inventive craft. The song is a gallop for the main, a relentless foraging of body and imagination leaving an even hungrier appetite which The Chosen One feeds with its dark and heavy trespass of the senses. The song does not quite grip as other tracks, missing an indefinable spark to ignite personal tastes but there is no denying or not enjoying its invention and adventure, especially it’s contagious and at times brutal gait.

The explosive sonic flames and melodic passion fuelling Unholy sparks a lick of lips within a few explosive moments next, riffs and grooves almost swarming over the senses and into the passions as bass and vocals virtually prowl with their own inescapable persuasion. The beats of Finch are a bully but a welcome protagonist as again he sculpts an addictive frame and engine room for a song.

Pillars Of Creation is brought to a close by Edge Of Tomorrow, a fire of aggression and passion within a sonically tempestuous soundscape. It fiercely pleases on first touch but, as the album, just impresses and draws keener lustful reactions with every listen. The release is a must for all classic and heavy metal fans but such the new adventure and variety the band has woven into their songwriting and sound, there is much for all metallers including, us among them, those without an instinctive taste for old school roars. In fact it very likely will, as here, emerge as a favourite of the year for fans and newcomers alike.

Pillars Of Creation is available via Metalbox Recordings from June 22nd @ http://www.denderauk.bigcartel.com/

http://www.dendera.co.uk/   https://www.facebook.com/DenderaUK

RingMaster 22/06/2015

Copyright RingMaster: MyFreeCopyright

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

 

Max Pie – Odd Memories

MaxPieBand_Reputation Radio/RingMaster Review

Fair to say their name is still as dislikeable as it was when we covered their excellent album Eight Pieces, One World album two years ago but musically the Belgian metallers still rock the juices out of us as proven by new encounter Odd Memories. Max Pie fills their third album with all the essences which made its predecessor a surprising and compelling proposition but it is with bigger and bolder imagination and creative energy. We are no major heavy/power metal fans here to be honest but once again Max Pie has given us one thumping and rousing time.

The band was formed in 2005 by vocalist Tony Carlino taking inspirations from bands such as Symphony X, Van Halen, Toto, Queensrÿche, and Dream Theater into their emerging ideas. A slightly unstable time in personnel graced their early years before Max Pie released debut album Initial Process in 2012. Fan and critically acclaimed it was surpassed by Eight Pieces – One World a year later in presence, sound, and praise. Its release was followed by the band playing numerous festivals and undertaking tours with the likes of Symphony X, Evergrey, Fates Warning, Avantasia, and Queensrÿche. Now they return with, as the last album, the Simone Mularoni mixed and mastered Odd Memories and simply their finest, most inventive proposal yet.

The album opens with its title track; an instrumental ripe with a foreboding atmosphere and epic textures all cinematically imposing on the imagination. This type of beginning is becoming a common practice across varied metal offerings but when done right, as here, it makes a potent invitation into any release. As the track slips into the following Age of Slavery, a sizzling electronic coaxing colludes with rampant riffs and a melodic embrace of keys. The thick commanding rhythms of drummer Sylvain Godenne shape and invigorate the track further, framing the growling vocals of Carlino perfectly. The frontman’s diverse delivery is as magnetic as ever, some elements more powerful and potent than others but like the music, a constant lure that likes to stretch and push both song and musician. As the guitar and keyboard craft of Damien Di Fresco builds and expands its enterprise, the track blossoms into a sturdy and fiery encounter to really kick things off.

It is also, in many ways, a relatively straight forward and maybe expected proposal from the band, the new exploration showing itself more from Odd Future on. Keys breed the first mesmeric caress on the third track before guitars and the wonderfully dark throated bass of Lucas Boudina bring their hues to the emerging and stirring landscape of the encounter. Once vocals join, the song settles into a melodic roar and sonic flame of melodic and heavy rock ‘n’ roll, their union a heated and tenacious arousing of ears and thoughts veined by sparkling, and at times understated temptation from the keys. It is when things go off kilter with a glorious stretch of discord kissed invention and melodic bedlam that the song really comes alive and if there is any moan it does not play in this great moment long enough.

MaxPieOddMemories_Reputation Radio/RingMaster Review     Promised Land opens on a vivacious escapade of keys quickly encased in storming riffs and rhythms, it all quickly blooming into a virulently contagious slice of rock pop with classic metal and progressive rock hues. It has single running through its potent craft and lusty veins, every second of the track a bold and rousing incitement for body, voice, and emotions. Such its power and lure, it gives next up Love Hurts a hard time trying to follow it, and as mesmeric in melodic beauty within tempestuously emotional and physical terrain that it is, it never quite finds the same full-blooded personal reactions as its predecessor. It is undeniably superbly crafted and woven though and does leave only fully satisfied thoughts before the darker, ravenous excellence of Don’t Call My Name takes over. The guitars alone are predatory with their creative rummaging of the senses whilst the keys float with celestial temptation above them and the uncompromising rhythms spearing it all. Reaping the ripest elements of technical and progressive metal, band and track pulsate as they gnaw on ears, adding melodic and harmonic balm to the increasingly irresistible voracity on offer. With Carlino also on fine form, the track is the pinnacle of the album, reason alone to eagerly approach Odd Memories.

The acoustically brewed Hold On slips in next to transfix and from a slow start to its persuasion grows into a big favourite. Whether by chance or intention, it has a Bowie-esque essence to it, a floating whisper in quieter moments which does it no harm. It is a scent soon out flamed by vocals and the sonic blaze giving the song rich crescendos and a breath-taking finale before Unchain Me takes the listener on another tumultuous ride of rugged metal and tantalising electronic adventure.

No prizes in guessing some of the scenery within Cyber Junkie, its electronic and industrial endeavour a potent spicing to another song offering a compelling fusion of bestial metal and melodic flirtation, the former steering the ship with invigorating success. As Don’t Call My Name before it, the track is a masterful web of varied and diverse styles in one predacious provocateur, thoughts of bands from Anthrax to Armored Saint, Dream Theater to Skyharbor coming to mind across its exciting and again show stealing soundscape.

The album is finished by The Fountain Of Youth, a song which either a raging storm of a canter or a gentle caress enthrals and sparks only the keenest attention and support from ears and emotions. Like a couple of other songs it takes longer to get all of its hooks inescapably entrenched but with its additional symphonic elegance and emotively hued strings, the song has seduced long before realisation notices.

Wrapped in the excellent artwork of Didier Scohier, Odd Memories and indeed Max Pie have caught us again with a tempest of sound and invention driven by craft and passion. This time it is bigger, more adventurous, and confirming the band as one of progressive power metal’s finest.

Odd Memories is available from June 19th via Mausoleum Records @ http://www.maxpie.be/shop.php

http://www.maxpie.be/   https://www.facebook.com/maxpiemusic

RingMaster 19/06/2015

Copyright RingMaster: MyFreeCopyright

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

I.C.O.N – The Blacklist

I.C.O.N_Reputation Radio/RingMaster Review

Six years on from their well-received and acclaimed debut album, UK’s I.C.O.N make another noticeable and even more potent imprint on the British metal scene with its successor The Blacklist. It is a brute of an encounter yet jammed with stirring melodies and sonic enterprise to temper and complement its muscular aggression. The album is not one to seriously tear up the metal/heavy rock landscape but in giving it an invigorating stirring, The Blacklist does a massive job.

From the release of their first album New Born Lie in 2009, I.C.O.N has continued to reinforce their potent reputation and increase a loyal fan base through a live presence taking in stage sharing with the likes of Breed 77, Blaze Bayley, Warrior Soul, Diamond Head, Furyon, Zico Chain, Witchfynde, and Voodoo Six amongst many others. Numerous festival appearances have only enhanced their growing stature too, with the release of The Blacklist now carrying the broadest potential to awaken major spotlights. Produced by Pete Troughton, the album is a tapestry of hostile exploits and melodic temptation cast in an array of individual proposals. Some tracks outshine others but from its first atmospheric breath to its final roar, the release provides one rugged, raw, and rousing enjoyment.

The album opens with A Room In Hell, a short instrumental gently and evocatively luring the listener into the heart and turbulence of The Blacklist. Guitars cast an enticing web of expression and craft whilst rhythms rumble like an encroaching storm, their shadows colluding with sonic persuasion in a potent intro to the release and the sinew stretched swagger of Feeding The Negative. Instantly riffs from guitar and bass are a gripping coaxing matched by the increasingly aggressive and agitated assault of beats. The growling tone of Reece Bevan’s bass additionally provides a great accompaniment to the equally gravelly vocals of Mark Sagar and a predatory contrast to the acidic and scorching endeavour of Scott Knowles’s guitar. In full stride and attitude, ground-breaking the song is not but like the album, in prime and inventive metal spawned rock ‘n’ roll, the track is a storming incitement and pleasure.

i-c-o-n-the-blacklist-1400_Reputation Radio/RingMaster Review     The following Grindin’ Wheel, though appearing less confrontational, is a matching beast of provocation. As the keen swipes of Larry Paterson’s drum sticks hit skin and senses, a spicy groove is cast by Knowles, its revelry sparking a similar swing to riffs and subsequent rhythms whilst band vocal calls add an anthemic tempting to around increasingly imposing and impressing tones of Sagar. The song does its big part in the continuing strong and gripping start to The Blacklist and is instantly backed by the thrash seeded I’m The Venom, a song with a hint of bands like Metallica and Testament but flinging those flavours around like a baker with dough to create its own recipe of melodic/heavy rock infused antagonism. There is that familiarity though but it only makes things spicier around the uniqueness fuelling the incendiary solo which breaks free and the bracing vocal/rhythm collusion shaping all tracks.

Both Welcome To My War, with its deliciously barbarous bass insurgence and uncompromising drums swings, and Speak To Your God keep ears and appetite fully fed. The first of the two is just breath-taking at its start, an inescapable consuming of the senses and imagination which then loses its fullest potency once it settles into a more reserved and restrained prowl. The song still impresses and ignites full satisfaction to be fair but such its glorious opening, it feels a little like a missed opportunity unlike its successor which brawls and rages from its first breath. With a hint of a southern twang to its air, the track reveals its whole weight and weaponry straight away, simply increasing its richness with nagging riffs, riveting grooves, and a fiery solo, not forgetting virulent rhythms.

The slower, more controlled Devil’s Blacklist walks through ears with emotional expression and descriptive sonic hues, and though it maybe lacks the spark of its predecessors, it hangs a creative arm around attention to keep it fully involved before Wrong Way Back turns in a heavy and forceful stomp equipped with raw contagion spun by the skilled exploits of each member of the band. There is no avoiding the technical and accomplished craft from I.C.O.N, and how individually and united its members know how to write and deliver a fully rounded and attention grabbing storm of an encounter, no better proof coming than with Man of the North. From a cold and lonely canvas the instrumental builds an evocative landscape of solitude and beauty, its range of minimalistic textures to full blown tempestuous endeavour and ideation a relentless suggestiveness for the imagination.

The outstanding rampage of Deconverted descends on ears and air next, another thickly persuasive bass lead stirring up body and emotions for the song to bruise and ignite further, though it is another which maybe does not realise the potential hinted at throughout. It is still an excellent encounter though leaving the closing and tenacious sonic might of Drowning In Their Screams to bring this thoroughly enjoyable and invigorating album to a close.

For honest and uncluttered, as well as seriously accomplished heavy metal, it will be hard to find anything much better than The Blacklist this year we suggest. It is not flawless and as mentioned it does not fulfil all the promise hinted at, but you can only feel that there is a major classic lurking inside I.C.O.N as they evolve and grown further whilst this release persistently shows itself to be one powerful and seriously tasty encounter all metallers should take time to devour.

The Blacklist is available now via Metalbox Recordings digitally and on CD @ http://www.iconukonline.com/webshop

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RingMaster 16/06/2015

Copyright RingMaster: MyFreeCopyright

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

Exorcism – World In Sin

CsabaZvekan_Reputation Radio/RingMaster Review

Following up last year’s highly enjoyable album I Am God, Exorcism unleash new EP World In Sin, an encounter in similar vein to its predecessor and sure to excite fans of artists like Black Sabbath and Dio as well as those with the appetite for a more modern take on their heavy metal. Five richly flavoursome and inventive tracks make up its presence and prove that the quality and adventure of the last album was no flash in the pan, nor the success the band had with it you suspect.

Exorcism is primarily vocalist Csaba Zvekan, a Serbian multi-instrumentalist who has a long list of potent bands and releases under his belt (Sardonyx, Killing Machine amongst them with latterly Metal Machine and Raven Lord also on-going projects). Forming Exorcism in 2006, he has recruited a host of talented musicians to bring his songs and music to ears within the 2014 full-length and now World In Sin, the likes of guitarist Joe Stump (Raven Lord, Holy Hell, Reign Of Terror), drummer Garry King (Joe Lynn Turner, Jeff Beck, Achillea), bassist Lucio Manca (Raven Lord, Solid Vision), and keyboardist Alex Wind amongst many adding their talent on the new offering.

World In Sin opens with its title track and immediately encases ears in melodic keys and vivacious riffs courted by firm rhythms. It is not a dramatic start but a quickly engaging one, especially once the distinctive and powerful vocals of Zvekan begin the track’s narrative. A great throaty bassline from Logan Christopher adds to the building drama, its lurking presence resonating bait alongside the inventive enterprise of Stump, rhythm guitarist Andy Drake, and Zvekan. Though the song does not quite ignite ears and emotions as potently as subsequent songs, it makes for a solid and enticing entrance to the release.

ExorcismWorldInSin_Reputation Radio/RingMaster Review   The following Black Day In Paradise has a similarly potent template and presence to it but also an additional drama which flirts through bass and guitars as vocals and keys colour their predation with a warmer invitation and adventure. Its elevated energy, compared to that of its predecessor, also adds a more anthemic feel to the song, setting up ears and appetite nicely for the EP’s best two tracks which start with Virtual Freedom. Instantly there is a darker more intimidating edge to the song, riffs and rhythms aggressively alluring as slithers of sonic acidity spear the tempestuous character of the encounter. Zvekan prowls the song, roaring with full throated skill throughout whilst Stump once more uncages a fiery intrigue of imagination through one blazing solo and spiky melodic tempting. The track is outstanding, invention and anthem tattooed on its creative predation.

Next is Sahara a song just as impressive and thrilling as the last. Its initial breeze and Eastern suggestiveness has the imagination instantly lit, a tantalising mystique colouring the opening caress before bass and guitars create a tapestry of infectious and descriptive endeavour. That hue continues through bass and melodies whilst the song’s solo is a sultry spice winding around the dance of drum beats. Though, as no fan of fade outs, the ending niggles, the song takes the listener on a new adventure within familiar terrain, its scenery crafted with brand new detail and colour.

The closing Black Star also has a dark and enthralling theatre to its character and sound, leading ears through a shadowy and intensive landscape of creative and vocal drama. It has a hard task matching up to the last couple of songs but holds its own with a rhythmic contagion and guitar sculpted, almost sinister, sonic tale that grips attention. With the dynamic vocals of Zvekan guiding thoughts, it is a fine end to another resourceful and highly pleasing encounter with Exorcism

World In Sin is available as a Limited Edition EP of 666 copies via Dream Records now @ http://www.exorcism13.com/exorcism-world-in-sin-limited-edition-ep/ with a digital release on all platforms on June 15th

http://www.exorcism13.com/    https://www.facebook.com/exorcismband/

RingMaster 03/06/2015

Copyright RingMaster: MyFreeCopyright

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

Evil Conspiracy – Prime Evil

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It might not be an encounter with even an inkling of tearing up the metal ‘rule book’ in its makeup but Prime Evil from Swedish heavy metallers Evil Conspiracy is one seriously enjoyable proposition to revitalise weary ears. A feisty mix of flavours from classic and power metal to thrash and melodic escapades, the band’s sound makes for a magnetic and inventive incitement in a debut album which hits all the right notes in its thoroughly rewarding stomp.

Hailing from the Kumla/Örebro areas of Sweden, Evil Conspiracy emerged in 2002, evolving from a band called Legions which had just lost some of its members. A quartet of demos were released between 2003 and 2006 to strong responses, whilst live the band were soon earning a good reputation for their performances. Their first show saw the band support Lost Horizon but in no time they were drawing strong and eager crowds and support, resulting in Evil Conspiracy being one of the headline acts at the Wretstock festival whilst in early 2004 they supported Dionysus at the release party for Anima Mundi in Örebro. A few personnel changes have come with the years, especially vocally, but with the line-up of vocalist Fredrik Eriksson, guitarist/keyboardist/vocalist Andreas Mäkelä, guitarist Patrik Mäkelä, bassist Martin Giaever, and drummer Veikko Heikkinen, Evil Conspiracy set about creating their first album with its release recently coming through Sliptrick Records to whom the band signed last year.

Prime Evil is an immediate incitement for ears and appetite, the opening Intro a short but atmospherically engaging proposal. The guitars spread suggestive melodies as around them brooding ambience brews, this in turn inviting dramatic rhythms and intensity to step forth until it all winds down leaving the listener ready for the fiery contagion of Rule the Ruins. Thrash seeded riffs rigorously roam as gripping hooks leave their mark whilst along the lure the excellent and grouchy tones of Eriksson entice and impress. Group harmonies add to a mellower but no less anthemic chorus whilst the spicy enterprise of the guitars are courted by the ever presence temptation of addictive hooks and spiky grooves. The track is an excellent proper start to the album and quickly backed up by its title track with its own unique collection of tangy grooving and virulent persuasion. A rich essence of Bay Area thrash lines the rampancy and snarl of the track but equally its sonic endeavour and imagination has a power/heavy metal adventure as the track twists and lurches from landmark to landmark with a creative infectiousness which is Anthrax like.

There is no letting up in energy and enjoyment as the prowling predator that is Scars with Pride takes over. The vocals simply draw full attention as does the roaming throaty bass enterprise of Giaever, whilst the guitars spin an evolving web of voracious and in turn seductive invention as the song explores a mellower landscape, though its walls still snarl and grab at the senses from time to time. It is a captivating encounter setting up the broader metal tapestry of Fallen From the Sky, another song with a growling, inhospitable nature at its core but engaged in an exploration of melodic beauty and eighties harmonic resourcefulness. It does not quite find the same levels of persuasion as its predecessors but still makes a compelling and rewarding proposition before being outshone by The Plague. Jagged, carnivorous riffs saw away at ears initially, their intimidation matched by the menace of the rhythms before it relaxes a touch for a melodic saunter. All the time though glimpses of the predation it opened with flirt with the passions before emerging in a raucously addictive and anthemic chorus. Simply it is a lithe beast of a song with raptorial imagination and a malevolent heart.

7-2 provides a slab of enticing power balladry with rugged exploits next whilst The Beast of Flesh and Blood and Tools of Evil uncage their individual contagions of multi-flavoured and skilfully crafted old school infused metal. All three, without igniting the fires as the first half of Prime Evil achieved with personal tastes, have easy control of body and satisfaction with their individual catchy anthems. The third especially has the knack of deceptively involving the listener at certain points, if not quite maintaining that potency for its whole length, but enjoyment is only topped up by each and the following Father of Lies.

The penultimate song is the most diverse on the album in many ways, its melodic and progressive enterprise a fascinating enticement which if anything does not go far enough in its boldness, ultimately preferring to embrace a more classic heavy metal croon. Nevertheless again you can only say that satisfaction is thick as the final encounter takes to ears. Earth and Flames is similar in make-up if not presence to the previous song, aggressive and seductive in simultaneous persuasion and a thrilling end to a thoroughly enjoyable offering from a band you can expect to be talked about in much broader circles from hereon in.

Evil Conspiracy might not want to re-invent the metal wheel but they certainly have the intent to give it a colourful coat of voracious rock ‘n’ roll paint, a success found in the heartily recommended Prime Evil.

Prime Evil is available now via Sliptrick Records @ https://itunes.apple.com/us/album/prime-evil/id974680961

https://www.facebook.com/evilconspiracy

RingMaster 28/05/2015

Copyright RingMaster: MyFreeCopyright

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

Reign Of Fury – Death Be Thy Shepherd

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Plenty about the Reign Of Fury sound hits the sweet spot of familiarity yet everything about the band’s music is rigorously fresh and inventively captivating. Theirs is a dramatic roar which draws on the finest essences of thrash and heavy metal from across the decades, involving them all in new tenaciously melodic adventures. It is also a honing of flavours woven into a collection of songs making up a release easily providing the year with one of its essential listens. The fiery and thrilling Death Be Thy Shepherd is a devilish rampage of old school and modern invention, a proposition from the British metallers unafraid to simply offer rock ‘n’ roll in its most potent and insatiably contagious form.

You could say that there is little ground-breaking about the West Midlands hailing quintet’s sound and album but equally you can only admit that nothing about them feeds expectations or leaves the imagination looking for new inspirations. It should not be a major surprise such the impact and quality of Death Be Thy Shepherd. Its acclaimed predecessor World Detonation in 2012, sparked eager attention towards the band worldwide, and it is fair to say that since forming in 2006, Reign Of Fury has increasingly gripped ears and appetites with a sound seeded on eighties thrash and metal inspirations, flavours which fuel the band’s personal passions. Highly successful performances at the likes of Bloodstock around the release of their first full-length, and their own shows and a 40 date tour in 2013 only helped accelerate their emergence into broader awareness and stature. That year also saw the band organise and host every show of the Headbangers Balls UK tour, and again the following year when the band played with 100 bands, Onslaught, Lawnmower Deth, Xentrix, and Hatebreed, over 22 dates. Both provided one of the most potent events of their year in the metal scene, raising awareness for testicular cancer and funds for Teenage Cancer Trust in tandem with great show. Now the band has uncaged Death Be Thy Shepherd and instantly thrust themselves to the frontline of world metal with its quite breath-taking avalanche of instinctive and passionate rock ‘n’ roll.

The opening chord and lure of first track Faustian Mastery instantly has ears intrigued; appetite soon following as the guitars of Ed Westlake and Jon Priestley conjure a web of raw but inviting riffs alongside a melodic invitation. The song embraces the listener with temptress like wiles, coaxing and luring them into a waiting tempest of ravenous rhythms from drummer Magic Dave and bassist Paul Bielby aligned to fierce flames and causticity cast by the guitars. Straight away the song brings the climate of eighties/nineties thrash/metal into its compelling landscape, flirtations of Metallica and Megadeth colouring the intensive stride and swagger of the track. Driven by the ever alluring tones of vocalist Bison Steed, backed eagerly by the band’s shouts, the track stomps like an old friend with new face and character in tow.COVER_ART

Over nine minutes long but feeling like a mere handful due to its fascinating invention, individual craft, and volcanic energy, the opener is soon matched in strength and virulence by the following Harbinger of Decay. If the first was a swift persuasion, its successor has ears and passions aflame almost within a brief swing of its rhythms and a lone blaze of sonic enticement. Its slow crawl of an entrance is the brief prelude to a thunderous charge of addiction forging riffs and grooves matched by just as gripping vocals. Like John Bush era Anthrax colluding with Trucker Diablo whilst Mastodon add their infection, the track is a glorious onslaught of hungry and inventive metal binding ears in spicy solos, rabid riffs, and psyche seducing grooves. Rhythmically and vocally too, it is an instinctive persuasion, almost primal in its temptation and straight after emulated by the just as immense Hypnotise The Masses. Riffs are bestial and sonic enterprise sultrily warm, their extremes combining across a frame work of predacious rhythms which captivate and compel the listener to join the anthem.

Through the merger of melodic seducing and corrosively rampant riffing that is Gates of Sanity and the Hetfield and co like power balladry of All is Lost, band and album only grip thoughts and appetite tighter. Though neither track can quite match the impact and creative plateaus of the first trio of songs, each leaves satisfaction full and attention enthralled whilst The Love of a Dying God is an unstoppable hunt of and march upon the senses. Volatile in texture and imagination, the song is a hellacious storm as ridiculously contagious as it is grievously imposing. It is fair to say that Reign Of Fury is not going to be the most brutal and violent proposition you will come across this year but as proven by the song, there are times where they go for the jugular with all creative guns blazing and on an attitude fuelled by hostility.

The outstanding offering seems to be the spark to the band finding even greater animosity, certainly in its rhythmic confrontation and aggressive riffery. The next up Sorrow Made Flesh is barbarous in that department but salaciously anthemic in vocal and sonic invention. Once more the backing shouts of the band add extra bait to the bellow of the song’s call, whilst musically its grouchy, often senses stalking animosity, combines superbly with the melodic and invitational enterprise offered.

The album closes with its title track, a ten minute leap into a tapestry of bewitching guitar skills, rhythmic agitation, and vocal captivation, and that only covers half of the song’s epic landscape of imaginative, skill sculpted endeavour. Arguably the most adventurous song on the release, and certainly its most varied, the track is spellbinding and raucously riotous in equal and entwining measure.

Death Be Thy Shepherd is simply intoxicating, thrash and heavy metal in its original pungent form, not worried about shaping new templates but twisting existing ingredients into gripping and ferociously new incitements. This in turn makes the band’s familiarity in sound also a brand new protagonist for ears and pleasure. Simply put, Reign Of Fury is pure rock ‘n’ roll and quite irresistible.

Death Be Thy Shepherd is available now via http://reignoffury.bandcamp.com/releases

http://www.reignoffury.co.uk/     https://www.facebook.com/reignoffury

RingMaster 19/03/2015

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