Mothertone – Got It Memorized

 

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On the evidence of their new single Got It Memorized, Scottish band Mothertone has a rather accomplished handle on merging various flavours for one highly appealing brew. Our first introduction to the Edinburgh quartet is a feisty and contagious exploit which shows why there has been a keen buzz brewing up around the band from their previous EPs, Four Stars and IV, from which the song is taken. Creating a not exactly unique but definitely attention catching form of heavy rock from a multitude of essences including heavy metal, classic rock, punk, and grunge, the band’s new single entices and lures the imagination with a robust stomp of thumping rhythms, mischievously inciting riffs, and blues kissed melodies. It is an urgently captivating slice of rock ‘n’ roll which ensures that better late than never is continued to be proven.

Formed in the middle of 2012, Mothertone as many went through a number of line-ups before finding the right potent mix with vocalist Eric Mothertone cd babyBrock, guitarist Kieran Gallagher, bassist Dean Gordon, and drummer Rikki Smith. Across their time they have also have built a strong reputation for their live performances, lighting up venues around Scotland such as the Liquid Rooms, Classic Grand, King Tuts, and Cabaret Voltaire. Their next aim is to infiltrate the rest of the country and with the likes of Got It Memorized in their armoury you feel it should be a done deal in stretching their presence and fanbase.

Slamming beats and rigorously swiping riffs open up the encounter, their jagged provocation sparking an instant appetite which the song exploits with a subsequent stroll of flaming guitar enticement alongside those still commanding rhythms and an irresistible growling bass lure. A virulent groove also adds its potency, the song building heavy rock bait with contagion in full throttle from its start. Intensity and urgency adds its say to the encounter soon after as the clean vocals join the affair, their entrance sparking a punk breath to the antagonism of the imagination infecting song. Vocally Brock is impressive but without a real snarl to his tones the production of the song leaves him a little adrift at times though it makes no ultimate impact on the success of the song and his enjoyable lead.

Throughout the song twists and swerves with invention and craft whilst the guitar solo towards the impending climax of the song flames brightly with skill and poise. With a final beefy stab to end its show, Got It Memorized leaves you wanting more and though as mentioned the band is not setting new templates for rock music with it, the single proves that they definitely give it another tasty choice for fans to devour eagerly. Expect to hear a lot more of Mothertone as they invade the rest of the British Isles, to which no one will be disappointed we suggest.

Got It Memorized is released via Coffee Jingle Records (www.coffeejinglerecords.com) on 17th March.

https://www.facebook.com/mothertoneband

8/10

RingMaster 13/04/2014

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E-Force – The Curse

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For all newcomers to the band, disregard the off putting name and get your claws into one cracking album from E-Force. Though formed in 2001, the band’s moniker has never nestled easily with us but it has not stopped the thrash and heavy metal fusing encounter from lighting up the ears, new album The Curse their most potent aggressor yet. Hailing from Montreal but now France based, E-Force uncages eleven raw abrasing assaults which savage, antagonise, and thrill the ears. It is not an album breaking into new pastures for aggressive metal but certainly one to fire up the passions and imagination of metal fans across multiple genres such its flavoursome exploits.

The band was created by vocalist/bassist Eric Forrest, the frontman of Voivod from 1994 till 2001, a period which included the albums Negatron and Phobos as well as the live release, Voivod Lives. Taking his nickname as the band name, E-Force released debut album Evil Forces in 2003 to strong acclaim from fans and media alike. Relocating to Toulouse soon after, Forrest pulled together a new line-up which continued the emergence of the band; the second album Modified Poison in 2008 also earning eager plaudits for its stronger and more diverse sound. The years has also see the band forge a mighty reputation live, successful tours with the likes of Carpathian Forest, Tsjuder, and Wykked Witch, and acclaimed festival appearances highlights over the years. Now The Curse brings the next potent rampage of the band; Forrest alongside new guitarist XAV and returning drummer KROF with contributions from special guests Glen Drover (Megadeth, King Diamond), Kristian Niemann (Therion), Vincent Agar (Yotangor), bringing forth the caustic breath of the band’s live aggression to drive a new creative riot on the senses.

The concept album which takes its premise from the power and temptation of, and obsession with, the female race, makes a portentous E-Force - The Curseentrance through the brief Invitation. Its atmosphere is soaked in warning whilst a seductive female teases and lays bait to expose the weakness of man. The track is pushed aside by the following Perverse Media, riffs and rhythms immediately ascending upon the ears with a voracious hunger and combative urgency. The vocals of Forrest are equally as confrontational making for a strong and solid start, but it is just an initial lure which is soon given to greater appeal by ravenous grooves and scything twists of adventure. The track turns into a formidable predator, an aggressor which teases and intimidates throughout leaving appetite and pleasure ablaze.

The virulent temptress that is Witch Wrk steals attention next; riffs an abrasing incitement framed by a rhythmic rabidity which is controlled but rapacious. There is a gnawing pressure from the song which never relinquishes its appealing persistence whilst vocally again the delivery is soaked in a causticity to match the antagonism of the sounds. The potent bestial contagion of the encounter is matched by Serpent’s Kiss, its distinctly different temptation just as carnally insistent and masterful. From weaving seductive sonic enterprise the track brawls with the senses but again with a control which is more of a stalking beast than an unbridled storm. Continually twisting its body and gait the track, just as the album, evolves into a killer proposition over each provocation taken; both only increasing their rigorous and irresistible strength with each assault.

Both Awakened and Psyclone keep the intensity and impressive levels on full throttle, the first an inventive scourge of guitar and bass ravishing driven by the irrepressible charge of the drums whilst the second discovers a more insidiously addictive lure to entwine around ears and imagination, the track lashing the senses whilst simultaneously rewarding with dramatic hooks and infection drenched grooves, every second a tempestuous and powerfully compelling intrusion. Again both songs take a while to conquer the passions but subsequently neither leaves them idle or lacking fire in the engine room.

The instantly intriguing and exploratory Devoured fires up the passions next, its opening the prelude to the most inventive and imaginative track yet with the band infusing their thrash cored maelstrom with even broader veins of groove and melodic metal with a blackened majesty. The track ripples and pulsates with a barbarous beauty whilst the guitar casts a mesmeric and skilled web around the explosive confrontation. It is outstanding showing the depth to the band’s endeavour and potential still unrealised, a potency examined again in varying detail by the scourge like Mass Deception and the irresistible Your Beloved Hate, the latter’s opening bass call a trap of addiction, its bait easily backed by the finely carved grooves and hungry predation of the song.

The penultimate track Infexxxous unveils a virulent nagging to recruit attention and appetite before forging its own specific rampancy and enslavement of the senses with the unrelenting craft and creative fertility of the band. The second half of The Curse is the most inventive and imaginative with the first clutch of tracks on the album besieging the listener, caging their submission before stretching the ideation and resourcefulness with the following horde of persuasions as evidenced by the insatiable final song The Curse Of The Cunt. Concluding the album in exhausting sadistic style with plenty of blood soaked colour, E-Force leave satisfaction and enjoyment bloated. The Curse may not be the most original album to be let loose this year but it sure is one of the most invigorating.

The Curse is available via Mausoleum Records now.

https://www.facebook.com/eforceoffical

8.5/10

RingMaster 12/04/2014

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Kill Ritual – The Eyes Of Medusa

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Having been thrilled and impressed by their debut album The Serpentine Ritual in 2012 and more than intrigued by the single Harder Than Stone earlier than this year, anticipation was high for the sophomore full-length from US metallers Kill Ritual. Though it probably took longer than its predecessor to fully convince, needing a more intensive attention and time discovering all of its twists and compelling turns, The Eyes Of Medusa easily feeds expectations and hopes with its inventive and diverse flavouring. The album is one which continues the band’s skilled fusion of thrash and heavy metal with a wealth of fiery additives as shown by their debut but pushes a wider imaginative adventure upon this potent canvas. There are moments where success ebbs and flows a little within the release but it is an unrelenting captivation which even in its less potent moments is never far away from igniting the imagination and a very healthy appetite.

Kill Ritual was formed in 2010 by Imagika guitarist Steve Rice and drummer Wayne DeVecchi, who continued their union to explore and push on the music they were already working on before the demise of the band. The line-up was soon completed by the addition of former Eldritch guitarist Roberto Proietti, former Dark Angel bassist Danyael Williams, and vocalist Josh Gibson. Released through Scarlet Records, the band’s brew of progressive and classic essences with a thrash driven core caught immediate attention through The Serpentine Ritual, a release which was unpredictable and compelling from start to finish. Unleashed by now a quartet of drummer Gee Anzalone (Brain Damage) alongside, Rice, Gibson, and Williams, The Eyes Of Medusa is much the same; whether an acceleration of its predecessor’s triumph is still in debate but certainly it is a release which stands by its side in quality, surprises, and enjoyment.

Mastering by Rice and Andy LaRocque (King Diamond, Hammerfall, InFlames), and produced by Rice, the GoldenCore Records/ZYX Music kill_ritual_The_Eyes_Of_Medusareleased album steals the passions instantly through its opening title track, the entrance of the song through a wonderfully nagging lure of jagged repetitious riffs immediate magnetism especially with the subsequent fall of heavy rhythms and dark throated bass strikes. The additional emerging web of melodic temptation only steals a richer intrigue before the proposition unleashes a charge of thrash bred voracity. The track surges with sinews flailing air and intent ravaging senses whilst vocally Gibson parades a strong and varied display which matches the equally eventful and resourceful narrative of the song. It is an impressive invitation into the album, guitars a fluid colour of imagination and craft across a canvas of hungry rhythms and riffing which highlights further the eloquence, raw power, and striking invention of the offering.

The following Hair Trigger struggles to match the stunning start though it still leaves a satisfaction which keeps attention and appetite fully locked into the release’s grip. A classic/power metal spine thrusts the track urgently through the ear, its thrash intent similarly loud and enveloping but the spark of ingenuity which veined the first is less vocal thus feeding expectations more. Despite that with another great vocal diversity to his presence Gibson alongside the guitar of Rice light the senses and emotions to please with a more than accomplished slab of muscle bound rock ‘n’ roll. Its successor Never Get Me is much the same, a very decent and engaging slice of metallic persuasion presented with the expected craft and enterprise of Kill Ritual but lacking that essence of originality and ingenuity which ignited the album’s start and much more of its body to come.

Ride Into The Night is prime heavy metal and like the previous pair satisfies but fails to light any fire in the belly of itself and the passions before The Eyes Of Medusa launches into a greater inventive turn to return to its earlier glory. Weight Of The World slams headfirst into ears with a storm of thumping rhythms, snarling riffs, and an intensive breath. Grooves entwine their infectious tempting around a reawakened hunger, lacing the ears with addictive bait matched in success by the again impressive range of vocal styles, the spoken dark tones irresistible, and a sonic enticement which sends sparks across air and senses. Virulently contagious the track has the pulse rate racing ready for the equally rapacious Writing On The Wall, a track which stands tall with vivacious rhythms framing sonic flames and rich melodic hues. It is a thoroughly captivating rampancy which throws an enthralling curve ball as the song flirts with gothic shadows and progressive textures whilst exploring its roaring imagination.

The seeming power ballad premise of Just Another Sin reinforces the wide songwriting skills of the band with its emerging predatory sound and carnivorous energy before My Little Sister provides the album with another pinnacle. A tempest of raw and dirty rock ‘n’ roll fed with an antagonistic metallic rabidity, the track stomps and seduces with old school breath and thrash voracity tempered and enhanced by melodic metal temptation. Veined by inescapable hooks and a barbed rhythmic slavery, it is a masterful capture showing the band as capable of rock pop as unbridled thrash consumption.

The album ends with another couple of triumphs to make it a must investigation of 2014, the first Unleashed employing the mix of darkly spoken vocals and scorched clean delivery again to great effect and persuasion within a similarly convincing antagonism of hard rock and heavy metal filtered by the aggressive skill which makes Kill Ritual a constantly rewarding protagonist. As the album, the guitar skill and enterprise of Rice seduces as does the impressive vocal variety and strength whilst rhythmically Anzalone and Williams makes an irrepressible cage. Final song Agenda 21 is our favourite, its sinister presence and continually changing character of sound scintillating. From a mix of Anthrax and ArcticFlame, the track turns into a bestial demon before another twist sees a funked up blaze with essences of Suicidal Tendencies to it, at times a more Infectious Grooves infestation thrilling. It is a glorious stomp with grinning mischief and insatiable ingenuity running riot across its creative and riveting body.

    The Eyes Of Medusa is another tremendous exploit from Kill Ritual which warrants close attention to its plentiful bounty as it provides a sizeable treat.

http://www.facebook.com/KillRitual

http://www.killritual.com

8/1o

RingMaster 04/04/2014

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Russian Heavy Metal band Hame-leoN release new song

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Russian Heavy Metal band Hame-leoN have announced the release of their new track – “Novii Rasvet” (New Dawn).

The Hame-leoN band first appeared in Kursk, Russia, in 2005. Their high-level performance, potent musical qulaities, and attention grabbing songs soon made the band stand out amongst the range of then-new and upcoming young bands.

Hame-leoN is a 100% concert band with a powerful, energetic presentation and exceptional charisma. As a result of Hame-leoN’s activity, a small debut demo, 5 singles and an LP “Taste This Soul” have seen the light of day.

New single “Novii Rasvet” is ready to set a wider mark on the European metal scene with its release.

Seizing time and opportunities: an interview with Enfeeble

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German metallers Enfeeble might still be a bit of a secret to the wider metal world but with new album Encapsulate This Moment they have made a potent statement which should grip a stronger attention. It is an album which arguably does not quite fulfil the open potential of the band and their blend of melodic and heavy metal with metalcore predaciousness, but certainly makes a potent impact and in hindsight a lingering lure which brings you back to its compelling confrontation time and time again. Wanting to find out more about the band we had the pleasure to ask guitarist Pascal (Baal) Stafflage and the band about the origins of Enfeeble, their new album, life for a metal band in their hometown, and much more…

Hi and many thanks for taking time out to talk with us.

Firstly can you tell us how the band and its members came together?

It was a few years ago in 2005…Luke was the singer of the school band and I was looking for a singer and guitarist for a new band. I asked Luke if he wants to start a band with me and he was excited directly. A drummer and bassist were found quickly and so we started as a small punk rock band. In the coming years we’ve had many changes on bass and drums. Since the beginning of 2013 we are the current cast.

Did you have any deliberate idea or direction for Enfeeble from the start?

Absolutely no…We started as a punk rock band (like Sum 41, Blink 182…) in 2005 and somehow we grew old and became some sort of metalheads with a little bit of punk rock influence. With the fast and harder music, we feel more comfortable.

You come from the Lingen in Germany. What is it like in the town and surrounding areas for a band trying to emerge?

Really bad to be honest…This whole area has a couple of metalheads but unfortunately most of them retain to a special kind of genre and it´s not our genre. Maybe it’s the country life here. We have no idea what it is. Therefore, we travel a lot around the country.

coverYou have just released your second album Encapsulate This Moment; how do you see the evolution of your sound to it from your debut full-length Too Ugly to Show it!?

We never really see the evolution ´cause we are right now in this process of evolving. But when you compare Too Ugly To Show It and Encapsulate This Moment you can hear that we have become more “metal” and try to improve our skills at our instruments all the time.

Did you approach the new release any differently to the previous album, whether through simply the experience of previously recording something or to achieve something specific?

We have changed the bass player, drummer, studio and attitude. So you can see…almost everything. The result is Encapsulate This Moment…A significant improvement.

With its strong blend of aggression and grooved endeavour, did you find yourself developing a broader bravery in your songwriting for the new album than ever before?

Of course… Almost every month we find new bands and therefore new influences. The songwriting is affected by this as well. And we try to sound unique as every other band to.

What were the biggest inspirations for the album musically and lyrically?

Musically it´s some bands like Killswitch Engage, Protest The Hero, Dream Theater or Threat Signal.

The lyrics were also created by experiences of everyday life.

How does the songwriting process work within Enfeeble?enfeeble3

We got some different ways. Either we play all together and discuss every part and the arrangement. Or Baal writes a song and we refine just a few parts or Baal and Luke sit together on a weekend locked up from the world only surviving with pizza, beer and energy drinks.

Did you find the tracks developing new characters during the studio process or stayed pretty much as intended going into the situation?

We worked together with Jörg from Soundlodge studios and he gave us some of his advice and we rewrote some parts. It was a very inspiring and enjoyable time with Jörg. We learned a lot and had good experiences.

The album has an invigorating rawness to its breath; did you do anything in particular to encourage this aspect?

Luke has a raw natural voice. No fake – All original. Maybe if he starts with smoking and whisky drinking, he becomes the new Lemmy. Just a little big joke :-) Honestly we would not change much on the vocals. Only improve, not change.

Was anything learnt during recording Encapsulate This Moment which surprised you and will be taken into your next release?

Less is more! Some parts, where we have had some double bass and blastbeats are now a standard rock beats. But in the mix it sounds a lot heavier. That was an important experience for us.

For us it is the title track to the album which gives us thrilling chills, is there any moment or essence of the album which gives you extra satisfaction?

Maybe it´s A Million Voices, because the song is really complex in itself and it’s always fun to play it. But also As We Were Like Shadows ´cause it has a personal story and Luke has sung it so fucking beautifully that Baal was crying in the studio. (Beautiful bastard).

You have a strong reputation for your live performances, a different proposition to the studio of course but do you think you captured that same intensity and honest raw quality on the album also this time around?

We guess not. We are always a bit nervous on stage but we believe that we also therefore play with so much energy.

Talking of shows how is 2014 planning out so far for the band ahead?

We already have some confirmed dates. However, we continue to search for new performances… Also internationally. Current dates are always on our website http://www.enfeeble.de

Back to Encapsulate This Moment; tell us about the striking artwork for the album.

We had the luck, to work together with Björn Goosses of Killustration. We had an artwork in our minds but his suggestion (what he thought when he thinks of Encapsulate This Moment) was just perfect for us.

enfeeble 2What comes next for Enfeeble other than shows?

We are working on new songs for the third album. We want to hit the studio in the beginning of 2015. Maybe by then we have found a label who wants to work with us. That would be a dream come true.

Thanks once again for chatting with us, any last thoughts or words you would like to finish with?

Encapsulate all your moments! And thanks a lot for the interview.

https://www.facebook.com/EnfeebleOfficial

Read the review of Encapsulate This Moment @ https://ringmasterreviewintroduces.wordpress.com/2014/03/07/enfeeble-encapsulate-this-moment/

Pete Ringmaster

The Ringmaster Review 27/03/2014

Copyright RingMaster: MyFreeCopyright

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Madder Than A Full Moon Dog DVD

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     Lunacy, mayhem, and most of all a celebration of heavy metal and of a lost brother to the genre, Madder Than A Full Moon Dog is one of those films and experiences you come out of feeling you were there and part of something special. Filmed at the UK’s Full Moon Dog Festival in 2012, the DVD throws sweat, noise, and passion at the senses, all rolled up in the love of one of metal’s charismatic frontmen.

     Held at the Cockpit in Leeds, the 2012 Full Moon Dog Festival shows you via the film everything a major festival does not have, the intimacy and unbridled passion of the bands, organisers, and fans united in one purpose, music and celebration. Bringing a mix of live performances, interviews, and back stage antics, there is no selfish intent or endeavour to the occasion which in itself makes the event and film a refreshing encounter. Though not surprising, the affection for Jay-Jay Winter, one of the founders and vocalist/bassist of Asomvel, just fires up the emotions as the camera takes the viewer right into the heart of the festival. Sadly taken from the world in 2010 in a road accident, Asomvel and UK metal was hit hard by the loss of one of the most potent metal protagonists but picked themselves up with the presence of the man still by their side. The event celebrates and parties with his spirit as a host of bands and fans revel in his inspiration and the muscular arms of heavy energy dealing rock ‘n’ roll.

  Conan Asomvel  Directed by Deborah Louise Robinson, the Wienerworld released film also brings a rare and honest glimpse into the world of heavy metal, uniting those on and before the stage in a sinew clad rampage of passion drenched, fire bred metal. From the opening slice of the Asomvel track Full Moon Dog followed by their live performance of Stone Cold Stare, the film thrusts the viewer into live madness and back-stage tomfoolery. Across 83 minutes the likes of Orange Goblin, Mercenary, and of course Asomvel, amongst a great many, recall with relish their times and adventures with Winter to interviewer Rob Webb whilst Toby Craven-Griffiths takes his microphone into the fans for similarly celebratory anecdotes, proving that the man was one of us and a personal friend with so many of the attendees. Smiles and mischief are never absent from playing in front of the camera either, and not all alcohol fuelled, as people throw themselves into the show to eagerly relate their own individual meetings and ventures with Winter.

    The live footage is impressive and powerful, bands such as Stiletto Farm, the band of Winter’s nephew Stel, Mercenary, Dark Forest, Triaxis, Stuka Squadron, and Screaming Eagles unleashing all their sound and passion to enflame the fevered crowds. There are no weak moments in quality and energy from all performances but certainly some moments stand out as a lingering memory; the sight of seeing and feeling Asomvel unleashing Stone Cold Stare and Eliminator scorching air with We Rule the Night sending shivers down the spine whilst Orange Goblin uncaging Round Up the Horses just proves that British metal still rules.Stiletto Farm

   Hilarious, poignant, and thoroughly compelling, the DVD leaves you almost as exhausted as those involved and just as wholly satisfied. It is an outstanding insight to a small and important festival, to the weight and potency of British metal, and the comradeship of its creators lost and present. Not many live DVDs/films truly capture the essence and nature of the beast like Madder Than A Full Moon Dog, which makes its masterful and no holds barred look at the heart of metal even more irresistible and an urgent investigation for all metallers.

http://www.madderthanafullmoondog.com/

Live performances track listing:

· “Full Moon Dog” – Asomvel

· “Stone Cold Stare” – Asomvel

· “Death before Dishonour” – Stiletto Farm

· “Black Shadow” – Mercenary

· “The Wizard of Alderley Edge” – Dark Forest

· “Stand for Something” – Orange Goblin

· “We Rule the Night” – Eliminator

· “Drudgery” – Asomvel

· “Black Trinity” – Triaxis

· “Round Up the Horses” – Orange Goblin

· “Tales of the Ost” – Stuka Squadron

· “Blow Me” – Screaming Eagles

· “They Come Back” – Orange Goblin

· “Womb to the Tomb” – Asomvel

Spirit of Jay-Jay

http://www.amazon.co.uk/Madder-than-Full-Moon-Dog/dp/B00CQO9YMS

RingMaster 21/03/2014

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Kirk – Masquerade

 

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   It has been around eleven years since Swiss melodic metallers Kirk impressed and brought a fresh creative punch through their acclaimed debut album The Final Dance, time which saw the band take an extended break due to internal changes and other projects. This week sees the band return with sophomore album Masquerade to not only make up for lost time but to bring another thrilling and invigorating adventure of their blend of melodic and heavy metal. The eleven track stomp is a captivating encounter destined to similar, even greater, acclaim and attention as its 2003 predecessor.

     Formed by vocalist Thomi Rauch and guitarist Sammy Lasagni in the latter part of the nineties, Kirk with bassist Daniel Pfister, drummer Vito Cecere, and Bruno Berger on keys alongside the founding pair, was soon building a formidable reputation for their sound and live performances. The Final Dance was excitedly received around Europe, North America, and particularly in Japan, whilst shows with the likes of Doro, Pink Cream 69, Axxis, and Shakra only enhanced their growing stature. With the departure of Cecere due to health issues and various members becoming heavily involved with other projects such as Decent Disaster, Godiva, Dr. Crankenstein, and In your Face, the band went on a hiatus. 2010 though saw the year the band reassembled with Philipp Eichenberger taking the vacant sticks position and soon songs began to flow once more within Kirk. Entering the studio with producer Dennis Ward (Pink Cream 69, Unisonic, Khymera), who also produced the band’s debut, the quintet set to work on their second full length, a release which grips with a craft and contagious adventure which can seduce any kind of metal wants.

     The Mausoleum Records released album sidles up to ears with the whispering first touch of Devil’s Claw, a glancing coaxing KirkMasqueradewhich is soon thrust aside by persistent rhythms, hungry riffs and rising melodic atmospheres bred by the keys. The strong start is soon accentuated by the rich tones of Rauch, the singer continuing to impress with more potency as the album progresses. The repetitive eager prowl of the song is the strongest bait of all, which the vocals and guitars swing from with confidence and enterprise. It is not the most dramatic start to a release, or a song which lingers that long after its departure but certainly it makes for an infection clad welcoming which is vivaciously matched by the next up Supersonic Speed. The second song bounds in on a rhythmic stomp which continues to invite as guitars and keys expel their weave of sonic and melodic temptation, whilst emerging grooves to its second half alongside a flaming solo coax the track to another contagious level.

    The title track follows and instantly has the imagination and appetite on greater alert, the almost wanton air of the opening hooks and riffs an insatiable lure eventually tempered by an equally absorbing melodic walk of vocals and emotion. The song continues the evolving rise and success of the album, so far each track outdoing its predecessor, a progress which takes no deviation in course with the arrival of the excellent Eternity. It cups the senses with a ballad like embrace initially, Rauch and the keys of Berger providing an evocative narrative to immerse within, though simultaneously there is a brewing intensity and drama stalking the song aligned to an increasingly anthemic rhythmic march. The prospective dark shadows never come to real fruition but the song certainly deepens its hues and passion with striking textures and darker melodic colours and once into its stride, it creates an appealing mix which you could describe as Dream Theater meets The Mission.

    Fight Or Die Music is a towering prospect from its first breath and soon confirms its might with carnivorous riffs and potent vocals which carry their own personal snarl in league with ravenous beats and a commanding sonic seduction. It is the unashamedly anthemic charge of the chorus which seals the deal, it along with the previous song raising a new pinnacle for the release.

    The album fluctuates a little from here on in but even where songs fail to secure the same depth of reaction they have plenty to induce full satisfaction, as with Nothing Else But Lies and Tragedy, the first a contagion of unsurprisingly but virulently persuasive melodies and group vocal coaxing and the second a flight of smoothly embracing vocals and keys painted melodies skirted by a great cantankerous throat to the bass and rapaciously grunting riff rubs. Neither ignite the air as previous songs or in between them the outstanding Time, but each still leaves full enjoyment. The song they book end is a thrilling waltz of sound and energy, an almost folkish breath playing with thoughts at times whilst its voracious intent recruits limbs and neck muscles with ease whilst the little additives like the deeply masculine backing pokes of vocals, icing on a flavoursome sonic cake.

     The final trio of songs cannot match the first two thirds of the album, though again there is more than enough to draw frequent returns even if they lack the spark and trigger to greater things. Face In The Crowd is an undemanding and resourceful romp whilst The End Of The Universe offers a slower evocation of drama and emotion, both allowing a final slice of unbridled rock ‘n’ roll to be offered by Fallen Angel, it a feisty slab of heavy metal and rousing sinew built rock.

     Masquerade is a stirring march which for the main captures the imagination and lights the energetic boisterous heart in us all. It is like Kirk has never been away, though the experiences and maturity grown over the past decade in its members has led to a new plateau for their presence.

www.facebook.com/KirkSwissMetal

KIRK is on tour this March 2014 with The Poodles & Crystal Ball @

14.03. Milano – Blue Rose Bresso

15.03. Torino – Audiodrome

16.03. Nürnberg – Rockfabrik

17.03. Pratteln – Z7

18.03. Augsburg – Spektrum

20.03. Ludwigsburg – Rockfabrik

21.03. Obermarchtal – Kreuz

22.03. Oberhausen – Helvete

23.03. München – Garage

8/10

RingMaster 07/03/2014

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Enfeeble – Encapsulate This Moment

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    Proving a mixed bag of adventure which thrills just as openly as it raises uncertainties Encapsulate This Moment, the new album from German metallers Enfeeble, is an encounter which deserves to be investigated and allowed to offer its certainly distinct persuasion. At times the album exhilarates and has you almost running to share its promise and potency but at other moments the album just as easily has you flirting with frustration. There is no question of the thirteen track blend of melodic and heavy metal with metalcore predaciousness being a bad album just one which either does not see or simply ignores its actually quite compelling potential.

    Formed in 2005, the Lingen quartet has built a fine reputation within the German underground scene without not yet breaking through to wider climates. 2007 saw the release of their debut album Too Ugly to Show it! whilst the band continued to draw and excite live audiences with their sound and stage attack. Now almost seven years on the foursome of vocalist/guitarist Lucas Brinker, guitarist Pascal Stafflage, bassist Klaus Boven, and drummer Christopher Grüner stand poised to venture into a wider landscape with Encapsulate This Moment, a release which just might achieve that intent though not as forcibly and potently as it might have.

    From the elegant and appetising melodic Intro, the album explodes into an initially thrash spawn metallic onslaught as ShockEnfeeble - Encapsulate This Moment - Artwork Me unleashes its fury upon ears and senses. It is a tremendous ravishing which gnaws and smothers the senses as the insidious hardcore squalls and toxic growls of Brinker, aided by those of Stafflage, prey on the psyche. Entwining less intensive moments for brief respite within the voracious tempest, the song shows the imagination and craft of the band, their spirals of sonic endeavour catching the eye within a rhythmic provocation and passionate causticity driving the attack. It is an outstanding start raising great hopes and anticipation for the rest of the release.

    Those reactions are soon offered contrasting doubt through the following Personage Collapse, though its opening persuasion is impressive enough to match its predecessor. It is when the clean vocals venture into view that things take an unexpected detour. Vocally the harsh abrasive deliveries are outstanding on the album and never put a foot wrong but the clean delivery is not of the same breeding. There is not anything excessively wrong with the cleaner deliveries and certainly in a group union they work well but they just do not fit in the landscape of the songs, feeling out of place and a constant anti-climax which at times transfers to the rest of a track’s aspects. The song itself provides impressive twists of invention and persistent skill but is sabotaged by that side of the vocals ultimately.

    Both Flashedever and Cavity Door brings things back on course if without matching the opener, the first stalking and enticing with acidic grooves and predatory riffs before uncaging a hardcore abrasion which riles up the passions into a greedier appetite. With bulging rhythms and thunderous riffery aligned to similarly oppressive intensity, the track roars and lurches with pleasing results, the vocals equally as resourceful and positive in their suasion. Its successor goes straight for the jugular from the start, brawling vocals and threatening rhythms driving hard whilst the cantankerous riffery sprawls over and sears the senses. It is an uncompromising and pleasing blaze which works at very angle apart from again the clean vocals which this time only make brief contributions to leave no lasting interference in the song’s success. It should be noted that the use of the cleaner delivery is a good idea and contrast in the songs but just needs a more accomplished vocalist in that style and Brinker sticking to the dirtier side of the suasion which he is unrelentingly impressive at.

    The following Cries is a fierce punk bred slice of metallic savagery which has flaws but generally works with great guitar craft and rhythmic viciousness whilst the short instrumental The Last Night Before provides a peaceful beauty which maybe is unsure of its purpose in the passionate scourge of the album but reveals more of the imagination and adventure of the band in thought and songwriting. Its calm is soon consumed by the unbridled severity of Reality Loss and the exhausting malevolence of Agony Revenge, the pair rippling with guitar invention and sonic potency which is unafraid to surprise and intrigue but both caught by the same kind of doubts. Neither have that spark either to set them aside of the rest but still impress and cement the belief that Enfeeble is a band with the potential to leave us open mouthed.

     The Creation and A Million Voices next provide masterful if not exactly explosive bait for the senses before stepping aside for the best track on the album, False Faith. Immediately prowling and courting the senses with the confidence of realising its majesty in the scheme of things, the track provokes and incites with an antagonistic jaw of sonic grazing and rhythmic battering whilst vocally Brinker unleashes rabidity to his attack which is as riveting as the sounds around him. It is a mouthwatering piece of invention and passion where even the clean tones work perfectly and keys seduce from within the torrid fire of the aggression. The song easily show the lost opportunities elsewhere which does not help the album’s cause but also shows why we suggest despite our issues with them, that Enfeeble is a band all should make an acquaintance with.

    Encapsulate This Moment ends on the ballad As We Were Like, a song which is simultaneously raw and majestic whilst Brinker like raising a middle finger to our previously grievances excels in his heart felt delivery, clean notes soaked in emotion matching the beauty around him. It is a fine end to a good album which could have been better, but one easy to spend plenty of time with. Enfeeble is a definite force in the making with just some retuning needed to take them to the next level.

www.enfeeble.de/ENFEEBLE/Start.html

7/10

RingMaster 07/03/2014

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Wild Throne – Blood Maker

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Photo Credit:
Ryan Russell

    There are times when an introduction to a band smacks you dead centre in the face and stops you in your tracks, one fine example being the debut EP from US band Wild Throne, only they additionally rip open your torso with great scything riffs and gnaw your insides with rhythms carrying more voracity than a rabid predator. The three track onslaught is much more than mere aggression though, lethal melodies and impossibly captivating sonic imagination just as greedily at work as the release provides an early major statement for 2014. Blood Maker is a dramatic entrance from a band destiny will have a lot of time for you suspect on the evidence of their impressive tempest.

     Though the debut release from Wild Throne, the band have since 2009 already been crafting and honing their striking blend of progressive rock and melodic metal under original name Dog Shredder. With a couple vinyl EPs and numerous tours and shows with the likes of Dysrhythmia, Melt Banana, Kylesa, Marnie Stern, Helmet, and Black Cobra under their belt, the trio of Josh Holland (guitar/vocals), Noah Burns (drums) and Jeff Johnson (bass) have evolved into Wild Throne and announced this new chapter in riveting style. Recorded with producer Ross Robinson (At The Drive In, Machine Head, The Cure) after the band completed a US tour with Red Fang and Helms Alee, the EP declares the Bellingham, WA trio as not only a proposition to watch very closely but one to devour hungrily right now.

    The Brutal Panda Records released EP smuggles all of its ready to erupt creative armoury into the imagination through the BloodMaker_1600opening rhythmic intrigue of The Wrecking Ball Unchained, the coaxing dramatic beats of Burns, soon aided by the expressive potent vocals of Holland, hypnotically distracting the senses. It is a transfixing start which belies the lying in wait tempest which soon has its moment and bursts through the ears in a torrential storm of invention and passion. Riffs and rhythms stalk and incite with determination and skill whilst the bass of Johnson adds a throatiness which only further seduces but it is the fiery inventive sonic flames and twists Holland also unleashes alongside his stirring vocals which cement the captivation. It is a powerful almost tempestuous engagement with plenty to justify the comparisons to bands such as The Mars Volta, Helms Alee, and These Arms Are Snakes, Wild Throne has drawn, but also in many ways we would add Manic Street Preachers in their early days, Black Tusk, and Muse for various aspects and essences which expel their bait throughout the tremendous track.

     Ebbing and flowing like a tidal wave of energy and emotion, the opening majesty is soon equalled in presence and depth by Shadow Deserts, a track with an acidic call from its first breath aligned to another pulsating bass growl and rhythmic agitation. Like its predecessor, the song’s start is the perfect set up and doorway into the immediately following tsunami of passion and intensity. The celestial, bordering ethereal, ambience and vocals add another avenue to explore within the rage whilst the earnest vocal squalls and compelling punk fury of the track skirted by further melodic imagination and classic metal exploration, simply enslaves an already feistily hungry appetite for band and EP.

    From the exhausting and searing heat of the second song, the title track takes over and instantly opens a fiercer acrid vat of sonic exploration and senses searing enterprise. More At The Drive In than Mars Volta with a toxin of psychedelic vitriol to the expansive and unbridled fire of guitar and vocals, the track is a breath-taking plunge into rapacious creative rabidity and exhaustive passion. The song smothers and permeates every synapse and cell with an irresistible contagion and alone brings an intense spotlight upon the band, which the other songs of course only inflame.

    Blood Maker will not be the first time that Wild Throne leaves people opened mouthed you can be quite sure of that, but it makes a very important and exhilarating base to explode further from.

http://www.wildthrone.com/

10/10

RingMaster 06/03/2014

Copyright RingMaster: MyFreeCopyright

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Kayser – Read Your Enemy

 

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    With a sound as cantankerous as it is compelling, Swedish metallers Kayser unleash their third album, Read Your Enemy, an encounter primed to ignite the imagination and emotions. Sculpting a tempest of modern metal with a thrash/heavy metal breeding, the band reaffirms their presence in a land of generally more blackened and deathly exploits. Released via Listenable Records, the album is a thoroughly riveting blaze of rapacious energy and invention which simultaneously sounds familiar and new as it stirs up the passions.

   Kayser was formed in 2004 by vocalist Christian “Spice” Sjöstrand (ex-Spiritual Beggars, ex-The Mushroom River Band), guitarist Mattias Svensson (also The Defaced), drummer Bob Ruben (ex The Mushroom River Band), and guitarist Fredrik Finnander, and were soon grabbing attention with their raucous live performances and equally muscular sound. Their second year saw debut album Kaiserhof followed in 2006 by The Good Citizen EP and second album Frame The World…Hang It On The Wall, all well-received and bringing greater attention upon the band in a time which also saw a change in personnel. With a line-up of guitarist Jokke Pettersson (ex-Poseidon) and bassist Emil “Ewil” Sandin alongside Sjöstrand, Svensson, and Ruben, the Helsingborg quintet has continued to build and expand their reputation and sound, shows with the likes of Volbeat, Blinded Collony and Ektomorph across countries such as Germany, Belgium, Italy, Netherlands, Switzerland, and Czech Republic increasing the intensity of the spotlight growing upon them. Read your Enemy is the next formidable venture in their strong ascent, a proposition which cements the band as one exciting provocateur of intensive metal.

    The album takes little time in seizing control of ears and attention, the entrance of opener Bark and Bow an enticing single KayserCoverguitar beckoning soon immersed in a brewing ominous atmosphere. Whilst it is taking hold riffs are revving up their engines to strike from within the embrace in tandem with firm rhythms. Now into its forceful yet restrained stride the track is soon graced by the great grizzled clean tones of Sjöstrand, his delivery expressive and intimidating to complement the similar attentive sounds. This eager charge is insatiable until wonderfully tempered by a breath taking melodic moment wrapped in acidic flames before reasserting its full fire again to mesh with the distinct skill of the guitars. There are many comparisons laid alongside the band but as this and subsequent tracks toy with the imagination thoughts of Bloodsimple are the strongest.

   The excellent start is soon surpassed by the brilliant Bring Out the Clown, an insatiable rampage of thrash and heavy metal with a plethora of groove metal temptation. With rhythms taking chunks out of the senses whilst again Pettersson and Svensson savage and seduce with every note expelled, the encounter ignites body and soul with its contagious toxicity, a virulence shared by the following I’ll Deny You. Again its presence is a towering pressure and presence which baits its weight with infectious grooves, bold hooks, and submission stealing rhythms, all under the leadership of the continuing to impress narrative of Sjöstrand. Unafraid to twist its body with a feminine wantonness, the track easily sets a new plateau for the album from its already lofty heights.

    Dreams Bent Clockwise steps up next, immediately chewing the ear with its hungry riffs and crisp rhythms. A core groove soon has its claw into the psyche and passions, the band using its drilling to wrap melodic endeavour and fiery sonic spite around the imagination and though the track is unable to match its predecessor, it still leaves an awakened appetite for the album hungrier. The mid-way slip into a tender melodic passage does cause eye brows to rise; it is a surprising and accomplished move as well as very enjoyable but the transition does not quite work to leave uncertainties which the song admittedly overcomes with ease.

     The tile track thrusts the album back to its highest peak straight after, its predacious rabidity in riffs and rhythms matched by the vocal assault and the emerging carnivorous throatiness of the guitars and their ravenous presence. The diversity within songs and the eagerness of the band to raise a middle finger to predictability ignites the imagination as well as the songs themselves, this track one prime example as it excels and bloats satisfaction with every scything chord and fascinating idea. It is an enthralling trait which Almost Home employs next to the full too, the blend of melodic flames and bestial intimidation a senses and thought engulfing tempestuous adventure.

      It is unfair to say that Read Your Enemy is an album of two halves but certainly from here on in the release fails to live up to what came before though much is down to the quality of the earlier songs and not the lack of invention and craft in the latter stages, as shown by Where I Belong and He Knows Your Secrets. The first of the pair seduces and plagues the ears alternatively with skilled suasion and animosity but lacks the spark to really turn on the passions whilst its successor lays down appealing grooves and heavy duty aggressive riffery but again is unable to spark the same greedy desires.

    Nevertheless the album continues to feed and hold a keen attentiveness as the likes of the combative Forever in Doubts and the similarly feisty Carve the Stone expel their particular contentious. Using these two as an example, the uniqueness which marks out the earlier songs seems missing whilst the tracks have a relatively similar presence, certainly on the surface layers of their presence. The final two captivating tracks, Roll the Dice and The Fake Rose, are much the same but as all still provide a stormy treat which suffices the hunger, the skill of the band individually and united mouthwatering. To put the difference into context, every part of the album leaves most other recent releases from heavy metal cored bands pale in comparison, just some songs more potently than others.

     Wrapped in fine artwork from Timo Wuerz, Read Your Enemy is a transfixing adventure feeding any wants and though arguably it could have been even better, maybe a modern classic, it is close enough to thrust Kayser to the frontline of modern metal with a traditional heart.

http://www.kaysertheband.com/

https://www.facebook.com/Kaysertheband

8.5/10

RingMaster 04/03/2014

 Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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