Shotgun Justice – State Of Desolation

SJ_RingMaster Review

State Of Desolation is the debut album from German heavy metallers Shotgun Justice, a band which for the past decade has seemingly become a potent live force in their homeland. That is easy to understand given the potential to explode the songs making up their first full-length have, though it is a spark that is frustratingly unrealised across much of State Of Desolation. Nevertheless the album is an intriguing proposal which, without ever lighting that fire, keeps drawing ears back with its intriguing array of flavours and to see if so far reserved but satisfied reactions can change.

Formed in 2003 by drummer Tobias Groß and guitarist Erik Dembke, Shotgun Justice’s sound is bred in old school heavy metal but as keen to infuse spices from varied essences from thrash to hard rock into its exploits. As shown by State Of Desolation, at times it is a richly potent mix and in other moments missing the mark, certainly for personal tastes, but it is an adventure which lures intriguingly keen ears.

With vocalist Marco Kräft, bassist Tom Schubert, and guitarist Kai Brennecke alongside Groß and Dembke, Shotgun Justice start that adventure in their album with Proclamation Of War; a portentous instrumental with vocal samples setting the theme before Blood For Blood takes hold of ears with its antagonistic riffs and rhythmic swipes; them all carrying an edge of intimidation. The entrance of Kräft vocals sparks some agreeable hooks as the song relaxes its menace a touch, though bass and drums still prowl with force around the unspectacular yet inviting hard rock/metal body of the song. It is a strong start to the album elevated by some inventive twists and turns exposing their bait later into the encounter.

ShotgunJustice-StateOfDesolation-frontover_RingMaster ReviewThe following Blessed With Fire similarly has all the right ingredients to grab attention but not the last essence to leap into loftier success though with its rhythmic rumble and growling riffs, there is no inclination to pass it by before its end. A touch of ArcticFlame frequents the song and reappears in its successor Nothing Left To Fear, a predatory proposal of a song with attitude to its courting of ears and fire in its sonic belly, each additionally blessed with some deliciously spicy grooves. The track soon outshines its predecessors; its thrash meets classic metal nature an instinctive incitement for involvement before Nemesis (A Global Killer) offers its power fuelled balladry for easy consumption. Schubert’s bass is a great dark rumble in the song’s lining whilst Kräft leans on his vocal strengths to portray the emotive narrative though sadly the addition of operatic female just does not work for these ears at all.

The Scales Of Justice wraps ears in its fine suggestive sounds next, sparking ears and thoughts alike with its percussive lures and wiry guitar persuasion, though harmonies in the background lay less enjoyably on ears. It is a potent hint for the imagination though leading right into the rawer jaws of Head Full Of Bullets. Teasing with its low key but provocative entrance, the song is soon charging with thrash spawned nostrils flared as rhythms smacking its robust flank. At its centre a blues induced calm comes over the track to further engage an already keen appetite for the song, its previously urgent charge now another predatory stalking beneath an anthemic vocal call.

Things get more adventurous and unpredictable from hereon in on the album, and equally more fascinating and tempting. Firstly Forsaken steps forward with a tapestry of cosmopolitan rhythms aligned to a sultry Asian vocal lure, the bass walking around them with a brooding tone to its strings. It is a great start which continues as guitars spin their exotic web and vocals find new flavour to their delivery if also a little bit of waywardness in trying to compliment the impressing sounds around them. As the track continues to expand its theatre and thrills it takes best track honours with ease.

The heavier bones and weight of Harvest The Storm takes over to explore its own progressively natured trail of vocal diversity and tenaciously inflamed imagination. At times an aggressive torrent of provocation and in others turns an evocative melody thick calm, the song is a compelling tempest which as its predecessor, reveals a potential and boldness suggesting greater things ahead that is missing in the earlier part of the album.

Ending with its similarly impacting title track, it is fair to say that State Of Desolation is a volatile proposition in its strengths and qualities but a release which certainly across its final quartet of songs leaves a great taste in ears and enjoyment. Though over a decade as a band, Shotgun Justice still feel like a work in progress but as suggested by Forsaken alone, moving in the right direction.

State Of Desolation is out now via Kernkraftritter Records.

http://www.shotgunjustice.de/   https://www.facebook.com/shotgunjusticegermany

Pete RingMaster 27/01/2016

Copyright RingMaster: MyFreeCopyright

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Reapers Riddle – The End Is Nigh

RR_RingMaster Review

If you are ever looking for some highly enjoyable and fiery rock ‘n’ roll with the muscle to snap bone, than Australian rockers Reapers Riddle is always a potent port of call. Previous EPs and singles have persistently proved the fact but fair to say the Perth band has simply outdone anything which came before with debut album The End Is Nigh. The twelve track adventure sees the band push their fusion of metal and heavy rock to new imaginative and bold heights; each encounter within its apocalyptic walls a singular protagonist within an overall emprise that forcibly grips ears and imagination alike.

Emerging in 2009, Reapers Riddle quickly whipped up attention with the release of a self-titled demo that same year. It was the A Touch Of Death EP two years later which opened up broader interest and appetites outside of their local scene though, the internationally acclaimed release stirring up the underground across the globe with just as wide radio play. The following period saw line-up changes and shows with the likes of The Getaway Plan and Misfits before the single Drop, and its video, revealed the bold growth and invention which had brewed in the band’s sound over the same period. Second EP Game Over only confirmed and pushed the band’s growing stature as well as an imagination which The End Is Nigh now reaps.

From the portentous Intro and its alluring dawning of the end, the album initially seduces ears with melodic tempting and melancholic ambience as Disintegrate brews up its subsequent roar. As much a statement on today as the first chapter in the album’s darkly prophetic theme, the track is soon swinging across the senses with ravenous riffs and robust rhythms with the recognisable and potent growling tones of vocalist Clayton Mitchell expressively colouring the emerging landscape. Guitars, led by the sonic prowess of Kristen Sanfead, burn the air as they flame with heavy metal and melodic rock enterprise, searing across the rugged rhythms prowling ears in turn.

Cover_RingMaster ReviewIt is a powerful beginning to The End Is Nigh matched by War on Indulgence and surpassed by the album’s title track. The first of the two rumbles and grumbles from the off, the bass of Jason Edwards a grouchy predation against the sinew swung beats of Andrew Burt with guitars again bringing a creative and inventive fire to scorch the hefty prowl of the song. With vocal diversity adding to the bestial weight and tone of the encounter, the track is a well-crafted mix of contrasts quickly over shadowed by its successor and its groove spun creative theatre. Vocals flirt and excite ears early on, again imaginative variety adding to the enticing spice of guitar and arousing bait of rhythms. At times the album is like a ‘rock opera’ with, as in this magnetic treat, the narrative’s drama as much as anything leading the inventiveness on show.

Rise of the Macchina slowly comes to life next, its compelling air and body rising to its steeled feet in predatory manner as an industrial air smothers monotony lined rhythms and their automated suggestiveness. With Mitchell again mixing up his delivery impressively, the incitement blends predacious roams with vociferous roars, the resulting a track which again leaves body and emotions hungry for more.

A shuffle of tenacious rock ‘n’ roll provides the heart of Welcome to the Wasteland, the stomp a celebration in the barren climax of all with riffs and rhythms rabid inciters wrapped in sonic revelry. A party at the end of the world, the exhilarating arousal makes way for the bluesy toxicity of Write of Passage. Swaggering in, clothed in tangy tendrils of guitar and carrying a devilish vaunt to its attitude and voice, the song is like the carnival barker at the end of days; the doorman to hellacious landscapes welcoming and intimidating in equal measure.

Those suggested hostile outcomes emerge as Valley of the Damned next, a thumping cascade of ravenous rhythms and gnarly riffs descending with merciless appetite upon ears, each clutching and clawing at the senses. Mitchell’s voice along with spicy sonic endeavour tempers the carnal heart of the track, merging with its antagonistic energy to spawn another invigorating rock ‘n’ roll anthem before the sobering croon of Last Breath envelops the imagination. A reflectively provocative smoulder of imposing shadows and melancholic angst, the song is a tantalising affair just as potent bursting into emotion fuelled cries becoming more captivating and irresistible with every listen.

Hollow is a heavy metal romp which at times lacks the punch of its companions but in other moments has body and voice fully involved in its brawly fun. Think Misfits sings Black Sabbath with an eager smile and the song will thickly please before it is forgotten in the might of Dying Breed, and alone the rhythmic enticement of Burt. Turning out to be as primal a predator as anything on the album, the track swings and roars as it enslaves, taking the listener on a boisterous canter lined with easy to devour hooks bred from unpredictable imagination; simply Reapers Riddle at their dynamic best.

Every album should have a song which puts the cat amongst the pigeons of expectations and closer Tnaryt Esir is just that. A theatrical exploration in its own right, the song opens with soaring classically honed female vocals which are soon replaced with darker gothic tones as rhythms engagingly skip along. Featuring Darkyra Black and Sophia Marie, the thirteen minute offering entwines rapacious heavy rock and a varied mix of metal to match the mix of tyrannical and engagingly enticing vocal delivery on offer. It challenges and fascinates, and though an undulating success in personal tastes at times across its unconventional soundscape it only breeds a want to explore deeper which in turn only leads to thicker pleasure found.

Reapers Riddle is ready to make a global impression with The End Is Nigh and show all just how good they are.

The End Is Nigh is available now through most online stores and @ http://reapersriddle.bigcartel.com/products

https://www.facebook.com/reapersriddle

Pete RingMaster 21/01/2016

Copyright RingMaster: MyFreeCopyright

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Desert Suns – Self-Titled

Desert Suns band photo_RingMaster Review

Released in the Autumn of 2014, the self-titled debut album from San Diego quartet Desert Suns gets its deserved official worldwide re-release this January through a special collaboration between Ripple Music and HeviSike Records. For those missing that original limited run of 300 copies on vinyl through Birmingham-based HeviSike , its return is the chance to grab one highly flavoursome slab of stoner bred rock ‘n’ roll.

Formed late 2013, Desert Suns quickly drew attention with their first single Burning Temples which was released in the January of the following year. Seven months later and their six track debut album confirmed the initial potency of sound and imagination within that early single in a fiery and immersive blend of stoner and heavy metal, psyche and blues rock. The band’s sound, as at times their lyrics and song themes, demands attention without the heavy weight of it ever becoming invasively imposing, and within the Tony Reed (Mos Generator/Stone Axe) mastered album provides a powerful invitation to the listener, if without really wanting to take no for an answer.

DESERT-SUNS---DESERT-SUNS_RingMaster Review

Artwork-Jimmy Ovadia

Burning Temples starts things off, an initial sonic static the bed for heavier rumblings and clamorous energies before one hefty groove grows from within the low key tempest. It relaxes with an elegant shimmer to its lure and melodic spice to its touch as the dark bassline of David Russell aligns to his quickly alluring vocals though the forceful and agile beats of drummer Ben McDowell subsequently raises the intensity as the guitars of Woogie Maggard and Anthony Belluto twist and turn with magnetic grooves and riffs. As the track becomes a contagious blaze enslaving hips, ears, and imagination, it is easy to sense Black Sabbath and Deep Purple inspirations at play, the music masterfully and voraciously ebbing and flowing in energy whilst providing a continuous full-on sultry temptation.

After the incendiary climax of the first song has ignited ears and keen involvement further, the following Space Pussy shows it is even more ferociously enflamed with quick sonic and melodic intoxication. Raw and seductive flames soon live up to the suggested salacious exploits and skills of the song’s protagonist, their intensive heat casting a vociferous smoulder in sound and atmosphere which almost has the senses woozy, though sinew swung rhythms and a great gnarly bass tone provides a rapturous temper to that cosmic inebriety smothering ears.

The blues infested rock ‘n’ roll tempest of Passing Through gets ears excited all over again, its feisty swagger courting a virulent catchiness driven by tenacious rhythms and swinging grooves matched by the Ozzy-esque vocal temping of Russell. The track is irresistible, taking a great first impression of the album up another notch with its flirtatious enterprise and anthemic dexterity of music and craft. As across the album, there is something familiar to the Desert Suns sound but a hue only adding to the lure of its bordering on mischievous revelry.

A breath is allowed to be taken by the blues croon of Ten Feet Down as ears feast on a new twist in the landscape of the release. Blues and country rock merge to serenade as harmonica and guitar colour a salty portrait of suggestiveness around it, all colluding for a magnetic encounter before Memories of Home portentously pulsates into view and unfurls a lumbering beast of a stoner/heavy metal fuelled proposition. A scent of Fu Manchu meets Electric Wizard meets Kyuss looms up within the tantalising proposal, whilst mellow and soporific textures unite with the ravaging torrents stirred up by grooves and a hungry energy to create another hard to resist confrontation.

Run Through My Roots brings the album to a compelling close, its atmospheric soundscape and pungent rhythmic suggestiveness the prelude to another forceful and heavyweight enveloping of the senses. Once more romancing calms are seductive oases amidst increasingly volatile eruptions and predacious outbursts, their mesmeric caresses breaking ravenous outpourings of sound and emotion as the track offers a fascinating end to a thoroughly enthralling and enjoyable release.

Second time around, Desert Suns is not to be missed and already thoughts are eagerly turning to what comes next from the band, where they have imaginatively ventured since the creation of their album two years ago.

Desert Suns is out now through Ripple Music in North America on CD and Royal Blue vinyl and on Beer Brown vinyl in the UK through HeviSike Records with digital copies @ https://desertsuns.bandcamp.com/

https://www.facebook.com/desertsunssd  http://www.desertsunsmusic.com/

Pete RingMaster 20/01/2016

Copyright RingMaster: MyFreeCopyright

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King Witch – Shoulders Of Giants EP

KingWitch_RingMaster Review

It looks like there is new sorcery in town and it comes in the shape of King Witch and their rich and thickly captivating sound. An Edinburgh quartet which only formed last year, they have provided one tasty introduction to themselves with debut EP Shoulders Of Giants, a three track roar of seventies heavy metal and classic rock with a more than flavoursome lining of stoner/doom lit rock ‘n’ roll to its body. Since emerging, the band has lured comparisons to the varied likes of Black Sabbath, Candlemass, Mastodon, and High On Fire, to which we would suggest Mount Salem and Blood Ceremony in varying degrees, but whoever is offered as a clue King Witch and their EP provide one exciting prospect and success respectively.

Consisting of vocalist Laura Donnelly and guitarist Jamie Gilchrist, both formerly of Firebrand Super Rock, alongside bassist Simon Anger and drummer Tam Dickson, King Witch has taken little time to awaken keen appetites and support for their fiery music. It is no surprise with Shoulders Of Giants, aside a well-received single, as their opening bait for ears. It has a creatively accomplished body and thick imagination which only sparks the thought that if things are this good at the start what a thrilling horizon is surely before us with them.

KingWitch-EP-Front_RingMaster Review   The powder keg of sonic fire and heavy brew of classic intoxication opens with its title track, Shoulders of Giants an initial shimmer with instant intensity and drama that only grabs attention and imagination. Gilchrist is soon spinning a web of melodic intrigue as the swiftly impressive voice of Donnelly blossoms in sound and narrative. Straight away she is a focal point but through the strength of the flavours and craft surrounding her soon the song as a whole is in command again, the rhythms springing a mix of anthemic intimidation over which the guitar casts a tonic of grooves which at times finds a Skids like tang. The track is a mighty start to the EP, full of striking textures and enterprise that alone needs numerous plays to fully explore with increasing rewards.

Full Moon King comes next, immediately seducing with its warm melodies and exotic air. The heat is raised in no time as grooves and bass resonance collude in tenacious revelry within the crisply landing frame of Dickson’s beats. The temperature and roar of the song is equally lit by the soaring tones of Donnelly but tempered skilfully by the melodic calms and elegant breezes which drift across the track’s enticing landscape between its skilfully stretched out dynamic crescendos. As much as the opener had attention eager, its successor has the appetite drooling before departing for the final track to make its claim on the passions.

As the others, the epic adventure of Lucid needs little time to entangle ears and emotional involvement in its heavy romance and sultry seduction. Vocals and spicy swathes of guitar simply caress the passions as the climate warms and boils with every passing second. Donnelly again shows her striking prowess with every syllable and musically the band theirs across very pluck of a string and swing of a stick. The finale is breath-taking, a hex all on its own bringing a thrilling release to a mighty conclusion.

There is no doubt you will be hearing a lot more of and about King Witch over coming months and with increasing acclaim and ardour if the Shoulders Of Giants EP is a sign of things to come.

Shoulders Of Giants EP is out now @ https://kingwitchband.bandcamp.com/releases

https://www.facebook.com/kingwitch   http://www.kingwitch.com

Pete RingMaster 07/01/2016

Copyright RingMaster: MyFreeCopyright

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

Bear Bone Company – Self Titled

BBC_RingMaster Review

We are always up for an artist letting their music do all the talking compared to others which spew suggestions of being the next best thing then bringing disappointment with a formula or uneventful sound, but there are some who go too far the other way and do themselves no favours by being as secretive about themselves as an orgy in a vicarage. One such band is Swedish rockers Bear Bone Company, an outfit with a sound which takes ears and body on an invigorating ride but keeps pretty much silent when it comes to self-promotion. With a stonking self-titled debut album recently unleashed via Sliptrick Records making a rich roar though things hopefully will become livelier for and with the band, a result the powerhouse of tenacious rock ‘n’ roll certainly deserves.

What we can tell you about Bear Bone Company is that they come from the Örebro area of their homeland, were formed in 2012, and now have a line-up of guitarist/vocalist B.K., bassist/backing vocalist J.Martin, and drummer Knauz. Their sound is a healthy blend of classic and modern heavy rock with spices of metal, and their first album is produced by Ronny Milianowicz (Dionysus, Sinergy, Saint Demon). More we cannot say but that is fine as the album is worthy of all the attention anyway.

bearbone-_RingMaster Review     It opens with Fade and instantly has ears entangled in a tasty groove within firmly probing rhythms. Bass and guitar only increase their individual lures as the song expands to embrace the impressive tones of B.K. and the rousing air of the song. As to be heard across the album, there is something familiar to the band’s sound, the likes of Theory Of A Deadman and Black Stone Cherry amongst a few brought to mind, yet as the song shows there is a fresh and rich edge which is distinctive Bear Bone Company, the outstanding Kiss N Tell swift confirmation. The second song enters on a grouchy rhythmic and spicily sonic stride, relaxing into a more recognisable prowl soon after whilst still retaining its initial irritated nature. The band crooned chorus offers additional Poison meets Velvet Revolver like revelry but it is the antagonistic side of the mighty song and its searing flames of guitar which stirs the imagination most.

Both the excellent Don’t Belong and the rigorously enticing Burkitt Lymphoma hold ears and attention tight, the first with a more controlled and even tempered hard rock character wrapped in fiery textures and enterprise and its successor through a steamy wash of guitar and again fearsome riffs. The latter though also slips into a more comfortable melodic prowess and catchy endeavour to keep its body unpredictable and fascinating. Once more major surprises are scarce but there is no escaping the sound is gripping and all Bear Bone Company.

The anthemic blaze of Down In Flames provides a stirring incitement next, B.K. as vocally strong and impressive as ever as the song stalks the senses and treats the ears with its bluesy intoxication whilst Bear Bone rocks like a predator in heat, grooves and riffs casting a primal rock ‘n’ roll swing as the bass venomously snarls. Both tracks hit the sweet spot before the predacious allure and presence of Way Back Home casts its sonic web over the imagination and by now a fully eager appetite for the release. Every track upon the album is in some ay a fire of anthemic tendencies, this one more of a smouldering pyre of enterprise which burns its way into the memory and a lingering appreciation.

Drinkin’ Time stomps with zeal loaded rock ‘n’ roll next, its easy presence not living up to what has come before yet still leaving satisfaction keen whilst Hangin’, another maybe promising more than delivering for personal tastes, strolls along with an infectious nature and accomplished body to easily please. Neither quite catches the imagination, though it again is just individual tastes involved, and both overshadowed by the emotive weight and call of Fallin’ Down. Its tangy grooves and persistent riffery is simply flavoursome bait alongside a similarly weighty lure of vocals, all spun around the potent rhythms of Knauz to strong success.

The final pair of songs upon the album add further tinder to its fire, Life’s About engagingly tangling classic rock and metal with soaring vocals and prowling rhythms whilst Suicide canters through ears with attitude soaking its intent and an inner fire fuelling its punk/heavy rock ‘n’ roll predation. It is a tremendous close to a rather potent and thoroughly agreeable encounter, an album easy to keep returning to and roaring along with to the neglect of others.

Hopefully the release and assumes success of the album will inspire Bear Bone Company to reveal more of themselves and even more so push their presence into the faces of potential fans as there are surely plenty of unaware heavy rock appetites waiting to be fired up by the Swedish trio.

The Bear Bone Company album is out now through most online stores via Sliptrick Records.

https://www.facebook.com/BearBoneCompany/

Pete RingMaster 12/11/2015

Copyright RingMaster: MyFreeCopyright

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Stone Cold Dead – Lava Flows

STONE COLD DEAD _RingMaster ReviewPhoto 1

Lava Flows is one of those encounters which grabs rigorously, cuts off all forms of escape and in turn plies you with intoxicating persuasion which leaves you woozy and desperate for more. The heavy weight groove fest is the debut album from Greek metallers Stone Cold Dead, a band entangling the richest essences of groove and heavy metal with those of experimental and alternative rock. The result is a virulent form of predatory rock ‘n’ roll which leaves a thick greed for more as ripe as the outright enjoyment experienced from its thrilling introduction to a band destined to great heights.

Stone Cold Dead is the brainchild of former Rotting Christ and Nightfall guitarist George Bokos, a project which is not so much a solo adventure but one luring the talent of equally experienced and innovative guests. The Athens hailing Stone Cold Dead gave a potent hint of the quickly impressing sound fuelling the album a few short weeks back with the release of the single Hubrism, a teaser which awoke intrigue and anticipation with ease band now proven to be just the one facet of a triumphant beast.

The first inescapable seduction of the album comes through the union of Bokos’ glorious baritone guitar enticement with that of Charis Pazaroulas’ (ex-Ostrobothnian Chamber Orchestra) irresistible bowed contrabass temptation. Both aspects are a theatre of invention and controlled rabidity, of creative attitude and expression colluding to create bestial stomps of fierce rock ‘n’ roll with an unrelenting appetite to devour and incite ears and imagination. That ingenuity alone makes Lava Flows a must investigation but add the majestic and fearsome rhythmic bait bullying and igniting the senses throughout , and you have a proposition which is pure metal alchemy. Split into three sections; Stone, Cold, and Dead, which “unfolds along the Cosmic Tree, which connects three different realities”, Bokos has given the three tracks in each part to a trio of exceptional drummers to drive, twist, and elevate the nature and personality of each movement within the album. Yannis Stavropoulos takes the first section, to be followed by Dimitrios (Vorskaath) Dorian, the multi-instrumentalist behind Zemial, and Nile drummer George Kollias respectively. It is an aspect to the release that just adds further formidable drama to the provocative journey of the album, a potency which makes more of a thrilling impact than was definitely expected.

cover_RingMaster Review     The album opens with Climbing The Cave and straight away it is prowling ears with sonic craft as a rhythmic rumble builds into an anthemic addiction. As becomes the diverse mouth-watering norm across the release, riffs nag and gnaw on the senses as quickly enslaving vocals and the jungle of beats from Stavropoulos descend to seduce and ravage the body. Like a mix of Bloodsimple, Killing Joke, and Black Tusk, the track swings its bait whilst drilling deeper in to the psyche with every torrent of rabid riffs and web of insatiable grooving. It is probably right to say our passions were hooked from this point, a submission ensured by the contrabass seducing of Pazaroulas but only confirmed time and time again across Lava Flows starting with Cyclone Speaking.

Instantly the second song is more bestial in the tone of guitar and bass, and strolling with an antagonistic gait soon drawing in melodically enflamed roars of sound and voice. Rhythmically things are another maze to explore and be willingly trapped by as the melodic tenacity of Bokos flirts and explores new designs and instincts within the bruising rock ‘n’ roll climate. As with its predecessor, swift submission and a lusty reaction from body and thoughts are given, a success found again by the album’s title track. Lava Flows, as its title suggests, smoulders and crawls from its first breath but around an already keen burst of rhythms which provide the spark for a subsequent sludge bred swagger as volatile in energy and hunger as it is immersive in weight and ambience. Pazaroulas again bewitches with his bow on strings whilst Bokos and Stavropoulos entrance as they turn limbs and neck muscles into their puppets.

An apt colder steely hue flows through the album’s Cold section, Death Drive preying on ears with increasing intensity and energy as a punk ‘n’ roll attitude and irritability runs through the song’s pulsating veins. The craft of Dorian has a more rock ‘n’ roll energy and swing to its attack which is translated in the sound around it, that in turn creating another strain of alternative and groove metal united in stoner-esque toxicity to grip ears.

Both The Black Snake and Hubrism transfix with their individual invention and natures, the first emerging on a tribalistic, mystique clad trespass breeding a caustically flamed swing of riffs and incendiary grooves. The perpetual niggling quality of both continues to make the juiciest irresistible bait matched by vocals, rhythms, and that contrabass and bass ingenuity, manna throughout the album. Here it creates an emprise of colourful melodic and sonic mystique within a net of addictive creative voracity whilst its successor is a more sinister and disentangled weave of voices and atmospheric intimidation crowded by a great irritant of waspish grooves and robustly dynamic rhythms. Once more songwriting and sound infests and twists the listener this way and that with startling invention and imagination, and though many elements are familiar there is no doubting they are employed and evolved into something rabidly fresh and unique to Stone Cold Dead.

The exceptional Deconstructing The Architect is the first offering in the Dead segment of the adventure, Kollias sculpting a wonderfully intrusive and anthemically invigorating wall of rhythms as the guitars open up their own net of inimitable and irrepressible imagination and craft. The body becoming a puppet to the strings of band and album is nothing new at this point but certainly strung out and sent into their biggest frenzy yet as the song builds into its Torche meets Mastodon meets Trepalium emprise of sound and temptation.

A shamanic scent opens up with the entrance of Umbilical Cord next, the guitar again spinning a sultry and exotic coaxing before the track erupts into its muscularly predacious and erosive glory, which itself is never absent of unpredictable and smouldering flavours from distant shoes and cultures. The track, as all, simply engrosses and thrills, a tempting emulated in the closing extensive exploration of And The Tree Becomes A Sphere, a travelogue of sound and inspiring hues in its own right that has ears and thoughts as enslaved as the emotions amidst a massive greed for more.

Lava Flows is real heavy groove woven magnificence for the ears, and even if others find themselves to be not quite as lustful in reactions as we found ourselves to be, Stone Cold Dead are still a big reward all should give themselves a chance of getting excited over.

Lava Flows is out now via digitally and on CD via Volcanic Music @ http://stone-cold-dead.bandcamp.com

https://www.facebook.com/StoneColdDead

Pete RingMaster 10/11/2015

Copyright RingMaster: MyFreeCopyright

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Harmorage – Psychico Corrosif

JF_016_HARMO_NB_RingMaster Review

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

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

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

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

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

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

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

Psychico Corrosif is available now

Pete RingMaster 03/09/2015

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