Forlorn Hope – Over The Hills

Providing not only a heavy metal bred roar but equally an adventure thick historical education, Over The Hills is the debut album from British quintet Forlorn Hope. It is a release borne of creative instincts, keen interests, and talent spun craft and an encounter which leaves you feeling like you are potentially looking in on the first chapter of a band destined to majorly flourish.

Hailing from Merseyside, Forlorn Hope gave notice of things to come with a self-titled first EP in 2018, a release which added to a growing reputation sparked by an impressive live presence which subsequently saw them perform at the Northern Symphony Festival and in the Merseyside heat of the national Metal to the Masses competition as well as earn support slots alongside Raven and Eleine. It is easy to see and expect the band facing far greater opportunities and acclaim in the wake of the release of Over The Hills; its blend of classic and heavy metal with other hues of goodness a rich and rousing temptation even for appetites right here which do not instinctively navigate to those particular flavours of sound.

A collection of tracks recalling stories of horror and heroism from the Peninsular War of 1807-1814, Over The Hills is as lead singer and rhythm guitarist Chris Simpson tells: “… a blazing, heavy metal tribute to one of the most fascinating chapters in military history. It represents the realisation of a concept several years in the making, and the culmination of countless hours of work.” Its intricacies and intensive endeavour align with meticulously researched lyrics and imaginatively layered sound alike yet equally each track provides an anthemic force echoing the heroic and blood strewn drama of that moment in history.

A melodically wired, suspenseful and familiarly toned Introduction leads straight into the majestic lures of Vive L’Empereur. Set around the rise and conquests of protagonist Napoleon Bonaparte, the track is as foreboding as it is captivating. Within its walls the guitar of Alex Bishop weaves a web of intrigue amidst fiery tempting as Simpson’s vocals potently narrate as throughout threat and enticement entangle, the track relishing the animated keys of Jade McKenna and the break out of group chants.

It is a magnetic full start to the album but quickly eclipsed by Rifles and its tribute to legendary British sharpshooters, the 95th Rifles. The rhythmic canter of bassist John Roughley and drummer Danny Kelly instantly consumed limbs and energy, Simpson’s vocal lead sparking throat and spirit while keys again stir the imagination as guitars connect all with their animated and skilfully cast riffs and threads.

As Talavera instils its own stirring presence and War in the Shadows springs its furtive yet incisive dynamics, ears and album continued to unite with keen appetite; the first a boisterous gallop with nostrils flared and melodic instincts inflamed upon a rhythmically driven charge and its successor a prowling and trenchant trespass thick with imagination entangling hooks and massive galvanic rhythms.

With their combined prowess proving seriously compelling, the individual endeavour and craft of the band is just as potent and at times seriously striking as proven yet again within the tenacious theatre of The Eagle Hunters and the vigorous anthemic assault of Die Hard, the latter unleashing a chorus and aggression sure to inflame any battlefield let alone venue.

The enticing way Forlorn Hope aligns fierce at times almost feral hostility with melodic fire and elegance is no better highlighted than within the tantalising Badajoz.  Its portentous calm before the storm beginnings is pure captivation and only reinvigorated by the musically interpreted oncoming assail on the city before Man of Secrets, Man of Honour shares a riveting homage to Colquhoun Grant; another track which freely manipulated body and vocal chords let alone imagination.

The pair of Masterstrike, with its own particular cauldron of sound and combat as well as an inescapable battle cry, and the equally dramatic Vitoria bring further ear enticing campaigns of persuasion to the album while the outstanding Over the Hills and Far Away provides a glorious melodic/acoustic fired finale and tribute to the lost and fallen, heroes and antagonists shared before it.

It is not quite the close of Over The Hills though as a great bonus in the shape of the song Forlorn Hope brings down the album’s dramatic curtain; it another moment when vocal roars and spirit driven contributions with its creators was inevitable.

Classic heavy metal is not generally the source of instinctive pleasure here at The RR but Over The Hills went down a storm from its first breath which tells all.

Over The Hills is out now @ https://forlornhope.uk/store

https://forlornhope.uk/home   https://www.facebook.com/OfficialForlornHope/   https://twitter.com/ForlornHopeBand

Pete RingMaster 02/08/2019

Copyright RingMaster: MyFreeCopyright

Spreading The Disease – Mindcell EP

From their very first single a few months short of four years back, the sound of UK metallers Spreading The Disease has been a contagious eventful trespass which has evolved almost by the song let alone release.  It has been a growth driven by creative drama and rich imagination which is now unleashing its fullest, most striking roar within new EP, Mindcell; five tracks of ravening ferocity wrapped in bold enterprise which confirms and further establishes the Kent hailing outfit as one truly individual and compelling proposition.

As its predecessor, the Insurrection EP released late 2017, was borne from a bolder step in the character and enterprise of the band’s sound, so Mindcell openly reveals another thick step in its blooming. Into the EP’s fertile and atmospheric asylum Spreading The Disease weave their richest web of styles and flavours yet; uniting the familiar and the adventurously unique in a tempest of sound which just demands attention.

Obsession opens things up, an initial sonic stand swiftly pulling in a tempest of noise, aggression, and vocal ferity. As barbarous as it is there is also an instinctive virulence to the assault which only escalates as the track hits its savage groove. The throat of vocalist Connor Russell Snyder is a fury of emotion and threat but equally an incitement of feral melody as the song breaks from its wild incursion into a voraciously catchy chorus. From start to finish the track is superb, the rhythmic blitz of drummer Jack Apell and bassist Steve Saunders, the band’s founder, as manipulatively resourceful as it is hungrily barbarous and entangled in just as magnetic and enterprising exploits from guitarists James Falconer and Martin Osbourne with each broadening their imagination by twist and turn.

The mighty start continues as Voices rises from sonic mist, the disturbed edge of its intimation fuelling and springing the controlled but hellacious surge of intensity which follows. It too is just a vehicle for subsequent imagination to emerge, dark calm and insecure vocal reflection crooning before erupting in its own bedlamic fury. That too is just a moment breeding another individual moment, the song a fluid patchwork of schizophrenic twists spilling pure magnetism from start to finish; it all crafted with individual prowess and emotive intensity.

The following groove metal swing of The Anger Inside is just as potently captivating, the track equally a bruising and harassing slab of nu meets death metal  soaked rock ‘n’ roll easily and quickly getting under the skin. Apell and Saunders steer the track through ears with sheer power and riveting guile respectively with the sonic cunning and causticity of Falconer and Osbourne similarly stirring and imposing.

Just as forceful and rousing are the vocal exploits of Snyder, their adventure no more potent than gracing next up Waves. Its gentle melodic lapping of the senses borders hypnotic, guitars and bass colluding in an alluring kaleidoscope of temptation before being urged into more caustic endeavour by the scything swings of Apell. Again there is a feral a quality to sound and song even within its mellow serenading and a progressively lined enterprise which adds to its increasing irresistibility and inevitable persuasion.

Conflicted brings things to a just as rich and potent close; the track opening with a groove which is as familiar as it is tempting. Soon though it’s untamed heart infests every emerging aspect, Snyder masterful astride its contagious trespass. To this at times, there is a hue of bands such as American Head Charge and Mudvayne but great essences soon devoured and reimagined by the viral exploits of Spreading The Disease.

Quite simply Mindcell is the finest moment to escape the creative institution of Spreading The Disease, one which should draw the spotlight it loudly declares the band deserves.

Mindcell is out now through Surgery Records; available from all platforms.

https://www.stdband.com/   https://www.facebook.com/spreadingthedisease.official/    https://twitter.com/stdmetalband

Pete RingMaster 16/04/2019

Copyright RingMaster: MyFreeCopyright

Hamerex – The Abyss Vol. 1

The Abyss Vol. 1 is the first part of a trilogy from UK heavy metallers Hamerex, a collection set to be fully released by the end of the year. The four track encounter just uncaged is a powerful and inventive assault of a sound which has been stirring up the senses and praise since the band first emerged back in 2004. Consisting of two new tracks and two previously released songs which have been re-recorded and infused with the stirring evolution surging through the band’s sound, The Abyss Vol. 1 is basically a compelling slab of voracious rock ‘n’ roll.

Hailing from Wakefield, Hamerex was formed by vocalist/guitarist Steve Blower. Starting with debut album Rites Of Passage in 2012, the band’s releases have drawn potent praise, its successor IX the following year and third album Traitor in 2016 sparking acclaim as too before the latter, The Last Ride EP. Each has revealed an open growth and maturity in the band’s sound which has a new head with The Abyss. The new EP is also the first release to feature bassist Marc Hood and drummer Sharif Diz Dyson alongside Blower and guitarist Andy Firth.

It immediately roars upon the senses with opener The Extremist, riffs devouring ears as rhythms voraciously pounce and drive the track through ears. Blower’s vocals have no restraint either but come with a more composed attack as the sounds ravage and incite. Heavy and more extreme metals textures collude in the tempest, every hook and groove as threatening as they are flirtatious with every bass growl and flying beat accentuating each magnetic trait. The track which originally appeared on XI, just hits the spot as familiar and unique sounds and textures come together with rapacious intent.

The following Broken is just as bold and tenacious on the ears though it prowls the listener before unleashing its web of melodically inviting and sonically fiery enterprise; never going for the jugular but blending seduction and threat all the same. One of the new tracks it just ignites big anticipation for what is to follow across the other EPs ahead as too its fellow newcomer, Crucifixion. Featuring Hood on lead vocals, the track storms ears with a thrash nurtured surge, Blower and Firth infesting the senses as grooves incessantly nag. Darker ruinous hues invade backing vocals and in turn the climate of the incitement, the track continuing to revolve between heavy and extreme metal predation until its final toxic expulsion.  Both tracks suggest a new and striking evolution in the band’s sound which as suggested earlier makes the other two episodes in this trilogy very easy to get excited for.

In between those two songs is The Dark Tower which first infested ears upon Traitor. The tendril of guitar drawing attention to its body is pure enticement as too the subsequent heavy metal rumble of the encounter and its tart melodic veining.

All four tracks suggest that Hamerex is at the beginning of a new chapter in their sound but it is the new pair which really excites ensuring the next volumes of The Abyss will be eagerly welcomed.

The Abyss Vol. 1 is out now and available across most online stores and @ https://hamerex.bandcamp.com/album/the-abyss-vol-1

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

Pete RingMaster 12/06/2018

Copyright RingMaster: MyFreeCopyright

Leatherjacks – The Lost Arks Of Rock And Roll + singles

As the band get to work on its successor, we take a look back at the Leatherjacks debut album as well as subsequent singles as an introduction to their inventive rock ‘n’ roll. From São Paulo, Brazil and formed in 2016, Leatherjacks is the creation of singer, songwriter, guitarist, multi-instrumentalist Mauro Cordeiro and it was through his personal introduction that we were guided to the band’s first album, a flavoursome slab of heavy metal infused hard rock which has raised an eager anticipation for its upcoming successor.

With the inspiration of bands such as Iron Maiden, Deep Purple, Black Sabbath, Led Zeppelin, Metallica, Thin Lizzy, George Benson, and Stray Cats among many others shaping his own musical imagination, The Lost Arks Of Rock And Roll was pretty much a solo project for Cordeiro despite attempting to find like-minded musicians to realise his intent. For the second album he has realised his hopes for a full band line-up with the addition of bassist Marcos Brandão and guitarist Rapha Gusto; a drummer still being sought as we write.

The Lost Arks Of Rock And Roll opens up with People (We’re Chosen Ones) and instantly had ears keenly attentive with its swinging groove and fiery touch. Riffs and rhythms simultaneously launch an infectious lure, the vocals of Cordeiro adding to the swift captivation. Certainly the song is not over ripe in uniqueness but quickly blossomed with fresh and imaginative enterprise through the open craft of its creator; that blending of classic and heavy metal with rousing hard rock providing a highly flavoured proposition which easily caught the appetite.

Next up Crocodile’s Heart has a more controlled gait and sonic calm though its simmer bubbled rapaciously throughout. An eighties metal spicing brings a catchy hue to the song which though it did not ignite ears as forcibly as its predecessor, left its pleasurable mark especially through Cordeiro’s guitar enterprise before Burning Wire grabbed attention with its web of wiry grooves and rousing rhythms honed into a manipulative slice of heavy rock ‘n’ roll with a deft melodic touch. Cordeiro has a passion for rockabilly among other sounds, a hue definitely behind the track’s tenacious and quickly addictive stomp.

Taking best track honours it is followed by the muscular roar of the track LeatherJacks. Once more heavy metal and imposing hard rock are blended for a proposal which almost preys on ears as it pleasures them; its tone as predacious as it is arousing before Emotions On Sale explores a more tender, ballad like side to the Leatherjacks invention. It still comes with a fire in its belly though; one which inflames its voice and intensity throughout a magnetic presence to forge another high point in the album’s already compelling body.

The Slammer was a song which did not quite hook up with personal tastes yet Cordeiro has a style and touch to his guitar play and songwriting which easily tempts as proven not for the first or last time by Do You Fucking Pay My Bills?, a raucous but defined rock ‘n’ roll assault riff armed and melody inflamed with attitude oozing every note and syllable.

The following instrumental MotoCross is a delicious metal ‘n’ roll incitement, craft and adrenaline fuelling its addictive antics before the album concludes on its title track. The final song was another which did not quite ignite the juices as those before but again bouncing to its contagion and returning to its fire for more was never in doubt.

The Lost Arks Of Rock And Roll is a highly enjoyable and accomplished release with really impressive moments which have only been built upon by subsequent singles; tracks hinting of bigger and bolder things to come with its successor. The end of 2017 saw Leatherjacks release I Hate To Fall In Love. A melodic romance with that ever present fire in its heart and lining, the song has a freshness to it which inescapably entices. It is a song written decades earlier but stands the test of time and with its new enterprise firmly pleasures though not as majorly as Persona Non Grata. A track presumably set to appear on the second album, which we believe will be called Songs For The Strangest Ones, it is superb. Immediately it reveals its infectious swagger, guitars and rhythms uniting in a flirtatious canter as vocals melodically share the song’s heart. Again familiarity and fresh endeavour do collude yet a union which invades ears and imagination with eager intent and adventure. The track is accompanied by the song Spells and Zombies Through the Night, an even bolder, more raucous offering which suggests that this new album once realised will eclipse all before.

The Lost Arks Of Rock And Roll and those singles are all available via iTunes.

http://www.leatherjacksofficial.com/    https://www.facebook.com/pg/leatherjacksofficial

 Pete RingMaster 12/06/2018

Copyright RingMaster: MyFreeCopyright

Crushing landscapes with US metallers Backblast

US outfit, Backblast, create a heavy metal roar embracing the flames of other styles and flavours. It is a proposition which is constantly growing and evolving as well as building on the success of the Manassas, VA hailing band’s well received debut EP, of 2015, The Area is Clear. We recently had the chance to get to the heart of the band with drummer Chris Tamberella, exploring its origins, growth, the band’s latest attention drawing release and more….

Can you first introduce the band and give us some background to how it all started?

We are a five piece metal band consisting of Dan Cunningham on vocals, Jake Ford on  lead guitar, Adam Pritcher on rhythm guitar and backup vocals, Wilsen Rivera on bass and myself, Chris Tamberella on drums. In 2015 Dan and I, along with original guitarist Marcos Eguia, began recording tracks in Dan’s basement. After 6 months of writing and recording, we decided to bring the studio to the stage.

Had you been involved in other bands before?

Wilsen has been in a number of projects including Kaemon, Bourne of Ash, Greythor, Pandora’s Box, Sanguinus and some solo work on Wilsen’s Sessions.  Dan was is a heavy metal band in Newport News, VA called Kaivol Motak who enjoyed local success.  Jake was in a band for a few years in high school and since has filled in periodically for the Miami based band Inferion.

What inspired the band name?

The majority of our band members are military veterans and have experienced the back blast of an RPG before.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

There was no specific sound that we targeted at first. We played what came naturally which was best described as rock. After recording The Area is Clear, we wanted to add more to our sound but didn’t know exactly what we were looking for. Enter Adam Pritcher and his heavy riffs and we were on our way to making metal songs. Since then we added Wilsen on bass which opened the doors for another evolution in the band with his ability and experience. The final piece to our sound is the addition of Jake Ford. Adding a lead guitar to our sound has provided more opportunities for growth and another evolution in our sound. With the addition of Jake we are steering in somewhat of a power and progressive metal sound. Who knows what we will create in the future.

Do the same things still drive the band when it was fresh-faced or have they evolved over time?

Our band has evolved in all aspects including what drives us now. As a band we want to push ourselves and churn out the best sound possible. That can only occur if we are all driven individually and as a unit. When we started in Dan’s basement we were messing around and seeing what came out. Right now we feel like the sky is the limit between the five of us and are excited for our next release and to continue bringing our brand of metal live on the east coast.

Has it been organic, especially the movement of sound or more the band deliberately wanting to try new things?

Everything that happens with our sound is organic and nothing is forced. We certainly want to try new things but we haven’t limited ourselves into what we are trying. If it feels right we move forward. If it’s clunky or not smooth than we move on to something else.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

With five guys in the band there are many different inspirations. We all share some of the same likes such as Black Sabbath, Dio, Lamb of God, Iced Earth but some of us like reggae, jazz, classical music, electronic music and more. For myself as a drummer I am inspired by Chris Adler of Lamb of God and Jimmy “The Rev” Sullivan of Avenged Sevenfold.

Is there a general process to the band’s songwriting? 

Most of our songs are based off guitar riffs. Sometimes that riff is structured before it comes into the band room or it may just be a small riff that starts with a jam session and grows into a full track.

And lyrically, where do you draw the inspirations?

Past experience, current political climate and what happens inside Dan’s head (which could be scary).

Would you give us some background to your latest release?

Our latest release is a four song concept EP, The Ringmaster. It revolves around an evil entity “The Ringmaster” who has pulled in all the outsiders of society and placed them under his spell. He lures with them with the promise of hope and acceptance but his true motive is to create an army of minions. After realizing their fate those who have come under his power rise up to fight back. In this story the good guys just might not win.

Give us some insight to the premise behind its songs.

The first song, The Ringmaster, tells the story of our protagonist and gives the listener a hint of his plan. Next is To the Grave which lets the newly acquired minions understand what is actually in store for them under the big top. The third track Uprising is when the battle begins. The minions have come together to throw down with “The Ringmaster” for an epic battle of good and evil. Our battle finally comes to a bloody finish with Bend the Knee. Who will be left standing?

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

We are 100% ready to record each track when entering the studio. Studio time is a pricey endeavour and we don’t like to burn money. The blade is sharpened before we hit record.

Tell us about the live side to the band, presumably a favourite aspect of the band?

Our live shows are our bread and butter. I promise you will not be bored. At one point you could be two feet away from a slinging guitar or about have Dan singing in your face. Our shows require audience participation and I promise you won’t be able to resist joining in.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?

Our region has had a recent bump in the past year but it is an uphill battle. The underground metal scene has some very strong bands and personalities but the only way we grow is standing side by side. We are doing our part to make sure the scene keeps pushing.

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success?

At this point social media is crucial for BackBlast and for all underground bands in any genre. On one hand social media gives any band exposure that would typically cost a ton of cash for free. On the other hand our music is free. There seems to be some formula for success through social media and we are still doing the math.

 Our big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Right now you can grab a free copy of our EP, The Ringmaster, by going to our Facebook page. Give it a like, and shoot us a message to get your free download code!

Pete RingMaster 02/05/2018

Copyright RingMaster: MyFreeCopyright

StormWolf – Howling Wrath

StormWolf is a band from Italy who has just released their debut album in the shape of Howling Wrath. Though formed in 2014, the release will be the first real introduction to the Genoa heavy metallers for most and makes one powerful statement even for those of us without a natural infinity for their chosen genre.

Starting out as a studio project formed by vocalist Elena Ventura and guitarist/principal songwriter Francesco Natale, StormWolf eventually found its way to current line-up of bassist Francesco Gaetani, guitarist Dave Passarelli and newest member in drummer Tiziana Cotella alongside the founding pair, the latter joining the band last year. Fusing classic and fresh heavy metal with essences of the blues and their own individual imagination, the band released Swordwind in 2015, an encounter primarily destined just for labels, radio, fanzines etc. It was a well-received encounter followed by StormWolf earning the opportunity to open for to Lacuna Coil and Necrodeath among their live successes the following year. With their current line-up in place, the band set about creating their official debut, Howling Wrath last year with its release coming through Italian label Red Cat Records.

It opens with The Phoenix, the track rising up through stirring winds with immediate sonic flames and enterprise. Ventura swiftly commands attention and impresses with her vocals, though the amount of words she tries to get into certain lines of the chorus is maybe too much a mouthful but no issue, while Natale and Passarelli weave a similarly magnetic web of sound and craft around her. With firm rhythms creating a thick and alluring spine and Natale further conjuring on his guitar, the track gets the album off to a potent and captivating start.

Winter of the Wolf is just as eager to engage the listener, riffs and rhythms climbing and rapping upon the senses driven by the rapacious energy inspired by the guitars. There is a caustic edge to the track too which only adds to its quick appeal but tempered by the melodic tendrils and twists which bring an array of worldly spices. As it marches through ears or tenaciously smoulders on the senses, the song seals keen attention with Ventura again escalating the persuasion.

Next up, old school hues line Marathon, band inspirations such as Van Halen and Judas Priest an easy guess as the song boldly strolls with familiar flavours and blossoms around them with StormWolf’s own imagination while Fear of the Past mixes up its attack and adventure with zeal and invention. Both tracks hit the spot though maybe not as fully as Swordwind which throughout had bodies bouncing and vocal chords indulging as its anthemic battlefield unfolded.  An unexpected slip into calm and melodic elegance only added to its success, that and the already notable prowess of Ventura, Natale and co.

Through the blues scented, hard rock lined Lightcrusher and the riveting instrumental weaving of Thasaidon, the album only tightened its hold, the second of the two especially outstanding while Soulblighter brings a feral almost primal graining to its part predacious fully compelling trespass. Though not quite matching the heights of many before it, the track offers moments of real magnetism.

The final trio of All We Are, One False Move, and Me Against the World unleash their own highly agreeable lures, the first a Maiden-esque fuelled anthem, its successors respectively a melancholic romance of a ballad moving in a funereal march and a ballsy rock ‘n’ roll romp. The latter pair both are bonus tracks upon Howling Wrath and each a Lizzy Borden cover, the penultimate song one of the major highlights of the album.

It is easy to hear why StormWolf is beginning to draw broader acclaim and attention their way with more surely to follow through Howling Wrath. As mentioned, heavy metal especially classic does not exactly spark real excitement here but the Italian’s album was full enjoyment from its first to last breath which says it all.

Howling Wrath is out now via Red Cat Records /7hard Records.

 https://www.facebook.com/Stormwolf.it/

Pete RingMaster 29/03/2018

Copyright RingMaster: MyFreeCopyright

Dark Hound – Dawning

Without a plaintive twang in sight, Dark Hound presents a new side to the assumed Nashville music scene though new album Dawning. Hear the Tennessee capital’s name and you automatically think country music in its glory but the ear grabbing quartet prove that its metal scene is in pretty good shape too.

Dawning is the band’s second album and sees them more than build on their well-received Oceans EP of 2015. That followed a self-titled debut full-length from a year earlier which itself sparked strong support across the local rock and metal scene. Formed in 2009, Dark Hound has persistently built and earned a potent reputation for themselves highlighted by Oceans and now set to be escalated by the Kaelin Tauxe/Dark Hound produced Dawning.

The band’s sound is a magnetic mix of flavours; heavy, alternative, and groove metal as prevalent as more progressive and voracious flavours. It is a blend which swiftly grabs attention within opener album Ashes of Your Worth. Instantly riffs ride the senses, the just as persuasive tones of vocalist/bassist ET Brown melodically surfing their tenacious waves. With grooves swiftly winding around ears as a grunge wash descends the track only tightens its grip, guitarists Evan Hensley and Preston Walls weaving a mesh of enterprise as crafty as it is imposing. The track is superb, taking little time to incite and inflame an appetite for stylish yet instinctively rapacious rock ‘n’ roll.

The ticking bomb of Josh Brown’s beats leads in the following Guilt Tripper, his bait accompanied by citric soaked grooves. The punk coated attack of ET’s voice soon joins the thrash spiced temptation, his bass invitingly throbbing as melodic hues infest voice and sound; the cycle repeating with greater endeavour as the track embraces fresh flavours each round. The song bears some of the inspirations to Dark Hound, essences of bands such as Megadeth, Iron Maiden, and more so Testament rising in its heavy metal exploits before making way for the equally infectious trespass of Carnival of Youth. ET’s seemingly calm tones again have an underlying snarl in their arsenal, it igniting with raw dexterity to match the fire of the sounds around him led by the rapier swings of Josh. Captivating from beginning to end, the track reminds of UK band Promethium a touch, the Dark Hound sound infusing their individual invention with more familiar ingredients to fine effect.

The opening whirl of guitar in The Answer had ears totally enthralled, its craft irresistible and continues to tempt across a song which to be honest otherwise did not make the same impact as its predecessors yet was the centre of attention in its increasingly enjoyable company before Crisis of Hope takes centre stage. It too makes a transfixing entrance, its hook fuelled lure Skids like and subsequently coring an emerging Jane’s Addiction-esque stroll. As the previous song, it was bit of a slow burner on ears though making a more than decent first impression, but grew minute by minute, listen by listen into another highly enjoyable encounter within Dawning if still missing the heights of the first trio.

Predacious in tone and sound Thrown to the Wolves quickly hits the spot next, the track almost crawling over the senses even with its eventual lively gait and nagging persistence while Stripped Away aligns acoustic flirtation and creative drama for its own gripping theatre. Considered and seductive, boisterous veering on rabid, the song is a carousel of adventure making a big statement for best song, both tracks in the running and matched all the way by the raucous yet harmonically teasing Balancing Act. Again recognisable flavours collude with strong surprises for a proposal which infested ears and appetite like an aural addiction.

Through the shadowed lined charge of The Jagged Edge pleasure was constant though certain moments did not connect with personal tastes as firmly as others, nothing though to dismiss the increasingly persuasive encounter over, while Thrashgasm delivered exactly what you would expect with its title with aggression and creative passion energy, the snarl of the bass and the ever energetic vocal incitement especially enjoyable.

The album concludes with Here Lies Truth and immediately trespasses ears with carnal riffs and teasingly salacious grooves. Again vocals simply draw involvement as guitars badger and conjure, rhythms imposing and driving song and spirit in fine style alongside as Dawning closes on another high

After the first couple of involvements we would have said Dark Hound had something worth checking out, numerous listens later it is a proposition which needs to be explored. This is a fine band in the making with an album we have found ourselves only getting greedier over.

Dawning is released digitally and on CD January 19th, available @ https://darkhound.bandcamp.com/album/dawning

https://www.dark-hound.com/    https://www.facebook.com/darkhoundband    https://twitter.com/darkhoundband

Pete RingMaster 19/01/2018

Copyright RingMaster: MyFreeCopyright