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.

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 @

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

Copyright RingMaster: MyFreeCopyright

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Blood Divisions – Self Titled

Blood Divisions _RingMaster Review

Blood Divisions, band and EP is the coming together of a host of metal’s talented for a two track encounter that without sending excitement into overload provides one very satisfying offering. The self-titled proposal will also see a portion of proceeds raised by sales donated to Rock & Rescue, a charity helmed by acclaimed producer Jay Ruston, as well as the Warren County Tennessee Humane Society; that alone is worth the investigation and offering of your cents and pennies.

Released via Metal Blade Records, the EP features two cover songs brought to life by the likes of, amongst many, Ralph Santola, Dave Austin, Greg Gall, Terry Butler, and Chris Jericho (full list below); the latter when recently talking about the project stating “BLOOD DIVISIONS is an all-star collection of some of the most talented musicians to ever come from the legendary southern Florida metal scene. Being a HUGE fan of all of these musicians and their legendary bands, especially Nasty Savage, when David Austin himself asked me to lay down the vocals, I responded immediately, ‘YES! What songs do you want me to sing and how many studded leather gauntlets can I wear?’ I’m so honored and proud to be a part of the project and very excited with the results. Trust me, it’s going to tear all of your fuckin’ heads off, in the best possible way!

First track is a cover of the Nasty Savage incitement The Morgue, a song which has ears and imagination fascinated from its opening breath of keys and sinister dark stringed portentousness. Drama oozes from every choral fanfare and melodically epic enticement as the song grows within ears, it soon settling into a dark chamber of string plucking craft and rhythmic predation lorded over by the distinctive tones of Jericho. Shadows continually come alive as the musical narrative evolves, enthralling ears and attention with only a slight slip of persuasion when the song opens into a more expected heavy metal stroll, though again twists and turns are part of the continuing adventure. There are times it feels like the track is trying to fit in as many of the individual skills of the line-up as it can within the nine minutes or so, and it’s fluidly reflects that a touch but nothing to defuse a thoroughly enjoyable and increasingly alluring encounter.

The second track is a take on the Scorpions classic Top of the Bill, another resourcefully solid version if one which did not take with personal tastes as potently. To be honest our preferences generally never include an appetite for heavy metal/seventies hard rock in their menu but nevertheless and as expected with the musicianship on offer, the track still persuades with a blaze of vocal and creative dexterity in an enjoyable stomp.

Whether Blood Divisions is a one off or something which may as a project evolve we will see, but whichever its EP is certainly worth a moment of your time whilst supporting worthy causes.

Blood Divisions features:

Chris Jericho – vocals

Dave Austin – guitars (Nasty Savage)

Ralph Santola – lead guitar (Death, Obituary, Testament, Iced Earth)

Terry Butler – bass (Obituary, Death, Denial Fiend, Massacre)

Greg Gall – drums (Six Feet Under)

Bill Owen – lead guitar (Purgatory)

John Mahoney – lead guitar (Fester)

Ben Meyer – lead guitar (Nasty Savage, Low Brow, Gardy Loo)

Blood Divisions is available now as a digital EP via Metal Blade Records

Pete RingMaster 31/08/2015

Black Inside – A Possession Story

blackinside_RingMaster Review

Initially starting out as a band playing Black Sabbath covers, Italian heavy metallers Black Inside have grown into a strongly accomplished and captivating proposition as evidenced by new album A Possession Story. Casting a classic heavy metal sound with numerous dark flavourings embroiled in doom toned imagination, musically and emotionally, the album is a potent step from a band looking forward to having a very healthy presence within the European metal scene.

Formed in 2009, the Napoli hailing quintet soon moved from playing other’s tracks to writing and performing their own mix of infectious classic, eighties, doom, and epic metal. Autumn 2011 saw the band release the Servant Of The Servants demo which down very well with fans whilst garnering very positive media reviews. Across the December of the following year and the January of its successor, Black Inside recorded debut album The Weigher Of Souls which also upon release via Underground Symphony Records, earned rich praise and attention. Recorded towards the end of last year, the Neil Haynes mixed and mastered A Possession Story pushes the band’s name and sound to loftier heights and easy to expect broader spotlights on Black Inside.

cover_RingMaster Review     The Red Cat Records released proposition opens with Man Is A Wolf To Men, a stirring slice of metal taking little time to awaken ears and appetite with its thrash lined riffery and ravenous mix of rhythmic and aggressive tenacity. There is a definite Metallica feel to the track, an inviting tone which is only accentuated by the guitars of Brian Russo and Eduardo Iannaccone, as well as the grizzly voice of Luigi Martino. Across its length, those same strings also spill tantalising sonic and melodic tempting and a dark drama which is carried deeper into the song by the bass of Vincenzo La Tegola. As you can say about the album overall, there are few major surprises with the encounter yet it has a fresh and powerful presence which only invites involvement.

The Siege Of Jerusalem follows and straight away has a heavier prowl to its gait and doomy air to its nature, guitars spinning a sinister web around the initially spoken vocals and portentous rhythms led by the spiky beats of Enzo Arato. Once setting the scene, the song twists into a more power metal bloomed canter, which maybe does not quite live up to the promise of its entrance but spins a captivating theatre of sound and words. Imagination is also a thick element of the encounter, slips into melodic caresses with impassioned vocals and a tapestry of skilled enterprise from the guitars for the main mesmeric.

The song Black Inside also makes a beguiling introduction, guitar seducing and dark vocals entwining before the song comes alive with sonic flames and a brooding tone of bass, all subsequently attributing to a heavy metal roar with a fusion of inventive unpredictability and sparkling melodic expression. It is a template continuing in both I’m Not Like You and King Of The Moon, though both cast individual and dynamic proposals of their own. The first has a spicy blues rock lining to its fiery rock ‘n’ roll whilst its successor, as in all songs to varying degrees, openly wears the band’s Black Sabbath seeding in its power balladry.

Things get heavier and more sonically flirtatious with Too Dark To See, tangy grooves and anthemic tendencies potent persuasion from early on and only increasing their temptation as the band evolves and twists them with further magnetic resourcefulness across its riveting body. The bass of La Tegola reveals a repertoire of sinister tones and invention alone, superbly and imaginatively backed by the theatre and adventure of the guitars. The best track on the album it is as good as matched by the album’s title track and its own haunted maze of sound and sinister imagination. It is almost imposing with its doom spawned breath and initial elegant collusion of instrumentation and resonating sounds, but it is also another which cannot quite keep its scintillating start consistently going across its whole adventurous landscape. Nevertheless the track is a cauldron of intensity and creative ingenuity which only leaves a healthy greed for more.

The mellow seducing of Forsaking Song with the excellent additional vocals of Sara Shade continues the by now hypnotic lure of A Possession Story whilst the creative stalking of Jeffrey from yet another irresistible introduction, swings into a lumbering beast of incitement. Its doom’ heritage’ is an open predation and persistently swaying the intent and tone of the track as it broadens its creative shoulders and thick mesh of sound with every passing minute and idea. Like Iron Maiden meets Candlemass, the song is eight minutes of provocative resourcefulness which every time it begins to labour in flavour or style manages to sculpt and whip out another thrilling and unpredictable twist.

The purest slice of classic metal rock ‘n’ roll on the album brings the album to a close, Pharmassacre an anthem to swing fists and vocal chords to, and though for personal tastes it is the weakest song, it still creates a lively and enjoyable close to a highly satisfying release.

A Possession Story is a grower too, a release sparking stronger pleasure as every listen reveals more of its more understated but potent qualities. It is fair to say that Black Inside is not ready to turn the heavy metal scene fully its way yet but their album certainly gives it a very inviting nudge.

A Possession Story is available now via Red Cat Records.

RingMaster 14/08/2015

Copyright RingMaster: MyFreeCopyright

False Flag – Nest of Vipers EP

Promo photo - false flag_RingMaster Review

As Nest of Vipers, the new EP from Canadian metallers False Flag ravages air and ears you can almost feel the body’s sinews being stretched to their limited and the psyche being devoured by the fierce enterprise fuelling the incitement. The release is an attention grabber, a confrontation unleashing a mix of sonic invention and fearsome physical confrontation, and ultimately one thoroughly satisfying adventure.

False Flag was formed in 2012 by vocalist/guitarist Russ Gauthier (Lordosis, Meggido, We Found The Body) and drummer Nick Purdy (Meggido) as a side project to their other projects. Bassist Garrett McElroy (AfterEarth) soon joined the band with first EP Orobas being recorded not long after. Once Dan Ishak (Meggido, Stinger) subsequently linked up with the band on bass, McElroy leaving to concentrate on AfterEarth , the band set about recording their eventually well-received debut album Suffer In Silence in 2014. Alongside all this, the band live has equally been earning a rich reputation for their hellacious assault on the senses and stirring stage craft, a potency which seemingly has been translated into their new release, such its live like fury. With a line-up of guitarist Mike Harach and drummer John Byskal now alongside Gauthier and Ishak, False Flag are setting a new benchmark for themselves with their four-track incitement, the Garrett recorded and Sacha Alan Laskow (Every Hour Kills) mastered Nest Of Vipers, a thick poke at broader spotlights.

FRONT_RingMaster Review     False Flag is frequently compared to Meshuggah and in the past that was probably a more relevant comparison but as opener Sacrifice Of Solitude shows alone, any likeness is a mere passing spice in a recipe which entwines varied flavours of extreme and groove lit metal. The first song emerges from a stark landscape blown over by a desolate sonic wind. It is an evocative entrance which is quickly immersed in rabid riffs, vicious rhythms, and already toxic grooving. With the rapacious vocal scowling of Gauthier spewing antagonism with every raw syllable, the track is soon a venomous trespass of the senses but in turn speared by melodic tendrils of searing guitar and a bruising but inescapable swing sculpted by those ever inviting grooves and the throaty bass of Ishak. It is simply a predator and one compelling and thrilling start to the release.

The sonic tapestry of Perfidious squeals and leers over the senses next, its initial acidity swiftly joined by infectiously groaning grooves and vocal antagonism. There is a definite Pantera grizzle to the song, the half clean/half raw tones of Gauthier a bear hug in the tempest of sound and becoming even more impressive when exploring an almost completely clean delivery later on to add further captivating texture. All the time riffs and rhythms constantly gnaw away at ears whilst the guitars spin an intoxicating liquor of melodic imagination to capture that of the listener.

Another venture into an imposing ambience brings Reversion Of Sin into view, this time a cavernous immersion of heavy shadows which subsequently give birth to a bestial stroll of malevolent riffs and piercing beats. Vocals also bring a savage intent with their guttural intimidation whilst the brutal body of the track savages whilst wrapped in classic/heavy metal and progressive seeded endeavour. The mercilessly heavy corruption from the song is delicious but personal tastes failed to find the same appetite for its melodic side and its fusion into the barbarous body of the still enjoyable track. It really is just taste dictating reactions as once again there is no escaping that band and song spew craft and adventure.

Nest Of Vipers has body and emotions back rocking with its title track, a mighty closer with crushing rhythms, insatiable riffs, and grooves which simply flirt with primal instincts. The best track on the EP, it is a maelstrom of physical predation, and sonic bedlam cultured into something superbly designed and as virulently enticing as the great varied vocals frequenting the song. A mixture of Bloodsimple and Lamb of God, Down to The Faceless rear their suggestions across the song but as in all tracks within Nest Of Vipers, what emerges is something not solely original but far more False Flag than anything else.

False Flag is a band knocking on metal’s global door with Nest Of Vipers it is fair to say; if it succeeds in unlocking that door time will tell but if not it is one enjoyable step towards that easy to suspect destiny.

The self-released Nest Of Vipers EP is available from August 4th @

Ringmaster 02/08/2015

Copyright RingMaster: MyFreeCopyright

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Tad Morose – St. Demonius

TM_RingMaster Review

Well into their third decade, Swedish metallers Tad Morose, certainly taking their upcoming eighth album as evidence, seem to get stronger and more creatively dramatic with every passing year. St. Demonius is stocked to the brim with the sounds and kind of songs the Bolinas hailing band is renowned for. Huge and robust bellows crafted with ravenous rhythms and riffs whilst wrapped in stirring sonic imagination and driven by operatically toned vocals. The new encounter is one of Tad Morose’s biggest, heaviest, and most commanding propositions yet and with something for most metal fans, even those of us with a less than welcoming appetite for the style of vocals employed so potently by frontman Ronny Hemlin.

Well-received and generally acclaimed releases have marked the years and stoked the band’s increasing reputation since Tad Morose formed in 1991, that as well as line-up changes and a highly notable and devoured live presence which has seen them tour or share stages with bands such as Cemetary, Memento Mori, Morgana LeFay, and Demon amongst so many more. After the release of sixth album Modus Vivendi in 2003, the band stepped back, taking a time out of sorts. That period saw the line-up undertake a big change with band founder and guitarist Christer “Krunt” Andersson and drummer Peter Morén, who linked up with the band around 1995, welcoming former Steel Attack frontman Hemlin as well as ex-Morgana Lefay bassist Tommi Karppanen and ex-Torch guitarist Kenneth Jonsson into the fold. Signing with Despotz Records in 2013, the quintet released the highly praised Revenant the same year, its success easy to imagine being soon eclipsed by St. Demonius.

From its first breath St. Demonius has a presence you can only imagine heavy and classic metal fans instantly taking to, and others raising just as quickly inquisitive ears. Opener Bow to the Reaper’s Blade charges through ears with feisty beats and a growling bassline aligned to spicy grooves which just entangle the rhythmic bait perfectly. It is a potent start which gets even bolder and energetic as Hemlin uncages his soaring cries and vocal persuasion, backed by further strong vocals and harmonies. For us with a less keen attention for his accomplished style, the rhythms provide a predatory temper to devour whilst the guitars of Andersson and Jonsson weave scenery of skilled enterprise and imagination to seduce the imagination.

StDemoniusCoverRGB_RingMaster Review   It is a potent start to the album, not one loaded with major surprises but powerfully setting the listener up for the rest of the album and straight away the vibrantly melancholic roar of Forlorn. Keys and vocals add emotional shadows but also at times a rousing tempting which colludes with heavier, more rapacious riffs and a bordering on bestial bass line. By its close, the track has even the more resistant of us joining in its anthemic lure whilst both Where Ignorance Reigns and Remain straight after, bring their own musical and lyrical, not forgetting vocal, theatre to bear on ears and imagination. The first of the pair is tantalisingly adept at kicking up a sonic and energetic maelstrom or laying down a mellow caress, with the Skids like choppy riffery coming out of its calmer reflection irresistible. The second of the two songs offers a thrash seeding coaxing initially, stretching its flavouring once the vocals ooze over the imposing textures but always wrapping around one magnetically heavy and intimidating spine.

Black Fire Rising continues the enticing of ears and attention and like its predecessors has moments which just bewitch and other turns that do not quite relate to personal tastes. But it is just that, taste and already the assumption that those with a hunger for vintage and eighties metal will especially be in their element is confirmed. Day of Reckoning backs up that thought again, even if lacking the ‘something’ which has its predecessors stirring up hungrier reactions. All the same it and indeed The Shadows Play immediately after, only impress and enthral with the individual craft of the band and their tenacious exploits in songwriting and sound, the second of the pair especially with its almost brawling brand of soaring melodies and demonically growling trespasses.

Across the fiercely shimmering resonance of Darkness Prevail, the grouchier and more warlike Fear Subside, as well as the climactic Dream of Memories, the album continues to resourcefully stir ears and imagination, especially the last two of the trio, whilst The World Is Growing Old provides a power ballad of sorts with barbarous walls around the thick croon of Hemlin, and again another track to get increasingly involved with.

Closing with the full-blooded musical predation of Your Own Demise, a track where again the darkest, heaviest traits are impressively aligned with soaring and at times blistering acidity, St. Demonius is a rich and fascinating encounter. Certainly a wish for more diversity to the lead vocals might have brought further greed in our appetite but as said it is just something personal. It is fair to say with an old school bred sound which already has had fans of their chosen genre drooling in the past and now in anticipation of this thoroughly enjoyable release, Tad Morose do pretty much everything right.

St. Demonius is available through Despotz Records from August 28th @

RingMaster 21/07/2015

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