Wizard Rifle – Self Titled

Like a sonic devil they tempt your pigeonholing and defining of their sound and with the same Mephistophelian glee side step every attempt with their infernal webs of sound. They are Oregon rockers Wizard Rifle and their latest album epitomises their devilish conjuring of creative deception. Their self-titled offering also provides one of the most rousing and thrilling encounters of the year. Their sound is punk, sludge rock, psych and thrash punk, noise rock, metal and much more besides in one cacophonous temptation; quite simply it is feral rock ‘n’ roll and across forty four minutes pure contagion.

Emerging in Portland in 2009, Wizard Rifle are no newcomers to high praise as their electric live presence, which has seen them share stages with the likes of The Melvins, High On Fire, YOB, Lightning Bolt, Bongzilla, Buzzov*en, Black Cobra, and Church of Misery, over time has been accompanied by two well-received full-lengths in Speak Loud Say of 2012 and Here in the Deadlight two years later. Now the duo of guitarist/vocalist Max Dameron and drummer/vocalist Sam Ford are ready to take on the world with a release which embraces the building blocks of its predecessors and shapes a proposition which defies convention, relishes devouring expectations, and sets out its own unique agenda in virulent noise.

Rocket to Hell ignites the babel of sound devouring the senses from with the album though there is no confusion in its creation and enterprise. The opener teases from its first breath with the plucking of guitar strings, the gentle lure the persuasive deceit before the ferocious babble of sound momentarily waiting to erupt. And break out it does with ravenous intent; the pair’s united vocals as harmonious as they are untamed as around them sonic squalls casts melodic and sonic temptation as raw as it is virulent. The track continues to infectiously nag as it rapaciously ravages, that tempest of flavours previously mentioned blended into a predacious trespass strapped with the keenest of hooks and salacious grooves.

As discord and melody craftily entangle it is a glorious incitement and matched by that within the following Cevaman Waltz. Rhythms prowl as a chugging guitar goes eye to eye with instincts, a devious grin lining rapid grooves and an epidemic of infection while equally compelling vocals ride its hungry currents. Again it is a mix which nags and harries but with less voracity than its predecessor though that is replaced by a pressure of urgency which only accelerates by the minute until erupting in a cyclone of wild and fertile commotion with those original grooves still steering the greed for the band’s invention.

A Celtic spicing infects the compelling landscape of next up Beneath the Spider, its emprise a tapestry of rabid intent and collected melodic dexterity spun with craft and imagination. There is a great manipulation to the Wizard Rifle sound, its hooks and grooves an infestation of the body as melodic irreverence grip the imagination and no more inescapable and powerful than within the eight minutes making up this slice of potent incitement.

The next twelve minutes plus comes in the shape of Funeral of the Sun, the closing cyclonic tempest of the previous track reaped of its incessant sonic persecution by the opening bait of its successor. Dangling acidic guitar lures it entices and then devours in swirls and expulsions of creative ruthlessness and barbarity but an assault which is pure untamed catchiness. Similarly vocals harmoniously invite and venomously bite before the progressive heart of the track emerges to just as potently seduce. The tide of noise cannot be abated for long and it returns but with a much more melodic breath. Pure fascination exudes the track, which never suffers in its length, as pleasure floods ears before it.

V concludes the release, psychedelic seducing radiating from within its intrepid venture of sound and ambition. Seductive and fierce, subtle and bold, the track provides an unpredictable multi-textured furnace of flavour and captivation.

Wizard Rifle’s album is a glorious contradiction; it is animatingly wild yet cleverly composed, boldly untethered but chained to distinct imagination and craft. It is also another of the year’s major pleasures which should see the band burst beyond previous boundaries of attention.

The Wizard Rifle album is out now via Svart Records; available @ https://wizardrifle.bandcamp.com

https://www.facebook.com/wizardrifle/

Pete RingMaster 06/09/2019

Copyright RingMaster: MyFreeCopyright

Mammüth – Outlander

An epic journey in time at almost an hour and a half and a rich exploit in sound, Outlander the new album from Norwegian rockers Mammüth is one unforgettable proposition already easy to suggest will make regular appearances on end of year best of lists. The band’s sound is a thick and flavoursome not forgetting imposingly heavy invasion of stoner metal and quite addictive within the walls of their striking new album.

Hailing from Drammen, Mammüth emerged in 2007 forged in its members love for stoner, space rock, metal, doom, drone, and hard rock. They are flavours which entangled to make the quintet’s debut album of 2012, Gone with the Wolves, a well-received and praised encounter. Since then the band has honed their writing and sound while breeding open maturity in all aspects, all fuel to the instantly and increasingly impressive Outlander.

Produced by the band and mixed and mastered by Martin Skar at Skar Productions and Norsk Lydstudio, Outlander instantly draws and grips attention with the opening strains of Circling Vultures, its initial wired grooves and senses rapping rhythms nothing less than predacious. With just as hungry riffs in tow, the potent bait only strengthens with the earnest vocals shared by rhythm guitarist Stian Svorkmo and synth player Steffen Overaa. Their union is superb, magnetism in its own right and matched by the rabidly writhing yet controlled sounds around them. Like a fusion of Mastodon, High on Fire, and Down yet not such its and indeed the whole album’s individual character, the track is manna to an appetite for heavy, voracious rock ‘n’ roll and a great tease for what is to come.

The compelling dynamic beats of David Hjellum lead in next up Dead Man’s Trail, a track swiftly as addictive as its predecessor and unveiling a web of varied flavours in its bold trespass. The bass of Stig Johansen growls with almost bestial temptation, its dark lures contrasted but matched in salacious intent by the gripping enterprise of lead guitarist Christian Schei. Drama soaks every twist and turn, accentuating each inventive note and atmospheric breeze blowing across the track’s serpentine landscape whether melodically calm or tempestuously intense.

That mellower air blows through the following Fields of Bones in voice and music though there is always a certain volatility waiting to catch which it does with a dirtier, grouchier eruption. Virulently catchy and manipulatively fascinating, the song is quite superb and if the album collapsed in on itself thereon in, with its two companions, would make Outlander a notable recommendation.

Of course the album does not slip from its heights, Fortuneteller and God Eater just as beguiling as they devour the senses. The first, and one of the candidates for best song, is a relentlessly nagging irritancy on ears, riffs and rhythms alone harassing quick submission for its proposal with vocals again pure raw seduction in the midst of the guitars tenaciously resourceful webbing. Its successor has a more concussive touch tempered by grooves which crawl under the skin with primal desire, again everything offered as predacious as it is irresistible.

Through the early atmospheric suggestiveness of Hadrin’s Wall, a lure which grows more invasive and portentous as the band bears its gladiatorial dexterity, and the even more confrontational, certainly cranky, Heirophant, the real world is an even more distant reality, band and album consuming all attention soon gripped even tighter by the senses enveloping, discord blessed Lightyears. With grooves which worm into the psyche with ease and a tempestuousness that roars upon the senses from within a mercurial sonic cyclone, the song is just majestic yet still eclipsed by the mighty Monstrosity. With waspish grooves swarming the senses from the first second and vocals buffeting ears with their emotive holler, the track soon steals best moment upon Outlander in our ears, its voluminous rock ‘n roll manna.

The album’s title track finds a somewhat moderate attack in comparison to the previous track but as expected with a threat of a brutal eruption at any time. It is a peril which remains lurking around as melodies and harmonies radiate though it does have a say on the growing energy and flurry of the encounter before the extensive creative theatre of Space Ghost unfolds. With an eager lilt towards thrash metal at times across its sinuously textured evocation, preying on body and imagination at every turn and there are plenty across its nine minutes plus, immersion into the song’s crafty tale is easy.

Uncharted Waters completes the exceptional adventure of Outlander, its thick shadows and dark depths as transfixing as the sound as they colour. An array of flavours twisted into a coiled spring, nothing predictable escaping as it tenses and discharges its enterprise, the track is an enthralling finale to one remarkable album to which we can give numerous references to others for certain moments but really only embraces its own uniqueness.

There will be many important propositions across 2018, encounters which will guide its musical direction and Mammüth with Outlander has come up with the first.

Outlander is available now through Negative Vibe Records across most online stores.

https://www.facebook.com/MammuthMetal

Pete RingMaster 18/01/2018

Copyright RingMaster: MyFreeCopyright

Possessor – The Ripper

UK metallers Possessor have been a band fear and lust has equally and simultaneously been spawned for in the face of each release uncaged since they emerged within the death throes of 2013. The band’s doom nurtured, thrash fuelled sound is a crushing and violating experience but one which has enslaved body, imagination, and soul here with its virulent, invasive boogie. The London trio recently released new album The Ripper and we can tell you nothing has changed. Their third album is a cauldron of corrosive riffs and destructive rhythms honed into one of the rawest, insatiable, and thrilling trespasses you are likely to hear across this coming year and beyond.

As much grunge, stoner, and alternative metal as those earlier mentioned hues, Possessor’s sound is pure predatory confrontation often as demonic and lewd as the horror soaked premises it spawns. The band’s 2014 debut album, Electric Hell, was an unpolished gem of an introduction providing “a thrilling ticket to the start of their inevitable ascending ride.” It was a journey which has bruised and abused, gripped and thrilled across the following Stay Dead EP a year later and second full-length Dead By Dawn eighteen or so months on. The last album really thrust the band into new spotlights but it has to be said that all have been rousingly eclipsed and put in their place by the carnal majesty of The Ripper.

Instantly opener Conjure and Possess casts a sonic storm over the senses, its abrasive scouring the warm up and prelude to a ravenous stomp of riffs and rhythms bound in the most lustful of grooves. A temptation to rock the residents of a graveyard into life with the swinging beats of Matthew Radford as arousing as they are destructive, the track roars through ears bearing the raw dirty vocal tones of guitarist Graham Bywater with open devilment. The bass of Tom Fowler is just as devilish, its own grooved swing instinctive incitement in the multi-flavoured onslaught.

The following Guillotine is just as fevered in its attack, maybe more so but unafraid to slip into less intensive examinations of the listener as it conjures its own web of salacious grooves and rapacious enterprise. Bywater’s voice and riffs infest ears but even more so his grooves and sonic espionage manipulates body and appetite already caught by the primal claws of the rhythms.

Fowler’s bass finds an even more carnivorous voice for the following Wet Cemetery, its visceral gurning leading a wash of rasping riffs within which vocals spew causticity. Toxic melodies vein the relative calm which separates the song’s energetic lust, it all leading to moments of nefarious endeavour which itself is sheer magnetism. A mesh of essences which lure references to bands such as High On Fire, Cavalera Conspiracy, Electric Wizard, and Unsane, flavours rising throughout the album, the track emerges unique to Possessor and again a common factor to The Ripper echoed in The Slime immediately after and thereon in. The fourth track hits its crunchy stroll instantly, snarling riffs chewing sinew before grooves send liquor coated tendrils through ears, its varied metallic irritancy swiftly addictive as the psyche is increasingly possessed.

Through the grim viscera of Whitechapel Murders and the scalding tension of Lava, the scorching of the senses and unrestrained pleasure escalates, the first of the two bearing the early Therapy? scent our ears have always found and greedily consumed within the Possessor sound. Every part of the band’s unholy trinity is on the top of their game, a success applying across the whole release but at their hungriest or certainly most fervid here. Its successor is an inferno of threat and intrigue, less equipped with irresistible hooks and addiction sparking grooves than others around it but just as commanding in its escalating incessancy.

Notting Hell opens in a jungle of rhythmic machination, the piece a brief shamanic infestation of devilry setting up the blood strewn quarrel and sonic narcotic that is Hacksaw. The most barbarous exploit on the album, it is a bestial and concentrated blitz on the listener, manna for the beleaguered senses and primal rock ‘n’ roll instincts.

A pause as things take a breath simply marks the insatiable devouring sprung by closing instrumental Earth Shaker. It is a rampage driven by a horde of voracious riffs and fearsome rhythms with grooves and twists just as mercilessly toxic and though it does not quite hit the spot as fully as what came before, the track consumes attention and satisfaction with ease.

There are few bands which truly excite just from news of a new encounter with them but Possessor is among them and will continue to be so with hellish offerings like The Ripper.

The Ripper is available now through Graven Earth Records on cassette, Wicked Lester Records on CD, and digitally @ https://possessor.bandcamp.com/album/the-ripper

https://www.facebook.com/possessorband

 Pete RingMaster 10/01/2017

Copyright RingMaster: MyFreeCopyright

All At Sea – Systemized

It is fair to say that All At Sea are pissed off; driven by a rage and fury which makes no compromises for the injustices and crimes of modern society. It is an anger which escalates in their new EP and a sound which uses the fuel to create one seriously rousing and thrilling incitement. Fusing the raw and instinctive essences of hardcore and groove metal, the UK outfit roar and trespass with the combined irritability of a bear and the lithe prowess of a predatory pole dancer, a union ensuring that Systemized is much more than a mere attention grabbing proposition.

From England’s North East, All At Sea first hit out from quickly incited local success with the release of debut EP Divided in 2015. It was a potent nudge of national awareness which did not quite find the strength of success its visceral bellow warranted. It is hard to see Systemized not finding richer success devouring its presence, its voracious nature commanding and antagonistic voice a demanding trespass easy to embrace.

Opener Wake Work Repeat offers a few seconds of controlled coaxing before unleashing its emotional and physical blaze. In no time riffs and rhythms unite to badger the senses as vocalist Jack Tyreman brawls with a variety of snarling growls supported as potently by the just as irritable tones of Ross Adam Blackmore whose guitar alongside that of Scott Marks conjures tides of bracing and abrasing riffs. Like a furious mix of Rage Against The Machine and Converge, nu-metal and punk rock involved in the band’s instinctive fusion of animosity, the track breeds an infectious virulence as invasive as its sonic and vocal ire. Grooves continue to entwine and incite the listener, the rapier swings of drummer Tom Cox bone splintering as Josh Walker’s basslines crawl across the damage.

It is a thrilling creative ferocity more than matched within next up Consume. From its first breath grooves bait and trap the imagination and hips, the bruising of further predatory rhythms and the malice of vocal antipathy soon arising as the scent of a Bloodsimple joins  punk irritability as much CIV as it is High On Fire like. Stalking the senses with more ursine dexterity and rigour, the track is viral vindictiveness but itself slightly eclipsed by its successor in the shape of the new All At Sea single Gimme The Mic. Initially there is a similar holler and shape to its attack to the previous track but an essence soon woven into and consumed by the song’s own groove laden, spite fuelled stomp. There is a bluesy taint to that grooving which simmers rather than flames within the sonic fire and rhythmic battering but adds another great hue to the uncompromisingly intrusive and anthemic battle front of the encounter.

That bluesy toning is even richer within the grooved lattice of Life Value, the guitars spinning a deceptive web of invitation as their sonic dexterity sears and rhythms raid the senses. With the blend of vocals and their delivery as magnetically choleric as ever, the track is primal rock ‘n’ roll to lose inhibitions with; exhaustion and aroused argument ensured before Business Of Faith offers its own kind of raptorial rhythms and sonic bad blood. Vocals challenge and incite as riffs plunder and grooves share venomous yet captivating intoxication. Like a grizzly with the lustfully flirtatious moves of a feline, the track is a sly and artfully seductive vendetta of enmity bringing one gripping exhilarating encounter to a masterful conclusion.

The song is not as feral as others within Systemized but adds a just as fiercely enjoyable and blistering moment in its barbarously inventive and intensively charged tempest. If Systemized does not put All At Sea firmly on the biggest metal maps, attention succumbing to its unbridled storm, something will be seriously amiss.

Systemized is out now @ https://allatseauk.bandcamp.com/album/sytemised

https://www.facebook.com/AASNEUK/

Pete RingMaster 16/05/2017

Copyright RingMaster: MyFreeCopyright

Church of Misery – And Then There Were None

COM-promo_RingMasterReview

As much as anticipation, there was plenty of extra intrigue involved leading to the release of And Then There Were None, the new album from Church of Misery. The sixth full-length from the Japan bred band, it is also the first since bassist and mastermind Tatsu Mikami was forced to assemble a new line-up a year after the unleashing of the 2013 album, Thy Kingdom Scum. It was an obstacle which has seemingly made little difference to the band as in And Then There Were None they have come up with one ferociously compelling provocation.

Another reason for that intrigue was that Mikami has linked up with musicians outside of his homeland for the first time; enlisting Blood Farmers guitarist Dave Szulkin, Earthride drummer Eric Little (ex-Internal Void) and Repulsion frontman (and former Cathedral bassist) Scott Carlson on vocals. It is easy to assume this was a challenge in itself in the creation of the album due to distances between members and indeed the bassist when talking about the album admitted, “It was a challenge because there was not much time to make this record—only two weeks,” going on to add, “One week for rehearsals and then one week to record all materials.” With Carlson providing vocals for an album for the first time in almost 30 years, it seems like it was a project pushing each member to their creative edge; an essence which has gone so me way to giving an extra spark and bite to the “blood-soaked trip through homicidal hell.”

Fuelled by the tales and bloody mayhem of killers both infamous and obscure, And Then There Were None opens up with The Hell Benders. Emerging from a viscerally sanguineous opening, funk spiced melodies quickly seduce the imagination as nagging rhythms rap the senses. It is a mellow and tantalising entrance which is soon spilling suggestively sultry grooves and incisive beats as Carlson’s growling delivery mixes it with the sweltering climate of doom/sludge bred heavy rock ‘n’ roll. The intoxicating invention of the guitars is invasive yet at times provides a mesmeric lure for a perpetually captivating frame to the barbarous lyrics with the bass of Mikami bridging the two with its heavily alluring tone and rapacious shadowing of voice and sonic enterprise.

COM-and_then_there_were_FRONT_RingMasterReviewThe gripping start is reinforced by the almost carnal resourcefulness and snarling nature of Make Them Die Slowly. Riffs immediately provide a tasty intrusion, seeming to relish their antagonistic presence within a web of sinister yet seductive grooves. With vocals across the band stalking the imagination too, the track reveals a punk infused attitude to its Crowbar meets High on Fire meets Earthride like trespass.

Doctor Death prowls ears and imagination next, inspiration coming from British killer Harold Shipman. As thoughts are reminded and provoked, guitars again spread a lattice of juicily enticing grooves aligned to forceful rhythms as Carlson shares the insidious deeds. Enthralling and increasingly irresistible, the sonically humid track makes way for the funkier revelry of River Demon, where bass and drums go on a rampage of addictive and incendiary rhythms. A slab of volatile and bruising groove bound devilment which enslaves appetite and energies from start to finish, the track is a vampiric treat leaving the body and senses exhausted with its blues soaked punk ‘n’ roll.

Through the muggier sonic climate of Confessions Of An Embittered Soul and southern soaked Suicide Journey, the album reveals more varied hues to colour its melodically toxic and addictive body. The first of the two has the imagination wound around its creeping grooves, they in turn winding around the senses as Carlson shares the song’s hellacious contents. In contrast, its brief successor is a warmer if sinister wash of mellow sound and intensity but a match in igniting the imagination and pushing it to explore its own interpretative adventure.

Bringing the album to a close is Murderfreak Blues, a song which crushes the senses yet within a breath or two becomes a stalking, seducing, and ravishing provocation of their weaknesses as, unsurprisingly, psyche twisting grooves and demanding rhythms leave, through murderous traits, their own lingering and welcome marks.

It is a mighty end to an album which grows with every listen, managing to seem even more antagonistic each time as it impresses in sound and craft. And Then There Were None is a blood encrusted groove fest and very easy to recommend.

And Then There Were None is out now via Rise Above Records @ http://www.riseaboverecords.com/shop/

http://www.churchofmisery.net/   https://www.facebook.com/churchofmiserydoom/

Pete RingMaster 07/03/2016

Copyright RingMaster: MyFreeCopyright

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

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/

Hag – Fear Of Man

HAG_OCT_2015_RingMaster Review

Sucking ears, senses, and emotions into its tar thick tempest, Fear Of Man is an incitement hard not to get a little lustful over. The nine track primal roar of punk fuelled, noise lit sludge ‘n’ roll is the return of London based Hag, a trio which first gripped attention with their self-titled debut EP back in 2010. The past five years have seen the band on the backburner in regard to attention but things are ready to boil over as their striking first album begins crawling over the metal/heavy rock scene.

The trio of Ian Baigent (vocals/guitar), Robin Freeman (bass), and Tamas Kiss (drums), united again with Part Chimp’s Tim Cedar at South London’s Dropout Studios to record Fear Of Man. The result is a dirty and sonically corrosive slab of instinctive rock ‘n’ roll with persistently salacious riffs, nastily bred rhythms, and cantankerously snarled vocals. Getting its subsequent release via the newly formed DNAWOT Records, the album is insatiable virulence; a gut twisting, psyche bending contagion which leaves ears and appetite very greedy.

art_RingMaster Review     The album’s title track starts the thrilling violation, its lumbering body prowling the senses initially as guitar and bass spread intrusive riffs backed by the hefty swipes of Kiss. Almost deceptively the song is soon enveloping the listener, vocals fusing melody and aggression as they lead the swarm of gnarly sound and invasive shadows. Even more invasive as the album proceeds, Fear of Man is like a cauldron seeded in Melvins, High On Fire, Pigs, and The Great Sabatini but becoming more distinct in character and individuality with every raw trespass offered.

As potent as the opener is, it is soon eclipsed by the outstanding Kingdom O. The track instantly showers ears in a barrage of addictive riffs and barracking beats entwined with catchy enterprise and a juicy sonic hook that seems to linger even as the rawer treats within the song have their say. It is gripping and addictive tempting that just gets more busy and tenacious with every thumping rhythm and punkish expulsion within the winy stoner-esque climate.

Rainbow Dust has body and soul snagged by its first wall of noise and enslaved with the swift web of sonic imagination which nets ears and the dark corners of song and voice soon after whilst Trauma Yauma provides a bedlamic provocation bulging with feverish sonic rabidity and knee buckling rhythms. Both tracks twist and turn within their core intents, the second especially riveting as the bass grumbles with craft and imaginative expression whilst prowling the ravenous tempest of guitar and confrontational vocal. The track is a major highlight amongst many and quickly matched by the anthemic nagging of Low. Like The Fat Dukes Of Fuck meets Sofy Major, the heavy rocker swings along with creative muscles to the fore but all the time it brews grooves which get right under the skin.

Up against the previous pair, Metal Detector Man struggles to escape their shadows yet still it unwinds a tapestry of binding grooves and a bracing collusion of riffs and rhythms that is easy to be eagerly entangled in with a want for more. To be fair, the track simply grows in the ear and over time stands as impressive as most before, and after it like the sonically dirty and predatory White Lion and after that the acidic rumble that is Beaten At Your Own Game. The first of the two is an intrusive infection of heavyweight, fire bred rock ‘n’ roll taking chunks out of the senses whilst laying deep rooting hooks into the passions like a Cenobite whilst its successor creates its own slightly cleaner but no less rapacious blaze of volatile sound and intensity lined with melodic imagination.

The album finishes with Wrong Bar, a final tsunami of brooding energy woven into winding sonic tendrils and crawling discontent shaped as rolling rhythms and anthemic persuasion. It is a masterful and invigorating end to a release which persistently leaves the inspiration to challenge the world in its wake.

Hag may have taken their time to back up their earlier EP but are back fiercer, bolder, and more relentlessly impressive in all aspects with Fear Of Man.

Fear Of Man is available from January 8th via DNAWOT Records @ https://hag-noise.bandcamp.com/album/fear-of-man

https://www.facebook.com/HAG.LONDON   http://hagband.com/

Pete RingMaster 07/01/2016

Copyright RingMaster: MyFreeCopyright

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