The Five Hundred – Winters

TFH_RingMaster Review

Every now and then, without any debate, lustful pleasure is ignited by a release; by a band exploding on the sweet spot of ears and instincts with something which just seems to know what the passions like. Such an encounter for us is Winters, the debut EP from UK metallers The Five Hundred. It is hard to say what particularly incites such enthused reactions and appetite, the release weaving its fierce tempting with a host of familiar flavours and styles, but every one of its four incendiary tracks is hellacious manna to the ear and imagination; something we suspect to not be alone in feeling.

The Five Hundred emerged in 2014, a Nottingham quintet previously known as DAOR. In no time their fusion of brutal and melodic metal was whipping up ears and thick attention, every strain of extreme metal and numerous other styles seemingly entangled into a compelling maelstrom of enterprise and confrontation which now fuels Winters and already an acclaimed live presence which has seen the band share stages with the likes of Napalm Death, Fear Factory, All Shall Perish, Architects, and TesseracT. Recorded with Justin Hill (Sikth, Heart of a Coward), Winters is the band’s first fearsome roar at national spotlights, and if our ears are anything to go by, heading to rich success in awakening that broader focus.

Winters EP Front Cover_RingMaster Review    The press release suggests that the band switching to 8 string guitars has been a new spark to their sound and invention; whether it has or not, all that matters is that Winters is a full-on tempest of persuasion from first breath to last. The EP starts with its title track and straight away is grumbling in ears through the predatory bass of Andy Crawford, it a grouchy provocateur within a surge of wiry guitar. The hefty swings of drummer Liam Perez show no light in their nature either with each beat a shuddering impact as guitarists Mark Byrne and Paul Doughty weave more compelling bait for vocalist John Eley to spring from with great diversity. Just as musically the release ticks all the boxes so does the attack of the frontman, his fluid mix of clean, punkish, and outright raw hostility equally accomplished and perfectly measured in the split of all his strains of potency.

Death and heavy metal collude with metalcore and post hardcore ferocity though that is a simplifying of the hues creating the first and each track within Winters, as Come Closer swiftly proves. The lead track with a great video in tow, it emerges from a misty sonic atmosphere with military rhythms and emotive vocals, they still more in the background until a ravenous stomp of belligerent rhythms and caustic riffs is triggered. It in turn breeds a sonic blaze which is not so much mellow as less vicious than the surrounding and perpetually prowling ferocity soaking the walls of the incitement. Again at times as punk as it is metal and a constant exploit of seriously enticing elements amidst slithers of unpredictable ingenuity, the track is a ravenous treat but outshone within seconds.

The barbarous majesty of the first two tracks carries on in the outstanding Shutter to the Light, its immediate swagger as seductive as it is venomously violent. Like an anthem for the derailment of all that is hopeful, the track bellows at and trespasses the senses and imagination with enthralling enterprise, yet within its despoiling character harmonies and melodies are unleashed to wrong-foot and seize the passions even tighter. Everything about the track whips up a greedy appetite and pleasure; from the irresistible prime hook to the increasingly formidable vocals and the raging invention culturing the creatively rabid storm.

The EP is closed by The Cannibal Hordes, it also a quite thrilling and blistering arousal of ears and satisfaction. Melodically acoustic in its first caress, defiantly cantankerous from the second onwards, the track spits hostile intent and roars melodic understanding; vocally and musically entwining both with a skilled volatility that ensures expectations never gets proven. As suggested earlier, many elements and flavours are recognisable, bands like Fear Factory, Lamb of God, In Flames, and Hatebreed coming to mind, yet no song utters anything other than something unique to The Five Hundred.

The Winters EP is a crushing and scintillating introduction to The Five Hundred, band you should expect to hear a lot more of in sound and acclaim ahead, if only from our enraptured lips.

The Winters EP is out now digitally and on CD via

Pete RingMaster 24/11/2015

Copyright RingMaster: MyFreeCopyright

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Counting Days – Liberated Sounds

Counting days_RingMaster Review

With their new album our first acquaintance with and taste of UK metallers Counting Days, we cannot suggest how strong the anticipation for Liberated Sounds was, but such its thrilling ferocious roar there is no doubting its successor sometime ahead will be the subject of thick and eager contemplation. The London band’s momentous debut full-length gloriously gnaws on the senses, its metalcore/hardcore fury savaging and bruising the same with equal animosity, but it is a ferocity bred with a creative virulence and open imagination that simply whips up a frenzied appetite in body and emotions.

Counting Days emerged in 2014 from a union of former members of TRC, Heights, Rough Hands, and Last Witness. The heartbeat came through the continuing song-writing partnership of guitarist Charlie Wilson and drummer Lasselle Lewis, the pair previously uniting song providers in TRC. Next former Heights vocalist Thomas Debaere was enlisted to the new project to become Counting Days, his addition followed by that of former Last Witness guitarist Bobby Daniels and subsequently Rough Hands frontman Alex Dench who was brought in on bass and additional vocals. A leap forward to now and first album Liberated Sounds, which was produced by Fredrik Nordstrom (At The Gates, Arch Enemy, In Flames, Opeth, Architects, Bring Me the Horizon), Counting Days is poised to shake certainly the UK metal scene, but suspicions are it will not stop there, ahead or with this stirring debut.

cover_RingMaster Review     The quintet start it with Burned By Faith and an immediate vocal roar which backed by a wall of rhythms and riffs has ears bent back as in a wind tunnel whilst the senses cower. Without losing its raw intimidation and strength, the track twists into a vociferous stride driven by raging vocal roars, this in turn spawning a predacious and eager canter of musical hostility. Fearsome from the start, the rhythms of Lewis become more agitated and robust as the metalcore seeded tempest rages, they sparking jagged lines of riffs and caustic grooves within a lyrical look at the things people do in the name of religion. It is an intensive and attention grabbing launch by the album, one already showing signs of an invention which becomes increasingly pronounced in following tracks.

Die Alone is next, spinning a tasty groove from its first breath as the rapier swings of Lewis collude with the predatory tones of bass. The vocal union of Debaere and Dench abrases as it entices, the former arguably finding more vitriolic charm and hardcore potency in his delivery than in his previous band, whilst around them the track explores melancholic and stringed textures within its unrelenting rancor.

As impressive as the first two are, the album just gets bigger and more exhilarating, finding its pinnacle in the next clutch of songs starting with Beaten & Scarred. Spinning on an addiction of a groove, the track spews a creative and emotional animus that is as contagious as the anthemic vocal calls and irritable rhythms driving the torrent of catchy riffery. A punk raging and metal hostility, the song is superb; it’s swerving grooves and nagging hooks alone ensuring the maliciousness in its veins is greedily welcomed.

From one major triumph to another pair in Life & Death and the album’s title track. The first rumbles with rhythmic thunder and cantankerous guitar rabidity, both matched in fierce kind by the air scarring vocals. With a touch of Static X meets Bloodsimple to it, the song intensely and explosively bellows within a landscape of melodic enterprise and sonic imagination, the savaging fuel of the song never diluted by the more refined invention within it and that captivating imagination defiant to being overwhelmed by the storm slamming through it. The band’s latest single is the same, Liberated Sounds a merciless festival of debilitating intensity and voracity infused with deliciously gripping grooves, potent vocal variation, and a contagiousness that infests and ignites the soul with lingering ease.

Five tracks in and ears are ringing and the body breathless, whilst enjoyment is flooding thoughts and emotions and fair to say no respite from any of it, thankfully, is forthcoming as firstly Fire From The Sky uncages its heavy metal meets post hardcore antagonism . The song’s climate is a muggy and unforgiving swamp of incitement veined by the thick melodic enticing of guitar, a blend which gives further substance to the song’s look at the mental effects of war. It is a hard task matching up to the previous trio of tracks but the invasive and provocative heart of the song leaves no-one short changed before making way for the caustic embrace and inventive accosting of Days Go By and in turn the short and evocative instrumental oasis of The Vines. Its calm gives a respite whilst igniting the imagination with warm strokes of sound within a somewhat haunting ambience.

Sands Of Time descends on the senses next, again a prime groove wrapped in great irritable textures coring a blustery climate whipping up the senses before Prison Of Misery through an initial bewitching melodic drama and coaxing, turns into a bestial rampage of scathing vocals, scarring riffs, and a sonic snarl that turns every note and beat into an inescapable and greedily devoured vicious incitement. It is another major highlight, amongst many, of Liberated Sounds, rock ‘n’ roll taking no prisoners in its vehement entrapping of ears and passions.

The album is closed by the equally acrimonious, unforgiving, and enjoyable Cold Truth and finally similarly crafted and toned Reunion. The track is a fine end to the album but just a touch too samey to its predecessor, a slight issue which does crop up in slithers across the album. The final pair of songs is where it is most noticeable but with both tracks nothing less than fiery stirrings of pleasure it is a minor blemish just to try and temper our otherwise full ardour for Liberated Sounds.

All the members of Counting Days come with a good pedigree in their experiences and craft but for personal tastes they have hit a new plateau in their creativity and invention with Liberated Sounds, and yes already anticipation for its successor is brewing.

Liberated Sounds is out on October 16th via Mascot Records.

Upcoming live dates:

23rd October – Riverside, Sheffield

24th October – The Festing, Southsea

26th November – The Scene, Swansea

28th November – The Rainbow, Birmingham

29th November – Sanctuary, Basingstoke

3rd December – Packhouse, Leeds

4th December – Vic Inn, Derby

5th December – Grog & Fiddle, Cheltenham

12th December – Craufurd Arms, MiltonKeynes

Pete RingMaster 15/10/2015

Copyright RingMaster: MyFreeCopyright

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Scarnival – The Art Of Suffering


Scarnival_RingMaster Review

2012 saw the unveiling of German metallers Scarnival’s acclaimed self-titled debut EP, now three years on the Hannover quintet unleash their first album to realise some of the rich potential already shown to be fuelling their sound and confirm a growing reputation as one compelling protagonists of explosive metal. The Art Of Suffering is a brutal and sonically incendiary encounter, a fierce incitement wearing influences of bands like At The Gates, In Flames, and Soilwork like proud badges. It does ebb and flow in major and less impacting successes, its grip fluctuating across its irritable body, but from start to finish, it is one groove infested slab of savaging to enjoyably get the teeth into.

Scarnival was formed in 2009 by guitarists Christian Kähler (ex-Schierling) and Henna Deutsch (also Tredstone), bassist Gerrit Mohrmann (Cripper and ex-Schierling), and drummer Max Dietzmann (Tredstone and ex-Schierling) alongside vocalist Niklas Reimann. With Daniel Siebert (Inquiring Blood, ex-Steak for Breakfast) subsequently taking over the vocal persuasion three years later, the band made their first broad mark with their self-titled EP. It and the modern melodic death metal flowing through its veins swiftly grabbed fan and media attention with high praise quickly following. Live the band has also earned a potent reputation for their ferocious presence, shows with the likes of Arch Enemy, Debauchery, Rage, Tankard and Vader amongst many, helping brew an increasing spotlight upon the band. Now it is the turn of The Art Of Suffering to awaken fresh ears and appetites, and though proof that its creators are still exploring and getting to grip with finding open uniqueness, it is a definite wake-up call to the hellacious roar of Scarnival.

Scarnival - The Art O_RingMaster Review     The Art Of Suffering opens up with its title track. Portentous whispers fill ears first, quickly followed by an evocative caress of guitar. Those first few seconds are a potent prelude to the fury of sound poised to abruptly explode upon the senses, riffs scowling as harsh rhythms drive the confrontation and vocals. Already the song shows great and impressive diversity across the unbridled ravaging, the guitars also revealing their own variety of flavour and enterprise as a maelstrom of hostile and seductive tendencies quickly brew into one wholly magnetic incitement of corrosive metal, heavy rock, and addiction luring grooving.

The superb start continues through God Given, a track starting on a discord soaked splash of sound and almost as instantly turning into a primal predator. With no one else credited as additional vocalist, presumably every guttural growl, venomous squall, and grouchily clean tempting impressively comes from Siebert’s own raw throat across the album, and fair to say, as on the second track, he is as relentlessly gripping as the melodic imagination around him is emotively expressive. The song continues to merge a blend of varied metal into its appealing landscape before making way for the more brutish but no less infectious bellow of The Easy Solution. The energy of the track is again insatiable, as too the outstanding mix of vocals and jagged endeavour spilling from every guitar chord and spiteful beat. It is the nagging groove which takes most attention though, its catchy essence a rich lure in the tempest.

Hindsight steps forward next to offer a mellower, though still intimidating, proposal. Quickly it shows itself unable to ignite the same hungry reactions as its predecessors, familiarity and simply that so often indefinable spark which sets tracks ablaze missing from its otherwise strong body. It leaves ears and thoughts contented though, with Losing Identity stirring them up a little more through its barbarously grooved nagging and rhythmic punch bound in sonic rapacity. Musically it is enticing but vocally is where it wins, a hardcore essence encroaching some of the excellent diversity spilling from throat(s), though it too is left a touch pale by Watch Me. Featuring Soilwork vocalist Björn Strid, the track is heartily primal and sonically inflamed, its initial roar easily carrying ears and emotions into the clutches of its hostile stride. That alone hits the spot, but it is when the song twists into harmonic and vocally clean scenery around dancing hooks and spicy chords that it magnificently blossoms in to its greatest inimitable persuasion.

Both The Hunt and Rewind keep a freshly stirred appetite lively. The first succeeds through a fusion of insidious vocal toxicity and predacious grooves caged by skittish beats and invasive intensity, whilst its successor being part bestial and part flirtatious, stalks the senses with its inventive animus of sonic zeal and ravenous riffery. As all tracks varied hues entwine, slithers of thrash and death, black and melodic metal colluding here in a tapestry as destructive as it is enlivening. The pair thoroughly satisfies, a success shared by the classic metal infused Pathetic, though it has a more expectations feeding presence to leave it enjoyably pleasing if without causing any particular stir.

Eternal Salvation has the album back in top gear as soon as an intoxicating groove winds around ears in its first seconds, the masterful bait seeming to dictate the growing swing and contagious tempting of the excellent track. Many of the album’s songs do share certain melodies or elements of design, without any ill-effect on its potency, but this one stands bold as one of the most original and thrillingly unpredictable storms on the release. It borders mayhem at times, its fluidity pushing limits but everything just unites perfectly for one rancor soaked violation where even the sudden slip into melodic beauty only accentuates its might.

The Art Of Suffering comes to a close through firstly the gripping and barbaric drama of One Morning Left, another peak which is as emotionally cancerous as it is viciously unrelenting, and lastly Lies with its ruinous heart and tempestuously resourceful soundscape of scarring sound and ideation. The pair leaves the album on a lofty high, the latter emerging as the most courageously inventive and thus thrilling song on the release.

The Art Of Suffering is another striking step in the emergence of Scarnival, a release which impresses though also one it is easy to predict will be blown away by the band itself at some point ahead as they grow and mature further It is though a perpetually enjoyable and captivating savaging which only leaves a taste for band and more, a result not to be sniffed at for sure.

The Art Of Suffering is released via Kernkraftritter Records on August 7th through most online stores.

Ringmaster 04/08/2015

Copyright RingMaster: MyFreeCopyright

Cerebellion – Regeneration

Promo_Orange-Sky_RingMaster Review

It has been five years since US metallers Cerebellion gripped our attention with their excellent debut album Inalienable; a stretch of time which has not felt as long through many of the album’s tracks and subsequent 2013 single A Better Version, never being too far from our listening for pleasure playlists. Fair to say though and like for so many, there was healthy excitement when being sent their new EP Regeneration. It has proven to be an encounter rekindling an already rich appetite for the Californian quartet, and their compelling sound which has through the new offering shown itself to have grown and matured without losing the distinctive Cerebellion breath.

Formed in 2009, the Long Beach hailing foursome of vocalist Joe Arnold, guitarist John Arnold, bassist Marc Battung, and drummer Jimmy Schultz quickly earned a strong reputation for their inventive fusion of metal and heavy rock, a blend again fuelling the impressive Regeneration. It is an incitement which, as we suggested, has further blossomed, the songs within the EP more diverse within their provocative walls and embracing a sharper and fuller design of textures and flavours. The band has not lost or defused their aggressive snarl either, though it has been honed into a more skilfully provocative and rousing essence which only helps the band’s new release powerfully spark ears and imagination.

All Came to Light starts things off, an initially sultry and melancholic melody slipping from the strings of the guitar. Its potent coaxing is soon joined by a rawer but no less evocative lure of bass and darker guitar shadows, harmonies soon after also adding to the intrigue and emerging drama. With rhythms warming up until things are stirring nicely, they and every corner of song and band explode into a roar of heavy beats and rugged riffs around the dusty tones of Joe Arnold. As existing fans would expect, a spicy groove is soon in the midst of the engaging tempest too, the song a rigorous charge unafraid to slip into gentle melodic caresses with matching vocal persuasion. With a touch of Metallica to it alongside whispers of Alice in Chains, the song ebbs and flows in intensity, bellows and croons in aggression and attitude uniting to draw only a hungry attention for it and the whole release.

ReGen_Front_Cover_Final_RingMaster Review     The following Cold similarly makes a gentle entrance, though this time there is a definite intimidating shadow behind the emerging sound and vocal tempting. Soon the track is into a muscular but reflective stroll, rhythms a dark texture against the lighter but no less sorrow laced enterprise of guitar and voice. Across it the rolling and imaginative beats of Schultz are pure magnetism, their anthemic lures matched by the throaty emotion cast by Battung’s bass and the gnawing riffs of John Arnold, the latter also casting some delicious acidic enticing within his solo and imagination. Arguably the track lacks the richer originality of others, at times providing something for expectations but every time thoughts like that do arise it is fair to say that something twists and turns in the songwriting and song to argue the point.

The variety within the release continues more strongly with both Savior and Nothing Left. The first of the two explores a heavier rock spiced canvas upon which the guitar spins a melodic and groove metal seeded web. As the voice of Joe spreads the narrative with emotive expression and energy, there is an air of bands like In Flames and Avenged Sevenfold to the track, but only spices honed into something, certainly taking longer to persuade than its predecessors, but brewing up an individual and long-term captivation. Its successor is similar in that it slowly burns into the passions and also leaves one of the deepest enjoyments. The song opens with a mesmeric kiss of Spanish guitar, their flamenco spawned melodies like kisses on the senses and a tonic for the imagination. The song is an acoustic seduction, its beauty tempering and complementing the melancholy oozing from every syllable and harmony, not forgetting the bewitching strings which emerge later in the song. Eventually though, the drama has to explode and the thrilling encounter erupts into a rousing intensive finale though with one last acoustic stroke for its last touch.

Cerebellion are back in voracious swing with Thin Ice next, the track from its first breath almost predatory with its scythes of sound and beats, all colluding to forge a prowling enticing and subsequently an adrenaline driven, thrash bred onslaught. Of course the band is never one to settle into one wind of persuasion and they seamlessly and skilfully infuse melodic and calmer swerves into that the at times almost rabid intensity. The track is as anthemic as it is creatively riveting, a song which alone tells you all you need to know about band and sound, and definitely the perfect gateway for new fans into Cerebellion.

Regeneration ends with Forsaken, a fascinating and creatively tempestuous encounter again revealing everything impressive about the band and music. From individual prowess to group imagination, songwriting maturity to lyrical and melodic incitement, song and release only and increasingly impress.

The hefty time between releases has only seen Cerebellion grow into a masterful metal/rock proposition, but you know whilst listening to Regeneration, you still get the feeling there is plenty more untapped inside the band’s creativity. Hopefully we will discover that a little more swiftly ahead.

The Regeneration EP is available now through most online stores and digitally and on CD @

RingMaster 18/07/2015

Copyright RingMaster: MyFreeCopyright

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Straight Line Stitch – Transparency

Photo credit- Benjamin and Beverly Ross

Photo credit- Benjamin and Beverly Ross

Whether Straight Line Stitch is a band you ultimately take to or not, there is no escaping the fact that their sound demands attention. Their evolving mix of metal and rock is a dramatic and inventive proposition which explodes with fresh and rigorous tenacity in the band’s new EP Transparency. Consisting of six tracks which can uncompromisingly snarl and masterfully seduce, creatively savage and forcibly charm across their individual bodies, the EP is a rousing and fiercely enjoyable encounter from a band which never compromises their sound and invention but still manages to shape it into one easily devoured adventure.

Released via Pavement Entertainment, Transparency sees the Knoxville, TN trio reinforcing their core fusion of metal and hard rock with new transfixing twists and detours whilst retaining its recognisable and potent substance. The threesome of vocalist Alexis Brown, bassist Darren McClelland, and guitarist Jason White have not sculpted a major departure to the impressive offerings within their previous acclaimed album The Fight of Our Lives of 2011, yet the tapestry of ravenous and melodic invention is loaded with greater predacious and captivating temptation than ever before. It might just be a handful of songs but the EP suggests Straight Line Stitch have tapped into a new vat of inspiration and resourcefulness which can only further unfold ahead.

SLSCOV_RingMaster Review     Transparency opens with Out of the Shadows, a brief instrumental intro which entices well enough with its evocative air and elegance but fair to say the release properly gets going once Dark Matter suddenly roars from within the parting kiss of its predecessor. Brown’s aggressive raw tones rage first, swiftly joined by hungry riffs and rhythms bound in a tight vine of alluring grooving. In a matter of a few additional moments, Brown unveils the other side to her vocal prowess, her melodic persuasion casting new colour to the sonic tempting fermenting within the song and providing another step in the ever impressive and seamless diversity in her delivery. A carousel of predatory hostility and alluring pop rock around a carnivorous spine, the song itself is a persistently captivating engagement which is quickly matched by Out of Body.

The third track opens with warm enticing, guitar melodies caressing ears as the gentle tones of Brown flirt with the senses. As bass and drums harden their character, a stronger growl begins lining the song though it relaxes when keys spark harmony rich calmer passages within the song. Like a mix of In Flames and Lacuna Coil yet with an intimacy which gives the encounter its own distinction, the song heftily pleases before making way for Face of God, a track with volatile shadows to its depths and virulent contagion to its anthemic tempting. It is a stirring mix of textures with riffs and bass almost bestial in their intimidation and rancorous sound whilst vocals and melodies cast blazing rays of evocative beauty. Things continue to shift and twist in the body of the outstanding encounter, the EP’s best moment a kaleidoscope of unpredictable and easily digestible enterprise.

Wilderness is a savage provocation from its first breath, riffs and rhythms preying on ears with antagonistic imagination and fury which is soon matched by guitars and vocals and their own aggressive ingenuity. The fierce theatre subsequently slips into oases of melodic beauty, sparking new potent bait for appetite and imagination to feed from even though the blistering track’s dark side is never far from the surface. It is a template taken to its own imposing success by Human Bondage, though the closing song does lack the spark of uniqueness found in its predecessor. Nevertheless it is a maelstrom of rabid almost carnal riffs, grouchy basslines, and almost fell vocal ire entwined with warm and soaring radiance spread sonically and through the dynamic tones of Brown.

The song is a thick pleasure bringing another thoroughly enjoyable and enthralling incitement from Straight Line Stitch to a pleasing end. The new adventures within Transparency may not make it the best offering from the band to date, though it is right up there in many ways, but they suggest something major might just be in the pipeline and brewing very nicely for the band’s next album or proposal.

Transparency is available from June 30th via Pavement Entertainment.

RingMaster 30/06/2015

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Immension Online Press Shot

Steel City metallers ‘Immension’ continue their climb with the brand new video single for ‘In Vain’ which is taken from their debut album of the same name and out in stores now.

Watch ‘In Vain’ right here –

By pulling from a host of sources, but namely the layered webbing of ‘In Flames’ and the accessibility of ‘Trivium’ and ‘Arch Enemy’, Immension have carefully crafted a sound that cunningly blends the fundamentals of contemporary and metal; the end result is absolutely exhilarating.

Immension were originally formed in 2008 in Sheffield by founding members Jake Kearsley and Tim Dolan. Drummer Jonni Sowter entered the fray in 2011, and the aspiring riff beasts soon set to work on honing their sound. It wasn’t long before the Steel City crew hit the road and toured throughout the whole of the UK. The band then went on to record and self-release two EPs. Both records sparked extensive praise and support from Kerrang!, Rock Sound, Total Rock Radio, Terrorizer and Powerplay Magazine, all helping to catapult the band to a national level.

Immension’s debut album, ‘In Vain’, has just been nationally released and it sets a clear marker, drawing a definitive line in the sand for the trio. The riff slingers now lift the album’s namesake as a new video single and are set to charge forward. The single is an energetic assault on the senses that will undoubtedly pull you in, while highlighting the band’s maturity and careful texturing through perfectly woven guitar work and thoughtful arrangements. The Yorkshire metallers are here and are poised to reach new heights.


All Tomorrows – Sol Agnates

All Tomorrows_Reputation Radio/RingMaster Review

With the release of their second album Sol Agnates, Chilean metallers All Tomorrows are hoping it will be the doorway into establishing them within a European if not global metal spotlight. Listening to the encounter it is easy to suspect it is a desire destined to find success at some point as their impressive release and sounds assaults more ears and appetites. It is not a startling proposition, the band’s sound as familiar as it is promisingly fresh, but the album is a certainly stirring and increasingly magnetic incitement hitting the sweet spot of ears and emotions with persistent regularity.

All Tomorrows began in 2010, emerging from Santiago with the inspirations of bands like Gojira and Meshuggah in their creative blood and vision. 2011 saw the release of debut album Opilion, an acclaimed release at home and further afield. It helped push the band to broader attention, a recognition reinforced and increased by a live presence which has seen All Tomorrows share stages with bands such as Children of Bodom, Voivod, Megadeth, and At The Gates over the subsequent years. Their sound is tagged as progressive metal, if an extreme strain of the style, but as Sol Agnates reveals there is equally a death metal voracity and nature to their music which adds to the drama and intensity of songs. It also suggest that this is a band which gives equal concentration to every aspect of sound and to creating a release, the album an imposing proposal of clarity which allows every note, syllable, and rhythm to individually resonate and linger whilst uniting for a riveting predatory provocation.

All Tomorrows - Sol Agnates_Reputation Radio/RingMaster Review     It all begins with the album’s title track, a song which takes a mere second to unveil a web of sonic intrigue and temptation through the guitars of Pepe Lastarria and Ramón Pasternak backed by rigorously intimidating rhythms. Choppy riffs and beats stalk and badger the senses whilst the fiercely, raw vocal delivery of Lastarria is as abrasive as it is magnetic. You can openly hear the Meshuggah influence but equally as the outstanding opener vents its hostile creativity, there is a sense of Mudvayne and In Flames to the striking confrontation. The sonic enterprise of the guitars persistently flare up with sizzling endeavour across the song whilst the bestial tones of Oscar Arenas’ bass are as compelling as the wild but skilled swings of drummer Pablo Martinez are punishing.

The album could not have got off to a better start and keeps the raw power and impressiveness going through both Undying Seasons and Eidien. The second track equally rampages into view on a torrent of inhospitable rhythms and ravenous riffs, all seriously inviting whilst bound in acidic grooving and pierced with spiky hooks. Again unexpected whispers emerge as the track expands its turbulence, Slipknot and Tool reminded of as much as those earlier mentioned Gojira and Meshuggah spices. The trespass of the senses continues to twist and rage, erupt and seduce across its length before making way for its similarly hectic and tenaciously flavoursome successor. Slightly less hostile at its start, grievous riffs and rhythmic barbs holding some restraint as vocals rasp with predatory intent over ears, the track sculpts its own individual maelstrom of persuasion equipped with rich grooves blossoming in another bed of contagious imagination.

A devouring stalking of ears by Fiver’s Visions keeps enjoyment high and thoughts impressed even if the track lacks a certain spark of its predecessors, whilst next up Downpour spills an animus of stabbing beats and fiercely scything riffs across a barbarous landscape. Loaded with antagonistic vocals and a sinister sonic narrative, the track is arguably the first to really begin exploring the rich progressive depths of the band’s imagination. Previous songs hinted at rather than fully employed that provocative side of the band’s songwriting, and even this track does not dig too deep whilst thrilling ears, but Burnt by Call of the Bleak after definitely makes a bolder leap as it lights up the senses. Also fuelled by a relatively uncompromising aggression, the track’s guitars entwine imaginative textures with evocative invention whilst even the rhythms rein in their rabidity as song and band create a certainly intensively tempestuous but equally absorbing kaleidoscopic adventure.

Immanence draws on the more truculent side of the band’s sound for its physically predacious proposal but the guitars ensure they flirt with a melodic tempting between moments of sheer carnivorous majesty. It is a blistering challenge and treat, a bruising entrapment of the passions leaving the listener embracing the melodic opening of Ophidian Vibrations like a comfort blanket. The song allows that security to be assumed before uncaging its own nefarious enterprise and creative nature, riffs and rhythms fuelled by destructive hunger but perfectly tempered by the band’s venture into melodic flames of sound and progressive imagination.

Sol Agnates is concluded by the epic turmoil of Union, vocals and musical expression angst soaked as rapacious rhythms roam alongside a sinful bass tone. It is a bewitching roar of volcanic emotions and turbulent sounds aligning for a powerful and lingering conclusion to the riveting release.

It is impossible to imagine that All Tomorrows will be a South American ‘secret’ for much longer once Sol Agnates gets to work on new ears and attention. As ever of course, a hefty slice of fortune will be needed but if not with this album there can be no stopping the band breaking into the strongest recognition if they carry on creating treats like this as their music evolves.

Sol Agnates is available from May 19th via most online stores.

RingMaster 19/05/2015

Copyright RingMaster: MyFreeCopyright

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