Kinasis – Pariah

Though formed in 2010, UK metallers Kinasis maybe a proposition, like for us, which has escaped your close attention up till now. That is surely going to change with the release of their new EP, a ferociously striking and aggressive incitement loaded with hungry unpredictability and a technical prowess which simply inflames the fascination and pleasure. The four track insurgency is Pariah, a proposition which embraces an array of metal bred flavours in a cauldron of ravenous imagination and rabid dexterity.

Since emerging seven years ago and drawing strongly favourable responses with a debut demo the same year, Kinasis has grown into the British metal scene with increasing individuality and potency. Recent years their reputation earning live presence has seen the Bridgwater quintet shares stages with the likes of Sepultura, Malefice, Flayed Disciple, Sworn Amongst, Abadden, and Tacoma Narrows Bridge Disaster among many as well as venture into Italy alongside S.H.I.N.E. The release of Pariah feels like and should be the moment when Kinasis step from the shadows and stamps their creative authority and individual sound upon the extreme metal landscape.

Produced by Justin Hill (ex-Sikth) and wrapped in the artwork of Andy Pilkington of Very Metal Art, Pariah instantly goes for the jugular with opener Red Earth. Riffs surge through ears with a rapacious nagging whilst rhythms purge their animosity straight onto the senses. With every passing second the intensity rises but with a virulence and infectiousness which has the body bouncing to the ferociousness. A Korn-esque essence emerges as clean vocals invite nu-metal nuances, an industrial dexterity reminding of Static-X joining in as the track fluidly twists and turns through its inventive drama further embracing melodic and atmospheric suggestiveness. It is sheer magnetism, the track a mighty persuasion and alone the declaration of the coming of age of a new force to take notice of.

The following Black Dog creeps up and prowls the listener with predacious riffs and stabbing beats, then once sizing things up vocally and musically plundering the imagination with vocal tenacity embracing both raw and clean throated enterprise as death and technical metal tendencies dance which each other in barbarous intent.  As nu and groove metal elements get involved, things only become more precise rather than muddled, Kinasis showing their adeptness at weaving diverse and seriously enticing trespasses. For personal tastes the track never quite lives up to its three companions but certainly leaves no element of dissatisfaction in its wake.

Kindred similarly stalks ears if with a less obvious enmity as melodic strands entwine its initial proposal. Even stronger Korn like essences emerge to pleasing effect across the song and around a death/grindcore merging which has hints of Cryptopsy in its own infectious savagery. Clean vocals interchange with barbarous expulsions to further enhance the adventure, the band musically as bold and expert in switching through a kaleidoscope of styles and flavours without disturbing the song’s carnal nature and heart.

The release concludes with Incipient, an instant maelstrom of voice and sound colliding nu-and industrial metal psychosis with the harsher antagonism of variety woven extreme metal  before luring in just as appetising melodic and groove metal imagination. It is seriously arousing stuff, the type of sonic manna addiction is spawned from right here. As throughout Pariah, every twist brings a fresh incitement to chew over but mere seconds to consume before the next steals attention and increasing ardour.

It is the final throe of a quite simply stunning encounter from a band which will surely now get the attention their craft and imagination deserves. There have been a few bands coming to the fore as the British metal scene heads into new horizons and Kinasis have just made it known their intent to be there on the frontline.

Pariah is released September 29th and will be digitally available at most online stores with physical copies sold through http://kinasis.bigcartel.com/ and at shows.

https://www.facebook.com/Kinasis

Pete RingMaster 26/09/2017

Copyright RingMaster: MyFreeCopyright

Cute Cute Death – Vessels

Cute Cute Death Promo Shot_RingMasterReview

With a name which certainly sparks intrigue, Cute Cute Death back it up with a sound just as attention grabbing and now an album which climbs over the senses, trespasses their boundaries, and leaves fierce satisfaction in its wake. Vessels though is a slightly curious affair for personal tastes, an album which for its first third certainly pleases yet without sparking much more whilst its remainder is a different type of protagonist sparking real excitement about itself and the band’s future.

The seeds of Cute Cute Death began in 2008 when drummer Wayne Kopman and guitarist Johnny Correia relocated from their home city of Johannesburg, South Africa to the UK. Settling in London, the pair met and subsequently linked up with vocalist Niko Forster. After a few line-up changes, guitarist Ricky Gurung and bassist Robert Pipe were enlisted, at which point the band properly emerged, initially under the name Set The Air On Fire. They were soon lighting up stages with their American Metal/hardcore influenced post hardcore endeavours, taking to their growing sound inspirations from the likes of Lower Definition, Alexisonfire, Gallows, Finch, Refused, Deftones, and Glass Jaw, who especially come to mind at times listening to Vessels. The subsequent time since starting has seen the band play across the UK with bands such as Broadway, Atlantis, Flood of Red, They Say Fall, Confessions of a Traitor, and Rival State, all the time adding to their potent reputation which is now pushed again by their debut album.

Produced by Joseph Grouse with Justin Hill (Sikth) mixing, mastering, and co-producing, Vessels opens up with its title track; a song needing little time to get a firm hand on ears and attention. The guitar prowess of Correia and Gurung quickly casts a web of enterprise that lures the imagination, their sonic touch soon wrapping the impressive clean tones of Forster. Straightaway he impresses, increasingly so as his delivery springs rawer, dirtier, and grouchier roars to equally fine success. As the rhythms rumble and prowl the resourceful landscape of the song, there is no escaping the lure and vibrancy of the encounter yet, and we emphasize for personal ears and tastes, it never quite taps into something which really stirs up the passions.

Cute Cute Death Cover Artwork_RingMasterReviewAll the same it is a powerful and dramatic start to Vessels continued by the Sikth meets Incubus personality of Alarm. Once again, the guitars dance with invention and craft as rhythms crowd the senses with their hungry shadows, all colluding to burn fiercely around the equally inflamed and rousing tones of Forster. The track enjoyably blisters on the ear before seamlessly evolving into the rawer antipathy of Pockets. Sonic tendrils and band shouts bring fresh drama to the album whilst the bass of Pipe borders on predatory as it robustly swings through the web of unpredictable and intoxication grooves and scything hooks. There is something extra about the track, if indefinable, which its predecessors lacked, an essence which and hints at the adventure waiting to escape the album further on.

Red Lights makes a calmer entrance next, though walls of bruising rhythms led by the tenacious swings of Kopman amidst intimidating riffs are soon descending on the senses before the song grows into another skilled and magnetic blend of contrasting textures and intensity, as ever echoed in the vocal enterprise of Forster. From its success the brief instrumental of Interlude looms upon ears with electronic suggestiveness on board, it drawing the listener into the awaiting revelry of DMT. It is from here that Vessels suddenly triggers a lustier reaction, though again it is hard to say exactly why, the major differences between the qualities and invention of songs before and after the melodic break not an open reason. With persistently twisting grooves and unpredictable rhythms aligned to writhing tendrils of sonic imagination adding to its temptation, there is no denying that the song simply enthrals and sparks a new breed of pleasure.

There is certainly greater diversity across the songs from hereon in on the album, starting with the warm caress of Statues. The song is an emotive melodic hug and vocal croon with the guitars spellbinding and Forster bordering on majestic with his again wonderfully varied tones. Taking best song honours, the track almost alone tells you all you need to know about the potential and already established invention of Cute Cute Death and that is without sharing any invasive trespass, which they have already proven to be equally adept at.

Leave This City follows and quickly holds courts as its web of spidery grooves and melodic acidity lies magnetically upon the rapier like thrusts of Kopman and another darkly juicy bassline from Pipe. There is a theatre to the hooks and the lively invention which grips the imagination as forcibly as the song’s underlying rhythmic rumble and fiery catchiness takes the body. It is an almost imposingly persuasive proposal matched by that of the enjoyably volatile and often irritable Glass Eyes and eclipsed by the closing might of Dinosaur. The final track is a tempest of anthemic hardcore, rebellious punk rock, and psyche infesting noise rock persistently involved with progressive and melodic ingenuity. The song is rebel rousing, a spirit igniting finale to the album offering a creative call to arms for the impressive invention and presence of Cut Cute Death.

Vessels is an excellent first full-length from the band; one which, even with that odd impact initially, left us thrilled and eager to recommend all fans check out what is a fresh breath in the post and hardcore scene.

Vessels is out now through all outlets on Friday 13th May.

http://www.cutecutedeath.com   https://www.facebook.com/cutecutedeath/     https://twitter.com/cutecutedeath

Pete RingMaster 13/05/2016

Copyright RingMaster: MyFreeCopyright

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Pryti – Bitter Pill

Pryti Promo Shot _RingMasterReview

Like intoxicating liquor, some flavours simply grown stronger and more compelling with age, and that is the same with Bitter Pill, the new video single from British independent rock artist Pryti. The song comes from the Birmingham singer songwriter transfixing and mightily impressive debut album Tales Of A Melancholic, which was released on her own label, Welcome To Pariahville early last year. Within the collection of dramatic and imposing landscapes of emotions and dark shadows, Bitter Pill certainly captivated and infested the imagination with its “bracing vocals and melodies caught on a passionate sonic wind”. Fair to say, as the album, it just grew with every listen from there but it is now on its own, and for whatever reason, the song really seems to have gained its biggest blossom as one seriously enthralling moment.

Inspired by the likes of Deftones and Paramore, both audible spices in Bitter Pill, Pryti is quite simply a sonic force all on her own. On the single and album, she was the sole source of songs, vocals, guitar and bass; a resourcefulness and strength which goes with the DIY ethic of her label and presence. It is a talent which only impresses when hearing her Justin Hill (Sikth, Heart of a Coward, Yashin, Bury Tomorrow) produced and majorly acclaimed first album, Tales Of A Melancholic and only does so again with Bitter Pill.

Pryti Cover Artwork _RingMasterReviewThe song instantly grips ears with its dark ambience and portentous beats, the lone lure of guitar as melancholic as the sounds around it are imposing. Pryti’s vocals equally have a solemn resonance to their intimate emotion and beauty, only flaming with greater inviting hues as the song equally rises in intensity and suggestive drama. That Deftones influence is an open colour, adding to the almost invasive air and tempestuous nature of the song. It is simply intoxicating stuff, a beguiling and haunting incitement of ears and imagination which shows no lessening of its potency even as lighter breezes dare to creep in on the compelling act.

Equally the video for Bitter Pill is as invasively mesmeric; Pryti alone in a shadow washed forest an evocative visual melancholy only reinforced by the elegant moves of the masked dancer which seem to add  to the song’s heart spawned solemnity. Directed by Marcus Maschwitz, the film is a captivating piece which draws rather than distracts attention to the actual song and its open heart.

The press release for the Bitter Pill suggests that, “There is little doubt that 2016 is going to be colossal for Pryti.” We for one will not argue.

The Bitter Pill video/single is released Friday 8th April.

https://www.facebook.com/prytigatgemusic   https://twitter.com/prytigatge

Pete RingMaster 06/04/2016

Copyright RingMaster: MyFreeCopyright

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

Heel – The Parts We Save

Heel_RingMasterReview

Amongst many eagerly anticipated offerings this year has to be the debut album from UK alternative rock quartet Heel. Having impressed with their first EP and even more so with subsequent releases as well as a striking stage presence, Heel has been one of the bands enveloped by increasing acclaim over recent times. It has put some strong expectations of The Parts We Save upon them which the London band has appeased with ease. Maybe at times the album does not quite fulfil all the potential within it but for rousing, imagination sculpted rock/pop contagiousness, the album persistently hits the spot with adventure and charm.

Formed in the winter of 2011 from guitarist Daniel and vocalist Margarita’s songwriting sessions, Heel quickly began working on their first EP once its line-up was completed by bassist Fred and drummer Nick. Produced by Justin Hill (Sikth), their opening release quickly grabbed attention and praise. Its success was subsequently pushed further by its successor Stranger Just The Same in 2014, an encounter also recorded with Hill. With video/singles luring play on the likes of Scuzz TV and Kerrang, the band set about working on an album, flying out to Japan`s legendary Geimori studio in Sapporo to record The Parts We Save with Daniel and Margarita producing.

Mixed by Ben Grosse and Paul Pavao (Marilyn Manson, Disturbed, Depeche Mode, Ben Folds, Thirty Seconds to Mars, etc.) and mastered by Tom Baker (Beastie Boys, Deftones, David Bowie, B.B. King), the album swiftly shows the growth in the band’s magnetic sound and its maturity in songwriting as opener An Apology sets to work stirring up ears. The first single from the release when uncaged last December, the song immediately consumes the senses in a sonic lure from which a bass led swagger within sultry caresses of guitar bounds. Its catchiness is instant and only strengthened by Margarita’s alluring vocals. Carrying thick drama to its rhythmic design and exotically seductive grooves, the track also develops an infectious No Doubt like charm which lies agreeably upon Heel’s own web of melody and imagination fuelled tenacity.

'The Parts We Save' Cover Artwork_RingMasterReviewThe excellent opening to the album continues with Selfish Burn which again has that Gwen Stefani and co spicing to its feisty pop ‘n’ roll. Throaty funk infused bait from Fred’s bass provides a potent spine to the song, an agitated smoulder of sonic and melodic resourcefulness laying upon it whilst Margarita’s tones again add a lusty freshness with a tinge of mischief to the temptation. Though seemingly crafted from the same template as the first and next up Yellow & Bliss, each song reveals its own individual and forcibly enticing character. The third track, and the band’s brand new video/single, is a lively shuffle with skittish rhythms and an animated gallop of chords and hooks beneath a breeze of warm harmonies and psych rock tinged enterprise, and quite irresistible.

Nothing New strolls in next with a melodic smile on its face and a devilish bassline at its heart for another inviting slice of impassioned pop rock whilst Shatter is a tender flirtation initially, which brews up into a spirited canter of jangling guitar and animated vocals aligned to mesmeric harmonies. By its close, the gentleness of the song is a near on surge of energy and passion, and increasingly bewitching.

The mellow croon of Cool allows body and emotions to settle; well at first as soon it also raises its enthusiastic agility and creative zeal to lead feet and hips on a merry dance egged on by virulent rhythms. A vibrant and catchy mix of textures and energies, the song has pleasure flowing, running right into the path of the outstanding Keep Running Back To Me. A tapestry of dynamic rock ‘n’ roll as punkish as it is bluesy, as feverishly tenacious as it is rapaciously heavy; the track is like a mix of My Baby and Spinnerette with a touch of Throwing Muses to it and quickly ignites appetite and emotions.

The dark drama of Live This Forever takes over, the track also a heavier proposal with a punk/grunge breeding to its invention and a fiery attitude to its emotive heart. It prowls, almost stalks ears as it unveils its shadow rich theatre, again grabbing eager involvement in its proposal before Fake Love twists and turns with its pop punk infused 4 Non Blondes like rock ‘n’ roll to great success.

Finishing with the tantalising melodic breeze of Streets Full Of You, a final harmonic and emotive kiss on ears with its own line in imaginative shadows, The Parts We Save is an encounter with plenty of eagerly lingering moments. Some songs are a more instant and imposing arousal than others, but each only provides rich enjoyment and an appetite for more from a band still growing into its skin of originality but establishing itself as one of Britain’s brightest propositions.

The Parts We Save is released March 4th via iTunes and Amazon.

http://www.heelband.com/   https://www.facebook.com/Heellondon   https://twitter.com/heellondon

Pete RingMaster 04/03/2016

Copyright RingMaster: MyFreeCopyright

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

MORE THAN MOST UNVEIL THEIR ‘NIGHTMARES’

More Than Most Online Promo Shot_RingMaster Review

Brit alternative rock outfit More Than Most have released their new video single ‘Nightmares’, a track taken from the band’s new EP ‘Impossible Is Temporary’ which was releases on February 5th.
You can check out ‘Nightmares’ right now at https://www.youtube.com/watch?v=3UVxaRsc7xA&feature=youtu.be

Hailing out of London, the 2014 formed ‘More Than Most’ are a diverse and potent five piece originating from across the globe. The alt-rock combo consist of Leandro Leonardi (guitar) who moved from Brazil to England to pursue music, Mok Saib (bass) who journeyed from Algeria, and Cole Solem (drums) who arrived from the USA. Izzy Stylez (vocals) and Daniel Allan (guitar) are the only original UK based members. With a varied range of influences and life experiences, ‘More Than Most’ tug from their diversity and draw it down to their music. The result is both wholly captivating and all consuming.

It is fair to say that the energetic quintet hit the ground running, playing their first ever show at the start of this year in a sold out O2 Academy Islington 2 Show, supporting ‘Dirt’. From this point, the quintet has not looked back, breeding a dedicated fan-base whilst picking up slots at Takedown Festival and Camden Rocks Festival, and playing with the likes of Mallory Knox, Charlie Simpson, The Blackout, Bullet For My Valentine, Skindred, Funeral For A Friend, Finch and While She Sleeps. More Than Most have gone on to sell-out another O2 Academy show, as well as impressing through a succession of pummelling shows throughout the Southern plains. As well as vigorously working on their live set, the alt rocksters have put out two videos ‘Feed The Fire’ and ‘You’re Not Alone’; both receiving extensive TV airplay with Scuzz.

Now with the release of their new video single ‘Nightmares’ (https://www.youtube.com/watch?v=3UVxaRsc7xA&feature=youtu.be) following one impressive new EP in the Justin Hill (Young Guns, Heart Of A Coward) reorded ‘Impossible Is Temporary’, it is fair to say that More Than Most have arrived.
https://www.facebook.com/morethanmostofficial  https://twitter.com/mtmukofficial