Hails of metal and imagination; talking Shattered

US metallers Shattered have a sound which quite simply made us take notice so with big thanks to guitarist Tony Pettry we explored the band , its beginnings, sound, and plenty more…

Hello and thanks for taking time out to talk with us.

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

Hello, we are Shattered out of Tampa Bay, Florida. I, Tony Pettry and Tony Weaver decided to put a band together in 2014 because our musical styles of playing fit perfect.

Have you been or are involved in other bands? If so has that had any impact on what you are doing with Shattered?

Yes, I was in a couple different bands in the past and learned something from each one of them which I still carry with me today.

What inspired the band name?

After that we went through a bunch of names and made sure they were available and Shattered stood out above them all.

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

I thrive on being unique and all the different styles of music everyone brings to the table makes us stand out.

As the band has grown and evolved it is the same core intent driving the band?

I still have the drive as when we first started the band. Loosing members from different situations really helped me mature for the most part and I approach things in a different manner.

Since those early days, how would you say your sound has evolved?

Our music is getting more technical as we grow together for sure.

Is that simply an organic growth or more you deliberately wanting to try new things?

All of us have so much music built up inside so we mix it all together till it moulds into a song.

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

Every member in the band is different but personally King Diamond has always been my inspiration because of his uniqueness in music and stage performance.

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

We share ideas and it goes forward from there.

Where do you, more often than not, draw the inspirations to the lyrical side of songs?

Our vocalist likes fantasy and storyline type of songs which is always awesome in my book.

Would you give us some background to your latest release?

The last album was named “PRIDE” which was about bullying and standing up for yourself, an aggressive album on not letting people get the better of you and standing your ground. Our new album coming soon is called “SKINWALKER” focusing on stories about werewolves and more. It is going to be out this year.

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

Yes, we like to walk into the studio fully prepared to record.

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

I love that not only do we have a blast sharing our music but doing crazy stuff during our performances to get the crowd going.

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

I found that the social media helps a lot promoting. Honestly, it is hard to make an impact in the music scene so our best shot is being unique from other bands so we get noticed.

You mentioned the internet and social media, is it something the band easily embraces?

Social media is a positive 100%. We learn something new every day to get our name out there.

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

I just want to thank you for the interview and Sinister Guitar Picks, Fireball Whisky, From The Depths Entertainment, and Rogue PR for everything.

Check Shattered out further @…

http://www.shattered727.com   https://www.facebook.com/pg/Shattered727

Pete RingMaster 17/01/2019

Copyright RingMaster: MyFreeCopyright

Toxik – Breaking Class

As the number of metal bands returning after extensive breaks or simply break-ups often decades earlier keeps going up so are the amount of impressive releases emerging from these reunions. Adding to the list and almost heading it is the new EP from US thrashers Toxik. Offering three tracks of the genre in its old school breeding, Breaking Class is everything that is irresistible within thrash metal with a healthy freshness linked to experience that newcomers can only learn from and be inspired by.

Subsequently one of the most potent forces with thrash once emerging in 1985, New York hailing Toxik released a pair of increasingly recognised as classic albums in World Circus (1987) and Think This (1989) as well as built a potent live stature which included sharing stages and touring with the likes of King Diamond, Testament, Dream Theater, Exodus, Pantera, Candlemass and many more. Disbanding in 1982, interest in the band was clearly evident with the release of a pair of live DVDs in 2007 and 2010. Announcing their return three years after the second DVD with Shadows Fall’s Jason Bittner replacing original drummer Tad Leger, Toxik very successfully toured Europe and South America showing the lingering support for the band. Since then the line-up has seen James D’Maria of Generation Kill replacing Bittner and vocalist Charles Sabin (from the band’s second album, Think This) taking over from original frontman Mike Sanders as well as bassist Shane Boulos linking up with band founder and guitarist Josh Christian. It is a unit which seems to be a perfect fit as Breaking Class ravages the senses, an organic roar driving its rapacious sound and intent from the EP’s opening seconds.

Those first moments come courtesy of Stand Up, the track spiralling from an initial sample woven lure with wiry guitar swirling around senses jabbing beats. Straight away instincts for anthemic metal are awoken, vocals a rousing incitement backed by hungry riffs and a brooding bass line which almost dances with an established appetite for its flavours. There is a great Anthrax like tenacity and tone to the track around its chorus but equally a modern crossover essence bringing whiffs of bands such as Suicidal Tendencies and Municipal Waste into play but all spices assimilated in a proposal familiar, new, and distinct to Toxik.

The outstanding start is more than matched by the EP’s title track, Breaking Class a devilish surge of riffs and whipping rhythms fuelled by an energy and devilment just as evident in Sabin’s instinctively persuasive vocals and tenacity. Christian similarly has ears and imagination hooked with his aggressive and inventive web of riffs and sonic enterprise, never allowing the listener to settle without adding a new twist then another then….

As compelling as it is riotous, the track is itself more than matched by the closing Psyop; that healthy brew of flavours within the opener uncaged again within its more predatory climate and gait and again involved in an adventurous and almost challengingly unpredictable proposal. It maybe old school nurtured but the song, as its companions, show that does not mean things have to be restrained in boldness and imagination and they certainly are not in the hands of Toxik.

With hints of a new album in the works, it is as if Toxik has never been away just taking their time to create what is one of the most enjoyable thrash stomps of recent years.

The Breaking Class EP is released August 4th with re-ordering available now @ https://toxik.bandcamp.com/album/breaking-class

https://www.facebook.com/TOXIKMETAL/

Pete RingMaster 18/07/2017

Copyright RingMaster: MyFreeCopyright

Thy Fallen Kingdom – Fear The Hunter

Band Photo

Wearing its old school inspirations proudly on its sleeve, Singapore thrashers Thy Fallen Kingdom unleash debut album Fear The Hunter, an encounter swift to fire up ears and neck muscles. The nine track aggressor is not a proposition to change the shape of thrash metal or bring it anything particularly new but for passion and thoroughly enjoyable enterprise, it is an album to eagerly embrace repeatedly. The band lists major influences as bands such as Exodus, Slayer, Megadeth, Testament, Destruction, King Diamond, and Mercyful Fate, no real surprise as you listen to their raw and highly flavoursome encounter, but to be honest this familiarity only adds to the lure of their sound and makes Fear The Hunter like an old friend in the ear and a seriously irresistible stomp for the body.

Formed in 2005, Thy Fallen Kingdom has uncaged a trio of releases leading up to the new album. From the five-track All That Is Left EP in 2009, the quintet has aroused local attention and passions as well as creating interest in the metal underground generally. The following UnDemocratic Society a year later and Army Of One EP in 2012, only added to their emerging presence ensuring there was plenty of anticipation for the band’s first full-length. After numerous line-up changes, the more settled line-up of original member and rhythm guitarist Akhbar, lead guitarist Christian, bassist Bryan, drummer Aip, and vocalist Aidil (though since the album’s recording he has left the band to be replaced by Rajuna), has crafted the band’s finest moment to date, an album to ignite body and appetite with ease.

Adrenaline and energy spurts voraciously from the speakers from the first seconds of the second track, never relenting until the album’s final offering, but it is the short alluring instrumental Mental Oppression starting things off. An evocative melody drifts from the strings of a guitar, its elegant expression and caress a potent coaxing but courted by a sinister sonic squall which offers shadows and portentous suggestiveness, a threat soon realised in Army Of 1. The song lays down a rub of nagging bait before rampaging with nostrils flared and rhythms slapping ears with their mighty swings. In full stride the track is a thunderous provocateur loaded with torrents of abrasing riffs and great tangy grooves, all punctuated by heavy fisted beats. Vocalist Aidil stands in the midst of the incitement, his delivery scowling with serpentine hostility for a great caustic hue to the tempestuous yet melodically fuelled sounds around him. The song as a whole only increases its lure as the blend of every element beds in the senses as grooves drip with temptation.

My Murderous Childhood keeps the great start to the album in full swing, charging and pounding through ears with broad sinews and acidic invention. Vocal variety across the band adds to Thy-Fallen-Kingdom-Fear-the-Hunter-e1415715183881the contagion of the track but it is the virulent riffing alongside spicy grooves and hooks which turns recognisable seeds into a masterfully magnetic proposition. The track leaves appetite and ears that little hungrier, an increasing greed the title track is only too please to satisfy. From a sonic drama a delicious throaty bassline steps forward, skirted by a rhythmic shuffle of beats. It is a bait impossible to resist, even more so when a tangy solo sears its addictive web. In full flight, the song does not quite live up to its opening or predecessor but still lays down an anthemic and contagious provocation to devour, especially with the addition of a bluesy colouring and subsequently furious animosity.

The anthems keep coming thick and fast, the next up Imperious Regime a vocal roar over a contagious sonic turbulence whilst its successor Psychosis provides an inescapable addiction. The first of the pair teases with a Suicidal Tendencies like predation, especially in the vocals, to provide an exhausting and rigorously thrilling incitement, though it is swiftly left in the shade by its successor. From its opening swagger and grouchy bassline, the track is in full control of attention and emotions. A Pantera-like swing to grooves is pure infectiousness which persistently lingers even as the song spills the rawest corrosive essences for a cantankerous canter of sound and attitude. That is enough to make it a formidable encounter but with a slip into a pasture of radiant melodies and harmonies with an air of Motherjane to them, the track has its sights on best on album honours.

The salaciously grooved Operation B.E.A.S.T. has its say on that straight after though, its rugged terrain a barbarous temptation bound in infection soaked grooves and vocal persuasion. The result is another epidemic of tenacious thrash enterprise which with plenty of creative hues and craft from the guitars and potent invention throughout sculpts its own peak in proceedings. That success is matched by the outstanding Unchallenged, another relentless assault with additional punkish textures to the surge of voice and riffs. There is no getting away from the fact that Thy Fallen Kingdom enclose themselves in their open inspirations without seemingly trying to break into bold originality, but here and across the whole of Fear The Hunter, it does not prevent the album from being one of the most pleasing and fun genre releases this year.

Closing with Possessors Of Absolute Power, one more creative cage of vicious rhythms and inventively spicy grooves roared on by torrential riffery, Fear The Hunter is thrash metal at its most furiously compelling. It may be bred on a diet of classic influences which the band is unafraid to share in their sound, but it is a familiarity which Thy Fallen Kingdom uses in their own attention grabbing way for a proposal all thrash fans should take up.

The self-released Fear The Hunter is available now.

https://www.facebook.com/pages/Thy-Fallen-Kingdom/108260834542?fref=ts

RingMaster 09/12/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Forcing dreams with realisation: talking ESCAPETHECULT with founder Peter G. Shallmin

Peter G. Shallmin

A proposition which increasingly impresses and continually reshapes thoughts and emotions the more time shared with it, All You Want To is one of the year’s most intriguing, ingenious, and exciting progressive metal explorations. It comes from ESCAPETHECULT, a band created and driven by Kamlath bassist Peter G. Shallmin and filled with the further creative talent of Uneven Structure vocalist Matthieu Romarin, Primus/A Perfect Circle drummer Tim Alexander, and guitarist Mike Wead from King Diamond/Mercyful Fate. The project has been a passion brewing away within Peter for years and their first album a compelling and striking incitement for ears, and imagination. We had the pleasure to learn about the band and more with Peter who kindly shared his time to talk band, the search for specific elements, the debut album, and much more….

Hi Peter and thanks for taking time out to chat with us.

Tell us about the beginnings of the band and the initial spark and inspiration behind it.

Greetings from far Siberia, dear Pete! Pleasure to meet you!

Thank you for this great opportunity. Much appreciated. Always nice to have a talk between two Pete’s btw…haha!

Well, it was me, who was so crazy and passionate to begin ESCAPETHECULT. It’s me who’s the spark, inspiration, nerve, force…and even the plague. I’m almost everything.

The absolute “driving force” – my dream when I was very young – was to play with my favourite musicians: Tim Alexander of mighty PRIMUS I was quite fortunate to reach him sending the e-mail with the idea to cooperate. You can understand my highest level of excitement when I’ve received his words “This is cool!”.

Mike Wead is my guitar hero. I’m lucky enough to say he is my long-time partner, we have worked together in my main band Kamlath and I wanted to see him in ESCAPETHECULT.

Was there a sound already in mind as the project came to life and if so how did that evolve as the line-up of ESCAPETHECULT grew?

In fact, I didn’t think about the sound. The keys were: the idea and the music that I had.

Till the very end we didn’t care about the sound. I mean there were no questions how should, say, drums or riff guitars be sounding. As far as the construction of the actual ETC sound was under many factors I was very calm and confident in a result because the highest level of professionals I collaborate.

How about the visual side, was there a concept or direction in mind there too?

I had everything in my mind to embody I just was needed the right artist to make it real.

I get the impression that the project was a seed growing inside over time rather than a sudden spur of the moment idea.

Yes, you are right! Thank you for this question. Not a spur of course…A picky, detailed and really hard job.

Despite the fact that I’ve started to work with Tim and Mike practically immediately, I considered finding a further guitarist for the riff parts and a vocalist. And this was the hardest task ever that has been lasting for 4 years in total. A numerous shots with various guitarists and vocalists all over the world…(around 20 musicians in total or even more) haven’t brought the outcome I hunted to achieve. The final line up was formed just more than year and half ago.

No success to find the right rhythm guitarist has forced me to compose and to demo it by myself and ask Mike to forge and improve them with his brand fingerprint.

And the songs which grace your debut album All You Want To; ideas from before the band or freshly sculpted since its emergence?

Artists involved had a full freedom and all the time they needed to compose and record everything.

Could you imagine that for example one song had blast beats? Yes it was. Some of my basic ideas were so extreme, on the edge. My ideas are not holy, I’m very flexible. Everything on this album was balanced with a clever and mature approach of Tim’s unique touch; the songs were shaped, sculpted as you said, re-arranged by Mike in details (through many months). Matt’s personal contribution as a composer and vocalist is so huge.

Sometimes it sounds like a jam but there’s no jam at all. They have given a new breath, new soul and new life to our creation.

I hate the term super group but certainly ESCAPETHECULT has some already acclaimed talented and inventive musicians involved as you have already talked of. Can you elaborate further on how the link up with you all came about and was this collection of talent always in mind as the band came to reality?

For me ESCAPETHECULT is my musical family. If there’s no Tim Alexander there’s no ETC. It would be a completely different band.

I’ve composed all songs the way like I‘ve “seen” Tim behind the drums. I’ve imagined our jam together: where we stop and go where we put this accent, where’s the fill etc.

Mike is the artist I see in the band – his talent and technique is so unique. Matthieu is the star that I finally found after the years of painful research.

There was a proper picture what should be played, how and where but no restrictions to create something new. There was a full autonomy to Tim, Mike and Matthieu to turn it to another direction. I didn’t care about the whole album sound but I was insane to discover the vocalist with exact timbre, style and the voice charisma.

Now I think the stars (in the sky I mean) did the job right! I had to go through this long way to accomplish exactly what I wanted.

With the likes of Primus, A Perfect Circle, King Diamond, Mercyful Fate, Uneven Structure, and Kamlat the ‘vehicles’ by which we know you all, was there any expectations on the outside towards the ESCAPETHECULT and your debut album escapethecult coverAll You Want To that you came across?

I see ESCAPETHECULT has broken many expectations, I see it on FB when we’ve got a decent amount of “unlike” straight after the first worldwide spin of I’m Absolute. Even in some reviews I felt this big disappointment (why so big?).

I guess some listeners were hoping to hear an aggressive mixture of heavy death metal riffing with more dynamic and fast drumming with harsh recitatives ala “Tommy The Cat” and epic clean vox over mega-delayed ambience with touch of growls here and there…I bet.

Alongside with this kind of reaction we keep receiving mostly praise. We’ve got an immediate support of PROG UK / METAL HAMMER UK – all our official steps were translated through their channels – first promo video, single video, full album stream and the 3 pages feature interview by Dom Lawson in # 49 Prog Magazine printed with such serious analyse and amazing words from him.

We are sincere thankful for those who have devoted much more time (than usually do) to try to get ETC’s message twice (3, 4 times and more), who has postponed for a “next time” to come back and to listen again and again.

Now we are associated with different styles and genres from progressive metal to pop-rock. It’s such a wonderful feeling to learn what our music gives the listener, what thoughts arises and associations brings. Not simple comparison to Tool only 🙂

You have to listen to our instrumentals – it has so many layers, hidden parts to discover, some unexpected revelations. You’ll find bossa nova in the main bass part of Feel The Flight, tango with “slows and quicks” in Tired Of The Past, psychedelia in This Time Will Come, jazzy odd signatures in I’m Absolute.

There are such varied backgrounds and flavoursome styles behind you all, I am imagining writing and bringing songs to life is a fun but maybe also an intensive kind of moment with numerous ideas coming to the fore. How did the songwriting work in regard to the album and in its recording?

The entire album has been done in my home studio. It has taken no more than 2 weeks in total to compose, record, and arrange all ideas.

I’m lefty, maybe it explains a bit, why our music is so weird…Rhythm section is my passion, I have demoed all drum parts; luckily Tim has kept my drum ideas and enriched it. Tim’s drums are the same as they were delivered by him in the first recording. He has recorded it in his home studio on the same custom TAMA/Zildjian drum he uses with PRIMUS. Don’t need to say that his playing is top notch and tight like a clock so it stays untouched with the rest of the old (at the first demo stage) and the new arrangements.

Unfortunately through those years it was a misfortune to find the right rhythm guitarist and this fact has impelled to record riffs by myself and pass it to Mike then. Mike Wead has re-arranged and recorded riff guitars, leads/solos with a kind assistance of Simon Johansson (guitarist of WOLF, MEMORY GARDEN, ABSTRACT ALGEBRA etc.) at Solna Sound Recording Sweden.

Our rising star – Matthieu also recorded his vocals in own studio. The final production of All You Want To has been completed by Mike.

To sum up…the outcome of all members involved was very fast. The research of the artists has taken 4 years.

The band members are settled in various areas of the world. Did you all come together in one location for the album’s recording or was it done across studios and time etc.?

It was done across studios and time. The web has been a key aspect for the creation of ESCAPETHECULT. The web has made the world small enough for all of us to be able to work together.

There were thousands of mails, notes, guides, mega packages of audio files, sequences, even multi-seconds. It was a smooth and productive experience because everyone knew his role.

In few words it looked like:

– Hey, here’s the sequence 00:45 – 01:15 I put here an additional harmony and few overdubs to support the main part. What you think?

– I love it!

– Don’t you think we need to up the bass volume + 0,00005 dB…

– Hmm… it might work…

– No… roll back + 0,00005 is TOO much …make it + 0,00004 dB

– Yeah, man…I love it!

Kiddin’ of course although you can imagine how meticulous I am. Nevertheless every single note, accent, instrument and the whole performance is natural.

Give us some insight on how the album came together and the energy and determination it has taken to get it all together and out there without any label support.

Free will and sincere approach, Nothing more… If you don’t like the idea or music you won’t join…right?

We do it without any label support. Yes, I wanted it in the very beginning but few hints showed that the labels hadn’t interest in this kind of creative alliance despite the names. To be honest, the music we represent is not for the masses.

Thanks a lot to our partner – HOLD TIGHT PR! James you are doing a really hard job and I guess it was one of the hardest task to let people heard us and to find a balance between existing media tastes, expectations and disappointments and integrate ESCAPETHECULT into it. It’s quite hard nowadays to open the eyes.

Moreover I must admit it’s a very expensive project. Don’t do that if you haven’t the crazy truth in your forces and balls…J

Is there a particular theme or veining musically and lyrically across All You Want To?

Our hearts and souls in every single note!

What have been the main inspirations to the album’s heart and lyrical paintings?

The full title we quote as “ALL YOU WANT TO ESCAPE THE CULT”. We convey our own and simple philosophy on every day’s symbols, signs that have many meanings.

Mostly it’s about the time through many skins, origins, components that are around us: social life, politics and religions. About something that quite often fears us with a touch of sarcasm and self-irony. The primary message is quite simple: Be free. Your freedom is a gift to live and build your own day, life and “world”.

How about the visual side of the project, who drives that and how does it relate to your music.

It was a parallel period that has been took the years too. I’m extremely picky because I know what I want. I was needed a very detailed conceptual art.

The creator of our visual concept is Igor Omodei, a truly talented French artist and he is in UNEVEN STRUCTURE too.

I’ve gave him my ideas, “the story” behind each song and he has created all arts, illustrations to every song and full layout to our debut. Inside of the digipack release you can find a monologue written by Igor. He also did ESCAPETHECULT’s promo video and a debut single video for I’m Absolute.

I’d say more our visualization for this album is not finished yet. Our crew is much wider than you could think and the final list of artists is really big.

ESCAPETHECULT will bring some wonders till the end of this year!

Is there a live side to the band yet with you so far apart?

We are very close with Mike because we haven’t stopped to work and we are on the finish line with the second Kamlath album that should see the light in the end of this year. With Matthieu too – I’m glad he rises higher with Uneven Structure and I’m quite happy for his success.

We were very anxious about Tim’s heart’s surgery lately but now everything’s fine, he is a titan and right now he is back to rehearsals with Primus for the coming tour in November.

Everything’s just fine between us.

It is right to say that the aim is for ESCAPETHECULT to be a unique multi-sensory experience?

At least we’ve tried and now we have our own experience, personal and in the creation of All You Want To. If the listener thinks the same – we are happy! In any case we continue our creative investigations

We found All You Want To made a potent initial impact but flourished more the further down the line we went, its charm and elements a lingering lure drawing us back into its arms where to be fair we discovered more and more of its depths with every listen. As you brought the album to life did you feel or sense how it might work predominantly with listeners?

Strange… Weird?

Bizarre!

Avant-garde!!!

Hell, No..!

Hell…Yeah!

WTF?!

So boring…

Damn, it’s a gem!

(ah ..yes I’ve forgot all those who has disliked …you know what they usually say J)

We called it a progressive album to give a sense of its sounds to readers, but it embraces much more than that. How would you describe it?

This is the MUSIC and ART first. The second – it’s not a “piece of cake”, a “hard nut” indeed. It’s very intelligent concept for a forward thinking person. No clichés…A book within deep musical and art landscapes. You HAVE to take a time to understand it… Not just one take. All You Want To opens up more with every new spin. Mature, honest, diverse and unique.

What comes next for ESCAPETHECULT?

The second album of course… a new visualization in a more bizarre way.

We have faced some reviewers making a mistake in the title of the album put the word “Need” instead “Want”, so I think we have to call our next work “All You NEED To”…

(The RingMaster Review holds hands up in guilt)

People want to see us on the stage in 2015 we consider some opportunities to make this project live.

Till the end of this year there will be a limited edition release in a very special package of all instrumental versions of the songs plus some cool surprises.

Thanks again Peter for sharing your time to talk with us. Any last words you would like to share?

My pleasure to answer to your interesting questions!

All the best to our listeners, to RingMaster!

Listen to the MUSIC! We bring it to you!

Cordially,

ESCAPETHECULT

www.facebook.com/EscapeTheCvlt

Read the All You Want To review @ https://ringmasterreviewintroduces.wordpress.com/2014/08/19/escape-the-cult-all-you-need-to/

Pete RingMaster

The RingMaster Review 31/10/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

Escapethecult – All You Want To

ETC-band-2

All You Want To  is a persistent little temptation, an album which admittedly did not really blow thoughts and senses away initially but did engage them in a pleasing and intriguing proposition. Away from its aural embrace though hooks and melodies, rhythmic twists and grooves kept swerving around the imagination and memory, all leading back to and revealing themselves as being bred by the debut album from Escapethecult. The seven track encounter is still not an experience to leave you intensely awestruck but with its lingering and ingenious enterprise certainly enthrals as one of the year’s more exciting progressive metal propositions.

Escapethecult is one of those super groups you read about, a collection of established musicians taking time out from their more recognisable exploits to explore new hopefully impressive avenues, something the quartet does with ease from start to finish. The brainchild of Kamlath bassist Peter G. Shallmin, Escape The Cult came to life in 2008 with its founder drawing on the qualities of vocalist Matthieu Romarin of Uneven Structure, guitarist Mike Wead from King Diamond/Mercyful Fate, and Primus/A Perfect Circle drummer Tim Alexander to help realise his vision of creating a progressive metal audio/visual experience. It has been a journey for the band to this point and for Shamlin who talked about the album saying “It was a dynamic and exciting start, with blood, sweat and tears shed throughout the process and a long exhausted preparation for the attack. Every day was worth to make it real. We were sincere in our ideas that are embodied in our debut.

The gentle but resourceful entrance of opener Backfired, with a bass twang courting spicy guitar enterprise, swiftly catches the imagination and though it is not a dramatic start to the album, an intrigued appetite for the song’s offering is

Created by Igor Omodei

Created by Igor Omodei

drawn. The distinctive tones of Romarin bring a familiar and passionate texture to the emerging narrative of the song, one never forceful or in a rush to challenge ears and thoughts but leaving inventive tendrils of melodies and strains of sonic incitement to infest the passions. It is a potent and riveting start to the album, basking in the renowned individual skills of its creators whilst forging a compelling and unique suasion of its own.

The following Clandestine opens with a muscular and aggressive threat which is soon tempered by an evocative heat of sonic colour and warm vocals. There is still an intensive weight to the rhythmic potency of Alexander though to keep senses on edge and balance out the almost Queens Of the Stone Age like sultriness coating the melodic exploration of the song. Grooves are seemingly slight in their bodies yet make for the most addictive and as mentioned earlier relentless temptations, the outstanding second track one of those which makes the most re-appearances in thoughts away from its source, whilst the flames of guitar endeavour from Wead transfixes as they scorch air and senses.

A definite pinnacle of the album, it is soon backed up by the gentle croon of I’m Absolute. With an immediately delicious web of hypnotic bass flirtation and the similarly mesmeric vocals of Romarin, the song sways and immerses ears in a smouldering and jazzy emprise of progressive fascination. The beats juggled by Alexander further captivate and ignite an already invigorating breath to a song, which as the album as a whole, does not explode in the passions but worms its way seductively into the psyche to forge an even more intensive bond.

Both the melodically tender Feel The Flight and the rapacious Tired Of The Past provide an absorbing canvas to lose one’s thoughts within, the first adding tense riffs and restrained yet incendiary grooves into its impassioned but mellow landscape. It is another where particular elements fire up ears and the passions rather than an overall combination but that united blend provides the embrace and rich foundation within which the sublime twists and essences can impress. Its successor is a feistier encounter in sound and intent which boils with imagination and unpredictability, preying on and tempting the listener with a provocatively charged invention which snarls and seduces with equal predation. An exceptional track binding ears in a thrilling adventure, it also sows seeds which blossom at a later date, though that is something truthfully which applies to all songs, as shown by the brilliant This Time Will Come. Hints of Alice In Chains and Tool, which have flirted with other songs too, make a rich enticement within the masterful blaze of intensive melodies and sonic acidity. There is also an underlying snarl and angst fuelled growl to the track which simply scintillates within the impressive and constantly evolving invention as it pushes itself to be the pinnacle of the release.

Where No Grown Up Grapes brings the album to a fine close with its web of heavy vocal and sonic passion. It is another where it simmers without lighting fires but then in a twist of a chord or rhythmic shuffle finds an enslaving idea or slither of imagination to set thoughts and passions ablaze. That sums up All You Want To as a whole, it at times simply pleasing with skilled ease and then striking with sheer genius and expectations slaughtering ingenuity. It all makes for an album which leaves a rich impression and presence with even deeper laid lures which prey on the listener later. How frequently Escapethecult will be exploring ears and imagination ahead we will see with its members ‘day jobs’ etc. but anticipation and hunger for more is already breeding healthily thanks to All You Want To.

The self-released All You Want To is scheduled to be unveiled in September 2014.

www.facebook.com/EscapeTheCvlt

8.5/10

RingMaster 19/08/2014

Copyright RingMaster: MyFreeCopyright

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E-Force – The Curse

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For all newcomers to the band, disregard the off putting name and get your claws into one cracking album from E-Force. Though formed in 2001, the band’s moniker has never nestled easily with us but it has not stopped the thrash and heavy metal fusing encounter from lighting up the ears, new album The Curse their most potent aggressor yet. Hailing from Montreal but now France based, E-Force uncages eleven raw abrasing assaults which savage, antagonise, and thrill the ears. It is not an album breaking into new pastures for aggressive metal but certainly one to fire up the passions and imagination of metal fans across multiple genres such its flavoursome exploits.

The band was created by vocalist/bassist Eric Forrest, the frontman of Voivod from 1994 till 2001, a period which included the albums Negatron and Phobos as well as the live release, Voivod Lives. Taking his nickname as the band name, E-Force released debut album Evil Forces in 2003 to strong acclaim from fans and media alike. Relocating to Toulouse soon after, Forrest pulled together a new line-up which continued the emergence of the band; the second album Modified Poison in 2008 also earning eager plaudits for its stronger and more diverse sound. The years has also see the band forge a mighty reputation live, successful tours with the likes of Carpathian Forest, Tsjuder, and Wykked Witch, and acclaimed festival appearances highlights over the years. Now The Curse brings the next potent rampage of the band; Forrest alongside new guitarist XAV and returning drummer KROF with contributions from special guests Glen Drover (Megadeth, King Diamond), Kristian Niemann (Therion), Vincent Agar (Yotangor), bringing forth the caustic breath of the band’s live aggression to drive a new creative riot on the senses.

The concept album which takes its premise from the power and temptation of, and obsession with, the female race, makes a portentous E-Force - The Curseentrance through the brief Invitation. Its atmosphere is soaked in warning whilst a seductive female teases and lays bait to expose the weakness of man. The track is pushed aside by the following Perverse Media, riffs and rhythms immediately ascending upon the ears with a voracious hunger and combative urgency. The vocals of Forrest are equally as confrontational making for a strong and solid start, but it is just an initial lure which is soon given to greater appeal by ravenous grooves and scything twists of adventure. The track turns into a formidable predator, an aggressor which teases and intimidates throughout leaving appetite and pleasure ablaze.

The virulent temptress that is Witch Wrk steals attention next; riffs an abrasing incitement framed by a rhythmic rabidity which is controlled but rapacious. There is a gnawing pressure from the song which never relinquishes its appealing persistence whilst vocally again the delivery is soaked in a causticity to match the antagonism of the sounds. The potent bestial contagion of the encounter is matched by Serpent’s Kiss, its distinctly different temptation just as carnally insistent and masterful. From weaving seductive sonic enterprise the track brawls with the senses but again with a control which is more of a stalking beast than an unbridled storm. Continually twisting its body and gait the track, just as the album, evolves into a killer proposition over each provocation taken; both only increasing their rigorous and irresistible strength with each assault.

Both Awakened and Psyclone keep the intensity and impressive levels on full throttle, the first an inventive scourge of guitar and bass ravishing driven by the irrepressible charge of the drums whilst the second discovers a more insidiously addictive lure to entwine around ears and imagination, the track lashing the senses whilst simultaneously rewarding with dramatic hooks and infection drenched grooves, every second a tempestuous and powerfully compelling intrusion. Again both songs take a while to conquer the passions but subsequently neither leaves them idle or lacking fire in the engine room.

The instantly intriguing and exploratory Devoured fires up the passions next, its opening the prelude to the most inventive and imaginative track yet with the band infusing their thrash cored maelstrom with even broader veins of groove and melodic metal with a blackened majesty. The track ripples and pulsates with a barbarous beauty whilst the guitar casts a mesmeric and skilled web around the explosive confrontation. It is outstanding showing the depth to the band’s endeavour and potential still unrealised, a potency examined again in varying detail by the scourge like Mass Deception and the irresistible Your Beloved Hate, the latter’s opening bass call a trap of addiction, its bait easily backed by the finely carved grooves and hungry predation of the song.

The penultimate track Infexxxous unveils a virulent nagging to recruit attention and appetite before forging its own specific rampancy and enslavement of the senses with the unrelenting craft and creative fertility of the band. The second half of The Curse is the most inventive and imaginative with the first clutch of tracks on the album besieging the listener, caging their submission before stretching the ideation and resourcefulness with the following horde of persuasions as evidenced by the insatiable final song The Curse Of The Cunt. Concluding the album in exhausting sadistic style with plenty of blood soaked colour, E-Force leave satisfaction and enjoyment bloated. The Curse may not be the most original album to be let loose this year but it sure is one of the most invigorating.

The Curse is available via Mausoleum Records now.

https://www.facebook.com/eforceoffical

8.5/10

RingMaster 12/04/2014

Copyright RingMaster: MyFreeCopyright

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Kill Ritual – The Eyes Of Medusa

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Having been thrilled and impressed by their debut album The Serpentine Ritual in 2012 and more than intrigued by the single Harder Than Stone earlier than this year, anticipation was high for the sophomore full-length from US metallers Kill Ritual. Though it probably took longer than its predecessor to fully convince, needing a more intensive attention and time discovering all of its twists and compelling turns, The Eyes Of Medusa easily feeds expectations and hopes with its inventive and diverse flavouring. The album is one which continues the band’s skilled fusion of thrash and heavy metal with a wealth of fiery additives as shown by their debut but pushes a wider imaginative adventure upon this potent canvas. There are moments where success ebbs and flows a little within the release but it is an unrelenting captivation which even in its less potent moments is never far away from igniting the imagination and a very healthy appetite.

Kill Ritual was formed in 2010 by Imagika guitarist Steve Rice and drummer Wayne DeVecchi, who continued their union to explore and push on the music they were already working on before the demise of the band. The line-up was soon completed by the addition of former Eldritch guitarist Roberto Proietti, former Dark Angel bassist Danyael Williams, and vocalist Josh Gibson. Released through Scarlet Records, the band’s brew of progressive and classic essences with a thrash driven core caught immediate attention through The Serpentine Ritual, a release which was unpredictable and compelling from start to finish. Unleashed by now a quartet of drummer Gee Anzalone (Brain Damage) alongside, Rice, Gibson, and Williams, The Eyes Of Medusa is much the same; whether an acceleration of its predecessor’s triumph is still in debate but certainly it is a release which stands by its side in quality, surprises, and enjoyment.

Mastering by Rice and Andy LaRocque (King Diamond, Hammerfall, InFlames), and produced by Rice, the GoldenCore Records/ZYX Music kill_ritual_The_Eyes_Of_Medusareleased album steals the passions instantly through its opening title track, the entrance of the song through a wonderfully nagging lure of jagged repetitious riffs immediate magnetism especially with the subsequent fall of heavy rhythms and dark throated bass strikes. The additional emerging web of melodic temptation only steals a richer intrigue before the proposition unleashes a charge of thrash bred voracity. The track surges with sinews flailing air and intent ravaging senses whilst vocally Gibson parades a strong and varied display which matches the equally eventful and resourceful narrative of the song. It is an impressive invitation into the album, guitars a fluid colour of imagination and craft across a canvas of hungry rhythms and riffing which highlights further the eloquence, raw power, and striking invention of the offering.

The following Hair Trigger struggles to match the stunning start though it still leaves a satisfaction which keeps attention and appetite fully locked into the release’s grip. A classic/power metal spine thrusts the track urgently through the ear, its thrash intent similarly loud and enveloping but the spark of ingenuity which veined the first is less vocal thus feeding expectations more. Despite that with another great vocal diversity to his presence Gibson alongside the guitar of Rice light the senses and emotions to please with a more than accomplished slab of muscle bound rock ‘n’ roll. Its successor Never Get Me is much the same, a very decent and engaging slice of metallic persuasion presented with the expected craft and enterprise of Kill Ritual but lacking that essence of originality and ingenuity which ignited the album’s start and much more of its body to come.

Ride Into The Night is prime heavy metal and like the previous pair satisfies but fails to light any fire in the belly of itself and the passions before The Eyes Of Medusa launches into a greater inventive turn to return to its earlier glory. Weight Of The World slams headfirst into ears with a storm of thumping rhythms, snarling riffs, and an intensive breath. Grooves entwine their infectious tempting around a reawakened hunger, lacing the ears with addictive bait matched in success by the again impressive range of vocal styles, the spoken dark tones irresistible, and a sonic enticement which sends sparks across air and senses. Virulently contagious the track has the pulse rate racing ready for the equally rapacious Writing On The Wall, a track which stands tall with vivacious rhythms framing sonic flames and rich melodic hues. It is a thoroughly captivating rampancy which throws an enthralling curve ball as the song flirts with gothic shadows and progressive textures whilst exploring its roaring imagination.

The seeming power ballad premise of Just Another Sin reinforces the wide songwriting skills of the band with its emerging predatory sound and carnivorous energy before My Little Sister provides the album with another pinnacle. A tempest of raw and dirty rock ‘n’ roll fed with an antagonistic metallic rabidity, the track stomps and seduces with old school breath and thrash voracity tempered and enhanced by melodic metal temptation. Veined by inescapable hooks and a barbed rhythmic slavery, it is a masterful capture showing the band as capable of rock pop as unbridled thrash consumption.

The album ends with another couple of triumphs to make it a must investigation of 2014, the first Unleashed employing the mix of darkly spoken vocals and scorched clean delivery again to great effect and persuasion within a similarly convincing antagonism of hard rock and heavy metal filtered by the aggressive skill which makes Kill Ritual a constantly rewarding protagonist. As the album, the guitar skill and enterprise of Rice seduces as does the impressive vocal variety and strength whilst rhythmically Anzalone and Williams makes an irrepressible cage. Final song Agenda 21 is our favourite, its sinister presence and continually changing character of sound scintillating. From a mix of Anthrax and ArcticFlame, the track turns into a bestial demon before another twist sees a funked up blaze with essences of Suicidal Tendencies to it, at times a more Infectious Grooves infestation thrilling. It is a glorious stomp with grinning mischief and insatiable ingenuity running riot across its creative and riveting body.

    The Eyes Of Medusa is another tremendous exploit from Kill Ritual which warrants close attention to its plentiful bounty as it provides a sizeable treat.

http://www.facebook.com/KillRitual

http://www.killritual.com

8/1o

RingMaster 04/04/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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