Sertraline – Guilty

Sertraline

Sertraline

March sees the release of a new EP from British melodic metallers Sertraline, an encounter earning a fair amount of anticipation due to its well-received predecessor and the band’s increasing reputation. The Guilty EP offers five potent slices of rock and metal fronted by the quickly engaging tones of Lizzie, tracks which revel in the new growth of sound and imagination spawning them from within the band.

Formed in the Autumn of 2014, the Stoke-on-Trent hailing band quickly stirred up a loyal local fan base and close attention, their first single a couple of months in, Set The World Alight, luring strong radio play and support from BBC Introducing. Their well-received debut EP Bury The Ghosts pushed the band into national spotlights in 2015, its success more than backed by Sertraline’s dynamic live presence which has seen them shared stages with the likes of Butcher Babies, Toseland, Kobra and the Lotus, Skarlett Riot, and Normandie along the way. Last year saw a new line-up in place and the further honing of the band’s sound, Guilty showing the enjoyable results from the evolution.

The EP title track is first up, ears consumed by a wall of carnivorous riffs and intrusive rhythms. It is a striking appetite raising start soon relinquishing its threat as a wiry melody escapes the guitar. Any disappointment from losing that raw trespass dissipates as Lizzie’s tones dance on the emerging web of riffs and grooves from Mike and Wilson. With beats still swiping with fierce intent as the bass of Hendo enticingly grumbles, the song takes a firm grip of ears and imagination. Throat raw growls intermittently join the adventure, contrasting with the harmonic beauty of Lizzie but for personal tastes lacking the bite to be as successful as their certainly welcomed addition could have been. Nevertheless it only adds to the strong character and increasing potency of the excellent track.

sertraline-cover-artwork_RingMasterReviewSuccessor Snakes opens with a melodic coaxing, atmospherics gently kissing a lone melody before a weave of Periphery scented enterprise sparks song and imagination. As the first, the individual prowess of the band is a captivation, their combined adventure just as compelling if lacking the imposing impact of the first track. It is the subtlety of its twists and turns which predominantly make that difference resulting in the song taking longer to reach the same heights though with listens it surely does.

New video/single Change Of Heart is next, an even mellower proposal with a poppier catchiness to a harmonic stroll courted by cantankerous riffs, rhythmic punches, and that coarser expulsion of voice. It is obvious single material, melodies and Lizzie tantalising but does not quite live up to those around it for personal tastes though still adding to the EP’s success.

Nyeevise gets the appetite keenly back on track, its opening brooding presence carrying a whiff of Breed 77 to it before bolder sinews spin a glorious web of steely riffs and rapacious senses twisting grooves. Like a mix of Halestorm and Forever Still, the song growls and seduces; vocals and guitars providing an alluring blend of contrasting textures and creative drama.

Bringing the release to a highly satisfying close is I Admit The Blame, an emotive serenade with fire in its heart and melancholic beauty in its roar as well as creative attitude in its body. Another which grows with every listen rather than making a swift impact, it is a fine end to a thoroughly pleasing encounter. We are still not sure about the harsh side of the vocals, they missing the ‘savagery’ desired, but still an inventive part of the fresh blaze fuelling the Sertraline sound which will only take the band to higher plateaus.

The Guilty EP is out March 3rd @ http://www.wearesertraline.bigcartel.com/

https://www.facebook.com/WeAreSertraline/   https://twitter.com/wearesertraline

 Pete RingMaster 02/03/2017

Copyright RingMaster: MyFreeCopyright

Nine Miles South – Self Titled EP

Nine Miles South promo_RingMaster Review

It is proving to be a rather exciting year for UK rockers Nine Miles South which is coming to a thrilling head with the release of their self-titled debut EP and a couple of big shows, all sure to confirm that their groove loaded southern rock ‘n’ roll is ready to awaken the broadest attention. Their three track release is an invigorating and exciting slab of resourcefully varied hard rock; heavy and contagious, creatively aggressive and addictive, it has body and appetite on red alert by track one, seduced by the third and though it weaves plenty of familiar sounds and textures into its persuasion, the EP just hits the sweet spot that lies within all rock fans.

Nine Miles South was founded by Danish bred Seb Mikkelsen, the band forming after the vocalist/guitarist had moved to the UK from his homeland. Based in Guildford and with a line-up completed by guitarist Jon Antony, bassist Andy Sleigh, and drummer David Wilson, Nine Miles South took little time in awakening strong support and awareness through their tenacious live presence. Shows with bands such as Kobra And The Lotus as well as their own gigs and strong festival appearances have marked the band out leading to good radio play. After a couple of recently highly successful London shows and ahead of the band playing Hard Rock Hell in Wales on November 13th with amongst many, Black Label Society, UFO, Helloween, Pat Travers, and Gun, and also supporting Skinny Molly at the North Devon Arena in Ilfracombe on November 18th, Nine Miles South release their first EP, an easy to suspect spark to increasing and eager attention.

NMS FRONT COVER EPP_RingMaster Review   Produced by Samuel Burden, the EP opens with The Reckoning, a mighty anthem for ears and emotions. A slightly reserved beginning cups ears first, a sultry climate of guitar and melody backed by the vocal twang of Mikkelsen swift enticement which only grows more gripping as thick fisted rhythms join the increasing energy and roar of the song. It is still not in top gear but casting an inescapable anthem for body and voice which only blossoms into virulence as grooves twist and entwine the psyche and hooks lurk in very corner and evolution of the outstanding song. As suggested the overall sound has a recognisable air but it only adds to the drama and potency of the tempting, especially which sixth gear is finally unleashed for a boisterous finale.

The excellent start is backed well by Leave Me Be, another making its entrance on a gentle melody from the guitar whilst quietly brewing a more intensive character which erupts soon after. A more emotively coloured and controlled stroll, the bluesy track spins a weave of melodic and vocal expression wrapped in low key but pungent grooves, these further punctured by firm rhythms. The bass of Sleigh has a great growl whilst the guitars of Antony and Mikkelsen create a croon of enterprise to match the resourceful vocal tones of the latter, backed well by Antony and Sleigh. Without quite matching the heights and irresistibility of its predecessor, the song has ears and attention riveted before Fingernails brings the release to a rousing close.

The third track has the imagination drifting off to dusty, country blues rock lands within seconds, grooves and riffs instantly sculpting a southern seeded canvas to lose oneself in, before shadowed rhythms lined with spiky beats and grooved invention build tantalising scenery. Imagine a mix of Bad Company, Down, and The Bastard Sons and you get a whiff of the excellent climax to one thickly enjoyable encounter.

The last few months has seen a new wind of attention and buzz around Nine Miles South which can only get bolder and louder with the release of their first EP. It is rock ‘n’ roll with a twang and very easy to suggest you go get some.

The Nine Miles South EP is available from September 7th

Pete Ringmaster 07/09/2015

Copyright RingMaster: MyFreeCopyright

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

Dendera – Pillars Of Creation

Album line-up

Album line-up

UK metallers Dendera whipped up plenty of eager attention and acclaim with their debut album The Killing Floor two years ago and now with its successor Pillars Of Creation poised to ignite ears and appetites with its own unique character, it is easy to expect the Portsmouth band doing the same again with greater success. Embracing a fresh roar of modern rock and invention with their heavy/classic metal breeding in their new offering, Dendera has honed a more distinct sound to themselves, not one to reinvent genres but undoubtedly one to really set the band apart from the tide of likeminded bands.

Since releasing their first encounter, the We Must Fight EP in 2011, it is fair to say the band has had the attention of fans and media alike, a ready to praise spotlight elevated by the release of The Killing Floor in 2013. Live too the band has earned a potent reputation and stature, touring and sharing stages with the likes of Saxon, UFO, Fozzy, Skindred, Firewind, Alestorm, Unearth, The Sword, Orange Goblin, Grand Magus, Ill Nino, POD, Soulfly, Kobra and the Lotus and….well the list goes on. Now the quintet of vocalist Ashley Edison, guitarists Stephen Main and Tony Fuller (the latter having left the band after the album’s recording to be replaced by David Stanton), bassist Bradley Edison, and drummer Andy Finch return with a seriously mighty slab of metal and with ease the band’s finest moment yet.

Dendera cover_Reputation Radio/RingMaster Review     Pillars Of Creation opens with Claim Our Throne and quickly has intrigue and imagination awake with the track’s opening melodic suggestiveness. Its entrance sets the scene, casting a rich and welcoming landscape yet one with an initial melancholic air which as its depths and scenery builds and expands, evolves into a more intimidating presence. Eventually riffs and rhythms build imposing walls whilst hooks and grooves colour the increasingly compelling emergence of the track with inescapable temptation. In full stride the song roars with the impressive vocals of Edison leading the way as guitars and bass lay down magnetic bait through riffs and enterprise. The old school essences of bands like Iron Maiden and Saxon, which heavily coloured the band’s first album, are still clear hues in song and album but more spices now in a bolder and more creatively individual proposal from Dendera. It is not ground-breaking stuff as mentioned but the band has cultured something rich in variety and resourceful in exploration, and as shown by the starter and reinforced by subsequent songs, created a sound which will send fans into bliss whilst offering plenty for those who maybe do not have an appetite for a classic form of metal to have eager interest in.

The impressive start is matched by Bloodlust, the song straight away living up to its name and exploding with a far more raw and predatory presence than that of the previous song. Thrash spiced riffs are rampaging through ears from its first breath, they and rhythms whipped up by the confrontational vocals. It is a tenacious and grouchy encounter which mellows out for its melodically fiery chorus, but is soon back stirring up air and blood with the same insatiable surges of intensity and sound which it first erupted with. Its blend of contrasts is a fluid and alluring invitation, a persuasion emulated again in the stormy nature of In High Tide. A cantankerous tempest of rock ‘n’ roll, the track aligns sonic croons with bestial snarls and rugged hostility, their fluid passage making for a fascinating and increasingly anthemic incitement on ears and emotions.

Already across three songs, Dendera has infused elements from groove and melodic thrash to varied heavy rock, an involvement never diminishing just evolving and changing across every song starting with the stalking of senses that is Disillusioned. Another song reeking attitude and carrying an almost primal swagger, it prowls ears with an intimidating air driven by the ever impressive and masterful rhythmic webs of Finch. Groove wise there is a definite Pantera edge and swing to the track’s core lure, one in many ways copied in the excellent vocal persuasion of Edison and potently backed by the band’s roars and the guitar endeavours of Main and Fuller, especially with a seriously tasty and incendiary solo.

The Daylight Ending is a sweat and spit encounter, rhythms and the delicious bass bait of Bradley Edison a barbarous proposal matched by riffs whilst guitars and vocals carry an aggressive

new line-up

new line-up

nature to their provocative and inventive craft. The song is a gallop for the main, a relentless foraging of body and imagination leaving an even hungrier appetite which The Chosen One feeds with its dark and heavy trespass of the senses. The song does not quite grip as other tracks, missing an indefinable spark to ignite personal tastes but there is no denying or not enjoying its invention and adventure, especially it’s contagious and at times brutal gait.

The explosive sonic flames and melodic passion fuelling Unholy sparks a lick of lips within a few explosive moments next, riffs and grooves almost swarming over the senses and into the passions as bass and vocals virtually prowl with their own inescapable persuasion. The beats of Finch are a bully but a welcome protagonist as again he sculpts an addictive frame and engine room for a song.

Pillars Of Creation is brought to a close by Edge Of Tomorrow, a fire of aggression and passion within a sonically tempestuous soundscape. It fiercely pleases on first touch but, as the album, just impresses and draws keener lustful reactions with every listen. The release is a must for all classic and heavy metal fans but such the new adventure and variety the band has woven into their songwriting and sound, there is much for all metallers including, us among them, those without an instinctive taste for old school roars. In fact it very likely will, as here, emerge as a favourite of the year for fans and newcomers alike.

Pillars Of Creation is available via Metalbox Recordings from June 22nd @ http://www.denderauk.bigcartel.com/

http://www.dendera.co.uk/   https://www.facebook.com/DenderaUK

RingMaster 22/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Every Hour Kills – Almost Human

EveryHourKills_Promo

Rousing up anticipation and subsequently impatience for the release of their forthcoming self-titled EP, Canadian melodic metallers Every Hour Kills recently released new single Almost Human. The song is a roar of energy and skill which confirms the emerging potency of the band, already shown in their previous pair of singles, whilst revealing an even more striking adventure and creative ferocity in their sound. It is a highly infectious proposition crafted in arguably recognisable creative inks but casting a fresh and magnetic landscape.

The seeds of the Calgary bred Every Hour Kills began three to four years ago, when drummer Rob Shawcross (ex- Out Of Your Mouth, ex-Autobody, ex-Kobra and The Lotus) linked up with guitarist Sacha Laskow after his departure from Divinity. The pair subsequently brought in bassist Brent Stutsky (ex-Breach of Trust, ex-Death Valley Dolls) and vocalist Jerrod Maxwell-Lyster (Walk As Chaos, ex-Out of Your Mouth, ex-Autobody, ex-the R.A.C.E.) to complete the band’s line-up. With a name inspired by an anonymous literary quote which says “Every hour wounds, but the last one kills.“, Every Hour Kills has spent the time since forming working on and recording songs, which included the already released pair of singles, Deliver Us in 2013 and the following EHK_AH_900 smallyear the Joey Sturgis (Asking Alexandria, Emmure, Of Mice & Men, We Can As Romans) produced Chosen. Now with that impending EP on a close horizon, the band has set another spark burning in ears and appetite through Almost Human, a song showing even greater persuasion and adventure than that which fuelled its predecessors.

An electro bubble grows and explodes in a tempest of rigorously gripping rhythms and tenacious riffs as the song consumes and grips ears straight away. It is captivating start swiftly built upon by the excellent vocal prowess of Maxwell-Lyster and the breath-taking technical rapidity and enterprise of Laskow’s fingers and guitar. There is a blend of Sevendust and Dommin to the song, with just a hint of Disturbed and a louder whisper of In Flames, yet Almost Human soon reveals an individual character to its increasingly magnetic presence.

The song continues to croon and bellow across its intoxicating landscape, each turn of sound and ideation generally finding the middle ground between the two whilst the shapely invention which cores it all also embraces an industrial/electro metal adventure at times, a Rabbit Junk like spice fusing to the adrenaline sparking charge of the song.

Almost Human is a compelling offering and hint, and if the new EP can back it up with songs just as virulently convincing, we are in for one thrilling treat later this year.

Almost Human is available now whilst the upcoming EP can be pre-ordered as a limited edition package direct from the band @ http://everyhourkills.com/preorder/

http://everyhourkills.com   https://www.facebook.com/EveryHourKills/

RingMaster 03/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

Quartered – Eyes And Ears

Quartered - Press Photo - Credit Tyler Branston

The first thing to say about the Eyes And Ears EP from Canadian band Quartered, is it gives no real evidence to why the band self-describes themselves as progressive metal. Now genres and tags never truly represent the complete sound of a band but unless we have misunderstood what progressive metal is, it is no way the suggestion we would give to the potent sound running through the band’s release. Now call it alternative metal with a metalcore tendency and you are closer to the captivating persuasion fuelling a highly accomplished and satisfying proposition. Though not something rigorously unique, the Vancouver quartet’s sound stands as an individual incitement for ears and thoughts but most of all, it is simply potential soaked and highly enjoyable.

Quartered has earned an acclaimed reputation locally and further afield since its four friends came together around six or so years ago. Taking inspirations from the likes of Deftones, Tool, and Thrice, the band has become accustomed to praise for their live performances which has seen them play with the likes of Lamb of God, Testament , Slapshock, Bif Naked, Kobra and The Lotus, Ninjaspy, and Over The Coals through numerous festivals, tours, and shows. Their 2010 album Walks Like A Ghost equally garnered strongly positive responses and ensured that once news of Eyes And Ears broke, anticipation was fiercely keen.

The release opens with the excellent Blink Blink Flash, a track swiftly stirring up ears and appetite with its raw sonic entrance and coaxing. The guitar of Jeff Wang scorches the small hairs on flesh as it heads to the senses, laying down fine bait before the vocal roar of Greg Williams explodes with energy and passion alongside the rhythmic incitement of drummer Scotty Miller. It is a formidable start which only seems to find greater intensity as Williams explores his excellent clean delivery and the bass of Craig Rudder unveils its throaty drama. Twists in the vocal attack and jabbing hooks increase the intrigue and potency of the song and though it never explodes as it hints it might, the inventiveness and unpredictable tenacity of the song easily ignites imagination and passions. It is easy to feel the Deftones influence even in a song which is distinct to Quartered and it does the impressive protagonist no harm at all.

The following Call Me Crazy is a mellower proposition, melodies instantly wrapping ears within an evocative ambience before post hardcore like vocal and riffery adds its antagonism. It is a pungent beginning which loses some of its lure Album Cover - Quartered - Eyes And Ears - 2014with the strong but not this time as striking smooth and melodic vocals, which in turn inspires a more relaxed pressure around them. When the song rages with nostril flared though, it is a mighty slice of provocation and another aspect to the promise of the band. Its successor Violent Love, like the first track, provides a virulent temptation and pleasure as a harsh caustic assault is merged with respectful and harmonious warmth. It works perfectly, the track at ease and full potency either snarling and gnawing on the senses or seducing them. It is fair to say that the band is not setting new templates with the song and their sound but for a thoroughly exciting and impressive incitement, it is an undeniable treat.

Speak of the Devil similarly provides a riveting and thrilling encounter, its melodic rock charm and more rugged angst fuelled passion a radiant and resourceful flame of craft and enterprise. Its captivation is succeeded by the infectious She Sees Colour, a catchy and emotive caress on ears which enchants and provokes satisfied emotions with Palms like vivacity. It is a song which again does not quite catch fire as it might but easily provides another major highlight on the increasingly impressing release.

Neither Take Me There Tonight nor Echoes can match what comes before, yet with its predacious touch and tone aligned to skilled musical and vocal design, the first of the pair makes for a compelling and persistently pleasing encounter. The second of the two is a flight of emotion and hungry endeavour which evolves from a gentle caress to a raw and caustic emotional rage. It also leaves thoughts and appetite hooked but pales against the qualities of earlier songs and the closing success of Ricochet.

The final song on the EP is the most groove infested encounter on the release, fusing that irresistible spice with the now expected excellently thought out and presented vocals amidst a commanding rhythmic framing courted by superb guitar invention. It is a powerful end to a strong and absorbing encounter. Though it is easy to feel there is more to come and be discovered by Quartered to really forge a unique place in metal, Eyes and Ears is an impressive step on the way and very easy to want to keep coming back to.

The self-released Eyes And Ears is available now @ http://quartered.bandcamp.com/album/eyes-and-ears

http://www.Quartered.ca

RingMaster 09/10/2014

Copyright RingMaster: MyFreeCopyright

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Harlot – Saviour

Harlot

If you are looking for something a little fresh and promisingly explosive to your metalcore than allow us to suggest checking out the debut single from UK band Harlot. Infusing their sound with a captivating melodic weave, band and song is a richly satisfying and exciting slice of intensity. Equally as thrilling, as the song rifles the ear and senses with invention and enterprise, is that you can only feel that the band is still at the beginning of exploring its creative depths and that the quartet from Newcastle is only going to get better and more impressive in time.

Consisting of vocalist/guitarist James Mclackland, guitarist Adam Lathan, bassist/vocals Daniel Johnson, and drummer Cameron Brown, Harlot has earned a strong and passionate following since forming in 2007 through their relentless and continually impressive live performances which has seen them alongside the likes of Flood Of Red, Obsessive Compulsive, Tiger Please, Kobra and The Lotus, Voodoo Johnson, and Fury UK. With inspirations bred from bands such as Avenged Sevenfold, Bullet for my Valentine, Pantera, Metallica, Killswitch Engage, Protest the Hero and more in their invention,  Harlot make their the first wide declaration with Saviour, taken from their forthcoming debut EP Wolves, that they are a true emerging force in UK metalcore.

A barrage of drums opens the ear for the following eager guitar to lay down an initial fire before all combine with great intensity forSaviour Covera hunger bred rampage through the ear, this time driven by the caustic squalls of vocalist Mclackland. Into its stride now the track has a familiar groove and gait to its presence but it is a deceit as soon the great vocals, singular and group, lay down a compelling narrative across the constantly looking to evolve sounds. It is a stirring mix of melodic passion and voracious aggression, skilfully sculpted and merged in an inventive and persuasion sonic tirade. Jagged riffs and sonic lances have their moment to recruit further passion midway into the song before a drifting atmospheric and emotive breeze allows a welcome breath to be swallowed and evocative thoughts to breed, but soon band and song returns to an intensive blaze of enterprise and riveting fury.

Unpredictable, fiery, and potently imagined, Saviours is an outstanding introduction to Harlot sparking a certain hunger for the Wolves EP, due out later this summer. For a new breath to metalcore this is a band well worth taking stock of.

http://www.facebook.com/HarlotNewcastle

8.5/10

RingMaster 19/06/2013

Copyright RingMaster: MyFreeCopyright

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To The Lions: Self Titled EP

If you want your musical balls given a real beating whilst being caressed with melodic enterprise to sooth the damage, then time to meet UK metal band To The Lions and their tremendous new self titled EP. Four tracks of raging brutality and impressive melodic invention, it is a fresh and imaginative addition to what has been a year of promising and strong emerging extreme and metalcore fuelled UK bands. The Cambridge quartet do not quite fit in any exact category which is the first good thing about them but certainly they can be as aggressive and angry as any and just as inspired with their inventive ideas and smoother passions too.

Formed in the last weeks of 2008, the foursome of vocalist and guitarist Tony Stead, guitarist James Croft, bassist Nigel Ferguson, and drummer Mark Richards, have spent the last year and a half on a blur of gigs as they promoted and shared their well received debut EP Spent Shells. Shows with the likes of Forever Never, Orestea, RSJ, Sworn Amongst, and Kobra and the Lotus, have gone to help spread their presence and sounds across the South of England and with the new EP it would be surprising if the next time they appear on the radar we are not noting them as being at the fore of emerging British metal.

From the moment There’s A Reason winds its scorched notes around the ear and bursts into stiff muscular assaults of riffs and barbed rhythms, there is a feel that something mighty is about to let loose on the senses. The band does not disappoint as the venomous tones of Stead rage over what has become slightly subdued yet intrusive sounds. It then shifts into an unexpected but skilfully brought melodic breath before merging the extremes of intensity, entwining them with invention and passion. This makes for a shifting varied track which arguably without lighting undiscovered beacons is fully intriguing and in its latter progressive air, wholly beguiling.

From a strong start the ride gains greater heights of excellence and addiction. The following Oceans Away bawls like a storm from the off, its surging riffs and challenging intensity a crush on the senses. Beneath it all though there is a melodic presence waiting and soon it explores the track in unison with the abrasive drive of the song. With great harmonies and group shouts tempering the vocal menace and impressive fiery guitar play keeping the tempest of shuffling barbaric rhythms honest, it is a tempest to devour eagerly and deeply. As the guitars burns with an acidic groove and the anthemic chorus returns for its climax, the track leaves one breathless and grinning.

The other pair of tracks carry no intentions of easing up on the intense rampage, to only further pleasure. Wolves And Lions is a metallic scream, an inferno of bruising riffs and bitter soaked vocals upon serpentine grooves and thrash tinted expulsions of noise and sonic vindictiveness. It twists and blisters the senses whilst taking pot shots at the ear with an armoury of destructive malice from the violent creativity of the band.

The closing Fourth like the opener does not stand right out from the crowd like the second and third track do, but still open up a maelstrom of satisfaction, pleasure, and anticipation for more from the band. It is a powerful and thunderous track which again show To The Lions as a band with a flair and skill at melding light, dark, anger, intricacy, violence and composure, into one boiling onslaught of quality.

Remember the name To The Lions, if they continue to progress as they are they will be a big force and name in future years.

http://www.tothelions.co.uk

Ringmaster 31/08/2012

Copyright RingMaster: MyFreeCopyright

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