Ondt Blod – Finnmark

ondt_blod_RingMaster Review

If the opening weeks of January are anything to go by, we are in for a mighty year of emerging potential drenched bands, seriously thrilling releases, and propositions to make your toes curl. One such prospect to add to the already expanding list encapsulating all three of those aspects is Norwegian band Ondt Blod and their debut album Finnmark. The ear grabbing release is a ridiculously gripping collection of fury fuelled, antagonism sculpted tracks infused with unpredictable imagination and virulent contagion. It is a rousing incitement as sure to get you cursing the world as dancing feverishly on tables from a band already easy to suggest big success is coming the way of.

Formed in 2013, Ondt Blod comes from Norway’s most northern county bearing the same name as the band’s album. Since emerging, the quintet has earned a mighty reputation for their “crushing and intense attitude on stage”, a success including playing with bands such as Gallows, Blood Command, and Kvelertak. Drawing on inspirations from the likes of JR Ewing, Blood Command, and Kaospilot, Ondt Blod’s songs, as on the album, come with themes revolving around un-employment and industrial communities in decline as well as self-contempt and small town pride. Produced by Yngve Andersen (Blood Command, Girl Army) and mixed and mastered by Ariel Sivertsen and Brad Boatright respectively, Finnmark pulls no punches yet it also offers one of the most uncompromisingly catchy hardcore proposals in recent times.

ondt_blood_cover_RingMaster ReviewWithin seconds, the band has feet and hips as involved as a swiftly eager appetite for the band’s sound as opener Svarte Daga stomps in with nagging riffs and grooves amidst just as irritable yet anthemic rhythms. The grouchily growling tone of Kristoffer Joel Høe’s bass and in riffs in general easily hits the spot even before the raw rousing tones of vocalist Aslak Heika Hætta Bjørn, melodically backed by the alluring calls of the band, whips up a frenzy courted by a sonic web spun by the guitars.

It is a storming arousal of the senses and emotions backed up craftily by the less intensive but just as agreeably hooked littered Nye Lydspor. Not quite pop punk but certainly with a warmer tone and grin to its aggression, the song has a touch of Zebrahead to its engagingly volatile character again marked by a stirring bass snarl and the nagging prowess of guitarists Alexander Våga Mortensen and John Nilsen. The pair creates a fevered tempting which gnaws the senses as it leads the body into unbridled revelry, this enterprise just as tempting within Kompis Med Satan and its enjoyable blend of vocal deliveries. With each track sung in Norwegian, lyrically tracks are a mystery but the heart and emotions driving all are as open as the hefty and predatory swings of drummer Håvard Rushfeldt.

Tragedien Kommer brawls with the senses next, stamping its rhythmic feet as throats bleed with their roars before twisting things on their head by introducing a chorus of upbeat, almost ‘grown up’ vocal propriety and then going through the enjoyable process again as punk rock hooks and flirtatious ingenuity leap at ears. The track quickly has ears and emotions drooling, as too does the waspish irritancy of Gjengtegn and its belligerently devilish parade of unpredictable twists, sonic expression, and vocal dexterity.

Take any track from Finnmark and it epitomises the Ondt Blod sound and invention though no song sounds the same as proven again by the chest beating roar of Symbola. Like CIV meets fellow Norwegians Shevils, the track buzzes busily around ears as it burrows deep under the skin and into the psyche. Punk and hardcore colludes once more with fresh faced melodic drama and unbridled infection showered lures, the album’s variety unrelenting with the bruising and at times inhospitable 9900 Sodoma proving as it rages with ire upon the senses next. Equally it teases with some glorious anthemic bait led by hooks and the increasingly impressing vocal adventure across the band before Betongtro bears its vitriolic soul with creative tenacity and concussive intensity across calmer reflections and melodic detours.

The album is completed by firstly Brent Jord and its thick cloudy squall of sound and muggy sonic persuasion and finally the album’s title track which explores strains of post punk within its irritated disposition of emotion and sound. As its predecessor, the song moves into darker depths and richer arrays of flavours across its evocative landscape, and though it maybe does not make the same immediate impact as the riots before it, the tempestuous exploration grows to only enhance the enjoyment and invigorating experience of the album.

Norwegian hardcore seems to be going through a noisy, thrilling heyday right now with Ondt Blod right there helping lead the way, not only at home but as Finnmark proves, across the genre as a whole.

Finnmark is out now via Loyal Blood Records

https://www.facebook.com/ondtblodband

Pete RingMaster 20/01/2016

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Blobfish Killer – Self Titled EP

Blobfish Killer_RingMaster Review

It is a noise rock, hardcore, and metal fury; a sound as ugly as the face of the fish its creators were ‘born to eradicate, and just irresistible. The evidence comes as a brawling persuasion posing as the self-titled EP from French rockers Blobfish Killer, a three track release which set ears ablaze as the senses ran for cover and pleasure was whipped up into lust. Like a raw blend of Every Time I Die, Kvelertak, Sofy Major, and Them Teeth, the Marseille quartet take no prisoners but cast a lure of creative and mischievous devilry within their tempests, a mix which only has ears wanting to be abused more and more.

couv_RingMaster Review     The band’s EP was recorded with Evan Heritage of heavy rockers Hell Rules Heaven, and opens with the mighty Erotic Palace. Also featuring a contribution from Heritage, the song makes its first touch through a vocal sample which in turn seeds a scorching roar from the throat of vocalist Bleu as the track explodes in creative ire. The next few moments sees the song prowl ears as if getting its bearings whilst sizing up its victim simultaneously as riffs and rhythms intimidate and court attention. It is an intensive examination already breeding a contagious air which soon evolves into addictive grooves and spicy hooks within the quickly evolving diversity of the compelling incitement. The increasingly impressive proposal never lessens its abrasing storm as it twists into varying dramatic shapes within a web of diversely flavoured enterprise from the guitar of Flo against the devilishly prowling bass of Cesar. It is an exceptional track having ears and appetite enslaved by its first minute and ardour ripe before its dynamic body reaches its conclusion.

Party Hard takes over with matching riveting confrontation next, its initial presence again brutally bruising before a carnivorous bass line aligns to the rapier swings of drummer JP, grooves and antagonistic vocals swiftly colluding in the forceful invitation too. As its predecessor, the song springs a trap of predatory rock ‘n’ roll from within the volatile invention and air of its fury, an inner virulent tempting tempering and adding equally to the voracious energy and aggression consuming eager ears. Each song is thick in textures and busy invention in their tsunami of sound. It is a richness one listen cannot fully take in so numerous plays is where new elements and a broader unveiling of the imagination and craft fuelling each encounter is plundered; that in turn only increasing the enjoyment and fascination that is inspired from the first play.

Final track Never Again brings the release to a glorious close, its tangy niggling grooves intoxicating enticing alone as rhythms batter and the bass venomously growls over the senses. Vocals again side with the rawer, nastier side of the invention but bring their own potent variety to help leave every part of a track pleasingly unpredictable.

The only problem with the Blobfish Killer EP is it has only three songs; each tremendous and scintillating trespasses on ears and beyond sparking a real hunger for much more. If any of those names mentioned at the top light your imagination, and you can add the likes of The Bronx, Pigs, and Whores too, but want something different again, then this is a must.

The Blobfish Killer EP is out now as a name your own price download @ http://blobfishkiller.bandcamp.com/releases

https://www.facebook.com/blobfishkiller

Pete RingMaster 27/10/2015

Copyright RingMaster: MyFreeCopyright

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Graveyard Shifters – High Heels & Broken Bones

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Aggressive devilry and riotous adrenaline is the order of the day as Finnish crossover punks Graveyard Shifters unleash the follow-up to their well-received debut EP of last year. Their new brawling punk ‘n’ roll stomp comes in the hellacious shape of first album High Heels & Broken Bones, a tempest of punk, metal, and raw rock ‘n’ roll with the intent of taking the world on a tour of bone crushing, senses devouring partying. At the same time band and release storm through the explosive highs and lows of life, dragging out the belligerent animal in us all for a non-stop ride of fury and fierce revelry.

Bursting out of Kerava Graveyard Shifters began in 2013, taking little time to make a thick impression with their imposing sound and similarly impacting live presence. Within six months the Brainwashed by Moonshine EP was uncaged to rouse up attention and eager support, its release last year the seed to the broad recognition now being forcibly nudged by High Heels & Broken Bones. Their new ten track protagonist demands you take notice, insists you take part, and leads the listener on a unassailable rampage of bad mannered, virulently contagious rock ‘n’ roll. It might not be the most original incitement, but as the thoroughly enjoyable trigger to mischievous deeds and thrills, it is a job superbly done.

High Heels & Broken Bones opens up with its title track and an immediate rage of rowdy riffs and thumping rhythms stirred up by the antagonistic scowls of vocalist J. Matilainen. Infectious hooks and anthemic band calls proceed to litter the insatiable call to party arms, the track like a mix of Kvelertak and Turbonegro with the punk devilment of a Black Flag as the guitars of V. Vainionpää and H. Kansonen kick up a sonic storm around voice and rhythms.

With a slightly more merciful start, the following Tearvomitor keeps things blazing intensely, its initial lure of riffs and sonic enterprise a rich spice against the exploding beats of drummer A. Salmenoja and the predacious tones of J. Sumkin’s bass. The song is soon an eyeballing, energy igniting punk roar equipped with seriously enticing hooks and again great vocal chants from across the band. Once more you can argue there are few surprises with it yet the song is a memorable and seriously potent stirring of emotions and appetite swiftly backed by the just as hostile and magnetic Buy Low, Sell High. The metal seeding of the guitar’s invention is a compelling lure caged again by a bruising conflict of attitude and confrontation rooted in vocals and rhythms, the combination a keen and flavoursome riling of ear and air.

Love On The Rocks strolls in next with a hard rock swagger and potent catchiness, its early invitation a friendly, almost poppy persuasion but just the lure into another ferocious uproar. Except this time this outburst is just one evolving moment in the imagination and sound of the song, mellow vocals and spicy hard rock tenacity revolving with aggressive and infectious elements. The most adventurous and striking track on the album so far, it is a highly pleasing, expectations defying proposal quickly emulated by both the stylish rancor of Bender with its great tempting of piano amidst rousing vocals and melodic metal guitar flames, and in turn the grizzled temperament of Pocket Puppet Show. The first of the two moves from a bright and almost cheery antagonism into a death metal bled rancor whilst the second is part hardcore and part extreme metal inhospitality with just the right amount of rock ‘n’ roll wantonness, and equally one compelling threat.

A melodic caress emerges from the ire of the song, serenading ears until the inflammatory sounds of Firestarter burn the senses and atmosphere alike. There is nothing especially dramatic and stand out about the track, or so you think, but by its seriously satisfying end it is a lingering incitement, though to be fair quickly overshadowed by the outstanding dark charm of Doomsdaydreaming. Gothic in its climate, caustic in tone, the song is a thick blackened detonation of metal virulence and punk bad blood, like Andrew W.K. and Agnostic Front in an unrestrained dust-up.

Beerserker is a similar type of ravishment, though more metal driven in its character around a furious punk heart, and another making a stronger and more potent impression than first thought, a success echoed by the closing Finnish animosity of Kyynelyökkönen. The last track bellows and incites with ease, riffs and rhythms the gripping web for bitter toned vocals and sonic trespasses to spring from.

It is a fine end to a mightily enjoyable encounter, and for us introduction to Graveyard Shifters. High Heels & Broken Bones is maybe not an album to change your world but undoubtedly will be a hefty nudge to change your listening habits.

High Heels & Broken Bones is available from June 12th on Eternal Sound on CD and digitally.

http://www.graveyardshifters.fi  http://www.facebook.com/GraveyardShifters

RingMaster 12/06/2015

Copyright RingMaster: MyFreeCopyright

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Calico Jack – Panic In The Harbour

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If you are planning to take to the high seas in order to undertake devilish pursuits, a check list will include a sturdy vessel, lush beard, a potent weapon and of course a jolly roger. You might also need a suitable soundtrack too and that is what Italian metallers Calico Jack can offer in highly enjoyable fashion. Recently signed to the Ronin Agency and working on their debut album for a release later this year, we thought a retrospective look at their previous EP Panic In The Harbour was in order, especially as it is now getting another thrust into the broader world and inspires potent anticipation for the band’s first full-length.

Hailing from Milan, Calico Jack was formed in 2011 by brothers Toto (rhythm guitar) and Caps (drums), the pair taking the band name from Captain John Rackham’s nickname, a notorious English sea raider who sailed across the Caribbean Sea during the Golden Age of Piracy and famed for inventing the pirate flag, the Jolly Roger, and for having two notorious pirate women is his crew: Anne Bonny and Mary Read. Fusing classic eighties heavy metal with Scandinavian folk metal and creating exploits inspired by Anglo-Saxon sea shanties and folk songs, the band swiftly grew in personnel, releasing their first demo Scum of the Seas in 2012. Panic In The Harbour was unleashed a year later to great responses at home and around Europe. Now with fresh interest in release and band, and that impending full-length, the line-up of Toto, Caps, Giò (vocals), Melo (lead guitar), and Dave (violin), is ready to had a very potent year.

COVER - Front     As soon as opener Where Hath th’ Rum Gone? whips up attention with a lure of bow across strings you get a rich inkling of what is in store, and once thumping beats hit and riffs gallop with riotous devilment, the Calico Jack sound and its character is in full blaze. There is no escaping an Alestorm reference or of Running Wild but equally there is a healthy spice of a Korpiklaani in its revelry, a dirty Adam Ant essence within its colourful nature, and the punkier metal of Kvelertak to its roar. The grouchy guttural vocals bring the intimidation whilst swashbuckling exploits are driven by violin, hooks, and anthemic rhythms, not forgetting just as magnetic group shouts. The dark addictive tones of the bass also only add to the compelling adventure and though it is fair to say that there is a great familiarity to the band’s sound, equally it makes for a fresh and feisty proposition.

The opening enjoyable contagion of the ale sodden proposal is immediately matched by House of Jewelry. It makes a more imposing entrance, riffs and that increasingly captivating throaty bass colluding for a magnetic and aggressive coaxing. Vocals and the heavy drum swipes built a hostile environment but one coloured by the spicy flame of violin and the instinctive swagger and swing of the emerging encounter. Again you basically know what you are going to get but it does not stop the blend of classic and folk metal creating an infectiously captivating escapade for ears to devour and the imagination to eagerly run with.

Grog Jolly Grog is another drinking song you just instinctively raise your tankard to whilst rocking your body with the raucous sway and volatile attitude of the addictive festivity. It also brings a whiff of old school punk to its hooks and raw abrasive riffery, nothing dramatic but an appealing scent explored more in the closing Deadly Day in Bounty Bay. The final song is the most adventurous and inventive on the EP though that imagination is certainly beginning to show its flair and temptation towards the end of its predecessor.

     Deadly Day in Bounty Bay opens with lapping waves on a shore and a single tempting of guitar. The ever alluring bass soon adds its voice to the emerging narrative of raw riffs, salty violin seduction, and melodic winery. The start of the track has ears and imagination gripped but it is when it takes a breath and returns with a virulent bait of lively beats and contagion fuelled bassline that the incitement really comes alive. Everything from the gruff vocal delivery to coarse riffs, the jab of rhythms to teasing hooks has an irresistible infectiousness to them, one bred with a post/punk tenacity which is more Clash/ Damned bred than anything. In fact at times it is easy to suggest the song is the folk metal equivalent of The B52s’ Rock Lobster.

Ending with its best track but only thrilling ears from start to finish, Panic In The Harbour with its re-emergence to fresh attention is a recommended appetiser to the upcoming album from the band. If it can live up to the anticipation now inspired we will see, but we will bet no gold against it.

The Panic In The Harbour EP is available now from most online stores.

http://calicojacktheband.altervista.org/  https://www.facebook.com/pages/Calico-Jack/269653663086210

RingMaster 12/04/2015

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/

 

Unkind : Pelon Juuret

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Finnish band Unkind is a hardcore punk band with a ferocity that cannot be escaped as shown with their previous releases such as Yhteiskunnan Pikkuvikoja and Harhakuvat have shown. With their new album Pelon Juuret though the band has discovered an insidiously deceptive side to their anger fuelled creativity which seduces and undermines the defences all the while the fury is raging with primal intensity. Released via Relapse Records, the new album is a magnetic tempest which is not always easy to listen to but ensures that only hunger for its coarse declaration is prevalent with its enterprising secret imagination.

From the Helsinki/Tampere area, Unkind forge a brawling confrontation which is hardcore and d-beat antagonism merged with an pelonjuuret_1500atmospheric coaxing and sonically sculpted grooves with more than a melodic air to their persuasion. It is torrential in spite and animosity but equally a potent temptation with an evocative imagination that is quite irresistible. As soon as the title track opens up the release and its storm of vehemence you know what you are in for from the quintet, or do you? Firstly the bone splintering rhythms crack down on the senses with barbarous intent whilst riffs scar the surface of the ear and beyond with venomous vitriol matched by the exhausting vocals. It is arguably expected hardcore yet something distinctly honed into that Unkind feel, but when a devious groove permeates its shadows things take on another vital perspective. It is decidedly sneaky and deeply appetising.

The following Vihan Lapset continues in similar vein but with a web of melodically tinged sonic beckoning to make its entrance and a somersault come avalanche of thumping rhythms. Once the vocal squalls with venom dripping from every syllable and the wonderfully throaty snarl of the throaty bass take hold the track becomes a wholly carnivorous assailant. Buckling under its charge you feel its full weight squeeze the throat of the senses but then it offers mesmerising grooves with a warm temptation which distracts from its full violent attack. It is a devious twist and thoroughly thrilling here and across every track in its many flavoured disguises.

Third track Valtakunta is the biggest highlight of the album from its very first seconds, a sinister ambience and imposing atmosphere crafted by bass and guitars emerging before the ear. It is not long before the ravenous jaws of the song steal flesh and savage the sense though, but again simultaneously there is a melodic caress and sonic smouldering which captivates and draws thoughts and emotions from the viciousness, the sound reminiscent of the glorious calls Killing Joke have conjured over the years. Vocally the attack is a constant blistering of air and listener, never veerng from that welcome singular intent here or over the album, leaving the guitars to create a sonically honed inviting alchemy within the bruising sadistic ravishing. The song is a scintillating brutality with the purest contagiousness to its ingenious underlying inventiveness.

The toxic lumbering doom breathing Viallinen and the grievously snarling Olemisen Pelko continue the impressive conflict at work though both pale up against their predecessor, whilst Laki swarms over the senses with a sludge consumption and truculent malevolence to further numb and invigorate every pore and synapse. Again like the other pair despite offering impressive blazes of metal and melodic adventure the song lies in the shadow of earlier tracks but still only thrills with its burdensome demands.

Kehtoon Tapetut is pure hardcore nastiness which smells pleasingly of Kvelertak at times and gives one final corrosive malignant slice of spitefulness before the excellent closing Saattokoti steps forward to take the listener on an intensive flight of folk infused evocation. The instrumental is wholly unexpected though a natural evolution of all that has been at sublime work behind the hostility in previous songs. Hypnotic and also intrusive on thoughts it is a masterful piece with essences which hopefully the band will continue to employ ahead.

Pelon Juuret suggests Unkind is quite possibly the future of hardcore and certainly a band set to shape its horizons in the very least. It is an outstanding album which leaves you wasted but blissfully satisfied.

www.facebook.com/unkindhardcore

8.5/10

RingMaster 09/07/2013

Copyright RingMaster: MyFreeCopyright

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Man The Machetes: Idiokrati

Man the Machetes

    A stormy affair which leaves the senses rubbed raw but glowing with pleasure, Idiokrati the debut album from Norwegian hardcore rockers Man The Machetes, is an undeniably formidable and captivating onslaught. Fusing varied essences from rock and metal into their abrasive hardcore confrontation, the Bergen/Oslo based quintet has unleashed an album which is challenging and takes some intensive focus to discover all of its masterful elements but rewards richly for the effort.  The album squalls with sounds drawn from the same caustic wells as a Cancer Bats or Ghost Of A Thousand but throughout sends shards and veins of melodic rock and punk which captures the breath of a Billy Talent or Red Tape. It emerges as a distinct and original sound which sets the band apart from most, and though they brew a similarity of sound and attack across much of the release it has plenty of variation to captivate fully throughout too.

Released through Indie Recordings, Idiokrati is the accumulation of two years of hard work and a likely trigger to widespread recognition beyond their homeland. The band has risen from playing small Norwegian venues to lighting up festivals such as Pstereo and Hove as well as supporting the likes of Gallows and Kvelertak. The five friends who began playing music they loved in an old German bunker, have been on a forceful rise to date with the band travelling to Toronto In August 2012 to work on this their debut with producer Eric Ratz (Billy Talent, Cancer Bats, Comeback Kid). The album which emerged after four weeks of intensive work is a stirring and impacting bruising which ripples with infectious lures and irresistible melodic teasing. It is an uncompromising abrasion but one which employs skilfully crafted and engaged melodic flames.

From the moment opener Sluk Det Rått barges through the ear with a welcoming groove to the sinewy rhythms and riffs offered MTM-IDIOKRATI-COVER-1400x1400there is an immediate compelling draw to the release. The song is a grazing instigator through the barbed beats of drummer Per Christian Holm and the coarse vocals of Christopher Iversen but tempers their harsh rasping with magnetic melodic flares from the guitar and an imaginative sonic teasing which borders on sirenesque. Leading straight into second track Sjelsvrengt, the song is an impressive start equalled and continued by its successor. Again the melodic sonic magnetism is to the fore in the second track with the guitars of Morten D. Carlsson and Erlend N. Sætren irresistible in their invention and the bass of Erik A. Larsen a beast of muscular yet wanton contagious dance. The scorching presence of the song is less instantaneous than what came before but provokes an emotive response which is just as powerful.

Idiokrati continually does nothing less than impress, the likes of Mageplask with its mesmeric groove, the punk coated Slagen, and the intensive tempest Maktesløse encounters which ignite and energise the passions and primal instincts. The release has a fluid gait with many tracks evolving into the next seamlessly and with sonic skill though it too offers the only real downside to the release, a returning similarity across parts of the album. It is not a major negative but does defuse some of the invention underneath the surface scathing and occasionally make songs merge into one which an arguably over needed focus is required to differentiate.

Other than that the album is a tremendous debut and when tracks like the deliciously intimidating Deltidsidiot with its ‘celtic’ toned groove and the senses sizzling Hjemkomst lay their exhausting presence across the ear the release is exceptional. Man the Machetes offers strong emotions of much more to come too which really inspires Idiokrati to provoke immense anticipation for the band and their releases in the future. If you want something different then check out this impressively promising brawl of a band.

http://www.manthemachetes.com/

RingMaster 23/01/2013

Copyright RingMaster: MyFreeCopyright

Overthrow: Adjust to Darkness

Fusing an abrasive mesh of punk and metal, Norwegian band Overthrow unleash their impressive debut album Adjust to Darkness, a release which sparks plenty of positive and enthused reactions to its uncompromising and accomplished sounds. It is an album which feels heavily inspired by fellow countrymen Kvelertak but attempts to stir its own distinct journey. Whether it is successful in that is arguable but certainly it does not fail in providing a pleasing and satisfying storm of aggression and passion. There is a thrash driven aspect to the sound alongside the hardcore punk breath which opens up an invention to ensure it is an album which steps aside and to the fore of most other similarly fuelled releases.

Overthrow formed in 2007 and built a strong and keen fan base over the subsequent years. Last year they released a pair of demos in Octoskulls and Sleeplessness Awaits with both receiving impressive responses in not only their homeland but also internationally. Renowned for their adrenaline fired live performances the band have shared stages with the likes of In Flames, Clutch, Kvelertak, Cancer Bats and Valient Thorr as well as opening the main stage for Lamb of God at the Hove festival, all to great acclaim. Released through Indie Recordings, Adjust To Darkness is the next step in what one can only see as a certain wider recognition, its Matt Bayles (Mastodon, Purified in Blood, Botch, Isis) mixed sounds an easy and riotous engagement impossible to ignore.

The title track opens up the release and immediately tells you all you need to know about Overthrow, an energetic uncompromising rock n roll band with precise intent and matching skills. The track barges through the ear with muscles pulsing and sharp incisive guitar work to leave one short of breath and energised emotionally and physically. The following Come Thunder rises to and surpasses the great start with its feisty and punishing energies whilst its successor Let Them Fall simple ignites all the passions. The first of this pair twists into unexpected well crafted asides at times to lift the song further in strength whilst the second is a outstanding rock n roll riot. Thumping rhythms, flesh scorching guitar lashes, and caustic vocals rampage as eagerly and powerfully as the energy driving the track to leave one wholly enamoured and empowered.

Adjust to Darkness is an album which never takes a backward step and even if some tracks are stronger and more successful than others there is never a moment of peace or neglect of satisfaction and enjoyment. Tracks like Phantom Hearts, Woolgatherer, and Relapse snap shut like man traps around the senses with their different but equally effective razor sharp attacks. The first chews up the ear with coarse and destructive riffs and beats from bassist Tor Arne Håland and drummer Espen Kvaløy whilst the second is just a forceful bruising from the guitars of Erlend Færevåg and Ole Gaard, whose vocals are as scathing and aggressive as the hungry sounds. The latter ensnares the appetite with a more classic metal form of thrash n roll to confirm the variety within the creativity of the band effectively shown by this trio of songs alone.

Within the three the best track on the album lies in wait, ready to pounce and devour the senses. Sleeplessness Awaits is a bestial confrontation speared by anthemic group vocal charges and rhythms which cage the heart with ease. It is a towering piece of invention and inspiration to spark a near ardour like enthusiasm to it and the album overall.

Overthrow has with the release of Adjust to Darkness shown why there is a strong buzz around the band, a garnering of positivity which will accelerate as the release places its rampant touch across the globe. If bands such as Kvelertak, Cancer Bats, Municipal Waste, and Converge have you keen than this quartet is a must investigation.

https://www.facebook.com/pages/Overthrow/126344084069670

RingMaster 23/10/2012

Copyright RingMaster: MyFreeCopyright