Watertank – Destination Unknown

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After ten years of existence, French rockers Watertank released debut album Sleepwalk in 2013 to heavy and deserved acclaim. Like for so many, it took our ears and appetites to hungry heights; in the words of our review the release was “an instigator of the purest temptation.” Now the band unleashes its successor Destination Unknown and lures even lustier responses with its irresistible concoction of sludge, stoner, and various other compelling styles. Taking the essential essences with made the first album so potent; Destination Unknown emerges as a fuller, more gripping proposal of sound and invention which in turn shows that its predecessor was just the appetiser to greater Watertank alchemy.

The Nantes band began in 2013, swiftly forging a strong fan base and reputation for their sound and stage presence with increasing success over the years. A couple of well-received EPs earned strong attention and praise before the release of Sleepwalk, whilst on stage the band proceeded to play with the likes of Torche, Kylesa, Baroness, Capricorns, Lair Of The Minotaur, and The Ocean amongst a great many. The band’s first album certainly sparked new spotlights upon Watertank though not to the level now expected to be aroused by Destination Unknown.

The album opens with Automatic Reset and straight away transfixes ears with its opening mist of guitar; the sonic shimmer quickly followed by a bulging blast of heavy riffs and rhythms. With them a groove also joins the tempting, its lure relaxing as the song settles into its stroll and welcomes the dusty tones of vocalist Thomas Boutet before returning with even spicier toning to its sultry tendril. Just as quickly a contagious air floods the encounter, a persuasion which never loses its potency as the song shuffles up its gait and intensity across the rest of the magnetic offering. The guitars of Rémy Bellin and Bojan Anicic continue to wrap ears and song in resourceful and gripping enterprise, greater colour added to the excellent start to the album all the time.

Straight away it and the following Fever reveal a more rounded and deeper depth to the band’s music, a less raw and caustic sound which still retains the growl and intensive weighty hues which fuelled the previous release. The second song is a far more aggressive offering than the first, punkish in its attitude and energy with wiry hooks to match. The bass of Maxime Coste is a grumbling potency whilst drummer Jocelyn Liorzou lashes skin and senses with adventurous and antagonistic scythes. It is a glorious riot bringing a mix of Torche, eighties band Skyscraper, and a touch of Motorgrator to entice before making way for the gentler smouldering charm of Contrails. It is still a heavyweight proposal though which seems to grow and loom over the senses with every passing second. Once more hooks and grooves grace a dynamic web of imagination and primal temptation, the latter at times as intimidating as the swings of Liorzou and the predatory riffs.

The song closes with similar reflection soaked calm to how it started, drifting away so the heavy resonance of Coste’s bass can lure attention ready for an intensive crawl of riffs and grooves. DCVR is another swift inescapable persuasion equipped with a sonic tang and commanding stature, not forgetting an addictive swagger even with it is on the prowl. It is also another track showing the greater expanse and imagination in the band’s songwriting and sound, and their ability to perfectly entangle rugged terrains with highly provocative ambiences of sound and emotion.

   The bubbling electronic start to Last/Lost Hope instantly catches expectations unawares and by surprise, though they are barely given a nibble to feast on within Destination Unknown anyway. Its enslaving coaxing soon evolves into a thrilling and lively shuffle of sonic and melodic festivity guided by the ever appealing tones of Boutet. At times elements of post punk and new wave, as well as noise rock, seem to add their spice to the infectious tapestry of the rock popper, a strong catchiness emulated again in the dirtier but just as contagious Surrender. As much as you can find hints in varying degrees of bands such as Torche and Queens Of The Stone Age to the song, there is an older hue to the outstanding stomp, elements across its kinetic two minutes recalling eighties and nineties seeded ingenuity.

Doomed Drifters explores the darkest shadows and corners of the band’s sound but again tempers it with a sonic and melodic resourcefulness which energetically and brightly smoulders as it masterfully fuse contrasts and flavours. Seducing with greater and more experimental suggestiveness for an emotionally provocative and atmospheric climax, the song leaves ears enthralled and primed for the bewitchment of the similarly expansive landscape of Scheme. Growing bigger and bolder with every passing harmonious whisper and melodic enticement, the song dances and flirts with ears and imagination, recalling a strong if coincidental feel of Comsat Angels to its exceptional and thrilling adventure.

The album ends with its just and adventurous title track, Destination Unknown a thick provocative embrace which evolves and then revolves through a soundscape of sonic and emotional intensity. It is a fine finish to an exhilarating proposition. Watertank certainly thrilled with their first album but leave it looking a touch pale against the creative vivacity and explosive drama of Destination Unknown, one of the most exciting encounters this year so far.

Destination Unknown is out now via Solar Flare Records @ http://shop.solarflarerds.com/categories/pre-orders and http://music.solarflarerds.com/album/destination-unknown

https://www.facebook.com/wtrtnk

Ringmaster 30/06/2015

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

 

 

 

Potergeist – Crocodile Teeth

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The lure of a southern blues swamp is unleashed once again by Greek band Potergeist through new album Crocodile Teeth, and once more ears are treated to a contagion of dirty uncompromising rock ‘n’ roll which is as unique as it is familiar. The band has a sound which even with constant evolution across releases has a recognisable presence but comes as something undeniably individual to the Athens quintet. As the new album shows it is fresh and it is invigorating, and one thoroughly enjoyable stomp.

When forming in 2004, Potergeist had a more straight forward Kylesa /Down like southern metal sound as evidenced on debut album Southwards two years later. By the time of its successor Muddy Mermaids in 2012, the band’s sound had got harder and more aggressive whilst delving into the darkest depths of blues. Tagged as swamp metal by the media, the Potergeist sound was matched in progression by the attention given them and a live presence seeing the band share stages with the likes of Lynyrd Skynyrd, Monster Magnet, Pro Pain, The Haunted, The Shrine, Kylesa, and Paradise Lost. The outstanding Swampires unleashed its swamp toxicity in 2013, Potergeist’s third album darker and more voracious in sound and presence again. Though not outgunned in attack and ferocity, fair to say Crocodile Teeth takes the Potergeist sound to yet another depth of quality and invention.

Feeling as intense and intimidating at times as the last release the Peter Rutcho (Falling in Reverse, Revocation, Bury Your Dead, Havok, Seemless, The Ghost Inside) produced and mixed Crocodile Teeth reveals the band’s fullest and rounded sound yet, settings its stall out in the brief intro Swamp Muse Summoning before going for the throat straight after with its title track. Riffs and rhythms are an immediate barrage and temptation backed by a quickly emerging tangy groove. It is the first bait to the sturdy stride of the song quickly accompanied by the grizzled tones of vocalist Alex S Wamp. He is soon showing the great prowess of his grouchy and clean tones as guitars and bass cast their own intimidating and dynamic enterprise. There are no major surprises in song, or indeed album, yet as suggested earlier there is freshness and distinctive essence which ensures this is no run of the mill metal or Potergeist offering.

Crocodile Tears Artwork   The following Visit From A Swampire canters in on an infectious swing, riffs as rampant as the energetically skilled swings of drummer Tolis Toleas whilst grooves are as fiery as the melodies and solos which breed throughout. The track easily has body and emotions involved in its anthem as does What Then which comes next. The song is a touch more restrained in aggression and energy initially, but soon a bracing canter of raw riffs and rapier like rhythms entwined in the spicy grooves and bluesy melodic hooks of guitarists Nick XP and Stratal. Complete with an irresistible swagger, the song keeps things boiling over before in turn making way for the southern metal drawl and heavy rock brew of Truth. The track begins with the same groove the previous song left on but is soon sculpting its own tenacious and aggression roar. There is a touch of Crowbar in some ways to the song as the bass of Kostis Vihos brings a predatory proposal against the as dramatic but more welcoming vocals and sonic adventure cast elsewhere.

Atonement takes over next and is soon spreading a weave of southern rock inspired melodic spicing around the ever formidable and engaging rhythmic strength of the Potergeist sound. Featuring guest backing vocals from Anna Stephanou, the song is a warm slice of blues rock ‘n’ roll equipped with a dark edged groove and a blaze of imagination around the constant lure of Wamp’s vocals.

Roaming ears with a thick stance of sinew swung beats and bestial riffs The Preacher And The Witch stalks the appetite next with its magnetic web of sound. Both Fotis Benardo and Penelope Anastasopoulou add additional vocals to the tapestry of sonic and melodic craft. It is a fine song if without the spark of certainly the early songs, though much is down to a big personal appetite for when Potergeist go hell for leather in their rock ‘n’ roll, and quickly over shadowed by the excellent Eve. It too is more reserved in its gait and coveting a more classic metal whisper to its body but moulds everything and more of the band’s potent enterprise into a pungent slab of anthemic persuasion.

The album closes with Last Punk Standing, a compelling bellow of a song aligning mellower melodic tempting with a rigorous snarl resulting in a dramatic and impressive end to another mighty offering from Potergeist. We will admit that the previous Swampires still has the steal on the passions but there is no denying that Crocodile Tears is the band’s most accomplished proposition yet and one of the most enjoyable and satisfying slabs of metal driven rock ‘n’ roll you will hear this year.

Crocodile Tears is available digitally now and on CD and Vinyl via G.O.D. Records

https://www.facebook.com/potergeist

RingMaster 08/06/2015

Copyright RingMaster: MyFreeCopyright

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Shroud Eater – Face The Master

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If we are all going to burn in hell or be the playthings of the darkest forces then Shroud Eater may have come up with the perfect soundtrack with new two-track EP Face The Master. Like a demonic covenant between sludge, doom, and occult metal, the Florida hailing band’s sound is a web of ravenous melodic intent and riff laden ferocity. As evidenced on the new encounter it is also voraciously predatory, greedily devouring ears on its way to ultimately seducing the senses.

Face The Master follows the band’s acclaimed Dead Ends EP of 2013, an attention grabbing marker for Shroud Eater after the earlier exploits of a self-titled EP debut in 2009 and their well-received first album ThunderNoise two years later. Re-energised with a new line-up since that release, band and Face The Master roar from the first second never relenting until the last, easily showing why Shroud Eater has been compared to the likes of Kylesa, High on Fire, and Acid King but equally instilling another step forward in their own distinct and intensive sound.

SE_FtM_CoverFinal_Print     The EP’s title track opens with a sample from the 1979 TV movie Salem’s Lot, the voice of James Mason instantly luring in attention and imagination before riffs venomously cascade over the senses. The hellacious clutches of rhythms are similarly an inescapable onslaught, the hefty swings of drummer Davin Sosa primal bait and an uncompromising intrusion backed by the almost slavering bestiality of the basslines crafted by Janette Valentine. The riffs and rugged grooves expelled by guitarist Jean Saiz similarly show no mercy whilst both of the ladies vocals unite to savagely entrance body and emotions with hellish revelry. It is a thrilling and compelling mix, a track which is almost flirtatious with its searing melodic endeavour and danger loaded intrigue but as its sound a predator in character and intensity.

Face The Master is enough to wax lyrical about the EP but is swiftly backed by the brooding nature and consumption of House of Endings. If it is possible, the song is slightly lighter than its predecessor in that it has a more inviting swing to its gait, though that is tempered by the sonic bellows and the dark almost malevolent hearted tones of the bass. The guitar of Saiz sculpts a terrain of snarling almost rabid riffs which prowls song and the senses whilst simultaneously casting a spell of acidic and sultry melodic enterprise as intoxicating as it is piercing. The track, as the first, consumes body and thoughts, igniting and exhausting both with sonic invention and intensive energy respectively.

Shroud Eater maybe already drawing references to the metal giants already mentioned but on the evidence of the outstanding Face The Master, they will be standing by their sides very soon.

Face The Master is available from April 7th via Primitive Violence Records & Visual on regular and special-edition cassette, and digitally @ http://shroudeater.bandcamp.com/album/face-the-master

Upcoming Shroud Eater tour dates:

Wednesday April 22 – Savannah, GA @ The Jinx

Thursday April 23 – Raleigh, NC @ The Maywood

Friday April 24 – Philly, PA @ Kung Fu Necktie

Saturday April 25 – NYC, NY @ St. Vitus

Sunday April 26 – Washington DC @ TBA

Monday April 27 – Wilmington, NC @ TBA

Tuesday April 28 – Charleston, SC – “Tunnel of Lust” House Show

https://www.facebook.com/shroudeater   http://www.shroudeaterrocks.com/

RingMaster 07/04/2015

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/

 

Possessor – Stay Dead

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Like so many we were ravished and bewitched by Electric Hell, the debut album from UK metallers Possessor which was unleashed last year. It was a tremendous persuasion of sound and enterprise reinforced by a retrospective listen of their first EP Wings of Fire, which came out just a few months before that impressive full-length. They have a sound which is raw and voracious yet unafraid to embrace a melodic and sonic toxicity come seduction which is as fierce and flavoursome as the hostile and sinister landscapes it infiltrates. Now band and music has drawn a new lustful submission with new EP Stay Dead, a release realising all the qualities of its predecessors in new and raucously adventurous exploits.

Hailing from London and formed late 2013, the trio breed their insidious temptation masquerading as sound through merging occult metal with sludge and thrash bred hues and tenacity. It is a fusion emerging with a sense of familiarity yet providing distinctly new and incendiary provocations and temptations. They are like a mix of Black Sabbath, Electric Wizard, Kylesa and Therapy?, a hellacious assault on the senses and demonic seducing of the psyche.

cover     The EP opens on a real high of a track and the release never does anything but look down from lofty heights again. Lucifer Stay Dead opens on a rumble of motorbike before descending on the senses swiftly after with a tsunami of riffs from guitarist Graham Bywater and bassist Marc Brereton. With swinging beats just as feverishly hostile and immediate aligned to a sonic enterprise from Bywater sparking early lusty reactions, the track prowls and snarls with bestial irreverence. The song is simply predatory, everything about it soaked in real hunger and antagonistic ferocity. There is no letting up of its intensity either, those ravenous riffs seemingly gaining in strength and appetite across the track whilst rhythms simply grow bigger balls of attitude within a flaming melodic web.

It is an exceptional start matched by Night of Venom straight after, a track which launches itself on the senses with an even heavier and intensive assault. Of course it also comes with that instinctive seduction, an exciting sonic spicing which tempers the viciousness. Brereton’s bass delivers its dirtiest, rabid tones ever though, whilst the contagion of riffs and grooves coring the encounter, like in its predecessor, has a repetitive niggling which simply evolves into an irresistible addiction. This is where that Therapy? essence comes in for us, the song reaping the nature of the same type of persuasion which lit up the N. Ireland trio’s early work.

With it definitely being too short, fair to say you cannot get enough of its primal tempting, the track makes way for Cobwebs, a smiling slice of pop rock. Nah don’t be silly, the song is another portentous stalking of the senses, though to be honest it does have a more respectful swagger to its energy and character too. Of course this is bound in menacing and dark hearted bass growling and just as grizzly riffery, whilst the drums almost call out for mercy such the psychical and gripping sledging they get. It many ways the track is like the darkest Hammer Films of the seventies, its demonic presence and nature wrapped in alluring colourful designs set to entrap before the horror begins.

The EP closes with Lights Out / Crypt of the Sorcerer, the darkest, chilling, and most toxic offering on the release, arguably from Possessor ever. Its classic psych charm is a deceit within a cavernous smothering of devil seeded ensorcellment, the appetiser before a devouring of senses and emotions within a swamp of thrash sculpted riffs and occultist violation. It is sonic smog of seventies and current classic metal twisted and wrung out until breeding its own scorching and intoxicating sludge thick blasphemy. The track is quite simply a thrilling end to another stunning release from Possessor, even with its infernal fade out.

Possessor last year set a plateau with Electric Hell for themselves and the current British occult metal scene, but has now left it behind as a past marker in their emergence with Stay Dead. Maybe only the brave will dare immerse in the world of Possessor but with rewards plentiful and lingering within their aural necromancy, truly no metal /heavy rock fan should fear giving them a go.

The Stay Dead EP is available now via http://possessor.bandcamp.com/album/stay-dead-ep

https://www.facebook.com/possessorband

RingMaster 02/04/2015

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/

Wild Throne – Blood Maker

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Photo Credit:
Ryan Russell

    There are times when an introduction to a band smacks you dead centre in the face and stops you in your tracks, one fine example being the debut EP from US band Wild Throne, only they additionally rip open your torso with great scything riffs and gnaw your insides with rhythms carrying more voracity than a rabid predator. The three track onslaught is much more than mere aggression though, lethal melodies and impossibly captivating sonic imagination just as greedily at work as the release provides an early major statement for 2014. Blood Maker is a dramatic entrance from a band destiny will have a lot of time for you suspect on the evidence of their impressive tempest.

     Though the debut release from Wild Throne, the band have since 2009 already been crafting and honing their striking blend of progressive rock and melodic metal under original name Dog Shredder. With a couple vinyl EPs and numerous tours and shows with the likes of Dysrhythmia, Melt Banana, Kylesa, Marnie Stern, Helmet, and Black Cobra under their belt, the trio of Josh Holland (guitar/vocals), Noah Burns (drums) and Jeff Johnson (bass) have evolved into Wild Throne and announced this new chapter in riveting style. Recorded with producer Ross Robinson (At The Drive In, Machine Head, The Cure) after the band completed a US tour with Red Fang and Helms Alee, the EP declares the Bellingham, WA trio as not only a proposition to watch very closely but one to devour hungrily right now.

    The Brutal Panda Records released EP smuggles all of its ready to erupt creative armoury into the imagination through the BloodMaker_1600opening rhythmic intrigue of The Wrecking Ball Unchained, the coaxing dramatic beats of Burns, soon aided by the expressive potent vocals of Holland, hypnotically distracting the senses. It is a transfixing start which belies the lying in wait tempest which soon has its moment and bursts through the ears in a torrential storm of invention and passion. Riffs and rhythms stalk and incite with determination and skill whilst the bass of Johnson adds a throatiness which only further seduces but it is the fiery inventive sonic flames and twists Holland also unleashes alongside his stirring vocals which cement the captivation. It is a powerful almost tempestuous engagement with plenty to justify the comparisons to bands such as The Mars Volta, Helms Alee, and These Arms Are Snakes, Wild Throne has drawn, but also in many ways we would add Manic Street Preachers in their early days, Black Tusk, and Muse for various aspects and essences which expel their bait throughout the tremendous track.

     Ebbing and flowing like a tidal wave of energy and emotion, the opening majesty is soon equalled in presence and depth by Shadow Deserts, a track with an acidic call from its first breath aligned to another pulsating bass growl and rhythmic agitation. Like its predecessor, the song’s start is the perfect set up and doorway into the immediately following tsunami of passion and intensity. The celestial, bordering ethereal, ambience and vocals add another avenue to explore within the rage whilst the earnest vocal squalls and compelling punk fury of the track skirted by further melodic imagination and classic metal exploration, simply enslaves an already feistily hungry appetite for band and EP.

    From the exhausting and searing heat of the second song, the title track takes over and instantly opens a fiercer acrid vat of sonic exploration and senses searing enterprise. More At The Drive In than Mars Volta with a toxin of psychedelic vitriol to the expansive and unbridled fire of guitar and vocals, the track is a breath-taking plunge into rapacious creative rabidity and exhaustive passion. The song smothers and permeates every synapse and cell with an irresistible contagion and alone brings an intense spotlight upon the band, which the other songs of course only inflame.

    Blood Maker will not be the first time that Wild Throne leaves people opened mouthed you can be quite sure of that, but it makes a very important and exhilarating base to explode further from.

http://www.wildthrone.com/

10/10

RingMaster 06/03/2014

Copyright RingMaster: MyFreeCopyright

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Colossus Of Destiny – In Lesser Brightness EP

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We have a tasty little treat to bring to your attention as the year opens up its arms in the towering form of the In Lesser Brightness EP. Six tracks of multi-flavoured metal veined by some mouthwatering fusions of heavy rock, the release from French band Colossus Of Destiny is a rigorously impressive encounter. Released last October but seemingly finding greater deserved attention over recent weeks, the EP is a riveting slab of enterprise and accomplished persuasion which should see the Paris band stepping into a wider intensive spotlight.

The 2009 formed Colossus Of Destiny consists of vocalist Adrien Guilmoteau, guitarists Julien Laville and Mathieu Miquel, bassist Guillaume Taliercio, and drummer Jérémie Le Formal. Taking influences from the earlier presences of bands such as Baroness, Tool, Kylesa, Unsane, and Taint into their distinctive sound the band has released two previous EPs, their self-titled debut of 2010 and Eden the following year. There is little more background info to be found but when a record like the Hellbound Records released In Lesser Brightness does the potent talking for them you do not have the want to know more. Bulging with rock muscles which flatten the senses and a metal bred intensity that shapes the imagination with predacious intent, the EP is an immense introduction for us and probably plenty more to a band which has over the past four years honed their persuasion into something quite irresistible.

Dismay In Empty Eyes sets things in motion, its emergence from a brief stormy ambience marked by thumping rhythms and a spiralling sonic coaxing from the guitars. The drums instantly impress as does the moody basslines and excellent vocal growls of Guilmoteau and as the track rises from its lumbering stretch without ever exploding into life, just continually loading layers of intensive textures upon the ears, the song becomes a compelling temptation to which the guitar casts rich spicery. A sludge borne weight wraps itself around the imposing track adding to its heavy potency whilst elsewhere vocally and musically, the song reaps varied flavours such as post hardcore and melodic metalcore to hard and post rock to make a striking start to the album.

Unleashed takes things to another level right away and with its successors takes In Lesser Brightness to a much higher plateau. Crushing rhythms and air scoring riffs spears the ears first, both soon ridden by scowling vocals as the song makes its impressive opening declaration. There is right away a much more aggressive urgency and force to the track compared to its predecessor, guitars niggling and combative whilst the bass holds a predatory gait and voice which urges on the bone splintering rhythmic attack. The song is pure contagion throughout, addictive without offering easy lightweight hooks and commanding without bludgeoning to achieve its success. With a punk breath to its metal/rock persuasion which not for the last time on the EP sparks thoughts of Fuckshovel and Gruntruck, the confrontation is a thrilling blast soon matched as the release strikes home its advantage on the passions.

The next up Get Lost also fuses stirring elements of punk, metal, and hardcore to sculpt another major pinnacle upon the EP. Snarling from vocals to riffs as rhythms slam with eager rapaciousness, the track is a voracious brawl on the imagination but one unafraid to slow its assault to merge strong melodic tempting and inventive twists into the creative raging. As soon as the song departs Heavy Loads leaps forward with ravenous riffs and sonic tantalising coaxing the senses to secure an early hunger for its potential offering which the track rewards with more distinctive and varied adventure in songwriting and sound. It is fair to say that some elements of song and release are bred from familiar territory but it is hard to think of anyone which sculpts and delivers those essences in the same dramatic way as Colossus Of Destiny.

The title track shifts things again, slowing the gait but adding some progressive invention to the imagination invading suasion superbly crafted by band and song. An absorbing merger of intensity and melodic expression it is an evocative and mouth-watering incitement, as the whole release, to devour greedily whilst the closing Naked & Unbound provides a final thrilling union of muscle, infectious grooving, and melodic fire to reinforce the impressive stature of In Lesser Brightness.

It is hard to imagine on the evidence of In Lesser Brightness and a retrospective look at their previous EPs that Colossus Of Destiny will not become a potent name and presence in forceful music so joining their certain rise right now makes the only sense. A stunning release from an outstanding band, you read it here!

https://www.facebook.com/colossusofdestiny

http://colossusofdestiny.bandcamp.com/

9/10

RingMaster 07/01/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.audioburger.com

Whores – Clean EP

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It is generally agreed that the Ruiner EP of 2011 was one exceptional introduction to its creators, a release which thrust US intensive noise rockers Whores straight into the centre of eager attention and marked them out as a band with the promise and armoury to become a possible tour-de-force to come. Their new release, the Clean EP not only confirms those early suspicions and expectations but in many ways blows its impressive predecessor out of the water whilst still declaring there is still plenty more to come from within the Atlanta trio. It is an unrelenting juggernaut of power and invention, a brute before which the passions soon fall to gleefully bask in the merciless ravaging triumph it unleashes.

Formed in 2010 Whores took little time in igniting the energies and hunger of fans locally with their rapacious heavyweight blend of aural provocation which plays like a voracious mix of Helmet, Jesus Lizard, Melvins, and UK band The St Pierre Snake Invasion. Their Brutal Panda Records released debut soon placed the band before worldwide awareness, its ferocious no hold barred invention an undoubted gripping entrance. With acclaim and success breeding around the band for that release and their live performances which has found the band alongside the likes of Torche, Kylesa, The Atlas Moth, Royal Thunder and many more, Whores now unleash their sophomore attack and quite simply the Ryan Boesch (Melvins, Helmet, Tomahawk, Fu Manchu) recorded Clean is the band taking another major step forward.

Again unleashed via Brutal Panda, the EP immediately stands snarling at the ears with the guitar opening of Baby Bird. The riffs of 1006024_605198922834746_308244883_nChristian Lembach are a cantankerous rub soon joined by the earthy bass growl of Jake Shultz, its throaty prowl instantly irresistible alongside the swinging thumping rhythmic assault of Travis Owen. It is a potent combination which takes on another guise and toxicity when Lembach restrains his fingers to let his vocals impressively swagger across the now primarily rhythm cast crowding of the senses. The track is an evolving, exhilarating contagious brawl of punk predation and riff clad incitement which feeds the senses as well as the already brewed hunger to the fullest enterprising meal of nose rock.

The immense start is continued through Last Looks, another track with a carnal breath to its bass and sonic endeavour and an antagonistic ingenuity to its invention. Vocals and guitar provide a rapacious presence which crawls over and permeates the psyche with intimidation, though it withholds any violent intent to make a seductive caustic embrace rather than a vicious assault upon the senses. Like its predecessor there is a rampant imagination to the track and a craft which elevates every lure and idea to another potent depth whilst its infectiousness defies any refusal from thoughts and passions.

      I Am Not A Goal-Oriented Person from its first seconds is a stalking temptation, the bass a cantankerous reptile coring the tempest whilst the sonic web of guitar and aligned riff rabidity oppresses the ear with a deliciously magnetic sonic squall of adventure and senses ravishing toxicity. Without quite matching the previous tracks, the song still easily feeds the awoken keen appetite for Clean which its successor, Cougars, Not Kittens equally matches and inspires a little more greed from. Verging on psychotic in its early sonic breath and exhaustingly expressive vocals, the track unfolds a groove which winds pleasingly around the ears before the heavy tempestuous doomy aspect of its heart takes the brief and impacting slab of muscle to a pungently intensive conclusion.

Next up Blue Blood lumbers through the ear with a sludge rock texture to its virulent bait, a heady full on weight which across the leviathan of a song steps aside for rivetingly addictive restrained garage punk spawned teases and lures where vocals and slowly chugging riffs play over an awaiting rhythmic confrontation. It is a masterful animalistic hunt sculpted with invention and epidemically enthralling mastery, a mix of Queens Of The Stone Age and Mclusky honed into an imaginative sonic scourge.

     I Am An Amateur At Everything completes the EP with a fire of sonic infiltration and rhythmic badgering, both aspects driven brilliantly by the ever compelling vocals and equally dramatic and corrosive bass marauding. It is a song which manages to be immediately addictive and also a smouldering slow burning entrapment of the passions to thrillingly close out an outstanding and aggressively intoxicating feast of noise. Skewering the passions with every barb on every hook offered whilst ensuring that anticipation for future releases from Whores will be impatient and rabid, Clean is one of the highlights of the year and another declaration of just how major Whores is destined to be.

https://www.facebook.com/pages/Whores/108004672554176

9.5/10

RingMaster 28/10/2013

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