Cave of Swimmers – Self Titled

 

CoS

Originally self-released last year, the self-titled debut EP from Cave of Swimmers now has its deserved wider release with The Path Less Traveled Records, and an insatiably magnetic treat it is. Consisting of four irresistibly flavoured tracks which are unpredictable and compelling, the release ignites ears and imagination with a contagiously adventurous and dramatically enthralling encounter. Fusing the rich essences of varied metal and rock ventures into mouthwatering landscapes, band and EP provide one surprising and wholly captivating encounter.

Cave of Swimmers consists of Guillermo Gonzalez (vocals, guitar, synth) and Arturo Garcia (drums/backing vocals), two musicians hailing originally from Venezuela who relocated to Miami a few years back. The pair met in school but it was only nine years after their first meeting when Garcia git his first drum kit that the pair started making music together. They played in a few projects including a Rage Against The Machine cover band before Garcia moved to Miami followed four years later by Gonzalez. More years passed before the pair linked up musically properly, forming The Tunnel before renaming it Cave of Swimmers.

Their debut release instantly tells you all you need to know about the pair, their influences, intentions, and undoubted musical skills. From  CoS coverthe opening track Hangman, the band unveils a superbly textured and provocatively spices weave of styles and flavours ranging from seventies heavy metal and psychedelic rock to stoner and doom as well as a stirring progressive encrusted spicery. As the first song proves it is a riveting and refreshing concoction which hits the sweet spot time and time again. Song one instantly has attention at its will with eagerly coaxing rhythms framing expressive and inventive guitar suggestiveness. It is a heavy and melodically infused invitation which losing a little of its grip when relaxing into a less surprising stride, though it soon regains its potency with the outstanding vocals of Gonzalez. His voice soars and roars simultaneously, complementing and driving the sounds around him whilst his guitar, as the rhythms of Garcia, tie up any lingering doubts with anthemic arms.  As confirmed by all songs, there is never a moment to assume you know the destination of a track, a thrilling jazz/funk like salsa of Latin rhythmic temptation and melodic seduction tripping up expectations towards the middle of the first song before excellent guitar craft entwines ears and thoughts.

The outstanding start is soon matched by the initially bewildering Materia. A sinister atmospheric embrace coats the senses first, the breath of the moog synthesizer lying provocatively upon the ears as a rhythmic hurrying pushes the listener into the thick doomy arms of the song. It is a slowly tempered prowl which courts the imagination before being torn apart by the vocal flames of Gonzalez, his delivery verging on operatic and a shock to assumptions, a very welcome and absorbing jolt to expectations. The track continues to stalk with a noir clouded ambience and heavy footed muscular persuasion. It is an irresistible bewitchment, a beautifully thought out and presented drama which explores a brighter but still doom bred scenery. Keys and guitars cast further twists in the haunting narrative as they drop into a frightening textures and sonic mystery before reaching skywards with emotive invention to close the song.

The song Cave of Swimmers steps up next instantly employing open homages to the likes of Sabbath and Pentagram in riffs and melodic grooving whilst vocally they are again sparked by a heavy metal seeding. It is only part of the song’s colour though; it’s contagious hooks and winding sonic bait offering thoughts of Kyuss and Metallic in varying degrees. Inventive and persistently shifting in its gait, intensity, and pure imagination, the song escorts the listener on a breath-taking ride across scorching melody draped scenery and sultry sonic climates, closing out in a blistering vocal crescendo.

The strikingly impressive and immense infection of the release never abates across its length, the closing Catch ensuring the EP ends on the same lofty heights as it started on. The track arguably is the least adventurous of the four but still treats with stoner visited psychedelic temptations and the ever impressing vocal suasion, whilst samples and progressive tinkering only enhance the recipe. It is a fine end to a masterful and rapturous debut by a band with all the potential to make major strides and deposits in the world of metal. Make a note of the name Cave of Swimmers you will be hearing a great deal more of these guys we suspect.

Cave of Swimmers is out on The Path Less Traveled Records now!

https://www.facebook.com/caveofswimmers

http://thepathlesstraveledrecords.bandcamp.com/album/cave-of-swimmers

10/10

RingMaster 16/04/2014

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

 

 

 

Hungry Brains – Centre Of The Omniverse EP/The Mule EP

The Mule EP

The Mule EP

     The tail end of 2013 saw the release of two sister EPs from UK’s  Hungry Brains, a pair of releases which suggests that the Manchester trio and their impressive mix of stoner rock and progressive metal is a towering force in the making. Both releases spark the imagination and passions with skilful enterprise and mountainous ranges of riffs and sonic flaming. Think Monster Magnet meets Alice In Chains with plenty of Svolk and Red Fang bulging contagion involved and you get a big hint to the scintillating sound created by the band and as to why both EPs are leaving lips eagerly licked and anticipation rife for what is ahead from the band.

      Made up of Callum Armstrong, Paul Daly, and Orestis Papadopoulous, Hungry Brains first swiped at or rather barged into attention with the Centre Of The Omniverse EP last September. Consisting of three tracks which instantly enflamed the senses and imagination it was a commanding entrance soon reinforced by the December unleashing of The Mule EP. Alone either make a compelling introduction but together they enforce a declaration of intent from a band only a fool would refuse to keep a close eye and eager ears upon.

Centre Of The Omniverse

Centre Of The Omniverse EP

    Centre Of The Omniverse opens with Dawn Of A New Age and immediately is throwing heavy muscular rhythms at the ears whilst the guitar sears all their vibrating hairs in the face of its intimidating and refreshing tempest. Vocals are not slow in thrusting their persuasion forward either and soon the impressing dual delivery is seducing even further the already keen appetite awoken by the already contagious sounds. That AIC reference is soon bearing its suggestion, especially through the vocals which a carry a definite Layne Staley feel but also we would suggest there is a slight Metallica essence as well as Soundgarden and Kyuss to the song’s imaginative mix. It is a totally magnetic start with only the fade out to its finale a slight niggle.

    The following Unmade is a brief and rigorous brawl of sound with blues kissed psychedelia soaking the melodic adventure whilst rhythms again thump and career through the ear with firm and skilled provocation. Raw and fiery in sound and breath, the track is a combative yet seductive blaze of enterprise which produces and says more aurally in its one and a half minute than most bands manage in their epic soundscapes.

      The first EP is concluded by Crooked Eye, a tantalising blend of expressive and harmonically fiery vocals within a sinew driven rhythmic cave and heavy intensive riffs. Part stalking and part canter, the song entices the imagination with a steely sonic stare and evocative melodic embrace whilst never relenting in its dramatic persuasion or breath stealing craft. As with all the songs and those on the second EP, there is never a moment where predictability reigns or expectations are merely fed, every minute and flame of sound an invigorating incitement for thoughts and emotions.

    It is hard to recall many introductions to a band which has been enjoyed more and The Mule EP soon shows it is not a one off. Made up of one track in two parts, the release confirms and stretches further the potent temptation and presence of Hungry Brains with ease. Part 1 opens with a shamanic call of vocal chants which is instantly meditative but equally coaxing the imagination into thoughts of something dramatic and imposing pending. That hope is slowly realised as the track emerges, taking its time with rolling heavy cast rhythms and a sonic mist of almost antagonistic tempting within a relatively restrained atmosphere. The bass is a delicious tempter in the evocation, dark and menacing amongst the heated weave surrounding its throaty tones. The piece scores the air for a final time before evolving into Part 2 and unveiling a contemplative stroll of riffs and mutually determined rhythms. As a spiral of sonic sculpting from the guitar ignites the song’s sky, vocals again present the lyrical narrative in impressive and enticing style, once more only adding to the overall irresistible lure of the sound and release. Virulently contagious without losing its dramatic intensity and provocation, the nine minute track infests the passions to make its length slip by in moments and its potent suasion and that of the whole release rise with every passing minute.

      Hungry Brains is a band we are sure you will be hearing time and time again swamped in acclaim across the future months and years and with both releases available as buy now name your price releases on Bandcamp, only the foolish and lazy would wait until then and resist now the stunning toxicity of this impressive band.

http://hungrybrains.bandcamp.com/

www.facebook.com/HungryBrains

10/10 for both EPs

RingMaster 15/01/2014

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

The new AKB’AL album,’…Of Darkness and Light’, uncaged on 10th February

Akbal Online promo shot
PROGRESSIVE NOISE CHIEFS AKBAL RELEASE EXCITING ALBUM!
With an extensive cluster of intriguing influences spanning from Tool, The Doors and Porcupine tree, to Kyuss, NIN, Alice in Chains and Coheed And Cambria, Akb’al have served up a genuinely exhilarating piece of progressive rock that tips its hat to experimental metal in passing. Akb’al release “…Of Darkness And Light…” on Monday 10th February 2014 through all national outlets.
Akb’al began as a concept back in 2006 when Michael Young-Temple (Vocals, Bass, Tablas, Djembe, Didgeridoo and the Kaossilator!) was coming to the end of a long spell travelling around the world. Initially, his songwriting focussed on the key elements of stoner/prog rock and metal; however due to his experiences from his extensive exploration, he soon introduced world percussion instrumentation into the equation. Michael took these songs to his musical contemporaries, Thoby Davis (Vocals, Guitar, Violins) and Rob Miles (Guitar, Backing Vocals, Synths), and together the trio further sculptured and elaborated on Michael’s early ideas. The band soon recruited long-time friend and current Onslaught tub-thumper Michael Hourihan to play drums, who added extra power and depth to the band’s already established sound.
After further tweaking their sound Akb’al hit the stage in 2010, and since then, the wide-reaching four-piece have extensively played throughout Wales, racking up shows with Ten Cent Toy, Thorun, Chaos Trigger and Fell on Black Days along the way. After firmly establishing themselves regionally, the band headed into the studio to work on their debut album “…Of Darkness and Light…”. The quartet came out of the studio armed with a killer album. Packing seven stunning cuts, the record showcases experimental ambient texturing and engaging soundscapes underpinned by cutting hard rock and thoughtful metal undertones, all bonded together to take you on a progressive journey that will truly inspire and ignite. The album is set loose this February; look for the new video single ‘Equilibrium’ out soon. Also, head on over to the band’s Facebook page for show updates.
- AKB’AL RELEASE ‘OF DARKNESS AND LIGHT’ ON MONDAY 10th FEBRUARY 2014 –
Akbal Cover Artwork

Solar Halos – Self Titled

Solar Halos 3 HiResSmall

Setting the new musical year off to a stunning and potent  start, US rockers Solar Halos unleash their debut album, a release conjuring a tantalising mesmeric brew of stoner and psychedelic rock with further explorations which simply seduces the imagination and passions into hungry life. Out 20th January via Devouter Records, the self-titled album is a masterful temptation and beautifully crafted evocative expanse of heavy unrelenting rock leading the listener into one of the first great adventures of 2014.

Hailing from Chapel Hill, North Carolina the trio certainly comes with a rich pedigree to its line-up. Consisting of guitarist/vocalist Nora Rogers, formerly of Horseback and Curtains of Night, Caltrop and Horseback drummer John Crouch, and Fin Fang Foom bassist Eddie Sanchez, Solar Halos feed expectations bred from its line-up and then shows them another creative level through imagination and sonic invention. Soaked in a doom like weight yet finding a radiant and transfixing resourcefulness generally absent in the genre through varied textures and sounds, the band’s first album is an enthralling and intensive examination of and feast for senses and emotions. A travelogue of heated and dusty climes brought through an ever shifting provocative aural landscape.

The album opens with The Vast White Plains and immediately hits the appetite with a delicious grizzly bass sound within ear Artworkentwining sonic guitar lines, all caged by the hypnotic rhythmic sculpting of Crouch. Within its first seconds the song has attention rigidly glued to its magnetic lure, a hold which is only cemented further once the distinctive and absorbing vocals of Rogers begin the lyrical narrative. The combination is unstoppable as the track winds the passions around its rhythmic fingers, its sonic persuasion drifting into continual enterprise and bordering exhaustive intensity. With additional vocals from Sanchez as effective and pleasing as those of Rogers to further flavour the rich lure of the song, it is a mighty and riveting start.

The following Tunnels takes a more reserved approach as its entrance but one with melodic flames and a tempered rhythmic gait which only engages thoughts as eagerly as its predecessor. A crawling journey through seemingly doom seeded psychedelic waters, the track heavily leans on the ear yet with the warm life filled vocals and incendiary melodies cast by the guitar it feels like a plunge through dark emotional depths lit by a beacon of hope and warmth. As with the first track every aspect of the song coaxes out rapturous responses, its twisting and inventive enterprise reinforcing the lure and lingering beauty of the wonderfully intrusive feel of adventure. There is a definite Horseback tone to the music as well as elements of Kyuss and at times Jess and the Ancient Ones but as the second song finishes there is no denying that Solar Halos crafts a sound which is uniquely theirs.

Both the soaring rigorous flight of Migration and the atmospheric scenery of Frost continue the impressive presence of the album, the second especially with a carnivorous tone to the bass and another mouthwatering rhythmic taunting by Crouch igniting another wash of emotional rabidity within for its offering. Their triumphs are soon followed by the chilled touch of Wilderness, a song which builds mountainous sonic ranges and heavyweight rhythmic caverns to explore and spark the imagination within. The most doom washed track on the release but again one which teases and invites bright burning flames from within its dark shadows, it builds a thick tide of scuzz filled provocation and melodic heat provoking thoughts and emotions to delve only deeper with each excursion through its fascination.

Resonance brings the album to a close, the track eight minutes of sonic incitement and rhythmic enslaving. It is a glorious slowly invasive triumph to complete a breath-taking release. Everything from the great vocal blend of Rogers and Sanchez, the guitar’s senses encircling spirals of expressive melodic suasion, and the almost goading and certainly anthemic rhythmic bait of the bass and Crouch’s outstanding drum craft, enslaves ears and imagination. Like the album as a whole, the track just gets better and impresses more with each course through its striking landscape and steals top honours on the release though it is constantly challenged by the other tracks.

Solar Halos instantly stand aside the likes of Horseback and Royal Thunder through their debut and it is not hard to suspect that the threesome will be forging major heights in the future. 2014 could not be off to a better start.

www.solarhalos.com

10/10

RingMaster 01/01/2014

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

Electric Woodland – Potrero

Electric Woodland Cover Artwork

Having impressed a great many with their self-titled EP of 2011, Norwegian rock band Electric Woodland take things further into richer potency with first album Potrero. A ten track mixture of classic rock and metal infused with an equally vintage soaking of blues, the release is a magnetic lure for the imagination which though a little undulating in its heights has all the craft and invention not forgetting compelling sound, to push the Skogbygda band right up to the coat tails of the likes of The Black Keys and Them Crooked Vultures. It is an absorbing encounter which seduces the passions with an infectiousness and enterprise which at times lingers and seduces long after its departure to make for one memorable and easy to re-engage with pleasure.

Electric Woodland came to be in 2009 taking influences from the likes of The Doors, Deep Purple, and as is openly evident, The Black Keys into their fiery melodies and carefully sculpted sound. As mentioned their EP placed a certain focus and success on the quartet of vocalist/guitarist Peder Kjaernli, bassist Marius Nordby, guitarist Christian Olsen-Ruud, and drummer Emil Kjaernli, from which they have stretched and driven on their imagination and songwriting on the new album. Recording Potrero on analogue tape at the barn studio of Norwegian Grammy winners Amund and Henrik Maarud, Electric Woodland tease and seduce with the emerging album though not always to the same strength throughout admittedly. nevertheless the Snaxville Recordings release is relentlessly captivating and resourcefully appetising.

As soon as the heated guitar strokes cup the ears opener Heavy Eyes gives more than a hint of what is too come, their blues kissed tones an immediate lure caged by punchy beats and additional acidic melodic enticement  prowled through by the great bass tones of Nordby. The guitars sculpt a reserved yet stomping gait which simply magnetises the senses and imagination, a Queens Of The Stone Age swagger and seduction woven into the sonic bait with the vocals only adding to its essence. There is also a classic bred familiar sound to the song though one evading definition of its source, the band’s influences maybe simply breeding a recognisable air to the refreshing endeavour making the strongest persuasion.

The following Bad Shoe not only cements the impressive start but takes it to another level to fully open up a hunger within the already emerged appetite for the release. Once again guitars make the initial contact before vocal harmonies caress the ears and Peder Kjaernli opens up his fine voice for the brewing narrative. There is a definite rockabilly feel to the core stroll and vocal delivery, a rock ‘n’ roll stance to which melodies and sonic expression weaves and stokes its evocative flames and textures. Not for the first or last time the guitar play is constant bait alongside the mutually gripping rhythms and barbed hooks that litter the song and album throughout.

After the slow burner This House, a track which smoulders and writhes within its blues crafted opening shell before holding a breath and erupting into an excellent brazen melodic lined dusty romp of again QOTSA like scuzz filtered energy, Have You Seen My Baby pushes the blues coloured walls of the release to another diverse depth. The song with its romping rhythms led by the great throaty bass feels like a major anthem for the band within moments, the guitars and emerging keys casting a spellbinding tide of invention over the ears. Drummer Emil Kjaernli is an attention grabbing key to the song though everything about it is an irresistible hook for the passions, the track best described as Seasick Steve meets The Black Keys with Kyuss in close attention.

From here the album goes into a bit of a lull though really it is just that the likes of To You, Humbread, and Old Airplane do not manage to light the same potent fires as their predecessors like those before. All tracks are superbly written and crafted, each providing moments and lures which certainly recruit eager attention and a want to engage them again and again, especially the first two of that selection, but each lacking the spark to raise the same emotions as before. That is something the song Electric Woodland has no problem with, the song another classic to rival the opening pair. The rhythmic onslaught lays the first inescapable trap, the drums a commanding provocateur soon aided in its mission by the grizzled riffs and the ever alluring vocals. There is a predation to the song which never leaves the listener alone, a niggling persistence which you can only devour greedily as the song, safe in its knowledge it has you hooked, paints a melodic venture with stoner tendencies and blues mixed hues. It is a brilliant reminder of just how good this band is and will be.

Closing with the decent enough acoustic folk bred song Dog Without A Bone, a slight Arctic Monkeys air to its elegance, Potrero is an exciting and deeply satisfying release, one which marks out Electric Woodland as a band which has to be paid attention to. The album suggests as the band grows it is just the appetiser for greater things to come; our lips already being licked in anticipation.

www.facebook.com/pages/Electric-Woodland/128747150525584

www.electricwoodland.com

8/10

RingMaster 07/12/2013

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

Woodwall – WoodEmpire

woodwall pic

Providing six evocative soundscapes of stoner bred and progressively expanded evocation, WoodEmpire from Italian quartet Woodwall is a richly compelling introduction to the band, a release which immerses the listener in an impacting expanse of thick sound and impressive imagination. The EP is not casting new pastures it is probably fair to say but for a debut it is powerfully striking and extensively satisfying whilst breeding a promise for the Lunigiana hailing band which cannot be ignored or taken lightly.

Released via Red Sound Records, WoodEmpire soon has fascination and attention on full alert with its title track. The opening song slowly emerges from a sonic pulsing; its breath coated in an intrigue enhanced by the guitar of vocalist Matteo Signanini as it starts its melodic design. Soon joined and skirted by the rhythmic craft of Pietro Groppi, it is a full enticement elevated further by the delicious almost spacey keys of Paolo Cipolla, their presence sinister yet magnetic and a perfect tease within the intensive weight of the song pressing upon the ears. It is a formidable and riveting adventure with the gruff vocals of Signanini another impacting lure. Eight minutes in length the song evolves its intent and sound across its body, a fiery melodic temptation keeping thoughts and emotions away from expectations and the excellent bass of Massimo Cornali providing constant enthralling shadows which at times keeps to the darker corners of the track and in others leads forward an irrepressible and seductive persuasion. It finishes on a drone infused temptation, a closing stretch of invention which plays like a mix of Palms and Kyuss whilst leaving the imagination to invent its own exploits within and to follow the stunning start to the release.

Again a sonic ambience infiltrates the air from which second song Locrian flexes its intensive muscle. The initial approach of the song feelscover like a continuation of the heart of its predecessor, in texture and especially the keys and the heavy compelling bass and drum probing. The doomy coverage of the senses is virulently spellbinding; a description which applies to the whole of the EP, but within that heady smothering the band and song ignites an energy and rapacious adrenaline which forms a feisty canter within a melodically acidic splendour. Not as dramatically incendiary as the first the track still feeds the ripe hunger now in place for the release and the greedy imagination being seriously provoked by the adventure before it.

Both King Stuste and Red Toad bring a heavy metal swagger to their swampy stoner calls, an inspiration of the likes of Black Sabbath, Sleep, and Kyuss seemingly casting their potency across the songs. The first of the pair is a stomping charge of thumping rhythms and heavy duty riffs aligned to ridiculously contagious acidic grooves and scorching melodic flames. It is a deceptively uncomplicated but superbly crafted and layered confrontation which simultaneously bruises the senses whilst searing them with a sizzling sonic provocation and invention; old school rock ‘n’ roll in many ways but one fuelled by the incite and bravery of modern experimentation. Its successor is a similarly sculpted instrumental but one again unique in presence and sound to the other tracks, a piece which pulls thoughts and emotions in with ease and treats them to another expressive and exciting exploration.

The following Walden steps from a cold and haunting wasteland, the chilling atmosphere the home for another emerging sonic embrace rife with menace and inciting suggestiveness. From inside of its breath a melodic casting of guitar and keys embraces the senses with the ever expressive and melodic vocals of Signanini aided by Cipolla, a captivating breeze within equally invigorating and altruistic imagination. Just exceeding eleven minutes the track is a smouldering emprise, a slow burning seduction which never quite finds earlier pinnacles set upon WoodEmpire but shows the immense scope and craft within the band and their songwriting, making the horizons for Woodwall something to be highly anticipated and you suspect greedily devoured.

The record is completed by Holocene/Cambrian, the track leaving the release and listener on a major high. The rhythms of Groppi as across the EP take the senses on a tempestuous parade of skill and unpredictable allurement backed by the just as predacious guitar exploits and bass prowling. Never content in a single route to the passions, as the whole of WoodEmpire, it is a magnificent conclusion to a colourful and dramatically impressive release. Woodwall is a band on the start of a rapid and powerful ascent you suspect on the evidence of WoodEmpire, one a great many will be keeping a close and enthusiastic eye upon.

https://www.facebook.com/woodwband

9/10

RingMaster 01/11/2013

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

The Devilzwork – A Dead Horse

the devilzwork pic

Australian industrial metallers The Devilzwork set senses and fears cowering last year with their album Floodlights, a carnivorous sonic pestilence which gnawed and seduced the emotions with lethal  yet compelling severity. Now the band returns with its successor A Dead Horse and another tempest of virulent devastation hell bent on consuming and reshaping the synapses.

Hailing from Australia’s Capital Region, the 2009 formed quartet of guitarist Whiskey (also in Chud), vocalist/bassist Tobias, guitarist Kvlt and drummer Postal, has built an incendiary reputation across the regions of Melbourne and the Australian Capital Territory with their impressive live shows which has seen them stare stages with the likes of Voices of Masada, MzAnnThropik, Tim “The Ripper” Owens, and Mnemic. The self-produced demo Bad Moon Rise equally sparked concentrated attention though it was the eight track release Floodlights which stretched the bands presence much further afield as certainly an online presence and temptation. Now A Dead Horse is primed to accelerate that growing awareness. You suspect such its harsh and caustic devilry that the release will send as many running for the hills as finding those unable to resist its scourge driven charms, but if unbridled spite coursing corrosion is your idea of a treat than The Devilzwork has a nasty rewarding one lying in wait.

Opening track Obey The Worm… immediately scorches the ear with a sonic piercing before riffs and rhythms conjure up a death metal 1016963_626992130646833_1762260211_nseeded malevolence. It instantly has the hairs on flesh wilting before its vicious blaze of noise rock/industrial ferocity with the great duel vocal attack driving the aurally scurrilous fire of sound to greater depths. From the first track alone you can openly see the evolution in the songwriting and intent of the band. Whereas Floodlights was one carnally bred lime pit of intensity and noise soaked irreverence its successor has a more defined purpose and invention to its claws. A strong spicery of metal and rock adds further potency and imagination to the song and as it emerges, A Dead Horse as a whole.

The outstanding Kalifornia comes up next, its confident swagger and teasing wantonness leaving a tasty flavour of horror rock to the Ministry sounding torch of sonic animosity. A twisting feverish taunting on the senses and imagination, the track despite its too soon coming departure is the first of the major highlights on the album and ultimately the best track.

The Godflesh/Marilyn Manson lilted Prick, a track with labour to its attack but captures the passions at a glance without any resistance, and the more electro venomous Big Man follow to continue the strong start of the release if without quite matching their predecessor whilst the insidious corruption that is Hardware suffocates and invigorates simultaneously to ignite the mind and emotions. Bringing an acidic blistering groove which would rest easily in a Kyuss/Queens Of The Stone Age rage, the track pushes the diversity of the album yet again. Admittedly some work is needed to unveil some of the unique rewards to be found within the songs beneath the surface severity and taking that plunge head first only rewards all the more. The previous album was debatably short on individuality between songs in hindsight but there is certainly no issue with A Dead Horse as each track reveals given close attention.

From the pernicious Corrosive, a more than decent track which is as its title suggests, and the dark intensive exploration Vast, the album reaches another pinnacle with Insect. Thumping rhythms open up a cage of virulent toxicity, a wash of sonic itching wrapping the skin whilst vocals and restrained electronics rattle the bars and another epidemically addictive groove frequents senses and passions. The track will have you scratching the brain and emotions for hours after whilst the short burst of instrumental after its departure soothes the sore need.

Enthralling expels a raucous heavy rock fury, vocally and melodically, within another breath and atmosphere of poisonous sonic mercury to again push the envelope of invention whilst Virus Installer is just a rapacious pathogen of angry and malicious noise honed into a riveting protagonist. Both leave the senses exhausted and wondering what hit them yet thoughts alive with interpretation of their magnetic intensity.

Concluded by the tender, well in comparison to what came before, Push Yourself Around and the sinister soundscape Desolate, the album leaves a hunger for much more. The first of the final pair has a scintillating toxic swing to its pestilential might whilst the closer is just an evocative passage of sound and menace which leaves the mind exploring its own black corners. Both add further absorbing ventures to A Dead Horse, an album which shows no mercy but strikes with an intelligently sculpted persuasion offering depths of melodically spawned venom. With only the shortness of some of the most enthralling violations a niggle, the album is an impressive leap forward for The Devilzwork and a must investigation for all fans of the likes of Ministry, Godflesh, Rammstein, Marilyn Mansion and those of industrial and death metal… though are they brave enough though?

https://www.facebook.com/thedevilzwork

8.5/10

RingMaster 10/09/2013

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

 

Slumlord Radio – Tokyo Roadhouse Sonic Sex Castle

Tokyo-Road-House-Cover-for-

Just as likely to steal the final thrusts of your sexual exploits as they are your passions, US band Slumlord Radio show with their Tokyo Roadhouse Sonic Sex Castle EP that they know how to create magnetic brawls of dirty rock ‘n’ roll and abrasive provocation, songs which serve up a diet of irrepressible and thrilling sonic fire which exploit and taunt the senses and psyche. The five track release is a greedy and unruly confrontation but one that hunger was bred for. Raw and unafraid to rile up its listener just as gleefully as it pleasures them, the release is a raucous treat offering salacious pleasure and unmistakable promise.

Based in Grand Rapids/Flint, the trio of vocalist/guitarist Tommy Erickson, bassist Mike Todd, and drummer David Flynn, came together in 2010. Their scuzzed up, filth caked form of rock ‘n’ roll soon had attention locally as the band merged garage rock with sludge like essences whilst other whispers like hardcore, metal, and hard rock made their contribution, a sound best described as unbridled punk ‘n’ roll. It is an encounter which arguably is employing existing sounds and invention but turns it with their invidious alchemy into a distinct devilry of their own. The new release follows the well-received The Cats Pajamas EP and shows the band is moving very much in the right direction to earn themselves a potent place in current garage rock circles. Released via Silver Maple Kills Records earlier this year, it has already awakened a great many to the band, which is no surprise as the release stirs up the senses to give satisfaction a full meal.

Fort Knox opens things up with tall attention seeking fire spawned hooks soon accompanied by greedy riffs, probing rhythms, and squalling vocals. The slightly insidious nature of those early rising sonic flames is a delicious niggling temptation throughout the song and never meanders from their spicy temptation whilst around them the song flexes sinews and rapacious energy to engage the rest of the senses and thoughts. At times there is a mix of Kyuss and My Red Cell launching its suggestiveness within thoughts whilst a breath of Mudhoney is not far away either. It is an excellent start with Call Me Chief soon by its side, the song another caustic haze of punk intensity and garage rock fuzzy veined by a throaty bass croon which smells as predacious as it sounds. Its mix of slow stomps and frenetic bursts is pure contagion, the smouldering tease of the ear and outright sonic turbulence a riveting and pleasing union which leaves the appetite drooling for more.

Up next Old Zilwaukee walks in with a mesmeric shimmering to its air and hoarse breath to its core, vocally and in the scarring riffing once the track is in full stride. The gait switches from reflective musing to expressive tempest across the track and though it arguably takes longer to seize the emotions compared to its predecessors, the wilfully creative confrontation emerges just as vital and impressive, the guitar solo especially inflammatory.

As Second Hand Tank takes its time to scorch the ear there is a Psychedelic Furs lilt to the caress, especially vocally and through the bass suggestion, though once into its almost corrosive blues kissed sonic storm suasion you are more in the MC5 and Social Distortion territory. Without quite sparking the heights and success of the previous tracks, it still leaves you appreciating and enjoying the grunginess and carefree attitude of its charm.

The title track brings things to a roguish conclusion with infectious enterprise and variation. The most inventive of the tracks on Tokyo Roadhouse Sonic Sex Castle but again not as irresistible as the opening triplet of bruises, it nevertheless has a pull which has feet and voice playing their part in the fun.

Slumlord Radio is a band still finding its unique sound and stance one suspects but if the release is a portent of things to come; they will be a force we will be hearing plenty of. For promising emerging garage rock with a layer of dirt you just hanker for, Slumlord Radio is well worth taking a listen to.

https://www.facebook.com/SlumlordRadioMI

8/10

RingMaster 09/09/2013

 

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

Ten Foot Wizard – Return To The Infinite

cover

Carrying intensive ravenous rhythms with heftier bones than found on over-weight mammoths and more addictive grooves than lined up at the start of a Nascar race, Return to the Infinite is a towering introduction to a band which in one fall have thrust themselves to the fore of European stoner rock. Ten Foot Wizard is a force to be reckoned with and their debut a towering album that gnaws upon, vibrantly assaults, and virulently rampages over the senses whilst igniting them into one of the most thrilling and senses exhilarating experiences this year. Earlier this year we were trodden on by the magnificent Horizontal Life from Oxford band Desert Storm to prove that heavy insatiably melodic metal /rock is breeding major things this side of the globe, and now standing side by side with them Mancunians Ten Foot Wizard unleash their offering to cement the fact that heavy vigorous rock from the UK stands eye to eye with anything elsewhere.

Formed as a side project by the members of Manchester metal band Bisonhammer back in 2009, the quartet has made a slow but steady emergence with just a handful of gigs each subsequent year leading to this point, though through them their live reputation has grown intensively with the band just recently sharing stages with the likes of Karma To Burn and Witch Mountain. Combining the richest essences of blues and stoner rock into at times a cantankerous but always compelling fire of sound and passion, their first album feels like the key to major prospects for the band, though only if the day job allows one suspects. It is fair to say that the release is not unveiling anything unfamiliar to the genre they rampage within but there are not many who can deliver it as excitingly and potently as these guys.

Opening track Rise From Your Grave opens up the invitation with strong guitar flames that tongue the senses before expanding their presence as they are joined by a predatory bass prowl and punchy drums. It is an immediately captivating sound which offers all the spicery you would wish in blues licked stoner rock. Restrained but full of riotous intent the track stomps along with the guitars bringing a persistent riff persuasion speared by excellent hot to touch solos and melodic searing. It is not a thumping invite into the release rhythmically, in fact it seemingly takes it easy on the ear but there is no doubting it is ridiculously easy to succumb to the temptation which breeds from the fine vocals and scintillating guitar enterprise.

Those drums do not stay in their cage for long though as next up Vulture Bitches swaggers and steers into view upon a rhythmic enslavement of pumped up beats instantly joined by the deliciously growling and predatory stroll of the bass. As addictive as a stripper in a shop window, the track is soon squealing its sonic tyres as it takes the hand break off for a pounding ride of heavy coated rock and metal aligned to an evocative blues call which reins in the charge from time to time to tempt out even greater passions for its offering. Like a mix of Kyuss and Sabbath with a touch of Clutch thrown in, the song is a mesh of intrigue and carnivorous hunger sculpted into a neck fatiguing triumph.

At times across the album there is a Danzig feel to things, especially on the vocals, and a gothic breath that adds its influence and no more so than on Real Love. The song is a blood pumping surge of rhythmic probing and uncompromising riffing wrapped in the Glenn Danzig/ Jerry Only like vocal delivery and shadowed clad dour toned horror rock. It is another instantaneous deep hook to the passions, its bait lingering and insatiable giving the following Medicine a challenge to make a strong impression up against it. As the slow crawl of bass and grooves matched by the vocals finger the senses and thoughts the track shows it is no problem, the intimidation and rugged touch of drums and guitars an irresistible lure reinforced by the throaty bass growl and again outstanding vocals. A mid-way switch into an escaping blaze of acidic riffing and rhythmic rabidity ignites the air further before it is all reined back into the delicious almost doom laced crawl.

Six Feet Rising takes a deliberate fiery saunter through the ear, guitar and vocals offloading satisfying blues fumes before making way for the increasing impressing varied bass persuasion. It is the platform for another riveting build into a climactic furnace of sonic brilliance and melodic violation. Once more there is a thick Danzig feel which only pleases and makes a great appetiser for the brewing blues tonic that invigorates every aspect of the track. It’s might is soon given a run for its money by the magnetically grooved Saturnalia and the staggering Fuck!, a track as much punk and noise rock as it is heavy metal and stoner, and a rapturous slab of heavy fisted inventive pleasure.

The closing trio of songs seem to extensively explore more avenues and corners of the band, all meaty in length and intensity though arguably lacking the impact certainly the immediate appeal, of their predecessors. The Storm is a tempest of lip licking grooves and bone resonating rhythms wrapped in a melodic fervour that screams craft and toxicity whilst End of the Line and the closing epic instrumental title track both twist around and enflame mind and heart with melodic and inventive kindling to spark off greater inventive fires, the last song an enthralling expressive journey.

Self-released on their own Beard of Zeus Records, Return to the Infinite is a tremendous and wholly devoured triumph. Watch out for Ten Foot Wizard as they tear up speakers near you as once lost under their sinew shaped spell there is no return.

https://www.facebook.com/tenfootwizard

9/10

RingMaster 16/08/2013

 

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

 

 

King Hiss: Snakeskin

King Hiss

With nostrils flaring and muscles flexing to their limits Snakeskin, the debut album from Belgium rockers King Hiss, is a mountainous terrain of thunderous rhythms, voracious riffs, and exhausting energy.  It is  a powerhouse of a release which draws the potent essences of melodic metal, hard rock, and stoner rock, not forgetting at times a caustic breath of hardcore, into a confrontation which leaves the senses ignited and passions soaring. Consisting of seven tracks feeding off  inspirations from the likes of Red Fang, Black Tusk, Corrosion of Conformity, Down, and Clutch, Snakeskin is a powerhouse of an album, one injecting new blood and predatory strength into rock music.

As soon as it emerges from a sonic mist and finds its feet, the opening title track launches into a tirade of contagious riffing and a4123523464_2rhythmic barracking, a tight beckoning groove winding the passions around its call within moments of its appearance. The vocals of Jan Coudron begin their impressive narrative next, his voice having an excellent grizzled tone and a melodic power which sends every syllable to its target with purpose and appeal. It is an instantly enthralling encounter rising to greater temptation with the ridiculously catchy chorus and further seductive grooves amidst a tempest of rhythmic provocation from drummer Jason Bernard and bassist Dominiek Hoet. Such its immense presence there is a slight suspicion the rest of the alum will struggle to match its heights but its successor soon dispels any doubts.

    Into The Mountains opens with a carnivorous bass groan and rolling drums, their jabbing persistence hypnotic and persuasive alongside the predatory lines of Hoet. It is another irresistible start taken to greater heights when guitarist Josh Fury unleashes sizzling melodic flames and air carving craft. It is an absorbing blaze soon taking on an intensity and raw almost muggy encroachment which sears flesh and soars across the senses raining down sonic adventure alongside further vocals persuasion. The track easily matches the opener and though across the chorus there is something familiar, though impossible to pin down, it is another refreshing and impacting treat, especially the blues lined solo leading to a riotous climax.

Both D&F and Endorphine swagger and stroll through the ear to equally impressive effect, the southern rock whispers in the sound heated and sinewy, especially in the towering hard rock embrace of the first of this pair whilst the second reveals sturdier textures and dramatic fires within its Mastodon meets Kyuss like invention. Again grooves dangle pure irresistible temptation from their lures whilst vocally the group harmonies find an emotive heart not lacking in previous songs but given a clearer canvas to lay out their rich feelings here. Though both tracks just miss grabbing the plateau set by their predecessors they still capture the imagination and compel the passions to greedily accept them.

    Rollergirl though is not happy to accept second best and from her opening crescendos of fire bred sonics and tsunami tall rhythms rampages with high octane energy and virulently compelling infection loaded riffs and hungry drum enticement, the bass groaning with primal rabidity whilst acidic melodic fascination from the guitar scorches ear and beyond with skill and imagination. It is another bruising triumph which colours the passions until full but still lustfully wanting more.

The final pair of tracks ensures there is not one ounce of dissatisfaction or unfulfilled appetite, The Greater Good an ear burning, senses tearing juggernaut of hard rock and classic metal spicery wrapped in the passionate muscle bound vitality that is King Hiss whilst the closing Word Made Flesh, from its opening bass devouring of the ear, is a scintillating rapacious consumption from a delicious and insatiable rhythmic ravaging and sonic scalding. Like Crowbar meets The Sword it is an epic and towering conclusion to a staggering album.

Whether Snakeskin offers anything new can be debated but you know when something sounds this good and raises passions and energy to such heights, who really cares. King Hiss is a force of the future, hell they have already made a deep branding am mark with this, one of the albums of the year.

http://www.king-hiss.com/

10/10

RingMaster 27/06/2013

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