The Simpletone – Angels’ Share

the-simpletone-band-pic_RingMasterReview

There are some releases which just demand success. Whether they get it in the increasingly fickle attention of the modern music fan is never a given but Angels’ Share, the new album from British rockers The Simpletone, does all the right things to make that commanding statement.

There is little we can share about the 2010 formed band other than its line-up is made up of John Davison, Craig Seymour, Glenn Eastoe, and Tom Cahill, it hails from St Neots in Cambridgshire, and has previously released the albums, Rampenny in 2012 and Dark Matter two years later, both seemingly well-received propositions. A UK tour with New Model Army in 2014 has been one of many live highlights for the band built on their stirring fusion of heavy and melodic rock with grunge, stoner and numerous other essences. It is a mix of flavours making for a striking proposition and imaginative proposal in Angels’ Share and songs which just roar with anthemic majesty and fiery enterprise.

The first of the ten cuts gripping ears and an early appetite for the band’s invigorating rock ‘n’ roll is Outta Control. Instantly a spicy groove winds around ears, leaning in closer as tenacious rhythms and riffs join its opening bait. Effect coated vocals equally lures keen ears as the song swaggers along with steady but rapacious grooves and a suggestive melody. The restraint stopping the track from exploding as it hints it might throughout is an inspired move, the song teasing and almost taunting along its enterprise shaped body. The heavier throb of bass and flames of harmonies only add to the lure of the song with guitar craft similarly as magnetic.

The following Love Street (Modern Mystery) keeps the rich enticement going with its punk folk lined stroll, simple but potent riffs colluding with swinging beats as vocals paint a suggestive picture. Its catchiness is a swift persuasion rapidly backed by the boisterous antics of the guitars as the track carries on the great variety already showing in the band’s sound, diversity more than confirmed by their mighty new single Storm Chaser. At over eleven minutes it is an epic persuasion which serenades the senses with melodic and harmonic caresses initially before building a bolder energy amidst an addictive rhythmic prowess. Weaving strands of space and progressive rock among other textures into its ever evolving adventure, the song is a kaleidoscope of melody heavy rock drawing on an array of decades while creating its own fresh, individual, and ever changing landscape of imagination. Like a mix of Skyscraper (the nineties UK band), Life of Agony, and Voyager, the track barely feels like its length and relentlessly has the listener compelled.

angels-share-cover_RingMasterReviewThe fact that next up Black Box still manages to eclipse it slightly shows the quality of its own exceptional design. A spirit stoking beast from its first touch, the song canters with muscular tenacity and fiery invention bred to virulent proportions as its mix of hard and heavy rock consumes ears and imagination. The track is exceptional, as punk in many ways as it is feisty rock ‘n’ roll with a drama of character and craft that demands attention and involvement.

Fire in the Sky steps up next with a growl in its basslines and a contagious swing in its rhythms, guitars and vocals dancing within their addictive tempting as soulful blues lined grooves bring an incendiary heat to the proposal. Like a seventies inspired union of Therapy? and Reuben, to try and offer a comparison, the song forcibly hits the spot before making way for the slower stoner-esque prowl of Nehemiah, an incitement pulling sludgy textures into its increasingly exotic and suggestive theatre. It is seriously compelling stuff, another song blossoming through an array of twists and flavours as it grows in ears.

The melodic charm of Day by Day is a similarly riveting proposition, the graceful yet sinewy instrumental finding a place between XTC and Tool as it seduces the imagination, setting it up for electrified air and nature of As Above so Below. Courting ears with a rapaciously formidable core in its raw riffs and bold rhythmic, the track wraps it in a melodic spiciness and mellower harmonic seducing which echoes elements of bands like Bush, Alice In Chains, and Sick Puppies yet sounds little like any.

If we tell you that Easy Come lacks the same galvanic sparks of its predecessors do not mistake it for a weak link within Angels’ Share; the song a highly persuasive slice of rock ‘n’ roll with guitar craft which shines like a beacon as the bass uncages a funk inspired personality. The fact the track is outshone by others is down to their might, a strength revelled in again by album closer Hunters. Whether by coincidence or design, there is a Horslips feel to the song certainly early on, and of fellow Brits KingBathmat but as across the album, things are soon woven into an addiction of sound and creative hooks roaring The Simpletone.

It is a glorious end to one treat of a release which deserves all the praise and attention it should and surely will get. Angels’ Share is another rousing encounter to add to our lustful favourites of 2016 list and no keener a recommendation we can offer.

Angels’ Share is out now across most online stores and on iTunes @ https://itunes.apple.com/album/id1169473074?ls=1&app=itunes

http://www.thesimpletone.com/    https://www.facebook.com/thesimpletoneband/

Pete RingMaster 16/11/2016

Copyright RingMaster: MyFreeCopyright

Dead Man’s Hand – Till Karma Forgets

DMH_RingMasterReview

Not to be confused with seemingly many other bands with the same moniker, Dead Man’s Hand is a band bred in the Seattle music scene but it is fair to say really hit their stride once its founders relocated to Kansas City. Now they are poised to release their new album Till Karma Forgets, a twelve song strong slice of raw rock ‘n’ roll which maybe does not leave ears awestruck but certainly provides them with a thoroughly enjoyable time.

Formed in 2012 by vocalist/guitarist Kasey McGrew when he teamed up with guitarist Bret Palmer, Dead Man’s Hand struggled with finding the right line-up initially; that was until the pair moved to Kansas City the following year where they found bassist Jeffery Kent and drummer James Aguiar. Soon the band found itself sharing stages with the likes of HURT, PopEvil, and The Dreaming at venues such as The Voodoo Lounge and Granada. 2014 saw Dead Man’s Hand touring with Burning and win Best New Artist in the Midwest Music Awards. Last year saw a second tour for the quartet, plenty of radio play, and more nominations at the 2015 Midwest Music Awards. Now following up an earlier demo EP with the same name, the band is poking at broader awareness for their accomplished and fiery rock ‘n’ roll with The Pavement Entertainment released Til Karma Forgets.

The album opens with the groove bound Hangman, a track making a controlled entrance before sauntering into the imagination with mellow lures entangled in more incendiary strikes of guitar. The vocals of McGrew, potently backed by Palmer’s strong tones, emulate the sound around them, crooning at certain moments and roaring with thick emotion in the songs eruptions of intensity. Easily revealing the unmistakable craft and skills of the band whilst pleasing ears, it is a great start to Til Karma Forgets backed as powerfully by the excellent Lock & Key. Grungier hues crowd the hard and melodic rock body of the song, all magnetic spicing adding to a great stock in grooves and rhythmic enticement around another catchy chorus. Whilst eclipsing its predecessor, a touch of southern goodness also comes out with the song overall reminding a touch of fellow US rockers Resin.

DMHart_RingMasterReviewPaint A Picture is a calmer emotive proposition next, vocals and melodies wrapping ears as feistier flames occasionally rise up around them whilst So What offers a grittier tempting of blues and hard rock which prowls ears with expressive guitar and vocals taking the lead. Its snarl only increases in its rousing chorus where the irritability, which seems to fuel bass and riffs throughout, adds more oil to the blaze.

Through the spicy grooving of Veto and the attractive intimidation of Wash Away, band and album keeps pleasure and appetite as keen as ever. The first of the pair is an especially unpredictable and magnetic affair as at ease aggressively growling at the senses as it is seducing them. Its successor evolves from a seriously coaxing lure from Aguiar into a predator with hungry riffs, and the still boldly rolling bait of beats, courting a less imposing vocal delivery. It is a great mix with the dark shadows and the song’s natural predation alone whipping up the passion as it steals best song honours on Til Karma Forgets.

Its title track comes next and it too marks a particularly memorable peak in the landscape of the album, carrying a slight Life Of Agony feel to particularly its more emotive and restrained moments. Despite its grouchiness and aggressive elements, there still feels like there is beast still trying to escape, and if there is any moan about the album it is that it does not fulfil the great and open potential to unleash this instinctive ferocity. Nevertheless, the track rocks like a disturbed bear before a milder but no less resourceful stroll with Slide Of Hand leaves ears thickly satisfied; guitars especially spicy and flavoursome within the encounter.

Another inviting strain of blues rock colours the swiftly infectious Beneath The Dirt next, where whiffs of Nirvana and Sick Puppies tempt thoughts. The track is yet another addictive episode in the album; a track, which like Til Karma Forgets as a whole, might not be venturing into unique pastures or setting the world on fire but without doubt leaves the listener gripped and hungry for more of its unbridled rock ‘n’ roll.

Through the scorching blaze of Masquerade and the emotively melodic Broken Ground, things continue to richly entice and firmly please; the first of the two another notable proposition, with Not For Nothing closing up the album in fine style too with its captivating, impassioned, and tempestuous balladry.

Though the album is missing that last spark or bite of intensity to really ignite the passions, it is not too hard to expect Dead Man’s Hand finding a host of new fans and plaudits with Till Karma Forgets, a release which offers honest rock ‘n’ roll with heart and quality.

Till Karma Forgets is released April 29th via Pavement Entertainment through most online stores.

https://www.facebook.com/DMHMUSIC

Pete RingMaster 29/04/2016

Copyright RingMaster: MyFreeCopyright

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Haster – The Current Sea

Photo Courtesy of David Trejo Photography

Photo Courtesy of David Trejo Photography

As explosive and dynamically striking as it is creatively imaginative, the new album from Californian metallers Haster is one of those offerings that bring the day, body and emotions alive. The Current Sea is anthemically huge and inventively bold yet weaves in to it a host of familiar styles and flavours which only go to enhance its virulently imposing and contagious roar. The result is a slab of defiant and emotive rock ‘n’ roll as intimidating and cantankerous as it is one mighty feel good incitement.

Formed in 2010, the Huntington Beach quintet seemingly and unsurprisingly going by their latest offering, took little time stirring up attention and support, especially once releasing their debut album Searching in 2011. Its successor Let It Go cemented the band’s stature on the Orange County music scene with its unveiling in 2014 and now it is The Current Sea gearing up to push the band to new spotlights not only at home but within the broadest landscape of metal and rock.

Fusing dark and alternative metal with heavy rock ‘n’ roll; Haster creates a sound which will have something for most with a taste for metal and heavy rock. As proof The Current Sea offers a perpetual wave of familiar and unique essences bred from inspirations that range from Korn and Deftones, Chevelle and Tool, to Breaking Benjamin and System Of A Down, and as soon as opener Your Silence hits ears with its sonic coaxing, attention is on alert and swiftly gripped. Emerging on a looming almost foreboding energy and tone, the track aggressively and purposefully bounds towards the senses, then once up close as a growl of aggressiveness passes, it slips into a rugged stroll with melodic scenery wrapped in the fine clean tones of vocalist Jarret Stockmar. It is a delivery carrying a great persistent snarl though which is matched by the irritable riffs and punchy beats of drummer Brian Tew. Quickly those Chevelle/Breaking Benjamin references are understandable but there is plenty more to the character and air of the catchy encounter and as quickly realised, the album.

The-Current-Sea_RingMaster ReviewAs good as it is the song is soon overshadowed by the bands outstanding latest single, The Unscene. As keys caress whilst riffs grumble and burrow into ears, the bass of Mondo Salazar prowls like a predator skirting the similarly snarly tones of Stockmar holding a mutual attitude to its presence. In no time the track is an addiction, a Disturbed meets American Head Charge like contagion with a chorus you will only find yourselves involved in after it leaps into ears just the once. Elevated further by the tenacious and inventive weave of guitarists Patrick Nolan and David Heida, the track is prime anthemic bait and unavoidably irresistible.

Haunt Me has a slightly mellower air to its confrontation but still carries an emotive intensity that flows readily through the great blend of Stockmar’s lead and Nolan’s backing vocals. Becoming more agitated and antagonistic minute by minute, the track explores a Korn like enterprise lined with melodic toxins carrying a scent of Life Of Agony to them before making way for the grumbling emotion and rhythmically gripping prowess of Substance Low. It too mixes infectious and unpredictable resourcefulness with more abrasive textures, a merger simply igniting ears and appetite into a greed quickly fed by The Resistance and its fiercely enticing collusion of wiry and sultry grooves with rapier like beats and vocal dexterity; again it all coming with a touch of Korn at times.

Potent bait and rich satisfaction continue to come together as Asfixiate and The Artist’s Life share their creative narratives and individual dramas. The first initially sounds like a close relation to its predecessor though soon it explores its own emotive Drowning Pool/A Perfect Circle spiced journey whilst the second brings back that grouchier provocative nature of the band’s music to merge into a potent tempest of sound that at times plays like Linkin Park crossed with Bring Me the Horizon. As shown by next up Consumed though, there is a constantly shifting and evolving nature to the tracks which only excites and impresses. The new track is similarly volatile in temperament to those before, fluidly moving from aggressively rapacious to sonically calming with vocal invention to match.

Connection Error is a cranky protagonist next; a choleric encounter gnawing on the senses as it fires up ears and pleasure with an irritable rousing roar easy to get hooked up on, much as the album is as a whole to be fair. Its confrontational body is contrasted by the reflectively emotive and calmer Shoved Aside, though the album’s closer has plenty of creative and impassioned sparks to create a blaze able to erupt with heart driven anger. Though for no particular reason, it fails to make the same kind of impact as other tracks, the song brings The Current Sea to a powerful and richly enjoyable conclusion.

To date it is probably fair to say that Haster is a name predominantly lent to US awareness but we suggest not for much longer thanks to their stirring new album.

The Current Sea is available from January 29th via Musicarchy Media through iTunes and more.

http://www.hastermusic.com/   https://www.facebook.com/Hasterband/

Pete RingMaster 28/01/2016

Copyright RingMaster: MyFreeCopyright

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Alpha Shallows – Set the Fires EP

AS_RingMaster Review

It may only be four songs but the debut release from British indie rock band Alpha Shallows suggests a fruitful union between the band’s sound and the appetites of the adventurous music public is on the cards. To be fair, Set The Fires already establishes that connection with its shadowed wrapped and emotionally powered roars, each song getting under the skin in varying but forceful degrees to tap into the psyche and awaken a lusty appetite for the band’s stirring sound. The EP is beguiling and a thickly enticing introduction to the dark imagination of Alpha Shallows.

The Leeds/Wakefield hailing and early 2014 formed Alpha Shallows is the creation of vocalist Craig Walker, bassist Gary Hargreaves, guitarist Paul Joice, and drummer Ben Hewitt formerly of metallers Boneyard Babies. Their backgrounds bring an array of styles and influences into a sound which itself is a tapestry of textures and colours within melancholic beauty. Since emerging, the band has become a potent attraction on the Yorkshire live scene with tracks being supported by the likes of BBC Introducing in North and West Yorkshire. Set the Fires is the national wake-up call and one hard to imagine going unnoticed.

artwork_RingMaster Review   It opens up with the evocatively gorgeous and emotionally intensive Temper, a track epitomising that ability of the band’s sound to get right under the skin. A lone guitar caresses ears first, its tone immediately melancholy coloured as that tempting continues to beckon ears even as the air around it gets more turbulent. The voice of Walker is a just as swift and strong persuasion, his entrance stirring up a fiery and rousing air wearing the scent of Deftones, Life of Agony, and Damn Vandals to it. In full flow, the track flows through shadowed calm and emotional volatility with ease, the sounds matching the intensity of the song’s lyrical narrative and heart every step of the way. It is simply superb, a mighty start to the release and thrilling first touch of the band’s imagination and craft.

The EP’s title track steps up next to match the triumph of its predecessor, the song an immediately livelier affair showing eager beats and sultry guitar enterprise within its first few breaths. The bass of Hargreaves adds another thick lure as the track explores a Doors/Birthday Party spiced slice of indie rock, though there is much more to the contagion and tenacious swing of the rich incitement on ears and hips. Listener involvement is a quick success too, the chorus alone inescapable bait as the impressive start to the release continues.

Solace steps forward next providing a tantalising smoulder of a croon as gentle and seductive melodies entangle ears and appetite alongside the ever potent and emotively intensive vocals. There is something wonderfully familiar to the track and indeed the whole EP but as yet an essence we have yet to pin down whilst basking in its inviting hue within the equally magnetic invention of Alpha Shallows. The dark serenade continues to mesmerise and seduce, increasingly so with every listen, a success emulated in the closing tempest of Flatline, another merging of elegant almost maudlin tempting with rousing endeavour and energy to enjoyably consume body and emotions.

Whereas the first two songs explode in the imagination and appetite right away, growing more imposing with every listen, the final pair takes their time to induce the same greed for their bewitching majesty but certainly rising to the same heights over numerously rewarding listens. All four songs also reveal the rich craft and adventure of the band’s sound and songwriting whilst suggesting there is still much more to come.

It seems like the end of 2015 is unveiling some of its best introductions and biggest treats with Set the Fires right there on the frontline.

The Set the Fires EP is released December 11th via iTunes and most online stores.

Upcoming live dates:

16th January – Carpe Diem, Leeds

22nd January – The Library, Leeds

https://www.facebook.com/alphashallows

Pete RingMaster 10/12/2015

Copyright RingMaster: MyFreeCopyright

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Black Space Riders – Refugeeum

Black Space Riders official 2015_RingMaster Review

With their previous album D:REI, it is fair to say that German space rockers Black Space Riders not only set a new benchmark for themselves but ignited a whole new host of appetites and acclaiming attention. Now the Muenster sextet return with its successor Refugeeum; an intensive and expansive exploration which may or may not quite surpass its exceptional predecessor, but is an equal as it reinforces the band’s stature as one of the most fascinating and gripping propositions in heavy rock.

This time around the band has dropped from spatial explorations and focused on earthbound issues and tempestuous times. Musically the band has found an earthier and more organically trespassing, as well as more intimate, depth and invention to their ever diverse, flavour embracing sound. Certainly there are moments which soar and take flight through rich and broad landscapes but always they lead to the turbulence and raw canvas of emotional and physical migrancy, to simplify the album’s theme. There is also a new and open maturity to the songwriting and its realisation in Refugeeum, a quality taking the already recognised and rewarding potency in all aspects of band and sound that had already powerfully blossomed within D:REI, to new pastures.

A spatial shimmer grows around ears initially as album opener Vortex Sun starts things off, its distant twinkle soon joined by a lone melody and vocal harmonies. Everything has a shadowy glaze to it but equally a magnetism which within seconds draws ears and imagination right into the brewing soundscape of the song. Once the drums begin rolling with increasing resonance and hunger, the track is on the lip of a thickly atmospheric and energetically contagious proposal, guitars casting a cascade of sonic enterprise around nagging riffs whilst the vocals add further descriptive drama and texture. The threat of a full explosion of sound and turbulence is constantly there but never really realised, the song moving through constantly shifting rock scenery with exotic mystique and sultry Eastern whispers a regular and inventive lining.

Frontcover Refugeeum Vinyl _RingMaster Review   The track is a glorious start to the album and swiftly matched by Universal Bloodlines, who wins its persuasive argument from the opening bait of throaty riffs and crispy beats alone. They come with an irresistible hook, one which only persists as the band develops and slips into a Life of Agony like emotive croon within rousing rhythmic and dirtily aggressive temptation. It is a fiery and intimidating fusion and ridiculously irresistible, even when the sonic craft of the guitarists SLI and JE add searing sonic flames to the raw alchemy.

Born a Lion (Homeless) comes next, opening with its own compelling coaxing. The scuzzy tone of bass from SAQ is a thick menacing hook all on its own whilst just as quickly, fuzzy guitars and slithers of keys align with its enthralling call to accentuate and colour the tribal call of the song. The vocals are shared around the album by Seb and JE, and here offer maybe their most rapacious and fiercely captivating delivery yet. The song itself continues to grow into a brute of a proposition, a treat lying somewhere between Killing Joke, Rammstein, and David Bowie.

There is a post punk edge to the following The Lure (Come with us), especially in its opening stalking of ears. Four songs in and each has provided the most individual and passion enslaving openings, entrances backed by ever evolving and twisting adventures, and here the fourth song goes on to explore a filth toned embrace of snarling vocals, evocative guitar caresses, and one hypnotically tenacious doomy prowl.

A mellower lure escapes Run to the Plains next, gentle vocal persuasion luring in attention as a darker groan of bass from SAQ or HEVO, who also features upon Refugeeum, courts its invitation. It is a tempting increasing as both vocalists unite with their unique and complementary tones. There is a touch of post rock to the track and a Palms like alternative rock smoulder to the stoner-esque ripeness colouring the mesmeric encounter. At over ten minutes the track is a maelstrom in waiting too, expelling thick tendrils of intensity and heavy grooves as well as tempestuous riffs across its constantly resonating sonic glow.

The pair of Curtains of Death, another with a start which just seems to know how to flick the switch of lust, and Melek’s Lament (Yazidi Tears) just seduce and engross with constant imagination. The outstanding first of the two follows up its tasty start with a spiral of tangy grooves, feisty riffs, and grouchy vocals, all honed into an intimidating and again wonderfully fuzzy yet boisterous shuffle before drifting off into reflective and haunting, almost cavernous exploration. It is a riot for the ears and feast for the imagination whilst its successor is a mist of worldly whispers, flirtatious textures, and emotional intensity, and in a completely different way just as fascinating and infectious, especially as it brews up its own seventies rock tinged roar of a climax which in turn descends into a sonic escape.

Such his skilled rhythmic jungle of beats and resourcefulness C.RIP has an easy time winning these ears over from start to finish within Refugeeum, and again ensures Walking Shades has its hooks into the psyche straight away with another almost meditatively inviting dance of beats. Subsequent melodies and vocals pursue another Life of Agony like toning in their catchy and provocative body, it all colluding for one tantalising offering before Ritual of Inner Strength brings the album to an epic close. The track in many ways is like a musical epilogue to Refugeeum, all the richest and most potent elements creating the hearts of the album’s songs converging together in a gentle but intensifying tempest. It is creative theatre, one igniting thoughts and emotions as strongly as its infectious lures grip the body, and though it does not take personal emotions quite to the heights sparked by other songs, its impacting croon is a fine end to a mighty release.

The band’s previous album had great ruggedness to it which has been rounded off for Refugeeum but in its place the band has honed a more intricate blend of slimmer tempests, thicker explorations, and a perpetual unpredictable invention. The album is Black Space Riders’ boldest and farthest reaching creative offering yet and after many more listens whilst composing this, decidedly their most thrilling exploit yet.

Refugeeum is available now digitally, on Cd, and on double vinyl (2x180G, incl. CD & lyric-insert) @ https://blackspaceriders.bandcamp.com/album/refugeeum

https://www.facebook.com/BlackSpaceRiders

http://www.blackspaceriders.com/

RingMaster 24/07/2015

Copyright RingMaster: MyFreeCopyright

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Another Dead Hero – Dystopia

Though it makes a potent initial impact, Dystopia does its best persuasion over time, worming under the skin to provide a perpetually pleasing and exciting proposition. It is an album which can be described as being made up of familiar parts but those essences aligning for something fresh and invigorating from a band drenched in potential and riveting creativity. Bands such as Rage Against the Machine and Deftones are constantly and to be fair rightly offered up as references to the sound of Another Dead Hero but it is only part of the imaginative incitement provided by the band, spices twisted into something more distinctive and flavoursome from the UK quintet.

Hailing from Burnley and formed in 2003, Another Dead Hero has spent the subsequent years building and honing their sound whilst infecting the expanse of Britain with their uncompromising creative attitude and adventure. As evidenced by their album, the band has a raw touch and breath to their music, an honesty to their sound and invention which is just as potent as the imagination within it. The live presence of Another Dead Hero has persistently marked the band out, as has their previous trio of albums, but it is Dystopia which it is easy to feel has the key to reach the strongest spotlights.

The dark climate and menacing atmosphere of Intro opens up Dystopia, its electronic jungle intimidating scenery for the imagination to spark against before the piece flows straight into Change The Game. Beats and riffs are soon rummaging in ears before settling into an imposing and formidable provocation. Limp Bizkit spiced vocals and scythes of guitar cross the spine of the song whilst an aggravated persistence breeds in the guitars to pressure ears even more potently. It is a strong and pleasing start which slips into darkened Deftones mellowness before merging both climates along the way. The vocals of Josh Baldwin roar and croon with a flavour of Keith (now Mina) Caputo to their provocative tone and texture, whilst the fierce raps of drummer Gaz Connor and the grizzled tempting to the bass of Craig Robertson snap and growl with dark intent. Added to the guitar antagonism and craft of Daniel Crawshaw and Josh Beckwith, it all makes for a formidable full start to the album with its closing One Minute Silence like finale especially anthemic and biting.

The following Greed grumbles with a heavy breath and intensity from the start, the Rage Against The Machine essence which was a loud whisper in its predecessor steering the stalking brilliance of the track. The instant blaze of sound and anovocals soon drops into a prowling gait led by weighty bass shadows. It is a scintillating passage to the song, again One Minute Silence coming to mind alongside that of Zack de la Rocha and co. It is also a minimalistic attack but gloriously gripping and incendiary for ears and passions as it preys on thoughts and psyche with every dark twist and furious blaze. It is the first pinnacle of the album setting a high plateau for System to aspire to. The song is a muscular and busier offering but still holding a rein on its attack to stroll with threat around the senses. Life of Agony comes to mind as the brief track expels its intensive provocation before making way for the volatile hostility of Bullshit (Voice Of Lies), a furious and confrontational assault unafraid to venture into calmer waters. It as the previous song does not match the early peaks but easily provide compelling and richly satisfying confrontation.

The volatile temperament of I Don’t Care comes next, a song merging the reflective elegance of a Nine Inch Nails and Palms croon with the agitated resistance of RATM and Kennedy Soundtrack. It is a transfixing encounter, a revolving wind of melodic caresses and sonic causticity which entwine for an intriguing and captivating proposition. Its lingering presence is emulated by the next up Infection. As all songs there is a raw and abrasing resonance to its presence which almost haunts the senses as the resourcefulness of the guitars and rhythms explore their individual, and here almost tribal antagonism. Like the album generally, it is not a song to set off a fire in the passions though it has them boiling up nicely, but a song which as its title suggests worms away for lingering and just as potent pleasure.

Stoner presents a more voracious offering, its fuller alternative metal and heavy rock persistence a provocation which veins its bracing bait with melodic mystique and spicy grooving. Grunge flavouring also offers its colour to the song’s landscape, essences of Soundgarden and Gruntruck adding rich hues to the nu-metal/alternative metal exploration. An excellent examination of ears and thoughts it is matched by the weighty energy and depths of Fist Full Of Anger. From a melodic coaxing the song ripples with grizzled basslines and fluid vocals, flexing its sinews and emotional fury with evolving intensity and diversity. It is another which smoulders rather than burns but emerges as an enthralling emotive struggle.

The more than decent ebm/electro fuelled instrumental Control MKII makes a break in the rage of the album, though its air is equally portentous and challenging, before the dark sinister tones of the outstanding Feed Me Your Lies moves in on the imagination and passions. Its gentle but predatory start is hypnotic, smooth vocals and tantalising melodies seducing ears before the track shrugs off its calm for a rugged and thrilling confrontation. The track never explodes, walking that edge before providing another dose of the mesmeric enticement which opened it up, and though the lack of that final spark is missed it cannot stop the track making another dramatic and thrilling statement within the album.

Closing with a fiery and enjoyable remix of Remember This Day, a track from previous 2009 album Generation Zero, Dystopia is a feistily satisfying release. There are times where songs hold a too similar character though it is never long before inventive and exciting twists ignite their canvas, but ultimately the album provides more than enough proof that Another Dead Hero is heading towards the fullest attention nationally and beyond, especially if they find the underlying strain of originality which arguably is still untapped.

Dystopia is available now @ https://itunes.apple.com/gb/album/dystopia/id704561906

http://www.anotherdeadhero.co.uk/

RingMaster 13/10/2014

Copyright RingMaster: MyFreeCopyright

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7stbaby – Horses

7stbaby - Horses Single Cover

Following up their impressive and acclaimed album Control, British rockers 7stbaby are poised to unleash their new single Horses. A track as voraciously aggressive as it is melodically seductive, Horses easily reinforces the presence and already in place anticipation of major success for the band ahead.

Formed in the autumn of 2013 by Kyle MacKenzie (vocals, guitar) and Ben Martin (vocals, bass) but an idea already long in place but held in check due to the work and success of their other band Static Plan, 7stbaby swiftly gripped attention and praise through the diversely flavoured Control. Merging the richest and rawest essences of stoner and heavy rock with grunge and progressive metal spicery, the Guildford pair along with drummer Greg Webber, also of Static Plan, set a high startling plateau for the project with their album. Taken from Control, the new single confirms and pushes further that impressive start, its mesmeric and muscular tenacity a cauldron of sonic invention and unbridled passion.

Released on Got Wrong Records as the album, Horses immediately fills ears with punchy beats and almost grizzled melodic grooves over scarring riffs. It is an intensive start given further weight by the vocal growls and increasingly gripping twang of the guitar’s grooving. As mellower tones move in to welcome the fiery chorus, there is a definite Life of Agony groove and emotion to the song which only adds to its flavoursome adventure and blossoming fascination. A slip into a more progressively honed stoner twist loses some of the song’s snarl but adds greater intrigue before the track erupts back into its compelling antagonism and captivating melodic enticement.

Horses is an outstanding provocation for ears and imagination as well as a potent doorway into the similarly terrific and impressive body of the band’s album. Think Queens of The Stone Age meets Deftones and the aforementioned Life of Agony after being filtered through a heavy vat of Electric Wizard and XII Boar and you get a sense of 7stbaby. British heavy rock is at one of its most exciting periods right now and this band simply adds more substance to that claim.

Horses is released on September 26th via Got Wrong Records with an accompanying video.

https://www.facebook.com/7stbaby

Read our interview with Kyle from 7stbaby @ https://ringmasterreviewintroduces.wordpress.com/2014/09/23/melodic-fire-and-raw-passion-an-interview-with-kyle-mackenzie-of-7stbaby/

RingMaster 23/09/2014

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