Torqued – Coup de Grâce

We have a feeling that maybe 2019 is a year when UK bands will really stir up the world’s metal scene. Already there have been a handful of highly notable and thrilling releases to which you can now add the new Coup de Grâce EP from Devon hailing Torqued. Caged within its dramatic cover sits four tracks of voracious groove metal but tracks as progressively bold and atmospherically ravenous as they are compellingly infectious; all ready to prowl and devour the world.

Consisting of vocalist/bassist Marc Cleave, drummer Kurt Johnson, and guitarist Rimmy Sinclair, Postbridge’s 2016 formed Torqued has already lured strong attention and praise with early tracks and a debut EP, Resurgence, last year. Alongside, their live reputation has only escalated in line with the growth of their sound, the band making plaudit earning appearances at the likes of Bloodstock, The Mosh against Cancer, Amplified, and Rockfest amongst many more over time. Now, such its striking contents, expectations are easy that Coup de Grâce will only inflame both greater attention and acclaim

The EP opens with its title track, Coup de Grâce instantly teasing with a raw sonic lure before it becomes refined into a groove wound temptation within a suggestive electronically woven climate. Even as Cleave’s throat raw incursions emerge and the guitar brings greater threat to its wiring, that initial engaging temptation remains a potent presence. Increasingly predatory with every emerging twist, ravening groove, and rhythmic intrusion, every subsequent trespass echoed in vocal causticity, the track simply gripped and captivated.

The Revelation follows, arising from far off sonic mist in a web of interwoven melodic guitar threads and a rhythmic probing as rapacious as it is controlled. There is a Static-X hue to the track as it develops and blossoms, every breath and second bred in imagination and soaked in drama and though it does not have the same immediate punch and tempestuous impact, it hauntingly grew to eclipse its impressive predecessor.

Described as groove laden heavy metal, The Torqued sound readily embraces various hues, next up Open Wound evidence with its extreme tones and hostile textures coated in the rich allure of grooves and wired in melodic acidity. Further entangled in the dextrous craft of Sinclair’s enterprise the song prowls and preys on ears and senses, seducing both with its sonic intimation and imaginative within an unpredictable landscape before leaving The Darkest Of Shadows to close things up which it does with equally magnetic and enthralling adventure. In an electronically aided background bringing a host of dark and light suggestion, the guitar spins another sonic nexus as rhythms intrude and arouse with their own particular dexterity. Haunting atmospherics continue to as much tease as fear with their caliginous breath around the song’s full carnivorous trespass, it all going to make a song which is maybe not as easily devoured as its companions in some ways but emerges another major highlight from Torqued.

If the band does not quite launch itself on the broadest landscape of metal with Coup de Grâce it can surely only be a matter of time if we take the magnificent EP as the seeds to their future endeavours. No point waiting to see though, Coup de Grâce needs to be and should be your next port of call.

The Coup de Grâce is out now; available @ https://torqued.co.uk/shop/

https://torqued.co.uk/   https://www.facebook.com/Torquedband/   https://twitter.com/Torquedband

Pete RingMaster 16/04/2019

Copyright RingMaster: MyFreeCopyright

High Moonlight Interview

From São Paulo, Brazil, High Moonlight recently gave us the pleasure to talk about and get to the heart of its unique sound…

Hello and thanks for taking time out to talk with us.

Can you first introduce the band and give us some background to how it all started?

The band High Moonlight was formed in the late 90s among some friends of the school. All we wanted was to play a good old rock in roll as high as possible, that’s what united us in the beginning. The grunge scene was high at the time, bands like Nirvana, Alice and others dominated the rock scene of the time, we did not like that sound and we wanted to play the good old Heavy / Rock of all time.

We heard Dio, Sabbath, AC / DC, Rainbow … so they were the bands that inspired us. At first we were just a trio, guitar, bass and drums. Like all bands, we used to play several covers of bands we used to sing (Uriah Heep, Dio, Rainbow), but the goal was always their own songs.

Have you been or are involved in other bands?

No, I’ve never been involved with other bands. My focus has always been High Moonlight.

What inspired the band name?

I have always enjoyed mystical, magical, supernatural and related things. That was precisely what I wanted to address in my lyrics. And the moon is a very mystical symbol, both for wizards, enchanted beings, wolves and Lycans, so I chose it as the name of my band and added the word “High” to magnify it even more. High Moonlight is a tribute to this historical and mysterious symbol that is the moon and all the mystical beings that exist or existed and are part of our history.

Do the same ideas and intention still drive the band from when it was fresh-faced or have they evolved over time?

Yes. I still preserve the same principles, the same ideals and the same goals since when I decided to take the music and the band seriously. The initial change was in relation to the members that have been changing over the years.

Since your early days, how would you say your sound has evolved?

At first I made heavy metal with a mix of progressive, the songs were longer. Over time, I have been refining my playing technique and understanding the type of sound I wanted to play. Today my music comes down to an authentic heavy metal and a lot of quality and good taste. All my songs revolve around many original and creative riffs.

Has it been more of an organic movement of sound or more you deliberately wanting to try new things?

No. My sound is defined and based on heavy rock or simply heavy metal, some call it Hard rock but I do not consider it that way.

You have already mentioned some inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

At first I listened a lot to Rainbow and Ronnie James Dio. This did not impact my sound but it always helped me a lot when composing, because I always wrote or composed my songs wondering what it would be like to have Dio, as a vocalist that is, singing my songs. Blackmore also showed me how to create things out of the ordinary inside Rock n Roll.

Is there a particular process to your songwriting?

First I create the riffs, then I compose the whole song and then I write the lyrics on top of what I just played. Nothing too complicated or different. This is my creative process.

Where do you, more often than not, draw the inspirations to the lyrical side of your songs?

I do not hear much heavy metal when I’m in the process of writing. Instead I prefer to listen to Eastern culture or classical music.

Could you give us some background to your latest release?

Our first EP that is available (for now) only on SoundCloud and as a demo, is a compilation of seven compositions that define well the High Moonlight, both sonorous and thematic. It is a Heavy Metal / Rock n Roll of the best quality possible and really innovative. It’s a way of telling people that it’s still possible to make quality music and good taste and that Heavy Metal, Rock n Roll still has a lot of firewood to burn, you can believe!!! I’m sure that after hearing “Arcturians”, “Storm” or “Inovaya” for example, many will say, “Dude, what’s this sound ?! I’ve never heard anything like it” or else: “Rock is still alive, that’s very good!!!”You can be sure!

Give us some insight to the themes and premise behind the songs.

The lyrics deal with mystical themes, conspiracies and adventures. The sound is based on creative riffs with great melodies and beautiful guitars solos. Worth checking out, yes!

Do you go into the studio with songs pretty much in their final state or prefer to develop them as you record?

Yes. I’m already in the studio with the songs developed in their final stage, practically defined.

Tell us about the live side to the band, presumably a favourite aspect of the band?

Simply play and do shows. This is the living side that motivates us to move on. We do not play for money or fame, we just like to play and period.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it?

I do not intend to please anyone with my music. Touch, compose and record for personal satisfaction. That’s what keeps me going as a musician. I’m happy when people share the same musical tastes that I hear and hear, sing and praise the band.

My space as a band is still searching and it is through communication vehicles like this that things happen little by little. Whenever I can try to spread my work around the world anyway, I just need people to pay attention to what I’m talking about and start listening to my songs so they can know and evaluate the work.

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

I think that ended with creativity in general. But unfortunately it was the way that humanity resolved then I followed what? We need to adjust to these new conditions if we want to play our songs, there is no other way, but this for me is only degrading music in general.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

I thank you for the opportunity of this interview and I hope that people who read this can give a check on my work. I’ll leave the link here:

https://www.facebook.com/High-moonlight-1969283040044628/

SoundCloud: https://soundcloud.com/user-478894939

YouTube: https://www.youtube.com/channel/UC9zSetoGXolPDAtl9eM5PWw

Pete RingMaster 12/04/2019

Copyright RingMaster: MyFreeCopyright

Left For Red – Human Complex

Approaching their ten year anniversary on the UK metal scene, Left For Red are poised to uncage their new album, Human Complex. Offering ten voraciously toned, imaginatively woven tracks, it is a record which highlights all the reasons why the Midlanders have earned their strong reputation and support to date and many more why the next decade could be even more exciting for them and definitely for us.

Since emerging in 2009, the Stourbridge quintet has lured acclaim for early releases which only grew eagerly richer for their 2015 unleashed debut album, All Things Known and Buried. It is success echoed in a live presence which has equally brought thick praise and an increased following, the band sharing stages with the likes of Chimaira, Crowbar, Beholder, and Breed 77 amongst many more as well as make highly successful appearances at numerous festivals such as Bloodstock, Hammerfest, and Mammothfest. It is now very easy to expect and assume that Human Complex will bring even greater attention such its potent character, bold sound, and rousing snarl.

Recorded with Tom Gittins of Monochrome Productions, Human Complex explores the human psyche, focusing on “why people can be so arrogant and careless with their actions, and the effects they have on themselves and others.” It opens up with Dancing With Misery, a suggestive crawl of provocative sound and dark intimation. It is a shadow draped serenade, a caliginous enveloping of ears and imagination with the potent tones of vocalist LC Decoy bringing a physical head to its atmospheric Deftones hued pea-souper of a haze.

It is a start which had attention and thought deeply enthralled, the body soon as tightly engaged as Switchblade Romance followed. With its initial wiry groove enough alone to entice further eager scrutiny, the guitars of Aaron Foy and Philip Smith entangled and enthralled with ease, the senses lashing swings of drummer Rob Hadley pining down an already keen appetite as the track rises to its striking feet. Like a blend of Fear Factory and Fuckshovel, the song quickly burrowed into the psyche, providing a lingering creative toxicity ensuring many swift returns even in the face of the inescapable lures of its successor Slaves To Causality. Less grievous in its breath but just as virulent in its grooving, the third track soon placed a firm hold on attentiveness, the tantalising voice and touch of Daniel Carter’s brooding but infectious bass to the fore. Again LC enticed as inescapably as the resourceful sounds around him, the track maybe not as unique as the previous pair but equally as magnetic.

The outstanding Leech is next up and instantly throws a web of rapacious grooves and contagious rhythms around ears, its contagion invigorating and body increasingly adventurous to give The Circus which follows, a ready-made platform to tempt with its classic metal lined, groove metal fuelled show. With a potent alternative metal swing as eagerly involved in its ever evolving roar, the track stands side by side with its predecessor as one of the peaks of Human Complex before Hand Of God more than ably backs them up with its own sinuous, emotionally torturous uproar. Serpentine in nature, fractious in breath, it too is a multi-flavoured metal trespass with grooves as melodically alluring as its rhythms and irritability are invasive.

The Storm brews next, its relatively calm flesh and emotive air carrying a volatility which never ignites but brings a riveting threat and discord to the track’s captivating croon while Journey Within straight after had the body bouncing and spirit swinging through its instinctively and manipulatively catchy ingredients and enterprise. Again the band’s smart fusion of flavours to a groove metal seeded breeding makes for a greedily devoured proposition, one even more hungrily devoured within the just as individual Tame The Tides. The track is a ravening predator of a song but carrying just as delicious melodic enterprise as numerous textures unite to match the mix of metal spices; both tracks further major highlights within the album.

Human Complex closes with the evocative balladry of Sunrise Bring Serenity, a strongly engaging temptation which blossoms and fascinates with each passing moment of time and imagination. With hope and optimism lining it’s still tempestuously suggestive climate, the track brings the album to a fine conclusion.

As much as we enjoyed and were impressed with previous releases and especially the band’s first album, Left For Red has cast their finest moment yet through Human Complex, a release which could and should set the band down in the biggest spotlights.

Human Complex is released April 6th

https://www.facebook.com/leftforreduk   http://leftforred.com/   https://twitter.com/leftforreduk

Pete RingMaster

Copyright RingMaster: MyFreeCopyright

RingMaster Review Interviews – Death Tribe

For those who may not know who you are, introduce yourselves quickly.

Hello this is Anthony Kaoteon talking to you about my new project Death Tribe as we have released the new album in 22nd of February https://deathtribeofficial.bandcamp.com/releases

Describe your sound in as few words as possible.

It is big. It is intense. It is diverse. It is metal.

Who are your three biggest influences as a band?

Life, Nature and injustice

What’s the meaning behind your band name?

I wake up every day grateful that I am still breathing, and this has given me the motivation to do the best with my time as our time might come at any moment. This is why I decided to create a tribe that reminds themselves of death and how fragile humans are so that we celebrate every single breath.

How did you approach the new album in terms of writing and recording?

I wanted this record to sound diverse and enjoyable from beginning till end instead of having one static genre. This is why you can find tracks from black ’n’ roll, death metal to groove metal and they still stick together like a solid unit which makes it really interesting.

Do you have any personal favourite songs on the release?

Every now and then my favourite changes depending on the mood.

Explain the meaning behind the album title, ‘Beyond Pain and Pleasure: A Desert Experiment’.

Relative to the idea that we might die any second and when you have death on your mind at every choice you realize that there is no pain or pleasure just experiences. Hence the first part of the album title and the second part is paying homage to an event that happened in Dubai where various talents from the region got together to play music regardless of their cultural differences which was an influence for me to have multiple artists on the album.

Do you have a current video in support of its release? Describe the concept of the video.

The video concept is derived from the lyrics and how hollow and shallow life can be. I went for an animated video to best deliver the message.

Do you have any live dates lined up at present?

No.

What are your favourite songs to perform live?

‘Hollow’ and ‘Beyond Pain and Pleasure’

If you could open for anyone, who would it be?

Today it would be great to open for the likes of Behemoth, Gojira and Slayer on their last tour.

Any comical stories from your time as a band you can share with us?

Not that I can think of

Any closing comments?

More music, more metal, releasing KAOTEON third album with Adrian from At The Gates on drums and Linus from Obscura on bass.

Find out more about and from Death Tribe @ https://www.facebook.com/DeathTribe.Official/

Questions by Elliot Leaver

Obzerv – Acherontia Atropos

Praise and acclaim always has more force when it is delivered with a flurry of excitement and this is the fuel to our words on the new album from Greek metallers Obzerv. A ferocious cauldron come unpredictable kaleidoscope of sound embracing a broad landscape of metal, Acherontia Atropos is an irresistible voracious predator revelling in a world heading to its own end of days.

Maybe the triumph of Acherontia Atropos is not as major surprise as it could have been thanks to a debut album five years ago which awoke the metal scene to the Rethymno, Crete hailing outfit. Released via Greek label Trailblazer Records, it too garnered potent attention and recognition the way of the band but in hindsight merely sowed the seeds to the ravenous craft, ruthless temptation, and imagination bred agility of its successor.

Cast in the threads of modern metal lined with progressive imagination and rich technical dexterity, and with glorious artwork to match, Acherontia Atropos needed mere breaths to have ears and intrigue closely involved as opener, That Defining Moment followed its initial coaxing sonic lures with an imposing trespass of power and sound. Despite the threat of that thick infringement there is only invitation to its nature and adventure in the textures making up its incitement. Dextrous rhythms drive and shape the compelling wall of sound, they too as tempting in their swing as punishing in a touch bound in the compelling, bewitching wires of guitar. With the equally ravening tones of Nikos soon adding their dissonance, it is a creative maelstrom which proved very easy to be sucked into.

A riveting rousing start to the album not to mention an appetite inflaming one, it is backed up by the just as dynamic Apex Predator. The tapestry of style and imagination of the first is matched in the individual character and presence of the second, a track even more feral and craving in its gait and urgency. Essences of death, groove and progressive metal, to mention just a few, unite in the track’s creative web; it’s stabbing riffs, bass groove, and sonic lattice of flavours casting an adroit tempest which effortlessly got under the skin.

Mother Nature Is a Serial Killer followed with a gentle coaxing of the senses, the melodic beckoning of guitar a quickly captivating intimation within which a surge of riffs brews, coming closer by the half breath before leading in another entangled incitement of texture, sound, and discontent; the latter a fire of vocal enmity. Of course as the song evolves cleaner and harsher elements become involved as that unpredictability already invigorating the first pair infests song and imagination to magnetic effect; it’s still discontent soaked calms as poignant and striking as its hostile ravishes of ears. Obzerv’s sound is wonderfully hard to pin down in a few words and the multi-flavoured roar of this song just epitomises that inescapable lure.

New single Agitated is next up and in comparison makes a far more familiar and straight forward proposition though subsequent swirling grooves and unstable movement in rhythms and gait soon bring a strong temptation to the boil. Eventually rolling with almost barbarous appetite, bass and drums enslaved as sonic discord unites with melodic acidity around again a great mercurial vocal delivery; together all flourishing in ebbs and flows of capricious enterprise and threat.

Lyrical and vocal exploration of apocalyptic and nightmarish depths in a self-destructing world is as unappeasable as daring is dauntless in the surround sounds; both in full bloom within the epic Overthrown. Over nine minutes of the darkest shadows and intent it is a track as prone to be claustrophobic and suffocating as it is melodically seductive and imaginatively mesmeric. Volatility lines every second and breath, the track ever ready to scar and blister as it is to melodically romanced and imaginatively compelled eager attention. At its vast length maybe it is a touch too long yet with every inventive note and resourceful intrusion it is impossible to say it came anywhere near to outstaying is welcome or left intrigue looking ahead.

Through the rapacious rock ‘n roll bred corrosive metal conflagration of Thought and Voice and the prowling doom aired, carnivorously devouring Desensitise, the album gripped with tighter tenacity; both tracks riveted in their individual and imaginatively twisted clamours of observational restlessness, sonic exasperation and downright animosity aiding the second as it provided another major moment among plenty across the release.

The final incensed dance of Acherontia Atropos begins with Stage Chrysalis, a track which initially simmers in sonic and melodic vexing before emerging a searing caustic serenade, and closes with the predatory stalking of the listener that is Plot Twist. A track which discontentedly prowls even when unleashing its more physical rancour, it makes for a glorious, manipulative infestation of body and senses and indeed for a striking conclusion to one thrilling encounter.

We expect Acherontia Atropos to lead Obzerv into major European recognition and certainly into the greedy clutches of a whole new horde of fans; we suggest being among them.

Acherontia Atropos is released April 5th with pre-ordering now available @ https://obzerv.bandcamp.com/album/acherontia-atropos

https://www.facebook.com/obzervband    http://obzervband.com/

Pete RingMaster 21/03/2019

Copyright RingMaster: MyFreeCopyright

TREP – Lucian EP

Since forming two years back, Welsh metallers TREP has earned potent support and reputation across South Wales. Now they are hoping to spark similar reactions further afield with the release of their debut EP, Lucian and with it offering up five slices of imaginatively woven alt-metal it is not too hard to expect decent success in the intent and hopes of the Cardiff based trio.

Lucian revels in the band’s mix of classic and modern alternative metal, its character nurtured in melodic dexterity and rousing choruses gifted with individual craft. Freshly breathed and individually natured it also embraces inspirational hues of bands such as Muse, QOTSA, Mastodon, Tool and Breaking Benjamin; the first pair openly spicing the EP and its song’s inventive flavouring.

The first of two EPs which together unveil an elaborate story with themes looking at “dystopia, a dictatorship, and the use of technology for a chance at a better world…but at what cost?” the swiftly fascinating Lucian opens up with the single Silence the Crows. Immediately a guitar cast wire entangles ears, winding around their flesh with intimation and dexterity as rhythms gather their bait and in turn the quickly captivating vocal blend of guitarist Rhys Evans and the supporting tones of bassist Sam Green and drummer Max Hill steps forward. There is a flirtatious touch and lure to the song from its first breath but equally a snarl in its melodic almost deceitful smile, an edge which is as much threat as it is sonic enterprise as Evans guitar reveals greater flavouring and invention by the passage.

It is easy to hear why the song made a more than decent lure to attention when released as a demo in 2017, and is now flourishing in the band’s growth in sound and the surroundings of the EP; its rich presence matched by that of next up The Time You Have Lost. There is something familiar to the track which only adds to its swift lure and bold enterprise whilst welcoming an array of melodic and sonic hues to its creative breast. Arguably even more virulent than its infectious predecessor, the song equally has its own volatile instincts which just add to its drama and increasingly captivation.

The EP’s best track is followed by the equally enticing It’ll Never Happen. Rising on a calmer breeze of sound and attack, it strolls with inescapable catchiness but all the while is brewing up the next twist and turn which then breeds another moment of fluid but unpredictable adventure. Maybe more of a grower than its predecessor despite its swift persuasion, the song rises to set down one more highlight of Lucian before another potent bloom in Architect spins its own dextrous and resourceful web around ears. Classic metal spicing accompanies its rise, Avenged Sevenfold coming to mind a little as the song broadens its tempting but also there is something to it which carries an eighties rock/new wave flavouring. It is an essence which teased within earlier songs but is a rich scent here even if a direct comparison still evades our ears.

The outstanding Better World brings the release to a close, the song an alluring mix of melodic metal and stoner infused rock ‘n’ roll with rich grooves and versatile rhythms offering to references to the likes of Mastodon and Red Fang. Again the great vocal mix of the trio is a magnet within the captivation of the sounds set on casting their own adventure and eager temptation.

Impressive from the off and only increasing its stature and potency over time and listens, Lucian is a striking and rousing first proper introduction to TREP; so much so we are already greedily anticipating the next chapter in the sonic story.

The Lucien EP is out now; available @ https://trepmerch.bigcartel.com

https://www.facebook.com/TrepBand/

 Pete RingMaster 21/03/2019

Copyright RingMaster: MyFreeCopyright

The Ghost Next Door – A Feast For The Sixth Sense

Eager anticipation and high expectations often go hand in hand when facing the successor to a release which lit the fires of true pleasure and both were eager participants going into the first listen of the new album from US metallers for The Ghost Next Door. A Feast For The Sixth Sense is the successor to the band’s acclaimed self-titled debut of four years back and very quickly more than lived up to hopes, intrigue, and expectancy the news of its impending arrival inspired.

Hailing from Berkeley, California, The Ghost Next Door was founded by vocalist/guitarist Gary Wendt (ex-Skinlab, Sacrilege B.C.) and spent its early years playing around California whilst nurturing a sound marrying “the dark melancholy of 80’s and 90’s alternative with the aggression and drive of Bay Area metal.” It was when the outfit disbanded though that perversely things shifted and the band found a place within a broader wealth of appetites. In that period Wendt continued to work on recordings already underway with that first album emerging via Mausoleum Records to great responses and praise which in turn led to the band reforming. Since then they have shared stages with the likes of DRI, SpiralArms, Dr. Know, and Comes with the Fall amongst many while working on the successor to that well-received debut. Now we have A Feast For The Sixth Sense and it is easy to say that it leaves that previous treat well behind in its creative wake.

The band’s sound is not so hard to tag but equally not easy to really pin down. It is labelled alternative metal for the main but embraces a host of flavours within the metal/rock landscape as quickly shown by album opener Deadworld. Dark shadows immediately loom over the senses, their atmospheric flight as portentous as it is inviting before an ear gripping bassline from Noah Whitfield ventures into ears and imagination. It carries alluring drama which is swiftly embraced too by the guitars of Wendt and Aaron Asghari as all the while the dangerously flirtatious beats of Sebastien Castelain bounce along. Bordering on the claustrophobic, those heavy shadows continue to lurk as the song relaxes into its almost swinging stroll, they and the sound itself crowding the senses as Wendt’s potent tones join the emerging doom infested temptation. Already a web of styles and flavours converge on the song and imagination, a mix only enticing with greater craft and adventure as the track continues.

It is a thickly seductive and threateningly magnetic start to the album quickly matched in power and invention by Fodder for the Meat Grinder. A far more energetic proposition as grooves link up with spirited boisterousness, the song still openly shares a matching enterprise and imagination to its predecessor. The agility of Castelain’s beats collude eagerly with the brooding throat of Whitfield’s bass as all the while infectious grooves entangle the thrust of hungry riffs, the only thing restraining their voracity being the melodic passages and calms which also only add to the highly infectious song’s impressive landscape.

Doubt follows and swiftly instils its own contagious character in ears and appetite. Though not an aggressive onslaught there is a predacious edge to its breath and enterprise which alone grips attention; a hue just as potent within Wendt’s mix of melodic and growling vocals. As similarly melodic wires sprung from a web of metal diversity and sonic radiance bred further flames of such flair, the song just enthralled before making way for the darker cosmic drama of Event Horizon. Again bold rhythms make for an irresistible coaxing into the inescapable eye of the tempest intimated in sound and the lyrical prowess and observation which fuels the roar of A Feast For The Sixth Sense as predatory animation soaks all.

Through the southern lined creative confrontation of American Nightmare and the ravening prowl and subsequent trespass of Behind the Mask, the album only firmed its grip on enjoyment while LCD proved itself a temptress with ire in her voice and devious temptation in her movement. The song has as many post punk and alternative rock traits as it does melodic and nu metal attributes and all going to create one of the album’s compelling pinnacles.

Exclusive to the digital and CD release of the album, the pair of I Am Become Death and The Sacrifice Person brings their own fresh aspects to the nature of the release. The first is spun from a mix of melodic and alternative metal with grunge and progressive rock fibres and swiftly captured the imagination with the second seeded in a similar composition but blossoming its own unique melodic fascination. As much as the urge here is always towards listening to great releases on vinyl there is no way either of these delicious offerings should be missed.

The album ends with Stop Here On Red; another song which certainly at first is embroiled in the great gothic/post punk sounds of the eighties, early Killing Joke coming to mind throughout the outstanding close to an equally riveting and thrilling release. Winding itself around the senses in sheer sonic temptation, the track equally showed itself adept at new wave-esque twists and melodic suggestiveness ensuring that the only urge on its departure was to explore over again.

As much as we enjoyed the first album from The Ghost Next Door that pleasure is replaced by a lustier passion for A Feast For The Sixth Sense and the thought that it is high time that the band is stalked by major attention.

A Feast For The Sixth Sense is out now via Ripple Music across most stores and @ https://ripplemusic.bandcamp.com/album/a-feast-for-the-sixth-sense

https://theghostnextdoorband.com/    https://www.facebook.com/theghostnextdoor/   https://twitter.com/gh0stnextdoor

Pete RingMaster 14/03/2019

Copyright RingMaster: MyFreeCopyright