Grumpynators – Wonderland

Grumpynators_Reputation Radio/RingMaster Review

Two years can seem like a very long time when you are excitedly anticipating something. Certainly the wait for the debut album from Grumpynators has felt like a life time after being hooked by their previous releases. Once arrived and there waiting to explode from the speakers, thoughts turn to pondering if it will now live up to probably over demanding expectations and hopes. The Danish quartet’s self-titled motorbilly has been one of the few fresh sounds to really ignite ears and emotions over recent years and yes the band has forged another landmark in their ascent with Wonderland. The band’s mix of hard rock, psychobilly, punk, metal, and old school rock ‘n’ roll is maybe not over fuelled with major originality yet the way the band hone and twist the blend, it emerges as something distinct and specific to Grumpynators whilst providing a healthy and rousing option for fans of anyone from Motorhead to Metallica, The Damned to Volbeat, Mad Sin to Tiger Army. So it is again with Wonderland, a slab of ferocious rock ‘n’ roll pushing the band’s voracious sound and our passions to new heights.

The Copenhagen band was formed in 2011 by former band members and crew from Taggy Tones and Volbeat. Their first rampage on stage came that year at the Danish underground festival Barnyard Rumble in Denmark, the opening riot in an ever increasing and feverish attention following the band thereon in. Across the years the band has on shows and tours shared stages with the likes of Magtens Korridorer and Volbeat amongst a great many. A self-titled demo EP in 2011 just as potently awoke ears and appetites, though arguably it was the 666 RPM EP two years later which was the major spark to trigger a much further spread awareness. Wonderland is a bigger, bolder beast standing before us all now with the potential to break the band into the keenest spotlight possible.

The album opens up with its title track, and instantly has ears and imagination intrigued and enthralled by a thirty second kaleidoscope of haunting sounds and evocative textures. From its sinister coaxing, a flash of guitar opens the door for a predatory lure from the double bass of Jakob Øelund to immediately seduce an appetite always open to that kind of bait. Scything beats from Per Fisker equally adds to the brewing drama of the song whilst the guitars of Christian Nørgaard and Emil Øelund stir up air and senses with their belligerent persuasions. It is a fiery mix only increasing in energy and intensity as the song expands to its full height, the at times Lemmy like tones of Emil a magnetic roar in the midst of the infectious tempest. The encounter is equipped with the distinctive Grumpynators sound but already show a new adventure and creative theatre in the band’s invention and tenacity, hooks and swinging rhythms as mischievous as they are predatory whilst a guitar solo simply sizzles on the senses.

Wonderland cover _Reputation Radio/RingMaster Review   The stunning start is matched by both Walking in the Night and Burning in the Snow, the first dangling before the listener a spicy groove from its first breath, subsequently wheeling it in and using it to core the spinning of a feisty web of psychobilly contagion and hard rock devilry. The stomp just increases its attraction as vocals and another incendiary bass tempting fills its rampant prowl. Like a flirtation happy to brawl at any given moment, the track has ears and body leaping to its puppetry before making way for the similarly irresistible lures of its successor. The third track is a more even tempered stroll with restraint to its energy but even more virulence to its rockabilly meets punk ‘n’ roll devilment. Things do get over excited in its chorus but the band always pulls it back for a pungent croon of a seduction around the verses, led by Emil who is as ever impressively backed by calls across the band.

Walked Away winks with a dulled country twang initially before launching its own individual and tenaciously striding heavy rock persuasion. Of course as with all songs, it is a maelstrom of flavours colouring its anthemic canvas and tearing through ears, a thick flavoursome mix of rock infusing varied textures and spices soon emulated in The Calling. The track is a predator, prowling ears with an intimidating bassline and imposing grooves carolled by the excellently switching twin attack of the vocals. Track and band show you do not have to go hell for leather to create an inescapable anthem with the song, its character and potency a lingering thrilling threat. The short number of tracks in previous EPs generally meant each song bordered on a major highlight, the cream of that crop of songs so to speak, and it is easy to say that Wonderland follows suit, this point in the album already offering five dead on Grumpynator classics.

The Stalker steps forward next, this a lighter hued cantor despite its title but lock ‘n’ loaded with more addiction forging grooves and nagging hooks cast with a swagger and smiling contagion. As all offerings, it defies the listener not to join in with its epidemic of persuasion, poking the thought does rock ‘n’ roll get any better? Maybe not but it can be equalled as shown by Speeding #2, a reworking/recording of a track from their demo EP. It is does not venture too far from its first outing but provides a fresh and magnetic nature to an already established fan favourite.

The carnivorous This Is My Life growls next, its grouchy presence delving into more metallic scenery whilst laying down one pure rock ‘n’ roll groove through the forever masterful string plucks of Jakob. The guitars of Emil and Christian spread sultry strands of sonic endeavour around the instinctive catchiness of the proposal too, and driven by the forceful commanding swings of Per, yet another highlight is forged and soon matched by the voracious Pray For Your Life. It is a bruising antagonistic affair that, with its sterner caustic attitude, only captivates as its spreads its heavy and hard rock invention.

Both songs though are outshone by the steamy Mama No, probably the most diverse track on the album in that every strain of sound found on Wonderland is embroiled in the hectic and irresistible punk metal ‘n’ roll rampaging. Every riff and groove comes with a thick splattering of those flavours to their colour, an impressive feat and success driven by rabid rhythms and the rousing tones of Emil. The track is the perfect end to the album but the band knows better and closes things off with A Life Without You, an acoustic seducing of guitar and vocals embraced in the melancholic beauty of cello provided by Richard Krug. The song is a dark romance in ears, one sparking a tingle in the senses and a sigh of satisfaction by its, and Wonderland’s end.

It is fair to say that Grumpynators had a head start on raising the passions thanks to their excellent previous EPs but that also led to greater, greedier demands on Wonderland, something tossed aside with ease. As declared a little earlier, rock ‘n’ roll does not get much better than this.

Wonderland is out now via Target through most online stores

http://www.grumpynators.dk/ https://www.facebook.com/grumpynators

RingMaster 21/05/2015

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Blacklist Union – Alive N Well Smack in the Middle of Hell

Blacklist Union band pic_Reputation Radio/RingMaster Review

June sees the release of Back To Momo, the new and fourth album from US rockers Blacklist Union. To whet the appetite and incite rich anticipation for it, the band have unleashed the single Alive N Well Smack in the Middle of Hell, a raucous stomp of an infection proving that rock ‘n’ roll can be raw and accessible, raunchy and endearing in one single slice of devilment.

Formed by frontman Tony West back in 2004, the Los Angeles hailing Blacklist Union has consistently earned plaudits and recruited an increasing loyal fan base through their colourful and ferociously varied mix of alternative metal and heavy rock. Debut album After The Mourning in 2006 was a well-received introduction to the band, an attention reinforced and pushed on by its successor Breakin’ Bread With The Devil two years later. Following up their third full-length Til Death Do Us Part of 2012, another eagerly welcomed incitement, the band is readying another full-on assault on the broadest spotlights with the West and Todd Youth written Back to Momo, and if their new single is any indication it has a fair chance of achieving its aim.

Alive N Well Smack in the Middle of Hell makes a relatively low key entrance, a lone guitar luring ears before a vocal shrill breaks the air. Energy and fiery revelry is soon swamping ears from this point as thickly jabbing beats and a throaty bassline joins a bluesy mesh of grooving. The track is soon into a tenacious stride, riffs and rhythms a punkish badgering within a sonic enterprise loaded with choice hooks and that persistently enticing groove. A following moment of clarity is pure contagion matched by the mischievous vocals whilst the busy haze of energy around rock ‘n’ roll endeavour has anthem written all over it.

It is easy to assume that Alive N Well Smack in the Middle of Hell is a firm fan favourite live and will be the same as it now storms through the airwaves and listener’s speakers. It is unfussy, unbridled rock ‘n’ roll baby and probably the best advert for Back To Momo that Blacklist Union could have come up with.

Alive N Well Smack in the Middle of Hell is out now whilst Back to Momo will be hitting stores from June 13th.

http://blacklistunion.com   https://www.facebook.com/BlacklistUnionRocks

RingMaster 21/05/2015

Copyright RingMaster: MyFreeCopyright

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Charge – Sweet Lies

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With a band name like Charge, you need a sound with a suitable intensity of energy and boldness to it, and that is exactly what the French metallers provide with debut album Sweet Lies. It is a storming onslaught of voracious and volatile rock ‘n’ roll, a multi-flavoured adventure which might have a few minor issues but provides a seriously exciting and potential soaked incitement. The band has been around since 2004 and have tucked a couple of EPs under their belts but Sweet Lies is their first thick nudge on appetites beyond the Paris and French rock scene, and makes a rousing invitation many will be compelled to eagerly embrace.

Forming around eight years ago, Charge quickly brought out the demo Ain’t My World, recorded with producer Francis Caste (Zuul FX, The ARRS) who returned to work with the band on their first official EP 8 Miles Away in 2009. It is fair to say both as well as a live presence dishing out adrenaline driven and raucously varied metal, brought potent attention and a swiftly growing fan base locally. The band’s line-up has been through a few changes since day one but now with the release of the album, vocalist/rhythm bassist Ravin, guitarist Sacha, drummer Loïc, and lead bassist Lionnel are now looking at broader spotlights to breach. Consisting of the songs from their EP and new tracks produced by Spirou (Bérurier Black), all mixed and mastered by Caste, Sweet Lies opens with a contagious riot and just does not look back.

From the first surge of the initial groove, the album and its opener Alone has ears and imagination hooked. The potent first breath is swiftly a surging torrent of bass riffs, thumping beats, and squalling sonic enticement, a magnetic start soon providing an inescapable onslaught of anthemic bait. Thrash and groove metal collude with heavy rock and punk essences in the now riotous affair, whilst vocally Ravin, though at times a little wayward, just fires up the gripping turbulence further. The union of basses brings a great growl to it all and provides rich depth to song and subsequently album though Charge does not exploit the opportunities they offer enough in some ways. With both openly skilfully played, the band never quite finds the experimental potential explored by for example Morkobot, but it is a dual attack sculpting thick irresistible bait and resourceful adventure as evidenced straight away by Fantasy.

The second song has a much more restrained start but one soaked in menace and predatory intent. The twin prowl of certainly not identical bass provides a bestial and sinisterly charming proposal pierced by the forceful jabs of Loïc and entwined in the just as rabidly delivered and resourcefully crafted sonic laces of guitar. Eventually the controlled stroll succumbs to a brewing intensity, erupting in a ferocious rampage but one easily slipping through the gears in all directions. There is an element of post punk to the colder acidic hooks and of nu-metal in the psyche enslaving devilry, everything coming together for one thrilling stomp.

Both 84 and That’s It keep album and emotions ablaze, the first merging raw elements of pop punk with melodic rock and more whilst turning each flavour into a cauldron of hostile and infectious endeavour. Its successor is even more contagious, bass and guitar grooves aligning with gripping hooks for a flowing tempting within the lure of the other growling almost carnivorous bass and the senses punishing beats. It also spins a weave of melodic and milder tempered exploits which adds to the irresistible romp before making way for the pungent drama and addictiveness of Just Want More. Also as punk as it is metal, Russian band Biting Elbows coming to mind at certain points, the track is a barbarous and wholly catchy incitement on ears and passions, and as the album just increases in potency and persuasion with every listen.

The sheer force and busy assaults of songs does at times hide the individual skill and invention of the band members, but each only impresses and shows a hungry imagination throughout even if, as suggested earlier, they have the potential to explore greater triumphs not quite realised here. With songs like the following One though, there are no complaints just more anticipation of their future. The track is a juggernaut of heavy duty riffs and towering beats insatiably rolling with the handbrake off over the senses. To that vocals scowl and roar with impressive potency whilst tangy grooves and even spicier hooks leap out from every corner and twist of the exceptional infestation of ears and emotions.

The epidemic lure and rampancy of the album continues with its title track, punk metal unleashed with addiction spawning relish and aggression but aligned to searing flames of sonic enterprise and the ever seducing blend of ravenous bass invention. Such the potency of its onslaught, even sitting down and listening to the album’s best song leaves exhaustion in its wake.

Sweet Lies is brought to a fine close by Ain’t My World, the most hostile and raw encounter on the release, though the band is as unpredictable as ever slipping slithers of melodic calm and warm melodic enticing into the hellacious storm with skilled efficiency and effect. It is a striking end to an outstanding release. There is often something familiar to songs with the encounter but as everything it only helps make tracks an adventure in recognising their source and in baiting a thick physical offering from the listener to its temptations.

Charge, if not through Sweet Lies, at some point will not be just a treat for the French to bask in and be battered by, though the invitation from this album really should be checked out now by all.

Sweet Lies is available now @ https://itunes.apple.com/gb/album/sweet-lies/id912217677

http://www.chargerocks.com/   https://www.facebook.com/ChargeRocksBand

RingMaster 13/05/2015

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Erik Dismembered – Darkness Within EP

 

artwork by Robert Mallinson,

artwork made by Robert Mallinson,

 

As much as music should entertain and excite, it should also challenge. Whether it is physically or emotionally, the most thrilling and impacting encounters have been those which leave lingering imprints on thoughts and feelings whilst taking the listener to places they probably do not want to go. One such incitement is the Darkness Within EP from Erik Dismembered, an exploration of inner demons and external provocations breeding the merciless depths of its title. It is also a masterful weave of sound and imagination, a testing some will embrace, others fearfully flee, but all will be left locked in thought and self-awareness.

Erik Dismembered is the solo project of Arizona musician Erik Martin, better known to date as part of death metal duo Critical Dismemberment and the extreme-metal/industrial pairing of Skin Drone. His own project is a unique exploration compared to those bands though there is the same hunger to push and challenge not only the listener but his own creative limits. Erik Dismembered pulls on a vast array of flavours and textures, some familiar as in his other bands, but predominantly they are unexpected essences and styles woven one startling creative experiment.

Lyrically and emotionally each track within Darkness Within plays like stark slithers of insight into a bigger darker picture; themes such as addiction, love, hate, anxiety, and depression combining to create not exactly psychotic but certainly turbulent protagonist(s) explored by the release. How personal to Erik the premise and experiences within tracks are only he can tell but there is an intimacy which is shared by creator and recipient that hits hard, openly, and truthfully.

The EP opens with A Deal with the Devil, a track also featuring Critical Dismemberment band mate Chase Fincher. A guttural roar opens things up, swiftly accompanied by a gentle electro beckoning. The returning raw vocals keeps that initial edge and intimidation blazing as guitars add their sonic tempting to an increasingly tempestuous ambience. Industrial and metal essences entangle within the growing magnetic landscape whilst electronic flirtation bubbles vivaciously across their dark web. There is an agitation to it all also, the lighter and shadowed elements showing an emotional unease which especially coats the lyrical persuasion and erupts forcibly in the outstanding Anxiety.

A melodic electronic shimmer make the initial coaxing, it’s haunted breath the invitation to incessant beats and the whispered anxiousness of Martin to engage the imagination. Scything strokes of guitar aligned to heavier vocal tones erupt soon after, pungent beats adding more sinew to their potency before keys burst into a blaze of harsh electro/industrial tempting with a feel of God Destruction and Bestias De Asalto to it. As Martin shuffles thoughts and options in the lyrical incitement, the earlier dark calm returns before again it all build to an unstoppable emotional crescendo and raw physical expulsion. The feeling of entrapment within feelings and external/internal pressure is superbly exposed by the song, almost leaving the listener also struggling to breathe through solicitude in its wake.

Diamond Eyes floats in next, acoustic guitar accompanying a vocal caress to mesmerise ears before evocative strings and piano seduce with their orchestral elegance. The vocal romance has its own shadows; an undefined dark hue which lies enthrallingly within the poetic charm of the song, keeping thoughts intrigued and busy before the EP’s title track takes over and immediately lays down a colder, starker scenario. Black depths expel their fears in voice and sound, grasping at shards of piano spawned light, clinging to it with hope but swallowed by the festering shadows clawing at psyche and emotions. There is no escaping the power and intensity of words and tone, and again you wonder if only those with intimate experience can achieve this potency in their music.

Most tracks stop with abruptness, their space instantly taken over by its successor and where that feeling of songs being glimpses, parts of a larger almost unstable picture emerges. Darkness Within is an example its sudden end quickly the unrelated start of Desecration of a Corpse, itself a caustic roar of industrial and corrosive magnetism. Melodies float as sonic ferocity sizzles and tempestuous vocals spread raw angst across a discordant electronic shuffle. It is transfixing, a mesmeric and uncomfortable consumption of ears and thoughts in sound and words which only leaves a fierce appetite for more.

The EP closes with the haunting Weary Hearts, a tender emotional kiss on the senses which in some ways is the most disturbing song on the release such its immersive strength and ghostly reflections. It makes for a riveting end to an outstanding encounter, a release which takes on an exploration which is unafraid to bare its darkest corners and soiled emotions, but are you brave enough to join it is the question?

The Darkness Within EP is available now as a free download @ http://bluntfacerecords.com/erik-dismembered-music

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

RingMaster 06/05/2015

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Deathblow – The Other Side of Darkness

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There is nothing quite like the voracious roar of thrash metal, especially when it is as ferociously raw and uncompromising as upon the new EP from US metallers Deathblow. Consisting of five tracks bred from the heart and soul of the genre, The Other Side of Darkness is a tirade in the ear and the fuse to the primal instincts of thrash metal and its following hordes.

The band’s second release follows their well-received debut album Prognosis Negative of 2014, and explodes with the same unbridled antagonism and intensity which marked out its predecessor. In many ways you really do know what you are going to get with the Salt Lake City trio’s sound, certainly in regard to its character and sonic intent as well as its overriding breeding but it cannot stop it, and indeed the new release from Deathblow with its additional inventive adventure, leaving nothing but rich satisfaction in its hellacious wake.

Recorded with and mixed and mastered by Andy Peterson, the self-released incitement opens up with Beyond Obsession, a song immediately prowling, no stalking the senses with a deliciously heavy and intimidating bassline joined straight away by more raucously animated riffs. The drums too soon lend their muscle to the threat, everything coming together in one breath of a pause before unleashing a hellacious united storm of metallic aggravation. Driven by just as hostile vocals, the track rumbles and charges with an ever shifting gait, revelling in its violent prowess and leaving the senses battered and blissfully bruised.

CD_Digipak_Outside The excellent start continues with Means To An End, where grooves and riffs seem to be even more inhospitable and contagious. After a relatively kind start it becomes a full on barrage of sonic animosity and rhythmic brutality yet still slips in varying turns of energy and an infectious enterprise which grips the imagination as skilled and melodic exploits escape from the guitars. Old school thrash meets modern ingenuity the track is a glorious rampage and rich evidence that there is much more to the band than aural viciousness.

The EP’s title track is next, bringing what can only be called a punk attitude to vocals and the fury lined bones of the song. Spiky in nature and creatively fluid in its entwining of melodic temptation and rabid virulence, The Other Side Of Darkness as the EP provokes body and emotions with consummate ease, enlisting both in its exhausting tempest.

The release is completed by firstly the simply furious and thrilling Headless Throne before the corrosively anthemic Death Wish brings everything to a riotous end. The first of the two is a sonic haranguing of the senses, a fearsome and exhilarating turbulence of rampant riffs and savage rhythms bound in a melodically sculpted lashing whilst its successor is as much punk ‘n’ roll as it is extreme metal vehemence, and simply irresistible.

The Other Side Of Darkness is thrash at its rawest best, not trying to reinvent the genre but taking long bred essences and ideation into fresh destructive climates. It works a treat and could/should be the spark to making Deathblow an eagerly spoken and recognisable name in the widest thrash circles.

The Other Side of Darkness is out on April 21st @ http://deathblow1.bandcamp.com/album/the-other-side-of-darkness

https://www.facebook.com/dethblo

RingMaster 21/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Kill The Silence – Self Titled

Kill The Silence Promo Shot

Inspirations to UK band Kill The Silence are said to include the likes of Lower Than Atlantis, Bring Me The Horizon, and Reuben and it is the latter which most comes to mind as the band’s debut release sets about inciting an excited appetite for their sounds. The self-titled EP from the Leeds quartet is an explosive roar of imagination and fierce energy with potential oozing from every idea and twist whilst an already nurtured enterprise simply floods the four-track rampage. Release and band straight away stirred up a bloom of pleasure in ears and emotions but now after numerous excursions across its raging sonic rapids it is fair to say that responses offered now come with a healthy dose of lust.

Kill The Silence emerged in mid-2013 and it was not long before their ferocious mix of alternative rock, post-hardcore, and melodic metal was earning invites to play shows and appearances at festivals. The time since forming has seen the foursome of vocalist/rhythm guitarist Jason Walsh, lead guitarist Sam Rickerby, bassist Jack Townend, and drummer Reece Cockayne play with bands such as Fearless Vampire Killers, Blitz Kids, Max Raptor, The Family Ruin, Attention Thieves, Ashestoangels, Yashin, Mallory Knox, The Defiled, Dinosaur Pile-Up and Rolo Tomassi across the north of the UK. Now the whole of Britain is their target and it is easy to suggest that their first EP just might be all it needs to push the band into the broadest national spotlight.

Kill The Silence Cover Art     The EP opens up with the band’s current single Get Out, Get Out! and swiftly has ears engaged in a blend of riffs and melodies. It is a raw introduction mellowing out with the clean vocals of Walsh who in turn reveals his prowess at offering raucous throat bred squalls and angst hued harmonies. His delivery is nothing less than impressive, something applying to all elements of the band to be fair. Bleeding addictive citric grooves and disorientating rhythms, the track continues to explore a widening expanse of rock music for a potent start to the EP, though the song is the ‘weakest’ on the EP for personal tastes with the major excitement and might of Kill The Silence coming in the following trio of tracks.

Darling is next and from a muffled rhythmic shuffle explodes into an intimidating blaze of sonic ferocity and vocal hostility, both soaked in instant anthemic persuasion. The track proceeds to lurch and scythe through the senses with its volatile animosity and virulent contagion, that Reuben spicing a loud whisper in the tempest of punk and metal with melodically lined rock ‘n’ roll. The searing and psyche seeded hooks of the song are irresistible on top of this whilst the sheer energy and passion of the band is fuel to its voracious fire and indeed ire.

The major inciting of ears and emotions continues just as forcibly with S.S.D.D, its opening prowl of low key but suggestive riffs courted by a nagging single-minded bait of beats. There is a menace and intensity to the track from its first breath too, one slowly brewing up a storm which erupts in a web of riffs and cantankerous rhythms driven by rawer but no less magnetic vocals. The muscularly swinging beats of Cockayne dominate the sound in some ways, a very small niggle over the production there, but it only adds to the confrontation and explosive character of the outstanding song. Though again openly infectious, the song is a predator, from voice to beats, riffs to barbarous hooks, it looks to challenge the senses as it takes the EP up another level.

It is a step soon outshone by the best song on the release in Chapter II. A waspish groove almost instantly emerges to seduce and bind ears and appetite, springing from a bracing bluster of guitar and bass aligned to again wickedly swung beats. It is a toxic and intoxicating lure buffeted by another strong variety of vocals and the tempestuous heart of the dirty and ravenous song. Drawing on the most metal honed and carnivorous aspects of the band’s sound, the track equally entangles catchy pop rock and melodic ferocity into its tempest, creating a song the Reuben boys would have been more than proud of.

The EP is a seriously exciting and attention stealing introduction to Kill The Silence, the first of many impressive and incendiary offerings ahead we suspect as they do indeed spark a pungent nationwide spotlight on their blistering sound and presence.

The Kill The Silence EP is available from April 20th through all stores.

https://www.facebook.com/KTSilenceOfficial      https://twitter.com/ktsilenceband

RingMaster 20/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

HOT-TIPPED METAL CREW LEFT FOR RED, NATIONALLY UNVEIL THEIR STUNNING DEBUT ALBUM!

Left For Red Online Promo Shot

‘Pantera-influenced metallers Left For Red are loud, heavy and will make you wanna throw your super-size Coke over someone.’ -Jennyfer J. Walker, Kerrang!

‘This is metal as it ought to be, from a band with great potential’ – Rocksound, 8/10.

Oozing gargantuan riffs and imposing melodies, Midland metallers ‘Left For Red’ step up with their enthralling debut album All Things Known and Buried, out through Burning Halo Records on 27th April.

Hailing from the same fertile region that bred metal kings such as Black Sabbath, Napalm Death, Diamond Head and Judas Priest, Left for Red were spawned in 2010 and soon soaked up the records of Sabbath and Judas Priest before spreading their wings to help form their own blend of modern heavy metal.

The past four years have been very productive for the midlanders; they have built up an army of followers and are well renowned for delivering stunning live performances. Sharing stages with the likes of Chimaira, Crowbar, Beholder and Breed 77, and winning Kerrang!’s TNA competition, have all contributed to the band’s growing stock. Added to that, the metal monkeyshave nationally released two killer EP’s: ‘Vol 001 – Empty Shell’ and ‘Vol 002 – Mercy Flight’, which both picked up considerable national and widespread online praise including rave reviews from Kerrang!, Big Cheese and Rock Sound.

The five-some surge forward with their first full-length debut album, entitled ‘All Things Known and Buried’, which is unleashed in April. This record etches a line in the sand and it’s poised to mark the band as a true force within the UK metal scene. Stacked with pounding riffery, immersing vocal passages and intricately woven layers, the album offers up nine beefy slabs of cutting edge modern metal. Current single ‘Master Of The Game‘
( http://youtu.be/C0GKtzvLv-g) is a true statement of intent; so too is the magnificent ‘Reborn’ with its Tool-esque hook that will leave you pining for more. Look out for the raucous metal-heads when they bring the party to your town, as they plan a flurry of shows and festivals this year.

LEFT FOR RED LIVE:28th February – Album Launch – 02 Academy, Birmingham; 28th March – The Unicorn, Camden, London; 25th April – The Old Sal, Nottingham; 15th May – Mosh Against Cancer Festival – The Lomax, Liverpool; 16th May – Lower George Inn, Gloucester; 30th May – Midlands Metal Crusade – Slade Rooms, Wolverhampton; 20th June – Hard ‘N’ Hevy Fest – The Dollhouse, Abertillery.

Left For Red

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

– LEFT FOR RED RELEASE ‘ALL THINGS KNOWN AND BURIED’, OUT 27th APRIL THROUGH ALL STORES –