Sinnergod – Self Titled

sinnergod-online-promo-shot_RingMasterReview

For quite a while now and across a handful of releases, British alternative/gothic rockers Sinnergod has suggested they are in line to seize the British rock scene with their dramatic and ever growing sound. With their new self-titled offering the Manchester hailing outfit has come to that day, their second album a compelling and increasingly irresistible theatre of dark rock and metal announcing the band ready to help lead British rock.

Formed by twin brothers Mark and Chris Hampson in 2007, Sinnergod quickly grabbed attention and plaudits. Within months of hitting their stride live, the quintet earned a slot playing Bloodstock Open Air Festival. A trio of EPs followed, Two Thousand and Never in 2009, A World in Grey three years later with Behind Every Corner uncaged the following year. Each provided an ear and imagination pleasing proposal, each showing fresh evolution and adventure in the band’s sound leading up to the well-received and impressive debut album Seven Deadly Sinphonies in 2014, a release featuring special guests Bill Moseley (Devil’s Rejects, Texas Chainsaw Massacre) and Tobias Keast (Esoterica). Live too, the band has continued to establish themselves as one of Britain’s finest propositions, sharing stages with the likes of Misfits, Deathstars, Orgy, KMFDM, Sarah Jezebel Deva, Voodoo Six, and Blaze Bayley along the way.

This has now all been eclipsed by their self-titled offering. The new album is a monster of an adventure; a collection of songs which roar and resonate in ears and imagination. Sinnergod draw on the catchiest of eighties hooks and electronic seducing to light the darkest portrayals of emotion amidst an enjoyably invasive sound. It is music which at first appears familiar in some way but needs mere moments to reveal its own distinct and magnetic character.

It opens up with Dead Of The Night, its intro a shadowy and suggestive symphony drawing the listener into the subsequent and swiftly addictive mix of choppy riffs and melodic reflection. As the swiping beats of Chris Hampson land the guitars of Mark Hampson and Sam Saint collude with the keys of Paul Swindells to cast a transfixing weave of emotive sound. Mark’s impressive vocals soon share their heart; lying melancholically upon the blossoming landscape of enterprise as a dark edge is provided by James Dunn’s bass, its shadows in turn prowling the infectiousness of the track’s rousing chorus.

The impressive start is quickly outshone by Burn. The track is glorious, slipping in on the mist of keys as slightly deranged vocals tempt. Once in full heavy motion, riffs and rhythms march masterfully across the senses, vocals and steely melodies combining to further trap the listener. The song is a creative predator, challenging and seducing with every imaginative stride growing into something akin to Nine Inch Nails meets Poets Of The Fall but unique in its own skin.

As the last track is different to the first, The Endless with its symphonic hues offers yet another shade of adventure to the album. As unapologetically catchy as it is muscularly voracious, the song ebbs and flows like a sonic storm, moments of relative emotion packed calm instantly hit by surges of tempestuous energy and sound for another plateau of craft and enjoyment within the release, a success matched by the electronic stomp of I Never Had a Gun. Creating a tapestry of essences found in the likes of Abandon All Ships, Fear Factory, and Silent Descent, the track simmers and bubbles over as it strides relentlessly through ears and into the psyche before making way for the crystalline opening of 1000 Sins. Pretty soon though, its sinew swung rhythms and pulsating theatre of sounds swamps ears; eighties electronic flavouring hinting at bands such as Depeche Mode and Gene Loves Jezebel in tandem with Sinnergod’s own creative might. Addictive and fiercely persuasive, the listener will find themselves quickly emotionally and physically involved, certainly going by the effect song and album had on the office here.

sinnergod_album_cover_artwork-jpg_RingMasterReview There is also an element of early synthpop fuelled Ministry to the track, before Al Jourgensen dived head first into metal, and a flavouring which soaks the next up serenade of The Watched. Another which sonically simmers but with a liveliness which infects hips and feet, the song is a hug of melodic and harmonic expression and beauty.

Across the gothic electronic and keys shaped dance of Joshua’s Day and the engrossing darklight of Supernatural, a seducing with the open scent of Dave Gahan and co to it, band and album simply flow over the senses, like poetic fog laying heavy but welcomingly before We’ve Been Expecting You rises from a single evocative melody with gothic and orchestral majesty to stand god like over ears while casting its magnanimous musings. As with many songs, it feels like something you may already know yet every note and twist is a new and fresh exploration to album and the dark rock world Sinnergod are poised to take in their creative palms.

The thickly satisfying Johnny Sits Perfectly Still is arguably the least adventurous track upon the album yet needs little time to have ears and participation secured before We Don’t Have Anything looms from portentous shadows and erupts into a Korn/Machine Head spiced foray into ears and passions. The song epitomises the Sinnergod sound; meaty and dark, heavy and melodically aflame with an unrelenting intensity and energy to tempt and lift the spirit. It is an explosive and thrilling end to the album, though the minute long desolate and forlorn soundscape of instrumental XII actually brings the album to a close but it is its predecessor which leaves the last lingering imprint.

Sinnergod is a band on the march and heading to the frontline of British rock/metal, though to be honest their new album suggests they are already there.

The self-titled Sinnergod album is out now through all platforms.

https://www.facebook.com/sinnergod/  http://www.sinnergod.com/  https://twitter.com/sinnergodUK

Pete RingMaster 15/09/2016

Copyright RingMaster: MyFreeCopyright

Greyhaven – State Of Mind

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Finding an inventive and commanding middle ground between the raw intensity of metal and the anthemic infectiousness of alternative rock with a firm dash of post hardcore involved, British quintet Greyhaven recently uncaged their new EP State Of Mind. It is an encounter which roars and serenades ears and imagination in equal measure; bullying and seducing the senses with seven explosive and imposingly compelling proposals.

London based, Greyhaven formed early 2015 and soon earned a potent reputation for a live presence which has seen the band play alongside the likes of Create To Inspire, Idols Of Apathy, Vera Grace, and The Afterparty. Their first year also the release of debut EP The Flood, a well-received introduction which solidly set the band out as one to watch. State Of Mind suggests much more as it reveals Greyhaven taking new strides in songwriting and sound with riveting results.

Recorded with Dan Kerr (Shields, Create To Inspire, Despite my Deepest Fear), State Of Mind is a tempest of anthemic intensity and sound aligned to mellower moments of melodic intimacy. From opening suggestive instrumental Sinners a sense of creative and emotive drama blossoms in ears, the track growing in predacious shadows and poetic charm before it eventually drifts into the waiting jaws and rousing tempestuousness of Hexes. As guitarists Alex Hills and Jim White weave a tapestry of descriptive riffs and melodic tendrils in tandem with similarly potent keys, the raw throated growl of bassist Edd Kerton explodes to be subsequently replaced by the impressive clean and emotive tones of vocalist Sam Paterson. Tapestry is the best word for the song, so many elements across the band bred with imagination and interwoven in a proposal which never stops revealing new essences and shades of tone in every listen.

greyhaven_cover_artworkCopyright RingMaster: MyFreeCopyrightIt is a craft and prowess which applies to all songs within the release to be fair, the following Darkest Hour swift confirmation as a great growling bassline from Kerton and the merciless swings of drummer Connor Tate link up with the harmonious delivery of Paterson and the emotive melodies which embrace ears. A fiery solo only adds to the imposing yet captivating drama shaping the song, again each minute a cauldron of enterprise breeding new adventures with every encounter.

There are familiar elements to the Greyhaven sound which suggest inspirations from the likes of Architects and Alexisonfire, and maybe are most openly apparent within the excellent On & On, though they are spices quickly engulfed in the band’s own eager imagination. The source of the band’s new video, the track leaps around and burns like a sonic fire, the guitars licking at the senses with melodic heat as rhythms crackle at the core amidst vocally coloured flames.

From one powerful persuasion to another as the highly infectious Our Stand steps forward next, its proposal bruising and magnetic as Paterson shines within another storm of metallic predation and emotionally inflamed contagion as savage as it is rousing as it is pop lined infectious. That lighter air also frequents successor Brother, though again Greyhaven infuse it into a creative and musical ferocity which almost venomously snarls. The song adds another shade to the sound and songwriting of the band, its catchiness an inescapable lure perfectly courted by a barbarous intent headed by Kerton’s toxically grouchy growls.

Closed by a thoroughly enjoyable acoustic version of The Flood, the title track of that first EP, State Of Mind proves and further suggests that Greyhaven is heading towards becoming a potent part of the British heavy rock scene. Already that have provided two releases no one should ignore.

State Of Mind is out now via Outsider Records across most online stores.

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Pete RingMaster 08/09/2016

Copyright RingMaster: MyFreeCopyright

Psykokondriak – Gloomy Days

art_RingMasterReview

Offering anarchic imagination and musical unpredictability is French rockers Psykokondriak, a band, to use a term in their new album’s press release, which “is a sixheaded hydra, a rock ‘n roll and hip-hop chimera.” They are also an encounter which on the evidence of Gloomy Days leaves a grin on the face and spirit as its parade of deranged adventures posing as songs spring inescapable fun fuelled incitements.

The band’s sound is like a mix of Hollywood Undead, Beastie Boys, Toumaï, and Red Hot Chili Peppers; groove infested and as funky as a swingers party and all led by a voraciously infectious hip hop devilry. Formed in 2006, Psykokondriak went through numerous line-up changes before releasing debut EP Hôpital Psykotrip six years later. Mid-2014 saw the current line-up in place, MC’s Y.B. (aka Mc Body) and Braeckman (aka Mc BOY) linking up with guitarist Tristan Florin (aka Docteur Florkin), bassist Cédric Desneulin (aka le comte Eskarfesse), drummer Aurélien Desneulin (aka L’empereur Mark Oreill), and DJ Julien Delville (aka DJ Stam Iff). Following an appearance on the Christmas compilation album Walt the Fuck last year, Gloomy Days is the sextet’s biggest nudge on attention and result of the band expanding their sound, a release with numerous familiar aspects and fiercely enjoyable and unique exploits.

Introducing the Body Boys is the short entrance into the album, the vocalists announcing themselves and the forthcoming adventure as sturdy strikes of sound engage in ear pleasing coaxing as turntables sizzle. It leads straight into Psyko Waltz, Pt. 1, a continuation in sound and style of that initial invitation. The bass instantly sets out on a funk infested grooving as vocals bounce around, a lure entangled in sonic interplay as swinging beats entice a tempest of twists and raw energy. The track easily recruits ears and appetite for its somewhat recognisable sounds yet individual character of imagination which in turn only develops and expands as the track continues to grow. By its closing, the track is as heavy and invasive as a Korn meets (Hed)p.e. proposal and as enjoyable.

The Fine Art of Terror follows, thrusting hungry riffs and funk bred grooves through ears as vocal declaration and predacious attitude drive the energy and character of the excellent encounter. Again hips and feet are swiftly gripped by the creative and contagious drama escaping Psykokondriak, the band raging and swinging with matching dexterity before Workless Dance opens up its inescapable flirtation with wiry hooks and vocal revelry. In no time the track is a festival of lean grooves and thicker expulsions, at times carrying the scent of a Primer 55 or at other moments exploring something akin to 633 meets Crazy Town, every second leading to an unexpected turn.

A similar template provides the canvas for Monstros Incorporantes next; punk rock, metal, and hip hop colliding in a jungle of swiping beats, predacious bass and guitar grooves, and vocal infectiousness. Again familiar elements entangle fresh enterprise as the track grips ears and bodies before the brief cinematic instrumental interlude of Gunfight Helicopters sets up the raucously psychotic Think It Up. Like Flea and co losing their sanity as early Faith No More interferes, the deranged engagement jumps around like its feet are burning on hot creative coals, again the imagination as hooked as ears on Psykokondriak’s fun soaked bedlam.

The album’s best track comes next, Spookadelic Fever Mansion opening with much of the classic Alfred Hitchcock TV show intro before sauntering into an aural spook fest of swaying rhythms aligned to a low slung bassline. With its cartoonish swagger and the rapacious aggression which blossoms in certain moments, it plays like a Scooby Doo meets Beetlejuice soundtrack while lyrically snarling. The track is glorious; reason enough to take a look at Psykokondriak and quickly backed up by Hot Day Hotter Night and its funk stroll with moments of climactic eruption and anthemic vocal roars; it all simply impossible not to get thickly engaged in.

Closing on the dark strains of Unherited Culture, a track reminding a little of nineties UK band Honky but exploring its own experimental and threatening shadows, Gloomy Days simply hits the spot for something fresh and exciting. Musically at times it is not the most unique yet every recognisable aspect is countered and surpassed by moments of imagination and craft masked as lunacy.  Whether Gloomy days will break Psykokondriak into new hungry spotlights time will tell but it will definitely recruit a horde of new fans with us to the fore.

Gloomy Days is out now across most online stores and streaming @ https://psykokondriak.bandcamp.com/album/gloomy-days

https://www.facebook.com/Psykokondriak

Pete RingMaster 01/09/2016

Copyright RingMaster: MyFreeCopyright

Dive Your Head – Le Prix du Sang

DYH_RingMasterReview

As much as the sounds and intensity of the release are highly agreeable there is a creative savagery to Le Prix du Sang (The Price of Blood) from French metallers Dive Your Head, which simply hits the spot. The debut album from the Sens hailing quintet is brutal and angry; a raging roar upon the senses but equally, though its body has a familiar feel at times, it offers a fury of imagination which sets it apart from most like inflamed offerings.

Formed in 2012, Dive Your Head quickly became a potent and well supported force on the local metal scene, subsequently venturing further across France from 2014 taking in over twenty shows across the country last year alone. Musically they seem to draw on bands such as Slipknot, Of Mice & Men, and Wunjo; at times bruising the senses with their infectious animosity like a brutalising Rise of the Northstar as Le Prix du Sang swiftly and powerfully reveals.

Though lyrically songs are delivered in the band’s mother tongue there is no escaping the fury and emotional ferocity behind them, intensity backed by similarly unleashed sounds as evidenced by opener Les Rois Perdus (The Lost Kings). From its first breath thick grooves and hungry riffs invade ears, an infectiousness shadowing their antagonistic nature as the rhythms of drummer Amaury Pereira take no prisoners. Vocalist Luca Depaul-Michau is soon in the midst of the wall of aggression, venting his heart and raw vocal chords as grooves continue to entangle ears and an already keen appetite for the band’s sound. It is not the most unique proposal yet the track needs little time to grab attention and spark the imagination being quickly and as forcibly backed by Avaritia (Greed). Stalking the senses with a slightly slower gait, the song is a tempest of riffs and heavy grooves cast by guitarists Maxime Schmitt and Mickael Altmeyer and though just a few big breaths over two minutes long, it makes a potent impact to continue the strong start of the album.

art_RingMasterReviewFeaturing LeXa, Luxuria steps forward next to instantly lay down a nagging riff swiftly joined by a likeminded and darker invitation from the bass of Xavier Mansiot. The track prowls the listener, those early riffs continuing to offer a repetitive lure as Depaul-Michau mixes his raw squalls with cleaner tones. As good as the previous pair of tracks are the third takes the album up another level, Dive Your Head showing greater and more distinct imagination.

Gula equally shows this kind of invention which maybe was not as open at the start of Le Prix du Sang, its scything twists and rapacious turns still mixing with established sounds and hues but providing the imagination with something fresh to chew on before Superbia (Pride) provides arguably the most sonically violent and certainly cancerous assault. Again though, there is a nagging virulence to riffs and grooves aligned to an overall catchiness which infests the senses scything swing of the excellent encounter.

A matching savaging comes through Ira next, its turns from lumbering predation to livelier rancorous trespasses highly enjoyable though the song lacks the same inventive spark of its predecessor at times. Nevertheless it only adds to the appeal of album and a sound which Postmortem elevates as its web of steely melodic tendrils and punishing rhythms entangles great clean vocals alongside the expected throat ripping roars. The kinder delivery works a treat providing a striking contrast which would be good to see the band use in future, its success here reinforced by the same success in closing track Invidia (Envy). Both tracks are as vicious and uncompromising as anything upon the album but show great potential for future explorations from the band. The final song features Kevin Fauvel and Maxim Keller, and a fusion of vocal styles which stir ears as the rest of Dive Your Head go to creative work on the senses with imposing riffs, harsh rhythms, and a compelling unity of craft.

Le Prix du Sang is not likely to be the most unique thing you will hear this year but it provides a great introduction to Dive Your Head which will ensure you will only, like us, want to hear much more.

Le Prix du Sang is available now via most online stores and @ http://www.diveyourhead.bigcartel.com/

https://www.facebook.com/DiveYourHead

Pete RingMaster 02/09/2016

Copyright RingMaster: MyFreeCopyright

(hed)p.e. – Forever!

hedpe_RingMasterReview

There is no point beating around the bush, (hed)p.e. uncaged arguably their most eclectic and flavoursome proposition to date with previous album Evolution two years ago and have now eclipsed it with their new trespass of the passions that is Forever!. That last album was in many ways a leap into a creative maturity not yet seen in the band, a growth fully come to its peak with this latest collection of thirteen again adventurous and diverse songs which also reap the qualities which made instinctive fans of people in through their early albums. Quite simply Forever! is the band at its most anthemic and biting best while still pushing their boundaries at the same time.

As soon as opener Live seizes ears there is no escaping that familiar sound and air unique to (hed)p.e., or the instinctive awakening of an eager appetite which as big fans of the band here also means greater demands. Its initial smouldering tempting with skittish beats and the twang of off kilter keys skilfully builds anticipation before it all erupts with chunky riffs and whining grooves as the distinctive tones of Jahred Gomes leap on ears and imagination. It is a rousing slab of (hed)p.e. with imposing rhythms from drummer Jeremiah ‘Trauma’ Stratton courted by the groan of Kurtis’ bass as guitarist Gregzilla casts a sonic web.

The outstanding start continues with Pay Me which in turn is soon chewing the senses with rapacious riffs and menacing beats as scything grooves squeal and group snarls roar. Even more so than its predecessor, the song recalls the antagonistic might and essences to be found in the likes of the band’s self-titled debut and successor Broke but fusing it to striking samples and a fresh swath of sound to create something hungrily new, a quality as rampant within next up Closer. A gorgeous slice of rap metal with a striking weave of melodic suggestiveness to its fierce growl, there is more than a touch of Skindred to it and at times vocally it is easy to wonder if that band’s Benji Webbe is guesting such the great blend of vocal style which only adds to the drama and appeal of another outstanding trespass on ears.

hedpe-forevah_RingMasterReviewThree songs in and the demands for something new again from the band after Evolution is satisfied and fed further as first Hurt swaggers in with its southern tinged grooving and rapacious hooks within what is prime magnetically (hed)p.e. rock ‘n’ roll. Its stirring exploits soon whip up involvement and spirit with anthemic mastery before It’s You growls and serenades with matching prowess as guitars and bass collude in a cantankerous and thrilling trespass as thumping beats descend and vocals attack and entice.

The punk driven Waste unloads its ire and raw energy upon the senses next, the track an exhilarating intrusion bringing more variety to the album and pleasure to the heart while the following JahKnow whips up equal satisfaction with its metal and reggae seeded recipe of confrontation and anthemic arousal. The latter essence also flavours next up One of a Kind, dub twisted vocals and gentle, slightly melancholic keys to the fore before Jahred’s vocals spill emotion and subsequently the band uncages a volatile surge of raw sound and aggression. With ragga elements adding to its contrasting calm and savage roars, the song soon has the imagination enthralled as indeed does the prophetic, cosmic seducing of short instrumental The Higher Crown.

Shadowridge takes control next with its own individual reggae spiced persuasion, a tempting elevated by soothing harmonies and a catchiness which oozes from every note. Every listen unveils another twist and layer to the song, keys growing in poise and suggestion every time to help a slow burner compared to other tracks within Forever! being one of its most vital moments.

As with Evolution, (hed)p.e. collect their mellower reggae toned tracks to the rear of the album and whilst there it felt they warranted being interspersed throughout the release, in Forever! it just works with Together offering  next a captivating stroll sharing warm caresses of brass throughout before making way for the livelier but no less warmly seductive and highly infectious Always.

Bonus track Ganja completes Forever!, the song as virulent as anything on the album with its lo-fi nostalgia aired bewitching bringing the superb release to a fine close. (hed)p.e. continue to impress, excite, and indeed surprise with their records, but with Forever! they have hit their finest moment in a long time, maybe ever.

Forever! is out now through Pavement Entertainment across most online stores with a LTD Edition double album containing 15 track bonus disc Family Fresh featuring appearances by Twiztid, Blaze, The Roc, and Playboy The Beast also available for a limited time.

October/November sees (hed)p.e. as special guests on Alien Ant Farm’s UK-IRE Tour with Sumo Cyco and Kaleido.

Dates…

October

18th – WAKEFIELD – Warehouse 23

19th – EDINBURGH – La Belle Angele

20th – ABERDEEN – Garage

21st – BELFAST – Voodoo Lounge

22nd – DUBLIN

24th – PRESTON – 53 Degrees

25th – BRISTOL – Marble Factory

26th – CHESTER – Live Rooms

27th – LEAMINGTON SPA – Assembly

28th – SOUTHAMPTON – Engine Rooms

30th – WOLVERHAMPTON – Slade Rooms

31st – LONDON – O2 Academy Islington

November

2nd – BARNSTAPLE – Factory

3rd – READING – Sun 89

4th – SOUTHEND – Chinnerys

5th – HULL – The Welly

6th – OXFORD – O2 Academy

http://www.hedperocks.com   https://www.facebook.com/hedpe/

Pete RingMaster 01/09/2016

Copyright RingMaster: MyFreeCopyright

Chasing Ghosts – Fearless EP

Chasing Ghosts_RingMasterReview

Last year British quintet Chasing Ghosts made a potent introduction to themselves with the single Everything Changes; a song soon finding itself featured across fifty radio stations in the UK, US, and Canada, including ‘BBC Radio, ‘Total Rock’ and ‘Metal Nation Radio”. Now the Milton Keynes band is poised to unveil their debut EP Fearless; three shadowed strapped and emotionally charged tracks woven from the heavy throes of dark metal and gothic rock.

Formed by in the final days of 2014 by bassist/keyboardist Lee Brueton, a line-up change since the release of the aforementioned single has seen vocalist Nelson Cancini, lead guitarist Maycon Milani De Matos, rhythm guitarist Ashley Clark, and drummer Gary Fuller linking up with Brueton. Earlier this year, the quintet set about recording the Fearless EP at the renowned Lynchmob Studios in London, subsequently creating an encounter which quickly sparks intrigue and an appetite to hear more of the band.

Current single Fallen From Grace is the lead track from Fearless and already following its predecessor in earning strong radio support and play through again linking up with Pluggin Baby. From its initial caress of melody driven guitar, the song works on the imagination. It dips into an evocative smoulder as darkly toned vocals begin to share the track’s emotive heart. Presumably they being Cancini, there is a plain almost dour element to the voice which ignites to much more impressive heights as an emotive roar sweeps through the atmospheric shadows and heavy textures of the song.  Growing in character and strength with every minute spent with it, the track is magnetic drama continually making a richer seduction of ears and imagination with its Paradise Lost scented proposal.

Alongside the song are the similarly impacting proposals of Dark Skies and the EP’s title track. The first of the pair is bred from the same template as the single and begins in a very similar way but soon, as keys and guitars weave their poetic webs, reveals its own distinct character and emotionally shadowed adventure. Blending low key almost monotone flavours and colours with rousing flames of sound and energy, the track also blossoms with time and attention, invading ears and imagination with its lingering drama and temptation.

The title track swiftly reveals more urgency and an immediate intensity than its companions, a fire which as the band impressively mixes to greater effect the diversity of vocals, creatively blazes away and steals the show from the other two equally enjoyable songs.

As impressive as that earlier single and confirming the potential it suggested, the Fearless EP sees Chasing Ghosts growing into their sound and its own uniqueness with the promise of more to come while reinforcing their stature as a band to watch.

The Fearless EP is released September 2nd on iTunes and Spotify.

http://www.chasingghosts.co.uk/    https://www.facebook.com/Cghostsmusic   https://twitter.com/chasingghosts_

RingMaster 01/09/2016

Copyright RingMaster: MyFreeCopyright

Meshiaak – Alliance Of Thieves

Meshiaak_RingMasterReview

Formed in Melbourne, Australia and unleashing a debut that stirs up the instincts and passions like the first temptress/tempter encountered by awakening youth, Meshiaak have announced themselves as one essential proposition for all thrash metal enthusiasts. Alliance Of Thieves is one of the most formidable, exhilarating, and accomplished introductions sure to be heard this year; arguably no surprise with its line-up consisting of 4ARM’s Danny Camilleri and Teramaze’s Dean Wells alongside bassist Nick Walker and drummer Jon Dette who lists Slayer, Anthrax, Testament, and Iced Earth in his notable exploits. Together they have swooped into the heart of thrash and given it a fresh injection of imagination and creative energy; not exactly breaking its boundaries but providing the genre and more with a new compelling character to get excited over.

Recorded at the Green Day owned Jingletown Recording Studios in Oakland, California and mixed by Jacob Hansen (Volbeat, Pretty Maids, Destruction, Anvil, Aramanthe, Epica, U.D.O., Primal Fear), Alliance Of Thieves ignites ears with opener Chronicles of the Dead. Initial rhythmic stabs and a drizzle of sonic enterprise coaxes the senses, both soon part of a thumping persuasion which swiftly has ears and appetite eagerly awake. The vocals of Camilleri quickly grip attention too with the backing roars of Wells just as potent, while together their guitar endeavours create a web of inventive infectiousness around the equally gripping rhythmic thrust of Dette and Walker. The track is superb, whether winding teasingly around ears or driving through them like a ravenous juggernaut simply triggering spirit and instincts.

The first track also shows the melodic prowess and suggestiveness of grooves that Meshiaak are also able to conjure, the song a tapestry of intrigue and unpredictable invention which continues in the following It Burns at Both Ends and across the whole of Alliance Of Thieves. Whereas its predecessor has essences of Machine Head meets Testament to it, the second track quickly shares Slayer-esque hues once the listener has drifted through exotic climes into another tide of Dette’s addictive rhythmic craft as rabid riffs crowd around Camilleri’s imposing and rousing vocals. Calm and intensely hungry, the song is a beguiling mix of contrasts and energy, matching the inescapable persuasion and intensive quality of the opener.

art_RingMasterReviewThe dark and sinister I Am Among You follows, its initial lure setting the emotional scene before the band toy with the imagination with a Fear Factory/Metallica like trespass of the soul. Predatory and often demonic but from start to finish commandingly seductive, the track manages to eclipse the might of those before it, setting a new plateau within the album in pleasure and imagination before Drowning, Fading, Falling floats in on orchestral melancholy. Soon the mountainous beats of Dette and another brooding bassline from Walker are courting the sonic weave of Wells, together crafting another encounter which skilfully merges raw intensity with melodic tempers. A slow burner in relation to the earlier tracks, it grows into an easy to get greedy over threat, each listen, as with the album, revealing new layers and nuances within its storm.

Through the harmonic and emotionally plaintive At the Edge of the World, a song as musically vast as its suggested landscape, and the sonically antagonistic Last Breath Taken, band and album simply taken a tighter grip on the passions; both songs in their individual way casting lava-esque melodies amidst thrash fuelled intrusive intensity, though the first of the two is a ‘gentler’ tempting and outshone a touch by its rawer successor. The pair in turn gets outdone by the brilliance of Maniacal. Again Metallica is an open flavouring yet once more a spice to something you can only out down as unique Meshiaak.

The album’s title track careers through ears straight after, every second a ravishing crescendo of sound and creative instincts leaving bliss and exhaustion in its lingering wake. There is a hint of Anthrax/Megadeth to the impossible to resist proposal, Dette alone makes the hellacious partnership between band and ears worthwhile but mightily matched by the whole of the quartet here and across Alliance of Thieves, song and album.

The album closes on the shadowy balladry of Death of an Anthem where sultry melodies and a smouldering climate surround the again impressive tones of Camilleri. Its air and emotion though becomes more volatile with every passing minute as the track bewitches and brings easily one of the year’s finest releases to a superb end. As suggested earlier, maybe we should not be surprised the quality of Alliance Of Thieves considering its creators but any hopes and expectations you might have had for the encounter will surely be blown away with swift results.

Alliance Of Thieves is out now via Mascot Records @ http://www.mascotlabelgroup.com/meshiaak-alliance-of-thieves-cd.html and most online stores.

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

Pete RingMaster 24/08/2016

Copyright RingMaster: MyFreeCopyright