Wood Chickens – Must Die

Pic Courtesy of Madylen Photography

True uniqueness is a rarity in modern times though you can certainly get very individual takes on the familiar to feed the insatiable appetite for something new. It is fair to say that Wood Chickens have a handle on the former more than most, their sound within new EP, Must Die, a sonic scourge which simultaneously defies the breeding bearing its rapacious presence. It makes for a hellacious infestation of noise which had ears joyous and the imagination spiralling.

Hailing from Madison, Wisconsin, Wood Chickens descends on the senses through the scurrilous antics and prowess of Alex Wiley Coyote, Griff Chickens, and Justin J. Johnson. Their new EP is our introduction to the trio but hindsight has found that across a host of releases their sound has boldly evolved from its country/cowpunk breeding. Must Die is their most extreme offering yet; a cauldron of feral noise and imagination gloriously spoiled with the toxins of punk and metal as well as psych and noise rock.

Five tracks barely touching five minutes in length, the EP immediately has ears cowering and thoughts disoriented with Sados. Its corrupted entrance eventually bursts into a rabid onslaught as guitars and rhythms join vocals in scarring the senses. It is a maelstrom of dissonance yet has an instinctive undercurrent of catchiness bred from its punk natured seeding.

We Skate in Boots swings in next, psych sighs accompanying its brewing contagion loaded garage punk tainted punk ‘n’ roll. Primal and anthemic, the track roars and incites participation as easily as it savages the senses surging through ears with rabidity to the fore before Return of Skunk Ape unleashes its own untamed caustic virulence across 46 seconds of subversive temptation and creative devilry embracing similar choleric hues to its predecessor.

The EP closes up with the psychotic animus that is Y2k Pt. 2, undiluted ravenous noise and intent corroding the speakers, though there is also an untitled unannounced track after that which is, well just bewildering and indeed magnetic.

There has been little if anything which comes close to the sound and invention of Must Die, indeed it seems nothing in the Wood Chickens discography previously like it either. If it is a new turn in the band’s music we for one will be overjoyed though their previous encounters are nothing to ignore, and if just a one off certainly something to be greedily devoured by all with an appetite for the contagion of noise.

Must Die is out now via Crush Grove Records; available digitally and on cassette @ https://crushgroverecords.bandcamp.com/album/must-die

https://www.facebook.com/woodchickensband/   https://woodchickens.bandcamp.com/

 Pete RingMaster 14/08/2018

Copyright RingMaster: MyFreeCopyright

Phoenix Rising – Ignite

Just a number of months into their existence, it is fair to say that Phoenix Rising is already creating a real stir with their rousing sound; their praise drawing presence and suggested success in the “Best New Artist and Best Metal Band awards at this year’s MXD MAG Rock and Metal Awards evidence. Plenty of reasons for the buzz around them are now clear to be heard in their debut EP, Ignite. Offering four slices of rap rock infused with nu metal, the release is an ear grabbing, potential soaked introduction bred on imagination and creative energy.

Emerging from an ad vocalist Kent Summerour posted on Craigslist, the Dallas hailing band arose to swiftly grab local attention, in turn quickly finding broader landscapes to impress. With the two prong vocal attack of Summerour and Scott Lathwood in front of the invention of guitarist Lee Deane, bassist Allan Kurt, drummer James Espinoza, and Mark Ridlen on synths, Phoenix Rising embrace the inspirations of bands such as Hollywood Undead, Skillet, Papa Roach, Killswitch Engage, Union Underground, Linkin Park and more. The latter is probably the one which most comes to mind across their first release but adding to rather than deflecting from the band’s already evolving into individual sound.

Ignite opens up with Do You Know, a piano drawing ears as rhythms rustle together in the background. Soon the track is fully to the fore, not forceful but certainly magnetic as synth and guitar cradle the rap and following clean vocal persuasion. Though it suggests it might, the song never quite explodes into the hinted furor but persistently entices with melodic caresses, vocal dexterity, and a mercurial rhythmic attack.

It is a potent start laying down a strong reason to stay involved with the EP with drama which is soon escalated within the following If I Say No. Immediately there is a more intensive feel and muscle to the song, metal essences lining its composed but impassioned roar. Once more Summerour and Lathwood create a great web of vocal attack and temptation matched by the hooks and melodic enterprise of their companions. As with its predecessor, it is hard to say that major surprises crossed ears yet neither did predictability or a lack of fresh imagination.

Open You Up continues the EP’s trait of building on the song before with bigger and bolder endeavour; the track a tenacious metal infused rock holler mercurial in its breath, persistent in its rousing incitement before easily the best track of the four descends on the passions. Lights Out immediately throws a thick rhythmic coaxing out so easy to jump upon; an initial shuffle before the main event which erupts and incites like a mix of Union Underground and Powerman 5000. Virulent in its hooks and traps, aggressive in its energy and dynamics, the superb track is brief, explosive, and reason enough alone to breed a hungry appetite for the band’s sound.

Ignite is the kind of debut you just have to pay attention to and anticipate bigger and bolder adventures springing from as the band grows, matures, and their sound finds its unique voice. The fuss around them already means Phoenix Rising will have plenty to live up to but the EP and especially its final track suggests they are more than ready or the challenge.

Ignite is out now @ https://www.phoenixrisingofficial.com/shop and other stores.

https://www.facebook.com/PhoenixRisingOfficial/   https://twitter.com/PRofficialband

Pete RingMaster 02/08/2018

Copyright RingMaster: MyFreeCopyright

Naberus – Hollow

Around seven years after emerging upon the Australian Metal scene, Naberus released their debut album, The Lost Reveries. It was a well-received offering earning critical praise and confirming the Melbourne outfit’s potent presence within their national metal landscape. Now the quintet has unleashed its successor in the shape of the ravenously resourceful and compelling Hollow and it is fair to say the band has hit a whole new level.

The Lost Reveries was the band’s sound at the time at a pinnacle, one which was heavily influenced by melodic death and thrash metal, a mix honed over previous tracks and EPs since day one. Whilst Hollow also revels in those hues it reveals an embracing of a far broader template including essences of groove, nu, and technical metal. Everything about the new album is a growth from its predecessor, one which maybe will be a step too far for some original fans but will surely recruit a whole new tide of fresh appetites. At fourteen tracks it is a bulky proposal for sure which flirts with overstaying its time but one which pretty much constantly holds its strength and lure throughout before leaving with a bang.

Mixed by Henrik Udd (Bring Me the Horizon, Architects, A Breach of Silence) and mastered by Ermin Hamidovic (Architects, Periphery, Devin Townsend), Hollow launches at the listener with the outstanding Slaves. Immediately the guitars of Dan Ralph and Dante Thompson entangle ears with their sonic wires as the vocal snarl of James Ash harries ears. Djent spices infest the intensive blaze as other flavours collude in its rapacious web around the scything beats of Chris Sheppard and the predatory growl of Jordan Mitchell’s bass. Familiarity and individuality merge in its intensive roar, they all going to make a savagely raucous yet skilfully woven captivation.

The following Space To Breathe is just as swiftly imposing but inviting, taking a less invasive stance initially as its elements settle before uniting in its own ferocious trespass. Ash’s vocals again impress with their not vast but strong diversity within the emerging rich tapestry of sound. There are essences of bands like Spineshank and Static X to the track at times but equally it lusts after death and extreme metal textures with the same fervour and invention before the superb Split In Two uncages its own similarly but individually woven tempest. Harsh and melodic strains in both vocals and music make an easy union as the imagination in songwriting incites their drama, the track continuing the explosive success of the first pair ensuring that Hollow is already a riveting proposal.

Both Shadows and Webs nag the senses whilst seducing attention; the first a sonic harassment as adventurous as it is predatory with its successor, deceitfully calm at its start, a subsequent cauldron of fiercely simmering intensity with scalding eruptions and a persistently bubbling enterprise. True uniqueness could be said to be less potent within the two yet everything about them and all songs is as fresh and inventive as you could wish, the album’s title track further evidence. Its enmity is a harsh fury from the start, searing trespass and rhythmic lashing entangled in the sonic imagination of the guitars and the collage of vocal incitement. It makes for a dramatic and dynamic assault which just hits the spot like a sledge hammer.

Through the likes of the belligerently tenacious I Disappear, the corrosive reflection of The End and Seas Of Red with its almost feral tides and melodic fire, the album continues to delve into malice, aggression, and different degrees of variety in their individual characters. It is fair to say that the latter two of the three did not ignite the same energy of passion and acclaim as those previously within Hollow yet all easily enticed and pleasured before The Maze had ears lost to its creative course. Living up to its name, the thrilling song is a tangle of grooves and melodic vines within a formidable confrontation, each tunnelling through song and psyche alike.

My Favorite Memory similarly springs a spiralling union of endeavour within its dark catacomb but its mercurial exploration of emotion and sound quickly develops its own individual presence while Fading with far more savage jaws challenges and erupts upon the senses with enterprise and inventive dexterity, every member of the band creating a simultaneous threat and temptation within the track.

The album is closed up by firstly The Burrow and finally The Depths, both tracks leaving thick enticements in their wake for a swift return with the closing incitement within Hollow a labyrinth of irrepressible grooves and sonic wires through a lusty trespass of vocal and rhythmic animation. The track is another major moment within the release possibly its greatest following so many lofty peaks.

As a whole Hollow is a refreshing and rousing offering from a band deserving thick attention hereon in. Yes with so many tracks it might be a stretch in one go; a couple of times songs almost merging into each other in certain ways but each is an imagination and pleasure sparking assault in their own right and proving Naberus one exciting proposition.

Hollow is out now through Eclipse Records.

https://www.facebook.com/naberusband   https://twitter.com/NaberusOfficial

Pete RingMaster 10/07/2018

Copyright RingMaster: MyFreeCopyright

Sick N’ Beautiful – Element of Sex

pic by Stefano Mastronicola

There are some bands which instinctively allure attention and it is fair to say that Sick N’ Beautiful is one such persuasion as their recent headlining UK tour proved. Their new album Element of Sex swiftly and increasingly shows why they made a potent impact through those shows alone, a release which whilst lacking the visual theatrical drama of their live presence uncages ten virulent slices of devilish rock ‘n’ roll.

“A gang of rockin’ freakshow pirates from outer space”, Sick N’ Beautiful is a quintet creating an industrial hard rock web of intrigue and sonic animation awash with creative drama. Brewed with sci-fi and cyberpunk visuals whilst embracing inspirations from a kaleidoscope of artists including Rob Zombie, Nine Inch Nails, Alice Cooper, Kiss, Lady Gaga, Katy Perry, and No Doubt, the “intergalactic refugee’s” music is a cascade of flavours and enterprise within its hard rock nurtured imagination. In boldness and drama there is something of The Tubes to the band’s presence too which only adds to its magnetism live and now within Element of Sex.

Familiarity and inventive uniqueness collude from the first breath of the album with opener Fire True, an orchestral coaxing the first lure quickly infested with wiry tendrils of guitar which in turn entice the instantly rich ear grabbing vocals of Herma. Within seconds the track is an imposing wall of thick infectious sound speared by the scything swings of drummer Evey. Pop catchy and metal aggressive the track imposes and seduces in equal measure with the organic drama of the band’s imagination in every syllable, note, and twist.

It is an infectious tempest of an encounter instantly backed and eclipsed by next up Megalomaniacal. Straight away it has more urgency and greater flexibility in its attack; snarling, biting, and dancing with the senses like a carnal celebration behind the fiercely magnetic prowess of Hermes. Big Daddy Ray’s bass has a great rockabilly swing to its growl at times whilst guitarists Rev C2 and Lobo spring a trap of enterprise so easy to relish especially when the song takes a breath from its boisterous invasion.

The calmer All Wanna Go To Heaven through its initial less energetic entrance, compared to its predecessors, only leads into a snare of boldly catchy and melodically enticing temptation. The voice of Hermes once more stands tall and captivating within the song, a given proven track by track as the sounds around her cast their creative theatres. Pop, rock, and metal strands all go into its ear wrapping weave before the contagion of Hellawake continues the diversity bred within the Sick N’ Beautiful’s sound with its electro pop meets industrial punk shuffle.

Through the tempestuous roar and character of Slam! and the salacious sonic exploits of Hexxx (The Element Of Sex), the album just gets more hectic and fun, both songs a spark for ears and body with their extremely danceable antics, the outstanding second of the two especially manipulative as it grabs limbs like a puppeteer.

Cryptid similarly just opens up the throttle from its first gasp; rhythms and imposing incitement within the scuzzy tides of guitars wired with melodic and hook laced tempting. It is another where certain moments unite with ears like an old friend whilst bringing wholly new propositions alongside for a compelling mix exploited just as ably by New Witch 666 (The Rising). Its EBM-esque opening is a deceit for the dark shadows and intent lurking closely behind and a continuing enticement as those textures take rein of the devilish affair. Though its rabidity is under control for the main it is there festering in the track’s meaty body and demonic intent.

The skilfully woven Heart December (Gates II) with its dark drama and gothic rock grandeur was a slow burner for our ears, a track which never quite ignited as those before it but continues to be a compelling intrigue on ears and imagination even against the album closing blaze of C*Mmunion. Aggressive and at times musically grouchy but as greedily catchy as you could wish, it brings the album and the torrent of fun to a rousing conclusion.

And that pretty much sums up Element of Sex as a whole; insatiably infectious, relentlessly rousing, and unapologetically fun. Maybe Sick N’ Beautiful is a proposition which is at its very best live when all of its elements come together musically, visually and indeed dramatically but their new offering shows their songs make for very potent propositions all on their own.

Element of Sex is out now on the band’s own Rosary Lane Records; available @ https://www.sicknbeautiful.com/store and other stores.

https://www.sicknbeautiful.com/   https://www.facebook.com/sicknbeautifulband/   https://twitter.com/sicknb

Pete RingMaster 10/07/2018

Copyright RingMaster: MyFreeCopyright

Power of Diversity: exploring the world of Scarleth

The Ukrainian metal scene is not the most active on our radar but we can introduce you to one band which more than warrants attention. It is Kiev hailing melodic metallers Scarleth. The past decade has seen them share stages at numerous shows and festivals with the likes of Blind Guardian, Rage, Ensiferum, Rotting Christ, Leaves’ Eyes, and Kalmah. Embracing an array of rich flavours their sound has grown into an ear grabbing proposition which will reveal another fresh breath in the quintet’s upcoming new album. We had the pleasure to find out more about the band, release, and more with guitarist Victor.

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

Hello! Nice to talk to you 🙂 I’m Victor, leader and founder of the band.

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

The band was formed in 2005 by myself (Victor Morozov). First line-up included both of my sisters (Renata – vocals, Nina – keyboards).

After that, numerous line-up changes took place until current line-up has finally appeared:

Victor Morozov – guitar

Yana Kovalskaya – keyboards

Ekaterina Kapshuk – vocals

Igor Chumak – bass

Philipp Kharouk – drums

The band was originally formed in Donetsk, Ukraine. Basically, it was my idea to form a band. As a teenager, I was impressed by such bands as Deep Purple and Black Sabbath, so I wanted to form my own band. Ritchie Blackmore was my hero, he is the reason I picked up guitar to play.

Have you been/are involved in other bands before? If so has that had any impact on what you are doing now?

SCARLETH is the first and the only band for Victor and Ekaterina, both of them haven’t played in other bands before.

Yana was in the following bands before SCARLETH: Stella Vespera (2009–2012), Luna Dream (2012-2014), Dante (2013-2015).

Philipp was part of these bands before he joined SCARLETH: B.W.N., Trapped In Tremble, Maleficar, Vyhr Grez, Kolard, Body Juice.

Igor played in few bands before SCARLETH, but that was too long ago to remember their names 🙂

Current line-up of SCARLETH has been around for about 2 years now.

I don’t think previous bands influenced us in any way; Scarleth has its own style which is constantly evolving.

What inspired the band name?

SCARLET was just a cool simple name which came to my sister’s mind 🙂 I only added “h” to the end of the word, so it looks more “metal”.

We also like this name because it doesn’t limit our musical style in any way. We can play anything we want under this title.

 Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

At the start, band was planned as cover band. But right after the start, our own songs begin to appear, so we’ve had short time with cover songs.

As for sound, we always wanted to sound different to others that is why we try to include as many different elements as possible to our songs.

And the same ideas and inspirations still drive the band when it was fresh-faced?

It’s the same – passion for music and wish to give good music to our fans and listeners. We never placed money or fame as main driving-force. Making good music which we like and playing it is most important for us.

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

It became heavier, more modern. The new album will be even more into this direction. But also it will touch pop-metal genre which is new for us. It will be interesting record, so don’t forget to buy it when it will be released and support our band.

And that has been an organic movement of sound or more the band deliberately wanting to try new things?

That is natural – we do not plan any changes. We just evolve as people, and our music evolves together with us. And this is really interesting journey. We are happy to be who we are.

You mentioned your own specific spark to make music and presumably across the band there is a wide range of 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?

I think life itself is main source of inspiration. Travelling, movies, computer games, anything we do – has its influence.

As for bands who has impact on us I can say – Within Temptation, Black Sabbath, Amaranthe.

Is there a particular process to the songwriting within the band?

Yes. We start with simple melodic idea or riff then create song structure. Lyrics are created after that. Most of our songs are written this way. But not all of them, there are always exceptions.

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

From life situations, from something that really grabs our souls. It may be scene from movie or just something happened to us on the road. Just about anything. Life has so many unexpected moments, you know 🙂

Could you give us some background to your new album?

Our latest release is called The Silver Lining, which was released back in 2015. It includes nine tracks we are really proud of, I think these are the best we’ve done so far.

All the tracks on the CD are very different to each other, so if you like diversity in music – we can really recommend to give it a try.

Album was recorded in Kiev in Morton Studio. Max Morton is our good friend; he is really professional sound engineer and sound producer, so we should thank him for great sound on this CD.

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

I think you are asking about lyrics? Lyrics of our songs are as diverse as is the music. You can find quite interesting stuff besides just regular “love songs” or “freedom songs”. I think I should avoid spoilers, so it will be more interesting for you to listen to the songs yourselves 🙂

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

We like to finish everything before going to the studio. But sometimes great ideas appear during recording, so we take them with pleasure. It’s always cool not to know what will happen next 🙂

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

We are big fans of performing our music live. It’s really important for us. When you play live, you can feel band’s energy and reaction of your fans. That is main value for us as artists.

Travelling to festivals may be not easy, but performance itself is always rewarding.

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

You are right – it is not easy, and we are still in the process of getting through. We can only suggest to believe in your own music, play it as much as you can and do everything for it to be heard. Never say die 🙂

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 access to your music is or is maybe out of your hands a little?

Internet helped us a lot. We can use those tools to get our music to the public, it is very important. However, illegal downloads are also take place, and that is not a good thing. But anyway, I think internet is a really good thing for band’s promotion.

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

Thank you! Listen to good music, be yourselves, just live and do what you really like 🙂 See you soon on the road!

Explore the sounds and imagination of Scarleth further @

http://scarleth.com.ua/   http://www.facebook.com/scarlethmetal   http://www.instagram.com/scarlethband/   http://youtube.com/scarlethband

Pete RingMaster 07/07/2018

Copyright RingMaster: MyFreeCopyright

Seething Akira – Sleepy Skeletor

Since emerging back in 2011 within the sea faring surroundings of Portsmouth, British crossover outfit Seething Akira has been teasing away at rich attention with increasing success. We suggest though that it has been a mere nagging compared to the hunger the band can and should expect with the release of debut album Sleepy Skeletor. It is a web of alternative metal and electro rock imagination with plenty more to entice and ensnare. It is a sleepless affair rousing body and spirit which even in its calmer moments has the body bouncing and imagination feasting.

Created by Charlie Bowes (songwriter/keyboardist/vocalist) and Kit Conrad (lead vocalist), the band has leap from local success to national recognition through their sounds and a dynamic live presence which over the years has seen them shares stages with the likes of Skindred, The Qemists, Hacktivist, Senser, Don Broco, and Pop Will Eat Itself as well as play Bloodstock Festival, Victorious Festival, Breakout Festival, Mammothfest amongst others. This year the band was chosen as one of five upcoming bands, alongside, Saint Apache, Damn Dice, The Rocket Dolls and The Sixpounder, to support Pitchshifter on their first UK tour in ten years. The Incoming Transmission EP of 2012 was when our fascination with Seething Akira began, it becoming so much keener as for so many others through their acclaimed 2015 single Airstrike, a song frequently eclipsed and more than matched by the offerings within Sleepy Skeletor.

Walking a fine balance between alternative metal, industrial rock, and electro punk; never fully committing to any but always entangling the richest traits of all and more, Sleepy Skeletor opens properly with The Monster from Brussels. Instantly the synths of Bowes provide an infectious pulse, the guitar of Harvey Ware swiftly adding its lure before the rest of the band jump in with fevered energy to create a Senser like confrontation. Thick and imposing, it is a captivating wall of temptation creating a grooved stroll alongside a Beastie Boys inspired vocal arousal rather easy to become addicted to, its tenacity interrupted by melodic washes of intimation and seduction.

It is an outstanding start quickly matched by recent single Matching Poles of Magnets. With steelier textures to its electro metal predation, bands like Axis Mundi and Silent Descent coming to mind, the track twists and turns with instinctive and rapacious adventure before Half Empty brings a warm calm to the senses. Immediately vocals echo this mellow breath with their melodic unity but equally a rising discontent in the heart of the song brews as things become more intense and irritable. It never reaches an aggressive state though, revolving through melancholic elegance and emotive exposure as a weave of rich enterprise wraps vocal reflection.

I Am The Devil, another single released earlier this year follows, instantly infests ears with its electro metal rumble and a hook which needs meres seconds to have us lustfully wanting more. Something akin to G.R.I.M meets dirt encrusted Pop Will Eat with the rousing catchiness of Hadouken, the track throbs and snarls as the rhythmic prowess and incitement of bassist Richard Ellis Speaight and drummer Stu Radcliffe manipulate.

Featuring Olly Simmons from Brighton band The Qemists, Backlash is next up and similarly merges heavy almost dissonant attitude and sound with electronic trespass as it prowls the senses. It is a predacious edge which never dissipates across the track’s mercurial but persistently invasive landscape. Another of the songs released prior to the album as a single in 2018 ensuring its anticipation was heightened; the absorbing encounter passes over attention to the outstanding Pack Animals. It too has a whiff of Senser to its emotionally and lyrically charged incitement; synth and guitar weaving an intimation of intrigue and danger around the threat of the rhythms as once again vocals irrepressible entice.

The character of successor Paralysed is similarly natured and conjured but swiftly evolving into a melodic croon and seduction which inspired even greater participation before the cycle repeats with greater volatility but equally greater elegance in its respective moments.

The album ends with firstly Even Angels Break Hearts which sees Dani Uziel guesting and finally Disconnect. The first of the two is a fluid blend of sonic antagonism and melodic beauty with Uziel’s tones simply beguiling, she almost like a siren luring ears into Conrad’s feral attack and the song’s tempestuous depths. The second provides three and a half minutes of electro punk metal thick in attitude and malcontent but equally rich in rousing energy and adventurous imagination.

Major attention upon Seething Akira has been a little overdue to our mind; Sleepy Skeletor should remedy that, arousing a whole new tide of fans to their insatiably and dramatically potent sound.

Sleepy Skeletor is out now; available on all major streaming platforms.

Upcoming shows:

Sleepy Skele-tour:

July 6th – Anvil, Bournemouth (Album release show)

July 7th – The 27 Club, Liverpool

July 8th – Mulberry Tavern, Sheffield

July 9th – Satan’s Hollow, Manchester

July 10th – The Underground, Plymouth

July 11th – Fat Lil’s Bar, Witney

July 12th – The Unicorn, Camden

July 13th – The Junction, Ashford

July 14th – The Sussex Arms, Tunbridge Wells

July 15th – The Joiners, Southampton

———————————————–

August 25th – Electrowerkz London supporting CUBANATE

August 26th – BYLINE FESTIVAL, Pippingford Park, Ashdown Forest with Pussy Riot, Badly Drawn Boy, The Vapors, The Blow Monkeys, John Cleese, Hugh Grant, Alexie Sayle…

November 19th – Wedgewood Rooms, Portsmouth supporting PITCHSHIFTER

http://www.seethingakira.com/   https://www.facebook.com/seethingakira   https://twitter.com/SEETHINGAKIRA

Pete RingMaster 03/07/2018

Copyright RingMaster: MyFreeCopyright

Deathflux – Execrated

With its members previously part of death metal outfit Cacodaemonic and one of our favourites in progressive metallers Akarusa Yami, there was certain anticipation in hearing the debut album from British metallers Deathflux and Execrated certainly rewards that intrigue and excitement. It is a raw and uncompromising trespass upon ears and senses quipped with rich enterprise the imagination quickly took to.

Formed in 2016 by Nottingham guitarist Tom Clarke, who as mentioned enlisted band mates from his former propositions, Deathflux creates a sound which cannot be precisely pinned down. Led by a rousing and enjoyable senses abusing dual vocal attack, the sextet entangle everything from death and heavy to technical and groove metal with plenty more flavouring involved. Their first year saw the Bludgeon, Consume, Transcend EP uncaged, the band’s second bringing the current line-up together with vocalist Adam Jones joining the raucous bellows of Patrick MacDonald. Now Deathflux is ready for full and hungry attention which it is very easy to expect to be crowding them through Execrated.

It is a release which from opener Forsaken which manages to grab ears and captivate as it trespasses the senses while hinting we are just in on the beginnings of even bigger and bolder things ahead. Maybe that means there is an open potential not quite realised within the album yet it just adds excitement for the future to that gained though the bracing assault of the release. The first track immediately infests the listener as the twin fury of the vocals joins the predacious lure of the guitars and instantly threatening touch of the rhythms.  Soon as it hits its imposing stride, the song winds its creatively malicious tendrils around ears, animosity matched in the individual and united antipathy of the vocalists. Often lurching along between its fevered intrusions as imagination fuels twists and turns, the track lays potent seeds for things to come.

The following Consume finds an even more predatory lilt to its voice and presence, extreme and melodic metal converging on ears and each other as again vocals challenge as they align their discontent. Dissonance soaks every note, syllable, and word; its dystopian coating breeding a conspiracy of enterprise and imagination within the track and subsequent album as proven by next up Devolution. Similarly woven yet individual in its character and rapacious attack, the song springs nu metal hues into its infestation of styles and the web of rancor woven from them. It too jabs and snaps as well as careers across the senses, the guitars alone weaving magnetic intrigue and adventure including a delicious groove as rhythms blossom in their predatory dynamics.

Toxin initially dances in ears with catchy intent, it’s pent up animosity and frustrations waiting to be subsequently unleashed through the riveting exploits of vocals and the persistently unpredictable landscape of the song. As much as all its predecessors hit the spot, the track truly grabbed our attention and appetite, that intimation of even richer and bolder layers to the band’s creativity a nagging pleasure.

Easily our favourite track, it is more than backed up by Bludgeon which simply lives up to its title as it accosts the listener but an assault built with an imagination and diversity of touch which at one point seems to embrace inspirations of a Slipknot or Mudvayne in other moments the likes of Fear Factory and Dillinger Escape Plan.

Next up Transcend is even more bullish and irritable, deathcore traits seeping venomously into its grooved trap set by the guitars, Clarke relishing the dynamics as he casts melodic dexterity into the thrilling mix before Exile brings the album to a vicious conclusion. It epitomises every aspect of the band’s sound; from their ferocious energy and nature to the creative touch and technical flair each member brings to the war.

Though first impression were potent, Execrated really flourishes over subsequent plays as each track reveals more of their individuality and invention which might have escaped notice first time around. Expect to be assaulted and richly pleasured by Deathflux’s first album and anticipate being addicted as its potential ignites in the future.

Execrated is out now through iTunes and other stores.

https://www.facebook.com/deathflux/   https://twitter.com/deathfluxband

Pete RingMaster 03/07/2018

Copyright RingMaster: MyFreeCopyright