Primitiv – Immortal & Vile

Primitiv Band Pic_RingMaster Review

Looking for a heavy slug of intoxicating grooves within tar thick liquor made from doom and death metal imagination, then checking out the debut album from Primitiv would be a rewarding move. Immortal & Vile is a tenaciously resourceful and relentlessly predatory proposal from an India hailing quintet showing more of the depth of the country’s metal scene. As you might hope from the band’s name, their sound and indeed release is a bestial protagonist of ears and appetite, a prowling devouring of the senses which is just as potent in inflaming the imagination.

Primitiv was formed in 2013 by bassist Riju Dasgupta and guitarist Rajarshi Bhattacharyya, former band-mates in Albatross and Workshop. Evolving a sound bred in true old-school metal, the band’s creativity, as shown by their album, grew to also involve thick strains of sludge and stoner virulence in the barbarous tempests of doom infested, death fuelled predation that points them out. With vocalist Nitin Rajan (Sledge, Morticide), guitarist Kiron Kumar (Hellwind, Colossus), and drummer Pushkar Joshi (Blood Meridian) alongside the founding pair, the album needs little time to whip up hunger in ears for its ravenous and seductive intrusions, though the release first opens with a more arguably expected but certainly successful epic flavoured introduction courtesy of Clash of the Gods. As the lone demonic tones of Rajan lay the base for the album’s exploration through “the creation of mankind, amidst dominating creatures, and its ponderous progression towards damnation”, stringed temptation and rising orchestral breaths unite to nudge the imagination and colour the air. It is a potent if unsurprising coaxing easily awakening eager ears and thoughts ready for the lumbering and rapacious apocalypse of World War Zero.

art_RingMaster ReviewThe second track stalks the listener from the off but with a liveliness which has the body involved as swiftly and firmly as the merging weave of spicy grooves holds the passions. Bestial and infectious, and driven by the iron loaded swings of Joshi in tandem with the dark fiendish tone of Dasgupta’s bass, the track crawls destructively yet engagingly with the grizzled throat raw prowess of Rajan straddling its presence. A lining of sonic enterprise is soon in evidence though, aligning itself to the dark rabidity on offer whilst casting increasingly gripping grooves and also a more toxic but equally alluring melodic tempting; it all springing from the skilfully manipulated strings on Bhattacharya and Kumar’s guitars.

The impressive start continues into Demon of Science where again imagination soaked adventure and brutality collude to smother and invade the senses. Rajan is again as primal in tone and varied in delivery as the antagonistic sounds crowding around his lead, an industrial spicing proving the point as it adds a compelling temper to the hostility fuelling the track. The uncompromising swings of Joshi ebb and flow in violence too though not their venom as they give the song a torrential drive emulated in the merciless rabidity of sound and attitude devouring ears.

If the listener thought it was being stalked by the first songs, Lake Rancid shows it was previously only a flirtation with its own compassionless harrying. The track is a primordial contagion with ravenous butchery from its first breath mixing with pitiless riffs and uncharitable rhythms to consume the senses as a winery of sonic imagination and magnetic craft lights the way. As the album, it is a gloriously sadistic pillaging of the soul quickly matched in success and raw majesty by Dead Man’s Desert. By this point, grooves shared by the band have a richer stoner-esque hue though they come as toxic and invasive as anything before. Like a sadistic heathen king, Rajan’s rasping tones crawl mercilessly through ears, riding this dirty tide of doom bred savagery bound in evocative and at times poetic melodic seducing; everything ultimately drenched in death and emotional carnality.

Immortal & Vile is brought to a powerful close by firstly the corrosive suffocation of Taurus and finally the sanguinary rock ‘n’ roll of Lords of Primitiv. The first of the two is a cancerous affair, every note and syllable a pestilential immersion for the senses and infestation of the psyche whilst its successor with less barbarity swings and sways with smouldering grooves and smoking sonic endeavour around sinew cast rhythms. Voracious at heart and eagerly flirtatious in its design, the track is a fiery slice of old school rock and coldblooded attitude, and quite irresistible.

Indian label Transcending Obscurity is developing a thoroughly enjoyable habit of giving the world some stirring and impressive metal incitements from India and surrounding areas; Immortal & Vile is right up there as one of the best yet.

Immortal & Vile is out now via Transcending Obscurity Distribution @ https://transcendingobscurityindia.bandcamp.com/album/immortal-and-vile-death-metal

https://www.facebook.com/Primitivband

RingMaster 03/02/2016

Copyright RingMaster: MyFreeCopyright

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Haster – The Current Sea

Photo Courtesy of David Trejo Photography

Photo Courtesy of David Trejo Photography

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

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

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

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

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

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

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

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

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

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

Pete RingMaster 28/01/2016

Copyright RingMaster: MyFreeCopyright

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Guardian – Revolution

Guardan Promo Shot_RingMaster Review

There is a fresh tempest about to savage the British metal scene; a bracing consumption of the senses going by the name of Revolution. It is the title of the debut album from Guardian, a Northumberland quartet which had already shown its creative intent with their earlier Tyrants EP. A long time in the making, the new twelve fury encounter is a ferocious blend of varied metal provocations driven by themes “centring on the balance of life and nature, and an emphasis on the unsustainable damage that humans are inflicting on our planet”, and a wake-up call to national attention for the great invasive roar of Guardian.

The band made their first impact with the aforementioned Tyrants EP mid-2014, inspirations from the likes of Pantera, Machine Head, Whitechapel, and Parkway Drive adding to the varied metal bred textures making up the release’s sound and even more so now, Revolution. Well-received by fans and media alike, the EP was supported by Guardian going on a month long European tour followed by a just as busy series of shows around the UK. Thoughts then turned to the band’s first album, Guardian taking their time to write and create the beast before us and proving suggestions that they are one of Britain’s exciting new breed of extreme incitement.

The short introductory climate of Resolution starts things off, its sombre yet elegant melodies the lining to an emerging portentous air as the instrumental leads ears and imagination into the volatile and combative landscape of the album’s title track. Instantly Revolution is an intimidating threat of wiry grooves and biting riffs against barbarous rhythms, the raw antagonism driven by the throat grazing vocal scowling of Matthew Hall and lit by grooved spicing from guitarist Zac Yates. It is a magnetic challenging of ears and emotions; one sculpted with open enterprise and unpredictable imagination within a ravishing cauldron bred from essences to be found in many flavours from death and thrash metal to hardcore and metalcore.

Guardian Cover Artwork_RingMaster ReviewApart from the fade-out, the track is an immense beginning backed as forcibly by the mazy dynamics and brutal tirades of Politics. Ears are instantly pushed back by its intensity as the predacious nature of the song brews, building until erupting in a hellacious outpouring loaded with the violent rhythms of drummer Joshua Stephen matched in vitriol by the bestial tones of Cory Young’s bass. Yates again veins the storm with toxic but virulent grooves and hooks, their potency successfully riding the crushing breakdowns, as here, breaching the whole of the album.

Innovate devours the senses next, its instant cantankerous character the spark to the song’s savagery in sound and vocal animosity. Inhospitable but again rabidly catchy, the blistering track inflames the appetite for voracious trespasses before the rapaciously energetic prowl of Capitalism matches its triumph. Rock ‘n’ roll to beat up on the world to; the song is an incendiary slab of heavy-duty metal vehemence leaving body and emotions with a want to take on the world.

Through the fearsome heavy metal seeded enmity of Deliverance and the outstanding hardcore toned Catharsis, band and album keep an already hungry appetite greedier, both tracks a sonic web of inventive twists and murderous inclinations before Propaganda provides a rousing if corrosive weave of winding groove honed tendrils to inflame the cancerous tapestry of sound. In some ways the three together provide the pinnacle of the album, each leading and seeming to inspire the following to new creative antipathies before the ‘mellower’ landscape of Hope hugs the senses. Its touch sears the sense from the off and of course it too unveils barbarous sounds and imagination over time, but from start to finish it enthrals with a ‘lighter’ atmosphere and infectiousness absent elsewhere within Revolution.

Nomadic leads the listener through a meandering landscape coated in raw melodic and electric sonic endeavour next, its rhythms building another bad blooded dispute as Hall’s vocals infest the psyche as supporting band roars incite the instincts. It is a crushingly invigorating proposition setting up body and emotions for the back breaking intensity of Ambivalence and finally the ravenous sonic dexterity and rhythmic rabidity of Restoration. The pair creates an intrusively dramatic and explosively volatile finale to Revolution, at the same time giving glimpse of even richer veins of exploration within the Guardian sound.

Revolution is a thoroughly satisfying and enjoyably exhausting release from a band easy to see making strong waves ahead. It is an encounter which might not live up to its name in regard to stirring up the metal scene, moments of surface similarity between some tracks and a familiar feeling to others noticeable if no issue, but for relentless seriously accomplished and stylish metal fury, Revolution is set to wake up thick attention.

Revolution will be available from 22nd January through all stores and platforms.

https://www.facebook.com/GuardianUKNEMC

Pete RingMaster 22/01/2016

Copyright RingMaster: MyFreeCopyright

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Reapers Riddle – The End Is Nigh

RR_RingMaster Review

If you are ever looking for some highly enjoyable and fiery rock ‘n’ roll with the muscle to snap bone, than Australian rockers Reapers Riddle is always a potent port of call. Previous EPs and singles have persistently proved the fact but fair to say the Perth band has simply outdone anything which came before with debut album The End Is Nigh. The twelve track adventure sees the band push their fusion of metal and heavy rock to new imaginative and bold heights; each encounter within its apocalyptic walls a singular protagonist within an overall emprise that forcibly grips ears and imagination alike.

Emerging in 2009, Reapers Riddle quickly whipped up attention with the release of a self-titled demo that same year. It was the A Touch Of Death EP two years later which opened up broader interest and appetites outside of their local scene though, the internationally acclaimed release stirring up the underground across the globe with just as wide radio play. The following period saw line-up changes and shows with the likes of The Getaway Plan and Misfits before the single Drop, and its video, revealed the bold growth and invention which had brewed in the band’s sound over the same period. Second EP Game Over only confirmed and pushed the band’s growing stature as well as an imagination which The End Is Nigh now reaps.

From the portentous Intro and its alluring dawning of the end, the album initially seduces ears with melodic tempting and melancholic ambience as Disintegrate brews up its subsequent roar. As much a statement on today as the first chapter in the album’s darkly prophetic theme, the track is soon swinging across the senses with ravenous riffs and robust rhythms with the recognisable and potent growling tones of vocalist Clayton Mitchell expressively colouring the emerging landscape. Guitars, led by the sonic prowess of Kristen Sanfead, burn the air as they flame with heavy metal and melodic rock enterprise, searing across the rugged rhythms prowling ears in turn.

Cover_RingMaster ReviewIt is a powerful beginning to The End Is Nigh matched by War on Indulgence and surpassed by the album’s title track. The first of the two rumbles and grumbles from the off, the bass of Jason Edwards a grouchy predation against the sinew swung beats of Andrew Burt with guitars again bringing a creative and inventive fire to scorch the hefty prowl of the song. With vocal diversity adding to the bestial weight and tone of the encounter, the track is a well-crafted mix of contrasts quickly over shadowed by its successor and its groove spun creative theatre. Vocals flirt and excite ears early on, again imaginative variety adding to the enticing spice of guitar and arousing bait of rhythms. At times the album is like a ‘rock opera’ with, as in this magnetic treat, the narrative’s drama as much as anything leading the inventiveness on show.

Rise of the Macchina slowly comes to life next, its compelling air and body rising to its steeled feet in predatory manner as an industrial air smothers monotony lined rhythms and their automated suggestiveness. With Mitchell again mixing up his delivery impressively, the incitement blends predacious roams with vociferous roars, the resulting a track which again leaves body and emotions hungry for more.

A shuffle of tenacious rock ‘n’ roll provides the heart of Welcome to the Wasteland, the stomp a celebration in the barren climax of all with riffs and rhythms rabid inciters wrapped in sonic revelry. A party at the end of the world, the exhilarating arousal makes way for the bluesy toxicity of Write of Passage. Swaggering in, clothed in tangy tendrils of guitar and carrying a devilish vaunt to its attitude and voice, the song is like the carnival barker at the end of days; the doorman to hellacious landscapes welcoming and intimidating in equal measure.

Those suggested hostile outcomes emerge as Valley of the Damned next, a thumping cascade of ravenous rhythms and gnarly riffs descending with merciless appetite upon ears, each clutching and clawing at the senses. Mitchell’s voice along with spicy sonic endeavour tempers the carnal heart of the track, merging with its antagonistic energy to spawn another invigorating rock ‘n’ roll anthem before the sobering croon of Last Breath envelops the imagination. A reflectively provocative smoulder of imposing shadows and melancholic angst, the song is a tantalising affair just as potent bursting into emotion fuelled cries becoming more captivating and irresistible with every listen.

Hollow is a heavy metal romp which at times lacks the punch of its companions but in other moments has body and voice fully involved in its brawly fun. Think Misfits sings Black Sabbath with an eager smile and the song will thickly please before it is forgotten in the might of Dying Breed, and alone the rhythmic enticement of Burt. Turning out to be as primal a predator as anything on the album, the track swings and roars as it enslaves, taking the listener on a boisterous canter lined with easy to devour hooks bred from unpredictable imagination; simply Reapers Riddle at their dynamic best.

Every album should have a song which puts the cat amongst the pigeons of expectations and closer Tnaryt Esir is just that. A theatrical exploration in its own right, the song opens with soaring classically honed female vocals which are soon replaced with darker gothic tones as rhythms engagingly skip along. Featuring Darkyra Black and Sophia Marie, the thirteen minute offering entwines rapacious heavy rock and a varied mix of metal to match the mix of tyrannical and engagingly enticing vocal delivery on offer. It challenges and fascinates, and though an undulating success in personal tastes at times across its unconventional soundscape it only breeds a want to explore deeper which in turn only leads to thicker pleasure found.

Reapers Riddle is ready to make a global impression with The End Is Nigh and show all just how good they are.

The End Is Nigh is available now through most online stores and @ http://reapersriddle.bigcartel.com/products

https://www.facebook.com/reapersriddle

Pete RingMaster 21/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

GET OUT. – Let Me In

photo by kim zangrando

photo by kim zangrando

Formed in 2014, GET OUT. is a Kingston, New York bred outfit showing a healthy appetite for a vast range of rock ‘n’ roll. Evidence comes with debut album Let Me In and its collection of tracks seeded in thick and varied essences from heavy rock, metal, punk, and plenty more. The result is a potent sound which gets straight to the point without distracting frills and a commandingly solid release providing increasingly thickening enjoyment.

With its members experiences in local, national, and international music scenes, GET OUT. has all the instincts and imagination to grab attention and get the body rocking. Scarab of Green quickly proves the point, the opener almost prowling ears with predation guided rhythms and fiery grooves before taking a lumbering stroll awash with spicy guitar coaxing from Ryan Rios and Jeremy Swift. Against more intensive and intimidating rhythms, it is an appealing start added to by the strong vocals of Morgan Y. Evans and blossoming further as the heavy rock enterprise of the song increasingly broadens in flavouring and aggression lined catchiness across its body.

Bloody Marys steps up next with sonic winds surrounding the rolling rhythms of drummer Greg Allen, this soon turning into an inviting mix of grouchy riffs and feverish grooves within a muscular frame stalked by an intimidating bassline. As its predecessor, the track has a hazy hard and blues rock air to its tone, the first of many hues spicing up the adventurous sounds within Let Me In, the metal fuelled Seven Heavens swift confirmation. From riff to rhythm, the song has a harsher intimidating edge to its body and attitude, nagging grooves and the thunderous bass of Colin Brown especially tasty against another strong lure of vocals. Sure to get anyone’s feet stomping and hips eager for the mosh pit, the track quickly hits the spot.

Album art by Chris Smith

Album art by Chris Smith

The melodically shimmering Master of Storms has similar success with its mellow croon and evocative melodies which lead to an alternative/melodic rock roar. As provocatively anthemic as anything on the album, it seduces and rouses the spirit with imagination before the sinew spun Chameleon strides in with a heavy rock swagger and bluesy climate. Carrying a rock pop scent to its infectious body too, the song stirs ears and appetite, though admittedly not quite as forcibly as the rampant rock ‘n’ roll of the album’s title track; Let Me In a robustly tenacious and energetically wilful stomp refusing to take no as an answer to its snarling infection.

The latter part of the album holds the strongest tracks, that particular highlight making way for another pair in the shape of the stoner-esque heated Moon Harvest and straight after, the great punk ‘n’ roll tearaway that is Faded. The first of the two is another slow gaited but intensively bodied proposition taking deliberately heavy steps across the senses whilst confronting ears with rapacious grooves and growling riffs aligned to scything rhythms. Its contagion drenched successor is simply a storming incitement of high octane riffs and attitude loaded rhythms guided by the ever impressing vocals of Evans and band. With the previous song to the pair, they make the best extensive moment within Let Me In, simultaneously revealing more of the diversity within the band’s sound.

The burning rock ‘n’ roll of Dagger Complex brings the album to a thumping close, its heavy rock a match for the offerings right before it with it’s in the face dynamics courted by virulent aggression and blood-pumping energy. It is a fine end to a release which, though for personal tastes Let Me In is a few flames short of the raging blaze it might have been, gives full enjoyment and you cannot be much greedier than that.

Let Me In is available from January 15th on iTunes and through the GET OUT. bandcamp.

https://www.facebook.com/getoutrock    http://getoutband.com

Pete RingMaster 15/01/2016

Copyright RingMaster: MyFreeCopyright

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Hedfuzy – Self-Titled

Catching up on another release appearing towards the rear of 2015, we offer up the self-titled album from Hedfuzy as a proposition to seriously consider investigating, especially if progressive rock gets the juices flowing.

Hedfuzy is the solo project of Irish multi-instrumentalist Pat Byrne and its debut album a captivating progressive adventure of melody thick and magnetically tenacious rock ‘n’ roll with a rousing contagion to it. The musical history of the Limerick musician includes touring at the age of 17 with Celtic Fusion, followed by experience building exploits touring and recording with bands such as rockers Kraven and reggae outfit Jeffonesta as well as playing bass on some of Delorean Suite’s current release Two Lives. Now Byrne is ready to ignite attention and ears with his own solo proposal, recruiting additional talent from Shardborne’s Ben Wanders, Delorean Suite keyboardist Graham Conway, guitarist Graham Keane of The Vicious Head Society, and guitarists Mike Moriarty and Cameron Allen to bring his seriously engaging songs to life.

Mixed and mastered by Chris Collier (Prong, Lynch Mob, KXM), the Byrne produced album opens with Sing which quickly coaxes ears with an enticing lure of guitar. Settling into an energetic stroll as Byrne’s potent vocals sit invitingly upon his blend of melody fuelled guitar and keys, the song soon begins to swing with a gripping catchiness aligned to a darker shade of similarly lively and eager bass led rhythms. With eighties seeded air reminding nostalgically of Modern English and currently David J Caron veined by fiery progressive enterprise, the track is a rousing start to the album quickly backed by the muscular persuasion of Snakes. Melancholic keys offer the first suggestive caress, Byrne’s vocals swiftly adding to the alluring start and in turn followed by a thicker smothering of riffs and rhythmic theatre. It is a potent collusion of textures which again has infectiousness running through it as heavier and darker shadows envelop the senses.

Hedfuzy - Self-Titled_RingMaster ReviewThe creative and physical skills of the artist persistently ignites ears in the song and album but always without offering any indulgence to temper their strength or the organic creativity impresses in the likes of How To Tear Your World From My Head. As the third song begins to flows through ears, initially bass pulses the lone dark protagonist in a misty glaze of harmonic and melodic tempting, things quickly come to boil as rugged rhythms and gravelly riffs collude with wistful keys, provocative guitar, and jazzy bass. The result is an eventful and at times volatile landscape of stirring invention and compelling craft keeping the imagination as busy as ears whilst pushing the already impressing stature of the album to new heights.

Mine brightly shimmers with melodic and vocal expression next, it an alluring serenade of melodic rock with the flavoursome essence of UK band The Inner Road to it as it settles enjoyable between the more raucous and dynamic exploits of the previous roar and The Death which follows. Not as dark as expected, the new track is another beacon of resourceful composing and boisterous musicianship lined with a craft and imagination which has body and emotions eagerly engaged.

The emotive croon of When I Come Back Down is open evidence of that core prowess in songwriting and emotion, and diversity as with This Broken Throne, a grouchy but again wholly virulent roar of aggressive rhythms and sonic adventure laced with the impressing vocal tones of Byrne. A thrilling and fluid mix of Squidhead like cantankerous metal soaked in a warmly reflective exploration of melody and voice, the track is as absorbing as it is anthemic before a mellower proposition in Name comes in. With winy melodies and atmospheric drama within again an intensive proposal of bass and rhythmic confrontation, the song carries a touch of Johnny Wore Black to it, captivating and stirring the senses from start to finish before leaving the album’s outstanding title track to bring things to a ferociously dynamic close. The instrumental is glorious, a brawling seducing collage of sound and textures woven into an anthemically fiery and exhaustingly exhilarating tempest as virulently incendiary as it is dramatically provocative.

Hedfuzy is an album to light up any day and the band a project which, even with Byrne seemingly perpetually in demand, the man soon appearing on the debut album from Irish progressive metal band The Vicious Head Society alongside keyboardist Derek Sherinian (Dream Theater, Black Country Communion) and drummer Kevin Talley (Chimaira, Suffocation), we can only hope to hear a lot more from.

The self-released Hedfuzy is out now via Amazon.

https://www.facebook.com/Hedfuzy

Pete RingMaster 13/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Razoreater – Vacuum of Nihil

razoreater_RingMaster Review

According to their bio, UK grindsters Razoreater formed in 2011 with “the hope of writing the most misanthropic, abrasive music they could.” It is fair to say that their aim has certainly been achieved within new EP Vacuum of Nihil. It is a five-track scourge of noise and cynical emotion; an animus of intensity and raw sound violating every pore as it ravages the senses. Belying its corruption though, is a nasty virulence springing from the fusion of hardcore punk, d-beat, grind and metal, an infection which keenly incites involvement as its body viciously abrases.

Hailing from Peterborough, the quintet of vocalist Ben Rollings, guitarists Sam Gollings and Stephen Pickles, bassist Sam Holmes, and drummer Luke Thompson have drawn on inspirations from the likes of Napalm Death, Rotten Sound, Pulling Teeth, Dismember, and Entombed in the creation of their individual pestilence of sound. They create a provocation which has seen Razoreater earn strong support and reputation through their releases and live within the underground scene, one now threatening to break out into wider attention with Vacuum of Nihil.

Art12inch__RingMaster Review   Nailbombed is the first rabid trespass on the senses; a sonic breeze initially building around a vocal sample before an eruption of hellacious intensity and rabidity. Guitars scar the air as vocals match their animosity in raw kind upon ears, their turbulence stalked by predatory rhythms and an underlying abusive swing which just recruits the appetite. It is a ruinous confrontation quickly equalled by the following I, Dreadnought, its debilitating unbridled fury quickly showing itself insatiable in animosity and sonic ferocity. As the first storm though, at its core a rock ‘n’ roll psychosis as infectious as it is venomous is laying riotous enslavement within it all.

Both of the opening pair of tracks goes for the jugular but there is more to the Razoreater predation as shown by Bloodeagled, the cancerous invasion crawling over the listener with primal, sludge thick enmity. It too unlatches the gate to unrestrained full-on assaults but the cold and harsher lumbering moments bring new and flavoursome scarring rewards for those braving the murderous affair.

A rampant sonic and vocal rancor drives Wrath next. Flesh flaying riffs and scathing syllables are the fuel to the scavenging proposal with irresistible grooves the tempting scenery within an evolving soundscape of bad blood and creative ill-will. There is no mercy from or escaping of the song’s blistering tirade or that of its successor and closing violation Filth Scheming, Shrill Screaming. Another venomously jaundiced onslaught, the track is a minute and a half of punk pain and gripping danger which eventually content that its barbarous incitement is done unleashes another minute or two of senses smothering black drone hued noise.

It goes without saying that Vacuum of Nihil is going to be a sonic malefaction too far for many but also a delicious infringement of the psyche for others. There is only one way to find out of course, to allow Razoreater to trespass.

Vacuum of Nihil is available from January 13th via WOOAAAGH and Skin and Bones Records on one-sided 12″vinyl with a limited edition of 500 yellow/black marbled copies with etched logo B-side, 12″ insert, and download code and at https://razoreater.bandcamp.com/album/vacuum-of-nihil

https://www.facebook.com/razoreaterhate/

Pete RingMaster 13/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/