The exciting video for ‘Insomnia’ from Pryti gets its national release.

Pryti Online Promo Shot

PRYTI’S SPANKING NEW VIDEO UNLEASHED!

‘One to watch for 2015′ Alex Baker / Kerrang! Radio & TV

“Pryti’s big on melody and as strong musically as vocally.” 8/10 Whisperin & Hollerin

‘…destined to be a name on the lips of and stirring up the British heavy rock scene.’ RingMaster Review

Taking the emotive heavy groove of the Deftones merged with the alluring appeal of Paramore, ‘Pryti’ continues her climb with her brand new single ‘Insomnia’, which is out now and taken from her stunning debut album ‘Tales Of A Melancholic’. The video for the thrilling single has already been exclusively premiered by Kerrang! magazine and you can now check out it out right here –

https://www.youtube.com/watch?v=9F1vqJ1_zNE&feature=youtu.be

 

In complete contrast to today’s manufactured X Factor culture, Pryti is the real deal. A true independent artist, Pryti wrote, sang and played guitar and bass on all songs from her forthcoming debut album ‘Tales Of A Melancholic’. The Birmingham singer-songwriter has rock oozing from her core, and in keeping with her independent and DIY ethos, she has set up her own label ‘Welcome To Pariahville’, which is home to all of Pryti’s releases.

Pryti’s last EP ‘Welcome To Pariahville’ picked up widespread acclaim from the Rock/Metal community. Sam Carter (Architects) reviewed her EP in Kerrang! Magazine to high praise, while Rocksound Magazine covered Pryti with an online feature. Tracks from the EP also racked up radio airplay on Kerrang Radio’s Fresh Blood show and Total Rock Radio extensively played ‘Abyss’.

Pryti’s debut album ‘Tales of a Melancholic’ was produced by Justin Hill from Sikth (Yashin, Heart of a Coward, Bury Tomorrow) and the record is already picking up national press attention from Metal Hammer, Big Cheese Magazine and Rocksound. Alex Baker from Kerrang! Radio has also touted her as ‘One to watch for 2015′. With further coverage and support in the pipeline, 2015 is going to be massive for Pryti. Look out for ‘Insomnia’, which drops this February. The video is stunning and the track is a cunning slab of low-slung emotional rock at its very best.

 PRYTI HAS RELEASED ‘INSOMNIA’

https://www.youtube.com/watch?v=9F1vqJ1_zNE&feature=youtu.be

https://www.facebook.com/prytigatgemusic   http://www.youtube.com/user/IAMPRYTI  https://twitter.com/prytigatge

The NX – Night Heaver

Photo Credit_ Robbie Shakeshaft Radcliffe Studios

Hitting the listener like a venomously swung sledgehammer in its first breath and proceeding to increase in hostility and brilliance from thereon in, Night Heaver simply blows thoughts and emotions away. The debut EP from British hard rock/metallers The NX, the four track onslaught is a dramatic and breath-taking introduction to a band sure to make a major impact on the UK music scene if their first trespass of the senses is any evidence.

Possibly the strength and quality of Night Heaver could be expected as The NX features former members of The Casino Brawl in its line-up; nothing is ever guaranteed though and the band swiftly show they are a unique and potential drenched proposition in their own right with the EP. Formed a few years ago in the north east of England, The NX soon bred a potent reputation and following as they proceeded to ignite venues with their live presence, which over the years has seen them play with the likes of The Chariot, This Is Hell, Enter Shikari, Bring Me The Horizon, Penknife Lovelife, Heights, Yashin, Job for A Cowboy, The Casino Brawl, Deaf Havana, Devil Sold His Soul amongst many more. Returning from a prolonged hiatus, the band unleashed their creative fury again from the end of 2013, a new line up and appetite to create more contagiously aggressive shows and sounds driving the band’s return, which has included so far successful tours with Funeral For A Friend, Hacktivist, and The Blackout. It has all added to a growing anticipation for the band’s debut EP, and there is no doubt that Night Heaver feeds all hopes and wants with ease whilst providing much more.

Lonnie Johnson’s Greatest Hit is an immediate raging bellow in the ears but equally a compelling web of heavy rock grooves and spicy hooks with a tempestuous rhythmic incitement. Quite swiftly like a blend of Every Time I Die, Turbonegro, and Cancer Bats with its own distinctive roar, the track takes no prisoners. The venomous vocal squalls of Warby Warburton intrude and entice with rasping causticity whilst the spicy hooks and scorching grooves of Mark Thirtle seduce and scar with equal tenacity. There is also great unpredictability to the track which shines out, PromoImagethe sudden twists and dips into intriguing and at times sinister invention, mouth-watering and ear catching.

It is a potent start but personally just an appetiser for bigger and better things to come, starting with The Great Unwashed. The second track immediately has a dirty air to its breath and opening riffs, an antagonistic nature which is urged in by the great bassline cast by Glen Holmes and spread with intensity through the swiftly following blaze of guitar punctured by the viciously swung beats of drummer Luke Walker. Every syllable spat from Warburton comes with a soaking of malice, a rancor matched by the rest of the track though it too is unafraid to offer catchy hooks and anthemic vocal calls against the clanging steely tone of the guitars and an overall merciless ferocity.

Yet another plateau is breached with the following The Day It Rained Forever, the opening grouchy coaxing of another irresistible bassline aligning to thumping beats for the first potent bait from the song. Soon though it is prowling and seducing as great cantankerous vocals, which initially hold a sobering air, add their interest in proceedings before they are venting with rich malevolence amidst a web of tangy grooves and psychotic rhythmic enterprise. As hardcore punk as it is metallically infused, the song is a glorious maelstrom which twists and turns as if it has the creative mania of St. Vitus Dance. Equipped with a closing noise fostered chorus which is impossible to leave alone, the track is one big reason for suspecting The NX will take their history to new major climes.

It is a suspicion done no harm by the other songs and especially the raging Let Sleeping Dogs Lie which brings the EP to an immense close. In a way opening in similar fashion to how its predecessor parted, the track brawls and violates the senses with another hardcore bred ferocity and corrosive inventiveness. Every riff scowl and hostile vocal expression exhausts and smothers the senses which in turn are invigorated by an incitement of hard rock melodies and spiky hooks which erupt and surge from time to time across the ever evolving provocation.

The song is an outstanding end to a tremendous release, the kind of debut fans were hoping and delivering a startling and thrilling adventure which declares The NX as a new inescapable force in British rock ‘n’ roll.

The Night Heaver EP is available from February 23rd on EP and digitally via Footloose Records and all stores.

https://www.facebook.com/thenxofficial

RingMaster 23/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

Pryapisme – Futurologie EP

Photo 2

Whether you imagine Futurologie as the soundtrack to a deranged fairy tale, the evolving musical carousel to a spatial set ballet, or the accompaniment to the light and dark caresses of life, and it changes with every listen, French avant-garde metallers Pryapisme have ears and imagination eagerly doing somersaults once again. The band itself describes their new EP as a single 23 minute track about space, cats and house rent. Divided into eleven sections which the band suggests is for clarity, the piece is quite simply aural theatre to be bewitched by and run away into one’s own adventures with.

With the added bonus of a complete classical re-orchestration of the track, the Futurologie EP presents more of the insatiably diverse yet never demanding or disjointed aural imagination which made previous album Hyperblast Super Collider one of the essential adventures of 2013. The new release is as fans of the band would suspect a whole new and distinctly individual proposition to the previous encounter, its track Petit traité de futurologie sur l’Homo cretinus trampolinis (et son annexe sur les nageoires caudales), a perpetual evolution and exploration to which a myriad of interpretations and visions, as well as the band’s own drama, can be experienced. As mentioned the piece is split into parts with 1 instantly gripping thoughts as its cascade of beauty yielding keys embraces ears with mesmeric charm. There is a brewing drama behind it though which through an anger fuelled conversation courted by a nintendocore mischief, erupts in a thumping stride of feisty rhythms and ravenous riffs. A mere twist in the tale of course, this in turn slips into a sonic dance of synth bred revelry with sinews stretching from beats, guitars, and energy alike.

It is a compelling start which only gives an appetiser of things to come through the remaining spellbinding flight; cartoonish devilment and oriental infused country melodic twangs just one whiff Artworkwithin the psyche invigorating journey. The whole track moves with riveting fluidity and temptation, imposing itself on the imagination with samurai like nobility occasionally whilst in other moments slipping through noir lit jazz and vaudevillian avenues of enterprise. All the time though it is stirring up ears and thoughts, tempting them into as suggested earlier, constantly shifting exploits and escapades which only breed the fullest passion and bloated enjoyment for the scintillating proposition.

The Clermont-Ferrand quartet of Ban Bardiaux (programming), Nils Cheville (guitar), Antony Miranda (moog, bass), and composer Aymeric Thomas (drums, percussion, keys, Bb and bass clarinet, electronics, programming) constantly cast and recast their web of sonic fascination and aural emprise, at times tantalising the listener with a metallic confrontation of electro and progressive rock experiments, in others flirting with a chiptune spiced classical drama, like a hyperactive Peter and the Wolf revelling in a LSD overload. Equally the piece of music can enchant with a gentle seductive touch or reach into the other extreme and unleash a voracious tempest of electronicore ferocity and blackened post rock predation; though all becomes just individual pieces in an engrossing and mentally inflammatory glitch infused rapacious soundscape.

It is impossible to describe and give a fair impression of the alchemy fuelling and raging within Futurologie, but fair to say that those already blessed by knowing and basking in the wonderful musical oddity that is Pryapisme, will wet themselves in ardour whilst those yet to be infected have been given the most virulent and thrilling doorway into one of the truly unique propositions in music. Oh they and their composition sounds rather sensational orchestrated too just so you know.

The Futurologie EP is available from February 9th via Apathia Records @ http://apathiarecords.bandcamp.com/album/futurologie

http://www.pryapisme.net

RingMaster 09/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Cry Excess – Ambition Is The Shit

9 (300 DPI)

In your ears, in your face, and for a great many destined to be in the passions, the debut album from Italian metallers Cry Excess is an introduction demanding to be taken notice of. Ambition Is The Shit unleashes ten tracks which furiously roar with adventure and imagination, and all coming with a tapestry of flavours drawn from everything from metalcore to groove metal and industrial to mathcore. Ground-breaking it is arguably not but seriously captivating and contagiously invigorating Ambition Is The Shit is a bellowing success.

Hailing from Turin, the quintet has been turning up the heat at home and building a formidable reputation and following for themselves. Now Cry Excess is ready to infest the world with their ferocious sounds through Ambition Is The Shit and it is hard to see them not continuing their striking ascent, especially as tracks like album opener Ripshit (Hands Up For The Italians) and more so the following The Public Enemy invade ears and attention. The first song rides in on a gentle electronic breeze, little rumbles of tempestuous electro teases littering its haunting slightly portentous air. As soon as a heavy footed swipe of drums and short stubby riffs descends, everything intensifies and crowds around the initial rap metal seeded vocal delivery. The track continues to present an agitated character and presence, seemingly and intriguingly trying to find its feet and full height before its successor takes over. It is an imaginative and fascinating start straight away surpassed as the second song strides in on sonic predation and rhythmic antagonism; both lorded over by caustic vocal squalls. Like The Browning meets Bury Tomorrow clad in the exploration of Destrage, a band which comes to mind most across the whole album, the song blazes with contagion and enthralling enterprise.

Hustler comes next and as the first two opens with calmer waters, its electro shimmer aligned to constricted vocals and a magnetic coaxing. Whispers of nu-metal add to the flavouring as a sample sets the impending scene of hostile passion and savage confrontation. Its brief but potent two minutes makes a thick appetiser for the title track which follows with nostrils flared and riff loaded guns blazing. Keys bring a warm embrace to the turbulence whilst vocals show a great diversity and imagination, they continually one of the big draws of the album. Predominantly though, the song is a voracious beast of sound and intent, harassing and bruising the senses with skilled inventiveness and blustery passion.CRY EXCESS FRONT COVER

Both the melody rich tempest of What Keeps Us Alive and the dance revelry of You Hate Because You Can’t Compete keep things stomping and impressing nicely. The first may have a canvas of sonic and melodic charm but still confronts like a raging predator and protagonist of ears and appetite, revelling in its raw and at times unpolished but persistently virulent creative fervour. Vocals again provide clean and seducing anthemic bait from within the chaotic and delicious bedlam around them whilst the song’s successor saunters in on an electro swagger and proceeds to flirt and rigorously dance with an electronicore tenacity and devilry. There is great diversity to the album even though the maelstrom of sounds often offers a similar surface storm, and this song epitomises the depth as potently and openly as any.

Through the corrosive rabidity of Rebel, Forever and the anthemic march of Unto Death, band and album leave ears and appetite greedy whilst Neither Forgive Nor Forget kicks the thrills up another gear with its heavily shadowed and intimidating senses crowding cloud of sonic and vocal voracity. The rich blend and extremes of guttural roars and melodic coaxing from the band continues to spark within ears, providing a beacon in the tsunami of noise and hostility, as also does the great nintendocore twist just before an even greater and exhaustingly welcome abusing of the senses.

The album closes on the fierce drama and tumultuous intensity of I Never Liked Clowns, a bestial incitement of stabbing riffs and crippling rhythms swinging from stretched vocal exploration and volcanic sonic eruptions. The track sums up the whole of Ambition Is The Shit in many ways, a conquest of ears and passions which is not spinning a web of new invention but creating an irresistible and hellacious devilment to submit to. Expect big things from Cry Excess ahead and even greater furies of highly pleasurable incitements like this.

Ambition Is The Shit is available via Luxor Records from January 27th @ http://www.luxor-records.com/#!store/cfvg

https://www.facebook.com/cryexcess

RingMaster 27/01/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.thereputationlabel.today

Crack House – The Hits Just Keep On Coming

frontcover

Beating on ears, mugging the senses, and corrupting the psyche, The Hits Just Keep On Coming is a punk metal violation which just keeps coming. Unleashed by US antagonists Crack House, the EP is a corrosive brawl of crossover ferocity bringing hardcore punk, crust and thrash in on a tempestuous and belligerent dirt caked rock ‘n’ roll rampage. It is not for the faint hearted or those with a nervous disposition, nor those wanting frills and extravagant excesses to their sounds, but for ruinous and degenerate metal punk animosity, this is one EP well worth being ravaged by.

Featuring members of Eat The Turnbuckle, Javelina, Call The Paramedics, and Bitchslicer, Crack House has no redeeming features to its character and everything riveting in punk bred hellishness. From its opening track, also called Crack House, the band is roaring, abusing, and providing an unrelenting and blistering incitement which beneath its scourge of a surface has a maelstrom of riffs, hooks, and enterprise giving each onslaught’s depravity depth and weight. The first song flings abrasing riffs and vocal causticity at ears as soon as it’s opening brief skit sets the scene. Thumping rhythms are just as full of enmity, every swipe a resonating punch entwined in either a tempest of varied vocal squalling or a sonic whipping of guitar. With thrash and grind just as vocal as punk in the rabid stomp, the song makes a formidable entrance to the release, an opening taking to rawer destructive heights by This Emergency Room Is Gonna Need A Fucking Emergency Room.

The second song has fear and juices flowing from the first rumble of rhythms, the drum’s wanton bait soon joining an opening sonic coaxing. In no time the track becomes a contagious and violent seducing of ears and passions, leading the senses into a visceral landscape which could be described as Motorhead meets Hellbastard at a brawl organise by The Exploited. Grooves spray venom and beats destruction yet the heavy metal spiced sonic insidiousness which veins the storm is almost inviting in its resourcefulness. It is an anthemic intrusion, a description fitting most tracks on the EP, and especially the following title track. Again launched on a torrent of rhythmic contagion, the track smothers the senses in a wave of defiling sonic adventure whilst the rhythms increasingly feel like they sense blood as every scything swing comes with greater rancor to match the increasing bile in the vocal delivery.

Without quite matching its predecessor, the song still ignites ears and emotions impressively as does the briefer animus of Junkie Fucker. It is pure hate and defiance in one accusing sonic fury which leaves ears and emotions ringing as it makes way for the final grudge, March Of The Crackhead. Metal and punk collude here to provide a senses scorching, psyche bruising squall which is as irresistible as it is intimidating. Grooves and hooks are ridiculously addictive whilst the rhythms find new and greater bait in their armoury, building a song which is a total seduction even as it violates your veins and steals your sanity.

   The Hits Just Keep On Coming leaves a real hunger for more by its end. You will feel dirty and violated from the encounter but certainly for hardcore/thrash lusting fans more than likely will breed a real appetite and addiction for sound and band that just will not go away.

The Hits Just Keep On Coming is available via Horror Pain Gore Death Productions http://www.horrorpaingoredeath.com/store/hpgd102.html, as well as Buriedinhell Records http://buriedinhell.bandcamp.com/releases, and Useless Christ Records from January 20th.

https://www.facebook.com/CRACKHOUSEROCK

RingMaster 20/01/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.thereputationlabel.today

 

Maxstone – The Decade EP

10421195_347983412050680_226012300702422015_n

Having ten years or so to hone a flavoursome and attention grabbing sound around Southern Saskatchewan and beyond, Canadian rockers Maxstone finally released their debut a few months back, a stirring encounter going under the name of The Decade EP which all fans of metal and punk infused rock ‘n’ roll should add to their must investigate lists. Bringing two older songs with a couple of newer written encounters, the release is a seriously enjoyable bruise of the ears bringing a mix of Strung Out, Red Tape, and Thrice like ferocity to their rugged party. At times there is even a hint of Reuben to the creative fire of songs and though the EP is not flushed with striking originality, it only leaves thick satisfaction and fierce appetite for more in its wake.

Made up of Nathan Fafard, Gelvis Sheldon, Brett Marit, and Jordan Godson, Maxstone sets things off with Battle and immediately guitars are a blaze of sonic enterprise amidst a bracing provocation of rhythms. It is a sturdy ear catching entrance which soon embraces similarly raw and impassioned vocals without breaking stride. Punk at its heart but with a delicious veining of a3310393465_2metal seeded grooves and sharp hooks, the energetic and at times almost chaotic bluster of the song is as appealing as the technical craft and imagination flirting from within the impressive opener.

The following Mystery Whiskey is built from the same template, its intensity and passion as forceful and busy as in its predecessor. Musically there is less of a roar in the second track than the first, but with the vocals losing none of their thick expression and the chorus finding stronger virulence, the song keeps the EP on a potent and magnetic course before being eclipsed by the final pair of songs.

Panic stomps in first, beats a scything provocateur against the spicy grooves of the guitars. Vocally there is a slight restraint which works a treat as bass and guitars cast their web of melodic punk and metal seeded sonic enterprise. Group calls back up these potent aspects as the song progresses, its anthemic strength accentuated by their roars within another enjoyable weave of fierce melodies and punchy rhythms. Completed by a brief but great classic metal toned solo, the track makes way for the outstanding Greed. The best track on the release it is a blast of punk hostility and heavy rock predation driven by the blistering and skilled force of the drums. Full to the brim with searing sonic hooks and throaty bass grooves aligned to another dose of anthemic vocal persuasion, the track is a rampant incitement which only increases its lure, weight, and intensity as it heads into a heady climax fuelled by the exhausting and scintillating assault of the drums.

The Decade EP is an impressive start to the band’s recording career, the first of many potent encounters a great many will be hoping as it gains broadening attention. It is not going to set the world on fire but for heart felt antagonistic punk ‘n’ roll it will leave no one wanting, only hungry for more Maxstone.

The Decade EP is available now @ http://maxstone.bandcamp.com/album/the-decade-e-p

https://www.facebook.com/maxstonerock/

RingMaster 12/01/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.thereputationlabel.today

 

One Last Shot – First Gear

10704325_857681867616084_7305730714897874677_o

You just have to love a bruising stomp of rock ‘n’ roll where you feel dirty, battered, and exhaustingly contented at its conclusion, and few come more satisfying than the First Gear EP from French rockers One Last Shot. Without worrying about setting new templates for others to follow, it inspires by simply unleashing heavy passion drenched sounds in a blistering antagonistic and aggressive, not forgetting exhilarating form. The five track release is rowdy and refreshing rock ‘n’ roll at its prime, a riot of metal and rock everyone can lose their inhibitions to.

Consisting of ex-members of The Outburst and Crack Ov Dawn as well as the bassist of Sin And Death, One Last Shot creates a roar which takes essences from the likes of Lynyrd Skynyrd, Motorhead, and Guns N Roses but equally involves groove and stoner metal tenacity with punk belligerence in tempests which easily spark attention and hungry appetites for more. Described by some as dust metal, the quintet’s sound is a take no prisoners brawl with the devilry of the sleaziest salacious and thrilling romps. It is an unbridled and seriously accomplished sonic provocation bound in inescapable fun.

Brawler is the first track to accost ears, casting a melodic enticing instantly through one then the two guitars sculpting the emerging song. It is a restrained but spicy opening awash with a0481176261_2southern winery which opens up into a raw and raucous incitement through the gravelly tones of vocalist Sky and the anthemic riffs of guitarists Shelby and Scarsid. With rhythms as imposing as the hooks and grooves are magnetic, the track virulently strolls with punk hostility and heavy rock intensity. A great solo only adds to the rich lure and enterprise of the track before it all makes way for the even more impressive Skateboard Song. An enslaving hook is the first thing to escape the lips of the song, swiftly followed by the crisp beats of drummer Kmy and a throaty bassline from Void. This is in tandem with great caustic vocals and a contagious blend of ravaging riffs and seductive grooving. The encounter is glorious, again part punk, rock, metal and quite irresistible.

The following G.A.S. is in no mood to let levels drop either, its busier opening a furious mix of snarling riffs and sinew swung rhythms ridden by the abrasing vocals of Sky which are backed by the anthemic calls of the band. Once again infectiousness soaks the guitars as tangy grooves grip ears and passions with consummate ease whilst as in its predecessors, imagination and unpredictability add their own distinctly flavoursome and tenacious bait. By this point in the release, if not earlier, it is hard to imagine anyone not being lost to the impressive craft and addictive hell-raising of First Gear but to make sure another pinnacle consumes the senses through the next up Headbangers. A roll of drums triggers a waspish lure of riffs, each wave coming with a web of toxic grooves and barb loaded hooks. It is a sensational start soon joining a tide of eager intensity and melodic spicing. As elsewhere, there is a gang feel to the presentation and energy of the song, a united front taking on all-comers whilst like an arrogant peacock it simultaneously expels sonic and melodic colours to seduce all before.

Closing with the maybe less dramatic and gripping but no less enjoyable Prophesick, the EP comes to a great imposing end. The last track puts on its heaviest rhythmic boots and harries and batters ears with belligerent enterprise and heart and without lighting the same fires as earlier songs, it still unreservedly pleases as it completes what is an excellent and refreshing proposition.

It is hard to do anything but heartily recommend First Gear; yes maybe originality is not high on the agenda but it twists established weaponry into a ferocious and riveting storm which quite honestly leaves most other similarly bred offerings in the shade.

The First Gear EP is available via Just For Fun Records now and digitally @ http://onelastshotofficial.bandcamp.com/releases

https://www.facebook.com/onelastshotofficial

RingMaster 07/01/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.thereputationlabel.today/#!radiolistings/c1xzi