.bipolar. – Seven EP

bipolar_RingMasterReview

Consisting of four emotionally intrusive and sonically bracing tracks, the Seven EP marks and continues the growth of sound and invention unleashed by Las Vegas based metallers .bipolar. across previous releases. It is an irritable and creatively imposing affair bred from various strains of metal with a healthy dose of punk hostility. It merges familiar essences with the band’s own distinct inventive character, creating an onslaught as provocative and intriguing as it is ferocious.

Emerging in Northern California in 2003, .bipolar. was recognized within a year as Best Metal band by the Sacramento News & Review. Since then they have played hundreds of shows, honing their sound and reaping praise all the time, exploration backed by a handful of well-received releases. 2008 saw vocalist Charlie and drummer Brian Hanks relocating to Las Vegas and it is fair to say the band’s creativity and reputation really blossomed from that point on as guitarists Jaisen Hinds and Kevin Lemus, and bassist Chris Kmit subsequently joined to establish the current line-up.

Seven sees the band at its most adventurous yet, confronting and pleasing ears with a new sense of development and maturity without losing the raw energy and aggression, lyrically and musically which has already marked them out. Latest single Ernest leads the way, the opener building a wall of stabbing riffs and similarly invasive beats as Charlie prowls the landscape. Her tones are caustic and full of the irritancy lining the sounds around her, but equally magnetic and bewitching as she begins showing her range of melodic serenading. Spicy hooks and winy melodies tease and flirt within the tempestuous climate, not always as freely open as they might be but a reward for closer and longer inspection as the track makes a fiercely enjoyable and impressive introduction to the EP.

sevenepdigicover_RingMasterReviewPyrite follows uncaging its full punk metal roar straight away. It rips into the senses, Charlie the ringleader with her attention grabbing presence and delivery but just as potently matched by the tide of antagonistic riffs and biting rhythms. There is a touch of Boston metallers Mongrel about the song but a scent generally lost in the combative and rousing blaze.

The predator of the EP is Habitual, the song stalking the senses with its barbarous riffs and vicious rhythms as Charlie creatively and expressively vents. Every swipe is decisive, every groaning groove enslaving whilst every word escaping Charlie’s throat is empowered with spite and energy. Seriously igniting the passions, the song takes best track honours, its raw qualities and exciting prowess though still offering the potential of bigger triumphs to come as the band grows again.

Overnighter brings the EP to a close in potent style if lacking the final spark to rival those before it. Nevertheless it leaves ears more than satisfied and appetite eager for more; wiry melodies with a tinge of Avenged Sevenfold and the like to them bringing additional ingredients to embrace in the strong encounter.

The Seven EP shows that .bipolar. is really coming into their own, musically and as a force, and will surely nudge bigger spotlights towards their seriously enjoyable roar.

The Seven EP is out now digitally and on CD.

http://www.bipolarmetal.com/    https://www.facebook.com/bipolarmetal    https://twitter.com/bipolarmetal

Pete RingMaster 01/02/2017

Copyright RingMaster: MyFreeCopyright

Circle of Dust – Machines of Our Disgrace

As treats go, the re-release last year of all four Circle of Dust albums was rarely rivalled, until the last sigh of 2016 that is and the unveiling of a brand new collection of songs from the 90’s emerging industrial / electronic-rock project. Circle of Dust was the introduction to the craft and stirring talent of artist/producer Klayton, the fore-runner to his acclaimed and inspiring project Celldweller though the differences to the pair of propositions is an open roar no more potent than in the breath-taking Machines of Our Disgrace.

The quartet of Circle of Dust releases in Circle of Dust, Brainchild, Metamorphosis, and Disengage and also the Misguided album from his side project Argyle Park had been ‘lost’ to our ears for over twenty years with the rights to all unavailable to Klayton after the labels they were released through shut down back in the nineties. After two decades chasing, he re-gained ownership of the rights in 2015 and set about re-mastering each of the five full-lengths last year, expanding all with additional demos, unreleased bonus tracks, acoustic/alternate versions of tracks as well as some new remixes.

Whether they were the spark to writing new Circle of Dust songs and creating a brand new episode in its distinct landscape of adventure or a new album was an idea already in motion matters little in the face of an imagination lit and gripping proposal offered by Machines of Our Disgrace. Entangling metal and electronic essences in a virulently infectious industrial incitement, Klayton and album set another bar for others to be inspired by. There is formidable steel to riffs and a backbone of rhythms which invade the senses with a crunch throughout the release while surrounding them a multi-varied and ever present snarl stalks sound and lyrics.

machines_of_our_disgrace_cover_RingMasterReviewOpening with the suggestive air and throbbing ever intensifying lure of brief encounter re_Engage, the album swiftly consumes ears and thoughts with its title track. From behind an initial sample, repeated throughout, Machines of Our Disgrace looms, advancing with rapacious intent before launching its metallic riffs and wiry guitars grooves. Electronic provocation unites with this predacious embrace, senses and imagination infested and pleasured by the predacious tapestry as Klayton’s tones prowl with harmonic enterprise and invasive potency.

It is an exceptional full start sparking body and emotion and backed just as powerfully by next up Contagion. Living up to its name, the track soon surrounds ears with a treacle like melodic tempting, subsequently beginning a relentlessly catchy enticement with just a whiff of Ministry to it, that evolving into a more Dope/Society One like trespass as Klayton’s vocals prowl and question while the song reveals its full repertoire of creative stimulation.

There is no relinquishing of imagination and appetite with Embracing Entropy next. Featuring Celldweller, i.e. the combining of Klayton’s two unique creative sides, the track pulsates with intrusive drama and invasive energy. As across the whole of the release, samples are skilfully and evocatively used whilst sounds feverishly bubble, igniting senses and thoughts in turn. From blisteringly agitated to melodically seductive, the song is a theatre of sound and texture, inescapably persuasive and hungrily addictive.

Just as powerful is the ferocious presence of Humanarchy, the track a ravenous threat of metallic and vocal rabidity locked in allegiance with a just as imposing electronic swing while after the warning of Signal, the following alt_Human uncages a sonic tempest as enjoyably challenging as its lyrical examination of science and morality. Fuelled by rapacious infectiousness, the song easily infests body and imagination with a swift and almost prurient craving.

Hive Mind is a simmering, bordering on predatory croon tempting ears like a blend of synth pop era Ministry, Ghost In The Static, and Nine Inch Nails while straight after Outside In and Neurachem serenade and growl respectively. The first of the pair is an absorbing melodic embrace, almost warm in its touch, whilst its successor is an irritable and fiercely captivating trespass binding ears with metallic and introspective melodic seducing, both adding further pinnacles to the lofty heights of the release.

A sonic kaleidoscope evocatively devours ears next with k_OS, samples narrating its dramatic landscape before Neophyte bubbles and bursts in electronic espionage for another irresistible, contagion loaded adventure for the imagination to lose itself in.

The album closes with Malacandra, a brooding fog of sound and atmospheric suggestion haunting ears and thoughts alike across its instrumental soundscape. It is an edgy and emotionally charged piece of noir lit evocation bringing a superb adventure to a powerful and magnetic close.

Even though Celldweller has forged pleasure and lust in ears and imagination, Circle of Dust has been missed, its distinct industrial presence an absence never filled until now with the exceptional Machines of Our Disgrace where Klayton swiftly suggests he is ready to push genre boundaries once again.

Machines of Our Disgrace is out now via FiXT across most online stores and @ https://circleofdust.bandcamp.com/album/machines-of-our-disgrace-2 or http://fixtstore.com/circleofdust

http://circleofdust.net     https://facebook.com/circleofdustofficial    http://klayton.info

Pete RingMaster 17/01/2017

Copyright RingMaster: MyFreeCopyright

Ventenner – Invidia

Ensuring 2017 gets off to a powerful start, UK’s Ventenner are poised to release their new album; an encounter which from start to finish rapaciously devours ears and imagination. Increasingly irresistible with every passing slice of alternative metal, rock, and industrially infused electronic involvement, Invidia is the natural yet inventively bold offspring of the band’s previous successes across. When giving us the heads up last year about the forthcoming encounter, band founder Charlie Dawe (vocals/synth) suggested that “This one is set to be a lot heavier, more powerful and a superior record!” It needs little time and barely one listen to confirm his hopes and assessment are right on the money.

Variety and imagination has never been lacking in the Ventenner sound as evidenced by previous albums This Is The Reason of 2012 and the acclaimed Distorture two years later. Power and forceful enterprise has never been absent in the band’s music either since emerging initially as a solo project for Dawe in 2007. Ventenner’s last album alone was an encounter leaving “the senses beleaguered and imagination ablaze from start to finish”, its emotionally raw dystopian soundscapes seductive and compelling but indeed Invidia while embracing similar qualities taps into an almost primal yet involved intensity and abrasive energy which consumes the listener.

Produced by Esoteric vocalist/guitarist Greg Chandler, Invidia also unveils the most intricate tapestries of sound from the London based outfit yet starting with opener The Start Is The End. A synth resonates in ears first, it’s coaxing swiftly joined by the prowling tones of Dawe with restrained but striking rhythms alongside. As riffs and hooks bring their invention to the mix, the song breeds a Nine Inch Nails scented predation; exotic hues lining an emerging melodic suggestiveness within a controlled yet tempestuous proposal. Throughout, the song’s character is intrusive and raw yet magnetically infectious, traits blossoming throughout the album.

cover-art_RingMasterReviewBreak In Two reinforces the release’s impressive start, its resourceful entrance calmer yet just as instinctively invasive as its predecessor’s as a Gravity Kills meets Celldweller air grows and colludes with Ventenner’s openly distinct imagination. A gorgeous melodic hook caps off a mighty temptation, its prowess and potency matched by the sinister charm and emotive fire of next up Saligia. Almost devious in its weave of flirtatious melodies and sonic causticity, the song is pure addiction as industrial metal and electro punk merge for a hauntingly irritable raid on the senses.

A superb and masterfully woven conflict of textures makes up Enemy next, an outpouring of beauty and the beast sound and creativity lined not for the first or last time within Invidia by a Pitchshifter like essence while next up Be Still brings fresh crabbiness to ears as Ventenner again confirm their expertise at aligning melodic elegance and bordering on hostile emotional and musical tetchiness.

The former of the essences is embraced primarily by the bewitching Only The Empty Remain, though it too has a disgruntled undercurrent which erupts throughout before Circle while carrying a touch of Society One to itself, roars commandingly, making its mere two minutes another of the most powerful and essential moments within Invidia.

Dividing Seed just as enjoyably hits the spot, its web of guitar and synth intrusiveness as disarmingly seductive as it is cholerically bracing; essences further inventively twisted by successor Bruxism. A bear of a song with bone shuddering beats and senses binding vines of sonic invention around the emotional challenge of Dawe’s vocals and words, the track is sheer power but tempered by the disarming flow of melodic grace and harmonic beauty which breaks through the October File spiced tempest.

A predatory air is cast by Anamnesis, a trespass captivatingly countered by the reflective melodies and warm textures blossoming in voice and sound. Like two souls in dispute yet eager union, the track adds to the pinnacles of the release before being instantly matched by the imagination gripping landscape of closing track Omega. Its melancholic beauty immerses ears and thoughts in a haunting almost spatial flight accentuated by Dawe’s transfixing tones in a temptation which alone urges a swift return to the roar of the album.

Distorture impressed two years ago but has been easily eclipsed by Invidia, already one of this year’s important highlights. In many ways the Ventenner sound has come of age yet it is easy to still feel there is plenty more for they and us to discover.

Invidia is released via Hibernacula Records 20th January on CD and also digitally and on vinyl through http://www.ventenner.com/store

http://www.ventenner.com/

https://twitter.com/ventenner   https://www.facebook.com/Ventenner/

Pete RingMaster 10/01/2017

Copyright RingMaster: MyFreeCopyright

Chronos – Pallid Reflection

chronos-pic duncan everton

chronos-pic duncan everton

Coming from the combined areas of Bath and Bristol, UK metallers Chronos recently released their debut album Pallid Reflection. It is a seriously intriguing encounter unleashing an imaginative blend of death and progressive metal with plenty more flavours, many inspired by influences such as Metallica, Trivium, Opeth, Iron Maiden, and In Flames, embroiled in its imposing and resourceful challenge.

Formed in 2014, the quartet of vocalist/guitarist James Rideout, guitarist Joshua Boniface, bassist Tom Chapman, and drummer Jack Camp swiftly made a potent impact on their local and the south of England metal scene. First EP Hour Atonement was released in 2015 to eager reactions, whilst live the band soon found itself playing with the likes of Biohazard and Abhorrent Decimation. Pallid Reflection is the next step in the band’s emergence within the national metal landscape, an encounter which will certainly put their name on the map.

Produced and mixed by Ben Turner and mastered by Joe Caithness, the album opens up with Blood River and a sonic strand of guitar luring ears into the waiting predacious jaws of the track. In no time sturdy rhythms and hungry riffs collude before the quickly impressing skills of the band’s guitarists weave a captivating web of melodic enterprise. It is a feature which lights up the album throughout, as too the contrasts of clean and guttural vocals which give further colour and temptation to the song, especially the former. Though uniqueness is less open there is a great unpredictability to the track which just grips and impresses.

It is a strong and increasingly potent start to the release soon outshone by the following Sea Of Guilt, a hungry tempest of nagging grooves and rapier like rhythms in between passages of stalking riffs bound in restrained energy as clean vocals paint the creative canvas of the song. Again moments of unexpected imagination thrill, helping turn a great song into something even more striking and enjoyable, all offered with instinctively flowing coherency.

art_RingMasterReviewThe epic Thuribles Veil Part 1 is next, ten minutes of carnivorous riffs and grooves courted by just as predacious rhythms as throat raw vocals merge with harmonic beauty and melodic suggestiveness. The track is a cauldron of perpetual intensity, mercurial aggression, and compelling imagination, a playground for ears and thoughts even without the direction of lyric and voice. To be honest, that pretty much sums up the whole of Pallid Reflection and though familiar elements still emerge it would be fair to say they  are treated with an invention and flair which defuses familiarity.

Through the snarling ravenously nagging exploits of Lobotomised and the glorious melodically haunting Shiver, the album continues its trend of each track building on its predecessor and impressing just that little bit more while Awake displaces the elegance of the last track with a bestial swamp of waspish grooves and irritable riffs around more of the predatory rhythms which Chapman and Camp so effortlessly engineer. Arguably the least adventurous track of the album it still leaves the appetite greedy and ensures praise is easily given before Emerald Soul cradles the senses in its melodic arms, they additionally caressed by Rideout’s clean delivery and accompanying harmonies. There is a feel of KingBathmat to the outstanding track, its progressive nature given a clear climate to entrance within.

Crossover is a brutally feral encounter but again one prone to melodic radiance within its primal trespass, superbly crafted switches within a perpetually volatile atmosphere and grievous sonic intent shared with an ability and invention that constantly rises throughout Pallid Reflection and the calmer but no less sonically carnal of the song’s resourceful successor Shadow Of The Sun.

The album is concluded by almost twelve minutes of creative drama and volcanic ferocity courtesy of Thuribles Veil Part 2, a stormy incitement equipped with fiery melodies and scorching grooves around pungent contrasts musically and vocally. It is a fine rousing end to a release which reveals and offers more to greedily devour with every listen. Pallid Reflection is a mighty first step by Chronos and one of the best debuts heard this year with the potential and suggestion in its imagination of bigger and bolder things to come.

Pallid Reflection is out now though https://chronos1.bandcamp.com/releases or http://chronosofficial.bigcartel.com/

https://www.facebook.com/ChronosOfficial   https://twitter.com/OfficialChronos

Pete RingMaster 14/12/2016

Copyright RingMaster: MyFreeCopyright

Yugal – Chaos & Harmony

Yugal_RingMasterReview

We have had a little bit of a wait for their debut album, having been impressed and increasingly hooked on the Yugal sound through previous EP Enter the Madness, but anticipation has been forcibly rewarded by one richly enjoyable confrontation in the shape of Chaos & Harmony.

Carrying an organic continuation of their earlier sound but with the more unique surprises and elements its predecessors lacked, Chaos & Harmony is a fierce and imposing tapestry of contrasting and conflicting textures spun from the seeds of hardcore, death, and thrash metal. Its sound reflects the disparity yet balance suggested by the album’s title and the band’s Tibetan language derived name, both a representation of “the concept of universal duality” where two antagonistic constituents are indivisible.

Hailing from Vannes in Brittany, the 2010 formed Yugal lured awareness the following year with the demo From Pain to Pleasure before six track EP Illusion of Time two years later sparked concentrated attention upon the quartet which Enter The Madness reinforced and pushed on in 2014. The time between EP and album has seen the band hone their sound and songwriting to new heights and though at times it feels like Yugal are still on the way to rather than having found their final sound, Chaos & Harmony has replaced any ‘deficiencies’ before with a new individual and fresh forged imagination boldness.

The album opens with the gorgeous enticement of Khamsin, a Middle Eastern flavoured lure of guitar within seconds leading a seduction equally hinting at the entangling musical dissidence to come. The instrumental’s melodic romance and exotic charms are courted by shadows and the portentous thump of anthemic beats; a union which entices but with an element of intimidation before Once Upon a Lie rises up to consume ears with rapacious riffs and bludgeoning rhythms. Wiry grooves are soon entangling the song as the throbbing bait of the bass grips ears as potently as the throaty growl of vocalist Guillaume. A commanding fusion of death and thrash, the song is quickly a potent proposal but truly comes into its own as suggestive melodies and psychotic twists begin to emerge; each more glimpses than song changing elements but all adding drama and unpredictability to the song.

cover_RingMasterReviewHeavy Mental follows devouring the senses with vicious riffs and senses whipping beats as grooves taunt and the bass subsequently spins its own threat loaded magnetic dance. Drops into reserved but more predatory passages surprise and thrill as too the variety of voice and melodic enterprise; it all an absorbing web spun again by From This Day I Will Rise in its own individual design. Opening with a Breed 77 like coaxing, again as exotic as it is welcoming, the song looms up around that continuing lure with a wall of imposing rhythms and grouchy riffs. It is a threat which never fully lands but evolves into an invasive and invigorating trespass again still cored by the Eastern elegance and mystique the track started with.

From one superb offering to another as Dogma prowls and taunts the senses; its muscular rhythms and choleric intensity almost bestial but again an aggressor on a leash which allows clarity to the elements within and their infectious union. A further momentary pull on its reins allows a calmer attack opens the flood gates to thrash inspired riffs and an energy which alone invades and excites, though that in turn only leads to another twist in the song’s mercurial and relentlessly impressing landscape.

The imagination and cantankerous aggression already lighting the album continues as Illusion of Time stalks and flies at the listener with open fury, though a respite from the enterprising hostility is forthcoming through the brief instrumental Interlude. A close relation and in many ways continuation of the opener and an echo of the melodic beauty lying within the tempest of the previous track, it seduces ears and imagination before they are again under siege, this time from the barbarous attack of Silence is Golden. It too is an uncompromising tapestry woven with animosity and a virulent catchiness which is as venomous as it is addictive; each further bound in spicy melodic strands.

Another stirring moment within Chaos & Harmony, its quality and success is matched by the punk infused Lost Mind, the band’s hardcore influences at their most vocal but sublimely countered by the wires of Eastern promise which circle them and the variety of vocal imagination, something the band should definitely explore more ahead.

The album’s title track closes up Chaos & Harmony, a proposition which more than lives up to its name in tone and sound as it relentlessly courses through ears. Raw and rugged it ensures the album leaves with force and though it does not live up to what came before, the song  confirms Yugal as a band coming of age and ready to grant global attention.

Chaos & Harmony is out now on iTunes and through other stores.

https://www.facebook.com/Yugalofficial

Pete RingMaster 07/12/2016

Copyright RingMaster: MyFreeCopyright

Arcade Messiah – III

john-bassett-promo_RingMasterReview

This past week saw Arcade Messiah unveil its third album in as many years, each a November treat instantly challenging thoughts on best of year nominations.  III is a mighty continuation of that trend, a release where imagination might not be rampant in its title but in its kaleidoscope of suggestive sound and inventive flavours, it simply ignites ears and thoughts.

Arcade Messiah is the solo project of Sligo based songwriter/multi-instrumentalist/producer John Bassett, the founder and driving force of the outstanding UK band KingBathmat. It is a true solo effort with every detail the imagination, creation, and work of Bassett, all apart from the art of III which sprung from the craft of Michael Kerbow. Arcade Messiah has persistently taken ears through a myriad of sonic and powerfully evocative landscapes, pushing the union of creator and listener’s imaginations to new heights. III unsurprisingly is no different to its predecessor, exploring a new depth in textures and invention which just lights up mind and spirit.

To simplify things, Bassett weaves his music from the merger of everything from post and stoner rock to doom, sludge, and metal doom. It is still a narrow description of his sound which defies labels yet openly embraces inspirations whilst turning them into something inescapably unique to Arcade Messiah. Like a melodic siren with the growl and intensity of a bear, his instrumental endeavours to date have fascinated and consumed ears and mind alike; III as mentioned does not deviate from that success. It is though, the heaviest, most compelling and exhilarating offering from the man yet. Across six tracks, the album is creatively ravenous, melodically seductive, and often emotionally irritable and quite bewitching.

It opens up with Revolver, a prowling slice of heavy metal with an air of Sabbath to it which is soon entangling ears in a net of melodic and sonic intrigue. Rhythms barge through the maze of sound, imposing on the senses with poise and aggression as guitars weave their web. The first surprise is the sudden expulsion of vocals from Bassett, they more a texture than an attention stealer but carrying a clarity as ripe and potent as the cauldron of sounds around them. Simultaneously confrontational and welcoming, the track continues to disturb and beguile like a dramatic carousel.

It is a glorious start swiftly backed by the bestial presence of Citadel, a lumbering slab of crawling doom which looms up over the senses, submerging them in its sludgy tar before veins of melodic enterprise and emotive grace wrap around body and imagination. Dark and dangerous, alluring and captivating, the song gets under the skin and into the psyche; its aural scenery an irresistible adventure to navigate and explore.

arcade-messiah-iii-album-cover_RingMasterReviewAt over ten minutes, Deliverance is an epic proposal which devours time with its craft and magnetism. From a gentle opening as warm as it is melancholic with guitars and keys entwining with earthbound celestial beauty, the piece brews a darker side. Striding rhythms are the first deceptive shadow, again a sure invitation with a portentous edge though their threat merely simmers for its first third. Eventually though there is no holding back the energy and intensity of the skirting shadows, their fiery eruption the spark to a lava flow of melody and carnivorous energy. It is impossible not to get lost in the depths and suggestiveness of the track, the imagination casting its pictures and tales as the track continues to ebb and flow in touch and creative fire, perpetually burning its presence into appetite and spirit while captivating with its variety of attack.

It is impossible to pick a best track, all providing unique aspects and characters to immerse in, but the song certainly makes a highly persuasive argument as too its successor Life Clock. Washing over the senses with its space rock like atmosphere and fertile layers courted by the dark lures of bass and beats, the track is another femme fatale resembling encounter luring ears onto its ravenous rhythmic rocks and predacious intensity which lay in wait as the track builds its apocalyptic climax.

Once consumed, the song makes way for the Hades like realm of Black Tree; another predatory piece which stalks and infests with a seductive prowess as powerful as its acrimonious side, both having their moments to make their case across the outstanding trespass. Of course this and every track will inspire a scenario and emotion unique to the individual, one of the many glorious aspects of the Arcade Messiah tapestries.

III closes with the relative calm and peace of Sanctuary, though it too has tempestuousness to its heart and touch which only fires up the senses and imagination as Bassett casts another canvas of melodic suggestion, sonic rabidity, and all that lies between.

III is glorious, a riveting slice of aural alchemy which should not surprise considering the strength and prowess of its creator and predecessors but does at every twist and turn. Time to take another look at those End Of Year lists folks.

III is out now on Stereohead Records @ https://arcademessiah.bandcamp.com

http://www.arcademessiah.com   http://www.kingbathmat.com   http://www.johnbassettmusic.com   https://www.facebook.com/arcademessiah/

Pete RingMaster 30/11/2016

Copyright RingMaster: MyFreeCopyright

Born to Burn – Welcome To Reality

btb_album_2016_RingMasterReview

Savaging the ills of the world we live in as well as the senses, French antagonists Born to Burn have just released their debut album, an encounter which challenges and impresses in equal measure. Welcome To Reality is eleven raging trespasses born from a fusion of 90’s hardcore and various metal bred influences. It is also a persistence of aggression and animosity bound in a sound which weaves familiar textures into the band’s imaginative invention in an encounter which only and increasingly grabs attention and an eager appetite for its ferocious presence.

Formed in 2013, the Tours hailing quintet release their first demo the following year, which with their intensive live shows soon placed Born To Burn as one of the vital ingredients in the local metal/hardcore scene. Linking up with Dooweet Agency earlier this year for its release, the band have just unleashed Welcome To Reality to further their presence and reputation across their homeland and into wider shores. Such the raw power and creative tenacity of the album alone, it is hard to see the band failing to ignite wider and keener interest in a sound which rampages through ears while despoiling and exciting the senses with extreme bearish irritability.

The album opens up with Welcome and waves of warning sirens, their portentous calls sending clues to the threat to follow. All the time building in intensity and drama, the track eventually breaks into a predacious prowl with its instrumental intrigue and danger leading the listener into the waiting trap of Who Are You. Initially the song carries on with the restrained but imposing nature of its predecessor but eventually uncages its muscular venomous intent while still continuing to stalk the senses and imagination. With open distrust and ire in the imposing presence of the great vocal growl, a character matched by riff and rhythm, the track invades and persuades with an easy to embrace potency; winding sonic enterprise and toxic grooves a delicious topping.

btb-wtr-front_RingMasterReviewHammer quickly takes over and soon reveals a bolder tempestuousness and urgency in its attack as thrash scented riffs collude with rhythmic spite whilst vocal and lyrical causticity bears down on thoughts. As bullish and adversarial as it is, there is a swing to its gait and catchiness to its design which makes the punishment so easy to devour whilst revealing more of the swiftly showing invention in the Born To Burn songwriting and imagination.

Its inescapable qualities are matched by those of the blunt force trauma that is Seven, a track punching and jabbing its way with raw brutality but exposing subsequent wounds to another array of invasive but captivating twists and turns. The guitars spin a web of melodic and sonic adventure throughout, never diminishing the force of the attack but giving it additional striking appeal before Finish Him offers its own predatory sonic conflict with a rhythmic violation of scything beats and bestial bass which almost single handed ensures a greedy appetite. With threat loaded vocals and biting riffs bound in the inventive tartness of the guitars adding to the rancor, the track is irresistible as too successor The Shield which from its opening darkly alluring bassline just increases the enslaving enticement layer by imaginative layer.

Through the acrimoniously infectious storm of Pigs, with its more classic heavy metal spicing, and the rapacious tapestry of Warm Up, the album only tightens its grip on ears and appetite. The second of the two is an unpredictable and eventful fusion of punk and alternative metal wound in fiery grooves and dirt encrusted vocal harmonies. It is constantly evolving and exploring dark shadows and boisterous ideation before Dark Walk and its shamanic quarrel envelops the senses to relentlessly bewitch and bruise. All the time though it’s hardcore heart is blossoming, subsequently taken control and driving the still relentlessly contagious tempest.

Welcome To Reality is concluded by firstly Loud, another creative predator at ease prowling or savaging the listener and lastly Mars which entangles ears in blissfully corrosive grooves from its opening breath and only proceeds to turn that pleasure more lustful with every passing adventurous incursion.

The way the album is set up, with each subsequent song it becomes bolder and more inventive, in turn unique with the potential of greater things to come just as open. Born to Burn has something different about them which is already marking them out as a very promising proposition but once further realised there could be no stopping them becoming a major violation and treat on the senses.

Welcome To Reality is out now across most online stores.

https://www.facebook.com/btoburn

Pete RingMaster 23/11/2016

Copyright RingMaster: MyFreeCopyright