SET TO BREAK poised to show ‘Redemption’, on Monday 17th March‏

 

 

DEBUT EP NATIONALLY RELEASED THIS SPRING!

 

High Flying South Wales metalcore crew Set To Break drop their explosive debut EP Redemption on Monday 17th March, through Imperial Music.

Bridgend bruisers Set To Break were spawned at the foot of 2013 by long-time friends George Ross (Vocals), Rhys Morgan (Percussion), Dan Charles (bass), Shaun Owens (guitar) and Craig Owens (guitar), who wanted to create music that ripped apart the standard formulae of metalcore, yet remained true to the band’s influences and beliefs. The band soon found their feet, and began to widely play throughout the heart of their native Wales and southern England, landing support slots with the likes of Crossfaith, Heart Of A Coward, Malevolence and The Charm The Fury. With their eclectic leanings straddling many areas, the band pull inspiration from the likes of Parkway Drive, August Burns Red and Continents, while they find their own characteristic voice in the alchemy of creating music.

Set To Break were soon snapped up by Imperial Music, who placed a track of theirs on the cover CD of Metal Hammer Magazine, and subsequently booked the band into Bandit Studios with Jonny Renshaw (Devil Sold His Soul) behind the desk. After relentless sessions, the quartet produced their debut EP entitled ‘Redemption’, and it’s purely intoxicating. From the first notes of the progressively textured ‘Lost’, to the breathtaking ‘Made To Suffer’, which pitches gut-wrenching vocals against veracious guitar lines, and on to the low slung pounding groove of ‘Paid Pride’, it’s evident that Set To Break have forged something special. ‘Ulterior Motives’ continues to compound the band’s potency with its sheer power and layered guitar work, while their recent single ‘Khan’ shifts gears, incorporating subtle piano with stunning dynamics. Last up, ‘Bermuda’ closes the EP in style with its blistering riffs and fiery drive. The UK noise tyrants will now head for the road as they prime to break to a national level.

= SET TO BREAK RELEASE ‘REDEMPTION’ ON MONDAY 17TH MARCH THROUGH ALL STORES =

www.facebook.com/settobreak

Sceptre – Age Of Calamity

    Laying another huge prod on the world as the metal scene in India shows its current strength, thrashers Sceptre release their second album Age Of Calamity, a release which launches a blistering display of rhythmic and sonic predation to easily win over the passions. An album of ten stirring tempests, it is a skilled and inventive provocation which though maybe not ground-breaking makes for an exciting and enterprising treat. The craft and formidable accomplished statue of the album is not really a surprise since the band has been a major force in the Indian metal underground since forming in 1998. That time has only seen a single EP and album spread the word to the outside though, something which has not unsurprisingly yet achieved the strongest success in spreading the word further afield but with this impressive new assault maybe the Mumbai quartet’s time to waken the world to their presence has come.

      Sceptre has gone through a few line-up changes over the past fifteen years whilst forging a strong live reputation which has been enhanced by their self-titled EP of 1999 and more so with the debut album Now or Never which came out in 2008. Now with a line-up of vocalist Samron Jude, guitarist Gilroy Fernandes, bassist Janus Sayal, and drummer Aniket Waghmode, the band make a loud and formidable statement with Age Of Calamity that cannot be ignored. Exploring a concept of attitudes towards women and society in general, the former an evocative and highlighted situation in regard to India over recent times in the eyes of the world, the album pulls no punches lyrically or musically yet looks at the issues with poise and compelling endeavour whilst igniting the imagination From the melodramatic slightly sinister and haunting intro Solitude, the album suggests and coaxes thoughts and emotions, often dragging them into the heart of the album as the subsequent songs unleash a compulsive fury.

   The second and title track goes straight for the jugular physically and emotively, riffs and rhythms laying a rapacious hand on the ears whilst a potent groove entices even greater attention to the emerging storm. The vocals of Jude are soon scowling and barracking with a strong and appealing causticity which is harsh but allows clarity to the lyrical narrative for full inciting effect. Stomping with a thrash bred urgency and hunger the song equally veins its charge with tight and engaging sonic designs around a great throaty bass intimidation, the blend breeding a sound which is somewhere between Testament and Exodus with All That Remains.

     The following Wrath of God raises the temperature and strength of the album to even greater heights from the impressive start, its swipes of acidic guitar flames and predatory intensity clad riffs irresistible especially within a framework of antagonistic and feverish rhythms. A varied scourge of vocals from clean to guttural voracity only accelerates the toxicity of the scintillating track whilst its niggling groove within further thrash fuelled rabidity cements lustful responses for its outstanding tsunami of passion and predation. Its anthemic core is equalled in might by the next up Prophesy Deceit, a deliberately seductive beast with addictive grooves and strict riffery aligned to stalking rhythms and the continuing to please vocal delivery where again the lyrics are allowed a clear persuasion within their raw and combative intent.

     Arguably the two songs make the pinnacle of the album though it is a continuing debate when the likes of Lake of the Traitor, a song dawning on elegant melodies evolving into rasping aggressive incitation developing an eventual contagion which gives little respite in its bait, and the equally addictive scourge Fatal Delay explore their depths with adventure. The second of the pair has a waspish lilt to its riffs and grooves merged into annihilistic ferociousness vocally and sonically. The track epitomises a Sceptre track, eventful, unpredictable, but persistently accessible with the kind of familiarity you embrace rather than dismiss.

    7 Seals employs similar exploits in riffs and grooves to its predecessor and some other tracks but with a raptorial charge to its body and infectious potency to its persuasion makes for a tasty morsel to rage with whilst Parasites (of the State) provides a ruinous expanse of emotive frustration and aural antagonism which only adds further sustenance to an already greedy appetite for the album. Though both songs fail to reach the same levels in adventure and temptation as predecessors neither leaves satisfaction low or pleasure hungry, the same easily applying to Judgement Day (End – A New Beginning), a very decent melodic outro to the album and the following bonus track Lest We Forget which brings the album to an end. The song is more metalcore borne and does fall in the wake of the more trash led adventurous triumphs elsewhere, but it is impossible to ignore the craft and passion igniting its caustic breath and sizeable creativity.

    Age Of Calamity is a gripping and impressively  enjoyable brawl on the senses and emotions which may not be setting new boundaries for thrash/metal as a whole but in providing an intensively thrilling and addictive onslaught of craft and enterprise makes it and Sceptre a must check out and have encounter for 2014.

Age of Calamity will be released on February 9, 2014.

http://sceptreindia.bandcamp.com/

https://www.facebook.com/SceptreOfficial

8.5/10

RingMaster 29/01/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Avelion – Liquid Breathing

The tail-end of 2013 as well as festive fun saw the return of Italian metallers Avelion with their second EP, Liquid Breathing. Equipped with a new line-up and sound to that which bred their self-released 2011 debut Cold Embrace, the band returns to the fray with a release which raises questions, spawns a few doubts, but at the end of its persuasion offers plenty to get the imagination going and appetite for Avelion’s for their impending future keen.

Merging essences from melodic and alternative metal, progressive and electronic metal, to metalcore and industrial metal, and that is just scratching the surface of the three tracks making up Liquid Breathing, Avelion create a sound and adventure which certainly grips attention and at times has the imagination all fired up. The tracks are undoubtedly impressively crafted even if a tempestuous mix which does not always flow or work as successfully as maybe they could. There is so much going on in songs that it is sometimes hard to grip on to particular aspects or moments and thoughts suggests stripping it back would help the tracks to make an even stronger impact, but then that daring to experiment and stretch things is one of many strong elements which makes the band an intriguing and exciting proposition. You feel though as the quintet of vocalist William Verderi, guitarist Gianmarco Soldi, bassist Mark Reggiani, drummer Damiano Gualtieri, and Oreste Giacomini on keys progress and hone their sound further it will all evolve into something which will intensely satisfy.

Liquid Breath starts things off, the track almost Numanesque in its entrance as a dark industrial/gothic breath is spawned by vocals and keys. The song is soon twisting before the ear though as djent bred riffs splinter the air and a rhythmic enticement rigorously leaps over the senses. The vocals of Verderi are a blend of reserved growling tones and clean melodies which works well predominantly, though at times across the EP a sturdier grizzled delivery was crying out to emerge in his tones even if Soldi provided some solid backing scowls of his own. As the track progresses it employs classically seeded keys, electro urgency, and eventually great welcome hellish vocal groans though they are short lived sadly. The encounter continues to leap and turn with ideas to great effect, the song emerging easily the strongest on the release clad in a thick creative promise of where the band is going.

The following Ain’t No Down makes its arrival with haunting monotone spawned keys almost mischievously teasing the senses before launching sinews and intent through an electronic swagger which could grace any Enter Shikari offering. It is an outstanding start with a potency which is almost lost when the song opens up, though those evocative keys continue to probe and coax within the brewing maelstrom. As its predecessor the track moves through flavours and ideas as if they were pick-a-mix but ultimately makes it work through the more intensive aggressive aspects. The rock pop moments are not as successful for personal tastes, slowing down the power and charge of the song and preventing its full expected explosion but equally the poppy chorus is as anthemic and addictive as you would wish so admittedly those questions and doubts raised are continually countered in some respect. When the track is firing on all imaginative cylinders though it really is an imposing treat but just let-down by the mellower restrained moments but nevertheless it still leaves you wanting to hear more.

The EP is closed by Mechanical Faces, a busy track which aligns melodic rock and industrial metal initially before infusing some hard rock revelry and excellent discord devilry. Though not as impressive as the opener the track feels more complete and in control than certainly the second track, that earlier suggested slight restraint on the want to throw multiples spices and threads of imagination at the song a successful option.

When Avelion is intensively going for the jugular they undeniably are at the top of their emerging game, gripping thoughts and emotions much more tightly and invitingly. It maybe is because the difference between the aggression and melodic tempering shown by the band is so pronounced that the tracks ebb and flow too much at times but as Liquid Breath alone shows when the band gets it right they are a force with the potential to raise real passions, though you would not want them to lose that desire to push their inventive limits either, the element which makes even the less successful songs satisfyingly digestible and heavy in promise.

https://www.facebook.com/AvelionMusic.Official/

7.5/10

RingMaster 08/01/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Lucid Skies – Hounds EP

Credit – Tyler Frith

Though seemingly tagged as metalcore, Canadian fury Lucid Skies has a presence which primarily forges ferocious hardcore with metallic spite and melodic enterprise, the resulting sound which not only grabs attention but gives it an exhausting uncompromising examination which veers from imaginative seduction to unbridled and bruising antagonism. The Hounds EP is the impressive second release from the Edmonton quartet, following the Grudge Match EP of last year, and though it is not faultless it is promise soaked and strikingly invigorating.

Formed in 2009, Lucid Skies took little time in drawing notice their way with a sound inspired by the likes of Hatebreed, Comeback Kid, and Holly Springs Disaster. Started by guitarist Jesse Berger, the band was soon at full complement as Berger enlisted vocalist Nick Ogden, bassist Sam Jackson, and drummer Justin Smith. With impressive live performances seeing the band share stages with bands such as with Fall City Fall, Blind Witness, Fall In Archaea, and Breaking Fourth Wall, the foursome has continually enhanced their reputation, the debut EP sparking additional  keen attention which Hounds can only accelerate as the band continues its emergence.

The self-released Berger produced EP, opens with Shotgun Mouthwash and immediately has ears and senses up for its raucous confrontation. A guitar grazing behind a vocal sample makes the first move before expelling a sonic breath around inviting crisp rhythms and the snarling vocals of Ogden. Group shouts pounce to back up the frontman to great effect and with riffs grilling the senses and rhythms building their punchy commanding presence the track sears the air with metal bred sinews and punk spite. Musically the song sees the band play with their intent and ideas to make for an appealing if restrained adventure, certainly compared to other tracks on the release, whilst the breakdowns and predacious attack of the riffs only add to the lure of the strong if unspectacular starter.

As soon as Left Hook makes its presence known you sense that something extra is at work, an indefinable essence maybe but one which adds an experimentation and bravery absent from its predecessor. The artillery of drum invention from Smith is an instant contagion whilst the grazing riffery only adds to the developing drama and intrigue. Into its muscular and provocative stride, grooves mark the heavy charge of the song whilst the vocals bring the expected venom with relish and power. The bass of Jackson is a throaty bestial stalking within this mix adding to the impressive incitement, though the breakdown to the back end of the song is clumsy but as the promo used was digital one wonders if it might have been a glitch in the transfer. Nevertheless the closing straight hardcore rage brings a great track to a healthy finale and a certain hungry appetite awoken for the EP.

With Eyes is the best song on the release and the most inventive, its body a continual movement of ideas and bold design. Its opening is straight forward enough, a decent hardcore raging but once it drops into a djent inspired prowling of the senses with the guitar a savage provocateur it ignites, grooves and hooks taking us on a keener escapade. Like in the previous songs things wait until the second half to whip the ground from under the feet and light up the imagination with unexpected skilful quests of exploration. The bass is unleashed to intimidate the ears alone, apart from the corruptive influence of the excellent beats of Smith, it developing a delicious groan to its notes which is matched and accentuated by the guitar to addictive effect, so much so that as the track returns to its initial fiery foraging of the ears it is at first a disappointment, but one soon forgotten as the track unloads the rest of its excellent bruising.

Hounds does not venture into the unknown or the band’s imagination enough for personal tastes, that shown up by the third track and its success when doing so, but also the vocal delivery of Ogden is something needing some enterprise too. His attack is excellent and tones as nasty and corrosive as you would wish but also needing some variation to really shine. It is a genre thing, hardcore and metalcore, to unleash one directional squalls so it is hard to be too critical but it is no accident that the best bands do find a vocal diversity to join a musical variation, something Lucid Skies certainly owns.

Completing the EP is Count Me Out, a track with mountainous rhythms and a spiralling sonic beckoning which is soon badgering the ear with intensive and merciless voracity. A metal seeded antagonist with a tempestuous appetite and combativeness, the song like the opener does not sparks the fires as the other two making up Hounds but undoubtedly continues the marking out of Lucid Skies as a stirring force to keep a close eager eye upon. The potential and existing promise of the band is impossible to ignore and their suspected ascent one which will have a hungry audience in times ahead with the Hounds EP, a name Your Own Price release at the band’s Bandcamp profile, an excellent place to climb on board the ride.

http://lucidskies.bandcamp.com/

https://www.facebook.com/LUCIDSKIES780

8/10

RingMaster 03/12/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

The Betrayer’s Judgement – Philosopher

Engulfed in plenty of acclaim and promise, French hardcore/djent quintet The Betrayer’s Judgement unleashes their next slice of carnivorous invention with the Philosopher EP. It is a rampant and predacious force of imagination and enterprise with a hungry energy to match and though it does not always tempt to the same consistent heights across its antagonistic body, the release is an engrossing and excitingly promising encounter.

Formed in 2009, The Betrayer’s Judgement were soon taking a swipe at attention with firstly The Worst Sickness demo of 2010, a metalcore bred encounter, and even more so with debut album Run Out Of Fuel the following year. Shows and festivals have only increased and accelerated the band’s reputation and ascent, the five piece sharing stages with the likes of Caliban, The A.R.R.S, and Betraying the Martyrs along the way. The Twin Peak Records released Philosopher is the next potent and formidable step in their rise, a six track ravishment of the senses and imagination to raise a very healthy appetite for the band’s explosive and bold sound.

Broken Mirrors instantly sets ears and release off in incendiary style, the orchestral sculpted dawning of the song an epic and rigorously persuasive invitation which finds greater potency as the intensive riffing and rhythmic barracking explodes into action. It is a breath stealing blast to the senses, the towering rhythmic punches and predatory riffing rabid and the technical craft riveting. With equally rapacious snarling vocals from Cyril Szczepaniak, his delivery a grouchy scowling pleasure, the track is a bestial provocation with an open evolution just waiting to prey on the impressive canvas already cast. The returning stringed emotive flight is a returning temptation which constantly enhances the pleasure whilst the clean vocals of guitarist Jean-Aimé Leclercq make a tempering addition to the storm. His smooth tones are strong and hard to dismiss but for personal tastes the slight defusing of the firestorm of intensity is not as successful as an anticipated all-out ravaging but still enjoyably imaginative.

Both Lights Out and Elapsed Time: Real Life rage against the senses with a skilled and uncompromising enterprise, the first of the two dragging its guttural toxicity to stalk the emotions within a rabid maelstrom of rhythms from drummer Arnaud Lefebvre and the voracious air scorching riffs and sonic pestilence crafted by Leclercq and fellow guitarist Flavian Dutoit. Again the barbarous delivery of Szczepaniak reigns over the clean but the mix is a much stronger and impression union though the outstanding track lacks the spark to match the opening pinnacle. The second of the two features Ryan Kirby from Fit For a King and instantly unleashes a vocal tsunami of malevolent intensity and passion. Strings coax the passions as potently as in the first song and the bass of Raphaël Darras finds a dark resonance which as across all songs just seduces the passions. With great classical and melodic teasing from the keys and a constant oppression aggression to drool over the track is a thunderous furnace of sonic causticity and inventive fire, though again the clean vocals as accomplished and flawless as they are do not really enhance or sell the track, though as mentioned this is just a preference rather than a criticism of Leclercq’s ability.

The title track makes for a dramatic and blustery oppression on the ears, the track a labour intensive listen which rewards with some inspiring intrigue and invention to its design beneath and immersed into its brutal touch and craft which leaves the senses shell-shocked. There are no clean vocals on show and it works a treat, the band and sound suggesting they would benefit by a reduction of its use which is reinforced at times again by the destructively sculpted track The Journey. The track employs spoken vocals aligned to the raucous bile soaked growls alongside a mouth-watering blaze of disorientating rhythms, melodic searing, and a delicious melodramatic discord kissed wantonness to the keys. It is another impressive and intrusively persuasive assault to inspire real suspicion and anticipation that The Betrayer’s Judgement is a potential major force of the future.

Completed by a decent enough remix of Broken Mirrors by The Algorithm, though it is not a patch on the original as it dissipates virtually all of the brutality and rapturous voraciousness, the Philosopher EP is an outstanding violent goading of the passions and a striking marker on the rise of The Betrayer’s Judgement.

Download the Philosopher EP as a buy now name your price release @ http://thebetrayersjudgement.bandcamp.com/

http://www.facebook.com/thebetrayersjudgement

8/10

RingMaster 29/11/2013

http://www.youtube.com/watch?v=x0OBY0gJhMM

 

Engulfed in plenty of acclaim and promise, French hardcore/djent quintet The Betrayer’s Judgement unleashes their next slice of carnivorous invention with the Philosopher EP. It is a rampant and predacious force of imagination and enterprise with a hungry energy to match and though it does not always tempt to the same consistent heights across its antagonistic body, the release is an engrossing and excitingly promising encounter.

Formed in 2009, The Betrayer’s Judgement were soon taking a swipe at attention with firstly The Worst Sickness demo of 2010, a metalcore bred encounter, and even more so with debut album Run Out Of Fuel the following year. Shows and festivals have only increased and accelerated the band’s reputation and ascent, the five piece sharing stages with the likes of Caliban, The A.R.R.S, and Betraying the Martyrs along the way. The Twin Peak Records released Philosopher is the next potent and formidable step in their rise, a six track ravishment of the senses and imagination to raise a very healthy appetite for the band’s explosive and bold sound.

Broken Mirrors instantly sets ears and release off in incendiary style, the orchestral sculpted dawning of the song an epic and rigorously persuasive invitation which finds greater potency as the intensive riffing and rhythmic barracking explodes into action. It is a breath stealing blast to the senses, the towering rhythmic punches and predatory riffing rabid and the technical craft riveting. With equally rapacious snarling vocals from Cyril Szczepaniak, his delivery a grouchy scowling pleasure, the track is a bestial provocation with an open evolution just waiting to prey on the impressive canvas already cast. The returning stringed emotive flight is a returning temptation which constantly enhances the pleasure whilst the clean vocals of guitarist Jean-Aimé Leclercq make a tempering addition to the storm. His smooth tones are strong and hard to dismiss but for personal tastes the slight defusing of the firestorm of intensity is not as successful as an anticipated all-out ravaging but still enjoyably imaginative.

Both Lights Out and Elapsed Time: Real Life rage against the senses with a skilled and uncompromising enterprise, the first of the two dragging its guttural toxicity to stalk the emotions within a rabid maelstrom of rhythms from drummer Arnaud Lefebvre and the voracious air scorching riffs and sonic pestilence crafted by Leclercq and fellow guitarist Flavian Dutoit. Again the barbarous delivery of Szczepaniak reigns over the clean but the mix is a much stronger and impression union though the outstanding track lacks the spark to match the opening pinnacle. The second of the two features Ryan Kirby from Fit For a King and instantly unleashes a vocal tsunami of malevolent intensity and passion. Strings coax the passions as potently as in the first song and the bass of Raphaël Darras finds a dark resonance which as across all songs just seduces the passions. With great classical and melodic teasing from the keys and a constant oppression aggression to drool over the track is a thunderous furnace of sonic causticity and inventive fire, though again the clean vocals as accomplished and flawless as they are do not really enhance or sell the track, though as mentioned this is just a preference rather than a criticism of Leclercq’s ability.

The title track makes for a dramatic and blustery oppression on the ears, the track a labour intensive listen which rewards with some inspiring intrigue and invention to its design beneath and immersed into its brutal touch and craft which leaves the senses shell-shocked. There are no clean vocals on show and it works a treat, the band and sound suggesting they would benefit by a reduction of its use which is reinforced at times again by the destructively sculpted track The Journey. The track employs spoken vocals aligned to the raucous bile soaked growls alongside a mouth-watering blaze of disorientating rhythms, melodic searing, and a delicious melodramatic discord kissed wantonness to the keys. It is another impressive and intrusively persuasive assault to inspire real suspicion and anticipation that The Betrayer’s Judgement is a potential major force of the future.

Completed by a decent enough remix of Broken Mirrors by The Algorithm, though it is not a patch on the original as it dissipates virtually all of the brutality and rapturous voraciousness, the Philosopher EP is an outstanding violent goading of the passions and a striking marker on the rise of The Betrayer’s Judgement.

Download the Philosopher EP as a buy now name your price release @ http://thebetrayersjudgement.bandcamp.com/

http://www.facebook.com/thebetrayersjudgement

8/10

RingMaster 29/11/2013

http://www.youtube.com/watch?v=x0OBY0gJhMM

 

Engulfed in plenty of acclaim and promise, French hardcore/djent quintet The Betrayer’s Judgement unleashes their next slice of carnivorous invention with the Philosopher EP. It is a rampant and predacious force of imagination and enterprise with a hungry energy to match and though it does not always tempt to the same consistent heights across its antagonistic body, the release is an engrossing and excitingly promising encounter.

Formed in 2009, The Betrayer’s Judgement were soon taking a swipe at attention with firstly The Worst Sickness demo of 2010, a metalcore bred encounter, and even more so with debut album Run Out Of Fuel the following year. Shows and festivals have only increased and accelerated the band’s reputation and ascent, the five piece sharing stages with the likes of Caliban, The A.R.R.S, and Betraying the Martyrs along the way. The Twin Peak Records released Philosopher is the next potent and formidable step in their rise, a six track ravishment of the senses and imagination to raise a very healthy appetite for the band’s explosive and bold sound.

Broken Mirrors instantly sets ears and release off in incendiary style, the orchestral sculpted dawning of the song an epic and rigorously persuasive invitation which finds greater potency as the intensive riffing and rhythmic barracking explodes into action. It is a breath stealing blast to the senses, the towering rhythmic punches and predatory riffing rabid and the technical craft riveting. With equally rapacious snarling vocals from Cyril Szczepaniak, his delivery a grouchy scowling pleasure, the track is a bestial provocation with an open evolution just waiting to prey on the impressive canvas already cast. The returning stringed emotive flight is a returning temptation which constantly enhances the pleasure whilst the clean vocals of guitarist Jean-Aimé Leclercq make a tempering addition to the storm. His smooth tones are strong and hard to dismiss but for personal tastes the slight defusing of the firestorm of intensity is not as successful as an anticipated all-out ravaging but still enjoyably imaginative.

Both Lights Out and Elapsed Time: Real Life rage against the senses with a skilled and uncompromising enterprise, the first of the two dragging its guttural toxicity to stalk the emotions within a rabid maelstrom of rhythms from drummer Arnaud Lefebvre and the voracious air scorching riffs and sonic pestilence crafted by Leclercq and fellow guitarist Flavian Dutoit. Again the barbarous delivery of Szczepaniak reigns over the clean but the mix is a much stronger and impression union though the outstanding track lacks the spark to match the opening pinnacle. The second of the two features Ryan Kirby from Fit For a King and instantly unleashes a vocal tsunami of malevolent intensity and passion. Strings coax the passions as potently as in the first song and the bass of Raphaël Darras finds a dark resonance which as across all songs just seduces the passions. With great classical and melodic teasing from the keys and a constant oppression aggression to drool over the track is a thunderous furnace of sonic causticity and inventive fire, though again the clean vocals as accomplished and flawless as they are do not really enhance or sell the track, though as mentioned this is just a preference rather than a criticism of Leclercq’s ability.

The title track makes for a dramatic and blustery oppression on the ears, the track a labour intensive listen which rewards with some inspiring intrigue and invention to its design beneath and immersed into its brutal touch and craft which leaves the senses shell-shocked. There are no clean vocals on show and it works a treat, the band and sound suggesting they would benefit by a reduction of its use which is reinforced at times again by the destructively sculpted track The Journey. The track employs spoken vocals aligned to the raucous bile soaked growls alongside a mouth-watering blaze of disorientating rhythms, melodic searing, and a delicious melodramatic discord kissed wantonness to the keys. It is another impressive and intrusively persuasive assault to inspire real suspicion and anticipation that The Betrayer’s Judgement is a potential major force of the future.

Completed by a decent enough remix of Broken Mirrors by The Algorithm, though it is not a patch on the original as it dissipates virtually all of the brutality and rapturous voraciousness, the Philosopher EP is an outstanding violent goading of the passions and a striking marker on the rise of The Betrayer’s Judgement.

Download the Philosopher EP as a buy now name your price release @ http://thebetrayersjudgement.bandcamp.com/

http://www.facebook.com/thebetrayersjudgement

8/10

RingMaster 29/11/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

From Sorrow To Serenity – Antithesis

As ravenous and barbaric as a tornado but with the passionate insatiability of a tsunami, the Antithesis EP from Scottish metallers From Sorrow To Serenity is a striking ruthless ferocity wrapped in a scorching melodic elegance and rapacious imagination. Consisting of four merciless confrontations, the release is the debut of a band metal we will all be taking intensive attention of, if not now certainly in the near future as the Glasgow quintet build on their powerful and impressive entrance.

Formed in 2010 by the core of vocalist Fraser Smith alongside guitarists Steven Jones and Mark McInch, From Sorrow To Serenity  have earned a formidable reputation for their unbridled mesh of metalcore ripe with flames of progressive, groove, and technical metal; a colossal recipe which has fuelled their intensively impacting live show. Sharing stages with the likes of Memphis May Fire, Bleed From Within, Stray From The Path, The Color Morale and many more across Scotland, the band has continued to impress and strengthen their stature and explosive presence, bassist Andrew Simpson and drummer Matthew Cowie completing the potent line-up challenging and invigorating the senses. Following their recent successful showing at Techabilitation where the band played with the likes of Meta-stasis, Nexilva, Visions, and Aeolist, the Antithesis EP is the next heavy swipe at the nation, one you can only imagine leading the band to the strongest positive responses.

The title track instantly tells you all you need to know about From Sorrow To Serenity, Antithesis emerging from a sonic brew designed by the guitars to launch a savage and riveting exploitation of the band’s craft and maliciousness. The track is a carnivore, riffs and rhythms a ravaging creative spite cloaked in a sonic seduction which scorches as it tempts. The technical enticement is equally as predacious and addictive, the band coaxing out a rapturous hunger for its towering and erosive presence whilst the vocals of Smith squall with as much animosity as that provided by the rhythms. It is a hypnotic fury completed with twisted grooves which swing with a compelling swagger from within the inventive and exciting maelstrom. The outstanding track never relinquishes being the finest moment on the release though it is constantly challenged by the remaining trio of songs.

The following Synergy approaches the ears with an electro cast ambience, an industrial lilted embrace not long alone as djent splintered rhythms and grooves encroach and prowl around the immersive evocative canvas. Into its full storm the song has less clarity to its individual elements than the first song but spawns intensive sonic smog which consumes and ignites the senses once again. It is a viscous encounter but one which flows with enticing ease as it intertwines aggressive rabidity and emotive suffocation into its exhausting melody stretched torrent.

Dead Reign is another to lend a gentle, in this case crystalline bait to lure the listener into a subsequent voracious furnace of intensity and emotional savagery. The track is a hypnotic and ferocious slab of sonic alchemy, an ever evolving passage of electronic shards and kisses, Middle Eastern promise, and melodic imagination which steals the passions within the similarly infectious violent abrasiveness and straight forward voracity. It is a masterful violation, a stunning and inventive blend of extremes and opposites merged into a sonic narrative which rivals the opener and is debatably the most creative confrontation on the EP.

The release is completed by i9, a track featuring Nexilva vocalist Gaz King. It is a barbarous challenge for the senses, the guitars and bass at their most uncivil yet refined on the release and the rhythms a blur of animosity and skilled intimidation. The track does not neglect the melodic hues the band has already shown they are accomplished at exploring either, the whole result a scintillating provocation for body and mind which backs up the immense promise and presence of the band.

There is little to temper the praise for Antithesis with, a slight lack of diversity from the vocals and a production which does submerge their delivery within the sonic tempest a little too much at times the only thing to be picky about. The EP is a powerful and incredibly weighty persuasion which declares From Sorrow To Serenity as a band to expect and anticipate a dominate future from.

The Antithesis EP is available as a buy now name your price digital release from http://fromsorrowtoserenity.bandcamp.com/album/antithesis-ep

https://www.facebook.com/FSTSOFFICIAL

8/10

RingMaster 28/11/2013

Copyright RingMaster: MyFreeCopyright

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Black Dogs – Grief

Reeking of causticity and aggressive passion, Grief the debut album from UK metallers Black Dogs, is a barbaric full introduction to a band with the armoury to be a powerful future force within British metal. Rife with grooves which seduce the wounds caused by the violent riffing and rhythmic antagonism, the ten track brawl shows exactly why there is a powerful buzz about the Northern pack. Corrupting the senses with a brew of metalcore, hardcore, and groove metal, Black Dogs is a potent storm of creative spite poised to explode, Grief the possible trigger.

Since forming in 2011, Black Dogs has built a strong reputation through their raw and merciless live shows, performances which has seen the quartet share stages with the likes of Hatebreed, Stray from the Path, Bring Me The Horizon, Feed the Rhino, Heart of a Coward and most recently supporting  Heights on their debut UK tour. Their stature and the acclaim around them has been on a swift ascent with appearances at Hit the Deck Festivals and Download Festival only adding to their stock, something Grief will only powerfully accelerate you suspect. Released via Destroy Everything, the release is a stirring and magnetic confrontation, one which though not perfect declares a promise and already rich quality in the band which needs to be closely followed.

The release offloads battering rhythms and snarling riffs upon the senses from its opening seconds, first song Hellhole stomping rigorously through the ear with combative intent and malicious intensity. With a just as immediate groove temptingly veining the track and squalling hardcore vocals grazing its surface, the song tells you all you need to know about album and band, and whether their ravaging is the quest you wish to be chewed up by.

From the impressive start 13 Bastards next takes its predacious share of the senses, sinew empowered riffs and a deliciously malevolent bass sound smothering and confronting ears and emotions. Once again an irresistible groove entwines its primal seduction around the imagination as the vocals unleash a cauldron of passion and venom. Continuing the intense stance of the album with equal strength and quality, the bass an especially vociferous presence, the track makes way for the savage Krokodil. It is of the same stock as its predecessors, and those to come, which brings up the only quibble with the album, a similarity to the structure and attack of songs which needs an attentive focus to distinguish and discover the undoubted individual twists and temptations of the tracks. It is not a massive issue when the album from start to finish is thrilling, but something lazier listeners may flounder with.

Both Savages and Shame enflame the passions, the first as you can imagine from its title is an unbridled fury but one which lurches and twists with incisive riffs and rhythmic adventure around its core groove and intensive riffery to keep things intriguing, whilst the second is a dramatically addictive encounter with a tantalising groove and djent bred dynamics enslaving ears and beyond. Black Dogs has a dirty merciless sound but one which is unafraid to turn in on itself with inventive explorations, this track the strongest example. It is not an experiment which is always stretched enough by the band in songs for personal thoughts, a missed opportunity shown up by Shame but something you can only anticipate will flourish ahead.

The excellent Traitors is another with incendiary grooves and melodic flames scorching the flanks of its straightforward bruising core, invention again raising the temperature and pleasure of the passions. One of many pinnacles on the album it is followed by the title track, a brief evocative instrumental which provides a ready canvas for the imagination to play with. It is a colourful interlude soon succeeded by another discontented vocal and sonic abrasion in the carnivorous shape of She Bites and then Bitterness. The pair adds extra fuel to the passions with their craft and fevered animosity, the first of the two a dark bordering on sadistic threat and the other a less impressive but still easy to greedily devour accomplished ruin.

Ending on the scorching intensity and air perishing fire of Leeches, the album is a stunning entrance and base for Black Dogs to strike on from. Grief simply leaves a deep satisfaction in its wake for its insolent sonic riot and a sizeable hunger for the band’s exploits ahead.

https://www.facebook.com/weareblackdogs

8.5/10

RingMaster 06/11/2013

Copyright RingMaster: MyFreeCopyright

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The Fall of Eden – Memoirs

Scottish metalcore band The Fall of Eden, certainly on the evidence of their debut EP Memoirs, is an emerging force which could and should be a regular spot on the radar. Still relatively young as a proposition, the Glasgow quintet have made their introduction with a release seeping promise at every corner whilst providing an enterprising and enjoyable fury. It is fair to say that this is a force still in evolution and that the EP lacks a truly standalone distinction to other strong and hungry genre bands out there, but there is definitely something compelling and inviting about their invention and imagination which ignites eager anticipation for their future.

Consisting of vocalist Kevin Blaney, guitarists Matt McLeod and Kieran Ward, bassist Sean Breslin, and Hamish McGowan on drums, The Fall of Eden formed in early 2012 and took little time in crafting and honing their first blaze of songs. Taking inspirations from the likes of Parkway Drive, August Burns Red, Bring Me The Horizon, Oceano, and Lamb Of God into their antagonistic sound and invention, the band began igniting stages locally and beyond with their powerful live performances and across the past year or so have played with the likes of Night Verses, Flood of Red, Surrender the Coast, Truth and It’s Burden, Martyr Defiled, Demoraliser, Heart In Hand, Here Comes The Kraken and Thy Art Is Murder. Their reputation has risen alongside their live energy and attack which debut release Memoirs can only accelerate and take to a wider awareness.

The release shows that the band’s sound stretches beyond simply metalcore, though it is the core to creative the furnaces posing as songs. With a melodic flame licking at the heart of the tracks and an adventurous imagination equally coaxing out bravery in the songwriting, Memoirs opens with The Fall and instantly pushes the imagination and thoughts into action. An atmospheric brew raises its breath first, an ambience already being worried by the impending vocals of Blaney. As he and the intensity reaches forward to confront the ear, the track explodes into an invitingly textured provocation, the first rage quick and blunt before stepping into a more predatory stalking of ears and senses. The guitars wind sonic endeavour around the muscular core and rhythmic testing to push the breath of unpredictability and keep the listener’s expectations challenged throughout, and though debatably some of the changes and shifts are not as fluid as possibly they could be it matters little within a track which is unafraid to try things and take the listener on an adventurous ride.

The following Broken Lullaby takes a more deliberate stalking of the senses, riffs and rhythms caging off any escape with sinew clad rapaciousness whilst a melodic cast of craft and intrigue marks the way for the vocal scowls of Blaney to enjoyably bruise the air.  One of the more straight forward and expected tracks on the EP, it still forges a hold and satisfaction which cannot be dismissed or taken lightly. It maybe lacks the imagination of its predecessor and thus the potency and success but nevertheless easily continues the strong and pleasing introduction.

Both Pressure and A Poet, A Bard and a Baron keeps things boiling, the first scowling heavily with a hardcore aspect to the attack, a flavour which has already had moments of success in the opening pair, whilst its successor through a ‘gentler’ melodic embrace shows the expanse and depth of the songwriting and sound already seeded within the band. The pair of songs forms the pinnacle of Memoirs, their aggressive and uncompromising but enterprising tirade and inventive drama respectively,  major reasons why The Fall of Eden raises a hunger and assumption that the band has a bright future and plenty to offer UK intensive metal.

The closing Pavor Nocturnus is a decent enough conclusion but does feed the expectations which seemingly come with any new metalcore band. With a fire bred passion and undoubted thoughtful craft though, the track avoids feeling like an anti-climax after the quality of the previous two tracks and keeps that keen appetite fully engaged with release and band.

Expect to hear more of The Fall of Eden as they appear to have all the tools to emerge as something fresh and incendiary within metalcore, those whispers vibrant and potently brewing within the Memoirs EP. It is a release well worth checking out especially as it comes as a Name Your Price download at http://thefallofeden.bandcamp.com/

https://www.facebook.com/TheFallOfEden

7.5/10

RingMaster 23/10/2013

Copyright RingMaster: MyFreeCopyright

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Her Dying Regret – Legacy

Sometimes whilst listening to a band you just sense and get a hint of something special, even if the release or track you are in companionship with has yet to discover that unique element. That is definitely the case with UK metalcore band Her Dying Regret, though as their new Legacy EP shows that suggestion is much more than a hint or mild whisper. The second release from the Reading sextet is a stirring and exciting encounter which declares the band as one still in evolution but with such promise in their impressive release that you cannot stop thinking and assuming that this is a band poised to break into something quite magnificent.

Legacy follows an equally impressive debut in The Siren EP which came out last year. Its successor though shows a big step forward in maturity and invention whilst as mentioned showing this is still just a step in their progression rather than a statement of content. Consisting of vocalists Scott London and Tom Melville, coarse and clean respectively, guitarists Craig Mayor and Dan Osborne, bassist Ed Bujakowski, and drummer Tom Cox, Her Dying Regret has equally impressed since their first release with their live performances earning themselves a strong reputation and eager following, the sharing of stages with the likes of Entropic Tide, If Heroes Shall Fail and Fight For Tonight only enhancing their reputation. Undoubtedly Legacy is their finest moment to date and you can only assume the trigger to another influx of acclaim and passionate new followers.

From the evocative and nicely composed and sculpted if slightly underwhelming instrumental of Intro, the EP bursts into stirring life with Ashes. The track immediately falls upon the ear with thumping rhythms and eagerly enticing riffs and sonic caresses whilst the vocals of London squall with passionate intent and might across their bows. Another shift of intensity beckons as the track finds a more savage eye balling for the senses, gruelling riffs and scything beats compelling and the melodic persuasion emerging around the caustic attack magnetically tempting. The chorus has a certain familiarity to it as the melodic charms of Melville add their appealing narrative, but not a flavour which dismisses or defuses the potency of the song. It is a striking and riveting full start to the EP which has an appetite grinning greedily for what is to come, and a hunger which is only accelerated by the djent twisted guitar stabs and richly hued vocals of both extremes..

The following All Judge, No Jury takes a run at the ear from a distance, building up its intensity to unveil a tempest of vocal ferocity and rhythmic maliciousness upon again impressively enterprising guitar work. Holding a definitely more rapacious attitude than its predecessor with ‘gang’ chants raging in its background at times, the track has a serpentine malice to it but wrapped in an absorbing and infectious melodic venture which evokes the imagination and emotions. Not as virulently gripping as the previous song it still draws in strong and keen attention even with the slightly clunky switch to a tender melodic aside at its close.

    The Shallow takes little prompting to ignite those earlier and still alive passions, its start a restrained stroll which waits for ear and thoughts to settle before swiping their peace with deliciously twisted grooves and torrentially brawling acidic vocals. The return of clean vocals, absent on the song before, adds another dimension to the track and it has to be said the union of both impressive vocalists is as major a lure as the skill and sounds of the rest of the band. The track leaps from idea to idea with craft and fluidity; intrigue a constant leash to keep expectations at bay. It is probably fair to say that there is not much strikingly new at large on song and EP but in the hands of the band and their imagination, familiar charms and weapons are given a new and invigorating lease of life.

The title track next sparks the passions, antagonistic breath coated vocals and virulent grooves raging but tempered by the ever excellent clean attack of Melville. The song only confirms that this is one of the most impressive vocal pairings around today, not only in presentation but use of where and when they stand and rub off each other’s strengths. Musically the song has a menace and dramatic adventure which once more triggers the imagination to add its own premise and flavouring to the extensively hued narrative of the sounds.

The Last Lie is an instant flow on from the previous song Legacy, another confrontation which lashes the ear with insidiously venomous vocals and threatening riffs skirted by equally merciless rhythms. It is a tremendous challenge but one which only excels further as the melodic and clean vocals explore shadows before subsequently those dark aspects fight back with a predatory and stylishly addictive rabidity. To its end the song is like a battle between both extremes, but a bruising union where both know they need and feed on each other.

The release is concluded by The Filthy Truth, a song which is more of the pleasing same in its creative and aggressive intentions but just fails to get a grip on the levels previously set, though it is still leaves hunger for the band raging. Legacy is an excellent release, a provocation which gets better with each listen as you discover more within its thoughtful textures, and the next impressive marker on the rise of a very promising and exciting band.

http://www.facebook.com/HerDyingRegret

9/10

RingMaster 20/09/2013

Copyright RingMaster: MyFreeCopyright

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When Reasons Collapse – Full Of Lies

Hailing from Paris, When Reasons Collapse brings their own inventive take on deathcore with the release in the UK of their Full Of Lies EP. Aligning melodic death metal and metal core into a potent enterprise, the French quintet through the seven tracks making up the release, whilst not standing as a unique presence in the genre and the wealth of new metalcore cored bands around, bring more than enough to suggest it is only a matter of time before they step into that type of stature whilst simultaneously raising strong appetite for their debut album due in 2014.

Formed five years ago, When Reasons Collapse has built a strong presence and reputation at home, a pair of two self-produced EPs earning critical and fan acclaim alongside as their explosive live performances. Now the band has its sights on the British metalcore scene and it is fair to say you would not bet against them making the same strong impression even amongst the amount of similarly clad bands already trying to seduce the passions here. With a sound seeded from the likes of Heaven Shall Burn, All Shall Perish, and The Black Dahlia Murder, and fronted by the great squalling tones of Christina, it makes for an instantly intriguing and satisfyingly rewarding proposition.

It is unlikely that Full Of Lies has enough to truly set the band apart right now even as good as it is, but as the septet of brutally confrontational and imaginative songs take their swipe at the senses it sparks the suggestion that their album has potential to if it evolves the strong and pleasing groundwork found on the EP. Starting with Another Beginning the release teases at first, the opening instrumental not really true indication of things to come for newcomers but certainly an accomplished and hue soaked welcome that awakens the senses and imagination ready for the following onslaught firstly brought by Another End. The track takes a mere moment to offload testy riffs and antagonistic rhythms all primed to welcome the emerging carnivorous core of the song and the caustic vocals of Christina. Her tones have a Krysta Cameron (ex-Iwrestledabearonce) persuasion about them and lie perfectly within the metallic malevolent tempest crafted by the excellent guitar work and bass predation. It is a striking start if not exactly a full enslavement of the passions but one which already marks the band as one to offer full attention to.

The following Wounded seizes the brief pause between tracks to brew up a similar but individual enough torrent of raging riffs and barbarous rhythms again ridden roughshod by the excellent vocals. Like its predecessor the track also finds nothing to lift it above its companion or other creatively like-minded bands yet with the fine guitar craft and venomous intensity there is nothing to lose hunger over or dismiss. That wanted uniqueness is found in its successor though, the exceptional Made Of Stone. Pissed off from its first second with vocals and rhythms searing and punishing the senses respectively and the guitars bringing their own corrosive fascination, the song just draws on greater strength and accelerates its qualities with each passing press of time. Contagious and demanding the track slips into a midway lumbering gait which with a weight as greedy as the rapacious attack seems to ignite something deep within band and song with the sound finding even greater maliciousness amid a richer blaze of vocals from Christina and band that is enthralling and diverse.

Will To Die and the title track rip into the ear with crippling drum provocation and sonic entanglement stalked by the strong if not jaw-dropping bass sound. The first of the two never settles into a single or determined intent instead pleasingly leaping around with inventive and unpredictable imagination whilst the second casts a vindictive and ravenous expanse of vitriolic fascination around the riff and rhythmically sculpted savagery leading to even stronger assumptions about the promise and future of the band, though the pair of songs still fall below that central pinnacle of the release.

The scathing barbarous fury of Walkers In The Dark completes the EP in red-blooded style as the band unveils more scalding sonic craft and belligerent attitude. It seals the confirmation that When Reasons Collapse is a real force in the making and Full Of Lies despite not pushing the band to heights above others, one thrilling and promising release.

www.facebook.com/WhenReasonsCollapse

8/10

RingMaster 24/08/2013

Copyright RingMaster: MyFreeCopyright

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