Bear – ///

As the list of essential 2017 releases already looks like it has the potential of being a substantial one establishing itself at the head is the third album from Belgian metallers Bear. Primarily tagged as math/technical metal, the Antwerp based quartet swiftly show within their new intrusive roar that their sound is a kaleidoscope of imposing flavours. Within the release hefty strains of everything from progressive and heavy metal to nu-metal , hardcore, and metalcore accost the imagination It is a ravenous web aligned to more voracious grooves than found within most lifetimes of releases from many of that genres participants and one hellacious treat of a trespass for ears, senses, and pleasure.

Formed in 2010, Bear awoke attention with their self-released 5 track EP Abstractions; its initial success continued through a digital release with Conspiracy Records and a full re-release via Let It Burn Records who followed that up by uncaging debut album Doradus in 2011. At the same time, the band was invading the UK with their raw sound, touring there with While She Sleeps while headlining their local festivals while the year after the album’s release they went on to support the likes of Periphery and entice major plaudits with appearances at  festivals such as Euroblast and Groezrock. Signing with Basick Records in 2013 brought second album Noumenon into greater acclaim whilst live a trio of UK tours with The Colour Line, Black Dogs and Carcer City and further festival triumphs only helped to firmly establish the outfit within the European metal scene.

The biggest spotlight is now sure to be tempted with the release of ///, from its claw slashed title to its ursine assault of sound, the album is an inescapable beast of character, aggression, and invention mauling the listener from its first breath with opener Blackpool. Its first gasp brings a senses eroding surge of guitar and Maarten Albrechts’ furious vocals, a colossal onslaught weighted further by the lethal swings of drummer Serch Carriere and the grievous tone of Dries Verhaert’s bass. As the corrosive tide continues scything riffs and squalling grooves escape the already impressing exploits of guitarist Leander Tsjakalov, his creative weave in turn sparking greater variety in the vocal roar of Albrechts and band. Like a blend of Meshuggah, Slipknot, and Society 1, the song bullies and seduces, opening up more unpredictable twists and compelling exploits with every passing wave of imagination.

The tremendous start continues with Hounds, its primal and rhythmically dynamic entrance enough alone to grip ears, the subsequent net of grooves and technical espionage as well as continuing vocal variety an ever tightening vice of creative temptation. With lighter but just as dirty heavy rock hues adding to the raw infectiousness, the track snarls and ferociously dances with the senses; bruising and teasing them before the band’s latest single Masks emerges from its own dusty smog with a Rob Zombie-esque stomp soon sharing invasive grooves amidst a dissonant cauldron of technical and off-kilter ingenuity. Whereas its predecessors pretty much tore at the senses, Masks taunts and flirts, if with instinctive rapacity and ruthless persistence. Every second is a tempest of intrigue and adventure, each moment a ravishment of ears leaving sheer greed for more in its wake.

It is a hunger swiftly fed and further provoked by Childbreaker, the song initially a blaze of intensity with waspish grooves buzzing around brawly rhythms but soon exploding into an invasive tempest of attitude and barbarous sound though still a storm bound in a virulent infectiousness as devious as the ferocity around it. Predatory in every aspect, the track devours with every breath, a quality no less forceful within next up Knives Are Easy and its maelstrom of technical and instinctively quarrelsome enterprise. The combined creative voracity of Tsjakalov and Verhaert is seemingly encouraged by the irritable jabs of Carriere and Albrechts’ grizzly tones and just as intrusive when the charge turns into a prowling examination of the listener. It is a stalking which cannot sustain its lust for long, the song ending on the same assertive thrust it began with.

The Oath entangles the senses in its own agitated and kinetic almost gladiatorial frenzy next, harmonies and melodic seduction enticing from within the cyclonic ambush and having their own moment of inescapable persuasion like a warm oasis at the eye of an increasingly psychotic storm. With every element combined, it is a fearsome bewitchment with the animalistic growl of bass irresistible, delicious bait continuing as 7 strolls into view carrying a maze of meandering anxious grooves and sonic psychosis. Becoming more brutal and intense with each passing moment, it equally breeds a captivation of harmonic and melodic seduction, the union of extremes as catchy as it is wanton. The song is a helter-skelter of invention and craft, fiercely glorious leaving exhausted ears in bliss and easy prey for the slow menacing prowl of instrumental Klank before Raw has them consumed in another eddy of feverish craft and unbridled discord abound with swirling contrasts and volatile textures all woven into one mouth-watering dispute.

The album is completed by the just as argumentative and creatively pugnacious Construct.Constrict and finally the physically and emotionally subversive Adjust.Adapt. As distinct in nature and body as they are united in bristling attitude and laying a sanguinary touch upon the senses, the pair stretch and open up new realms in the Bear sound; the closing song especially charming in its harmonious siren-esque heart within another truculent body.

There is simply no weak spot within ///, not even a moment when the album slips a foot let alone falls from of very early established pedestal. Quite simply the album and indeed Bear for newcomers is a must!!

/// is out now through Basick Records across most online stores.

http://www.bearpropaganda.com/band/   https://www.facebook.com/bearpropaganda    https://twitter.com/bearpropaganda

Pete RingMaster 12/04/2017

Copyright RingMaster: MyFreeCopyright

The Royal – Seven

Photo by: DeanX Photography

The final breath of March saw Dutch metallers The Royal release their sophomore album via Longbranch/SPV, an emotional and technical cauldron of melodic metalcore which is simply hard to ignore. The Eindhoven hailing quintet is being talked of with big expectations for their future and through their second full-length, Seven it is easy to see why.

Formed in 2012, The Royal has proceeded to breed and earn a potent reputation at home and further afield year by year. Their first year saw the release of the Origins EP with the well-received single Blind Eye coming a year later. Debut album Dreamcatchers further pushed the band into broader attention with its unveiling in 2014 whilst live the five-piece has drawn plaudits, the band going on to support the likes of Architects and Breakdown Of Sanity and play events such as Jera On Air and the Impericon Festival. Seven though just might be the wake-up call to bigger and greater opportunities; certainly its eventful and resourceful exploits deserves a moment with the metal world’s attention.

The album opens up with Thunder, a track living up to its title. Stormy clouds gather as the track settles into place, riffs respectfully but menacingly harrying the senses before wiry grooves erupt and vein its increasingly tempestuous climate. Soon the song hits its virulent stride, rhythms an imposing trespassing on the senses as the guitars snarl and weave their creative textures within the ebb and flow of the assault. All the while vocalist Semuel Pisarahu boils with emotional ire and open antipathy, a scowling hue equally striking in the web of enterprise, melodic suggestiveness, and raw aggression getting the album off to a mighty start.

Its mix of flavours is another potent aspect to the song and matched within the following Feeding Wolves. Its first touch is a melodic gentleness though soon joined by the low key but open grumble of Loet Brinkmans’ bass and the meaty jab and roll of Tom Van Ekerschot’s beats. As Pisarahu growls, the track erupts into another hellacious yet inviting tempest speared by a predacious swing and spicy grooves. As in the first song, guitarists JD Liefting and Pim Wesselink reveal themselves as comfortable seducing ears with warm melodies as they are ravaging them with bracing and abrasive hostility, their imagination and craft adding to the inventive unpredictability of the song and indeed album.

The mercurial character of the second track similarly grabs the imagination; a quality all songs have in varying degrees. Next up Wildmind is less changeable, more a persistent blaze of irritable jaundice but also flowing through creative twists and turns. Though not quite matching up to the first pair in igniting the passions, it leaves satisfaction full and appetite hungry for the proposals offered next by Creeds And The Vultures and Counterculture. The first has a mean-spirited air to its attitude and touch but one tempered by the maze of winding grooves and captivating melodies wrapping the vocal tension whilst its successor and the band’s new single rocks with relish while also creating a web of melodic enticement and vitriol lit dynamics, rhythmically and sonically. There is a toxic and intoxicating depth to its body, keys a hug of beauty, guitars a kaleidoscope of intent and endeavour as Pisarahu leads the raw vocal roar.

From the melancholy drenched atmospheric instrumental Interlude, the album’s title track has ears and imagination entwined, instantly too as its opening guitar twang flirts with instincts before they are infested by a glorious net of rapacious grooves. Another song which is rock ‘n’ roll at heart and carnivorous in persona, it crawls into the psyche; colouring its realms with fluttering melodies and animalistic textures. Middle Eastern spices only add to its majesty, the track emerging as quite simply aural captivation.

Life Breaker unleashes its ravenous sinews and creative rancor next, though again beauty is as prevalent in its physical nature as emotional discord while Thalassa is an invasive animus of sound and emotion which, without skimping on sonic light, is a darker, more vindictive enmity. Both tracks hit the spot, the former dead centre, before Draining Veins gives its melody woven volcano a friction of vocal and rhythmic tension which boils to inhospitable crescendos across its ever shifting and provocative soundscape.

The album closes with Viridian, a song epitomising the fluid ability of the band to tap into and blend contrasting emotions and textures whilst simultaneously challenging and stirring the listener. It is also a mighty collusion of sonic flirtation and predacious alienation bringing the album to an impressive end.

There are times when, on the surface, tracks share similar essences and personalities to other songs but attention and time defuses any apparent sameness. What emerges, is a creatively immense and thoroughly enjoyable proposition which, for appetites of bands like August Burns Red, While She Sleeps, and Northlane, of metalcore which wants to push itself, is a definite must check out.

Seven is out now via Longbranch/SPV. All links available @ https://theroyal.lnk.to/Seven

http://www.theroyalofficial.com/   https://www.facebook.com/theroyalofficial/  https://twitter.com/theroyalmetal   https://theroyalofficial.bandcamp.com/

Pete RingMaster 05/04/2017

Copyright RingMaster: MyFreeCopyright

Mate’s Fate – A Home For All EP

As the French metal scene continues to impress with the quality of bands and releases coming forth in recent times, metalcore quintet Mate’s Fate join the expanding list of goodness with their debut release. The A Home For All EP is a ferocious and eventful slab of tenacious metal, five hungry slices of sound and aggression catching the imagination with a blend of fresh and familiar resourcefulness. Loaded to the brim with just as potent potential, it is an introduction already pushing the band beyond local borders towards European and broader spotlights.

Formed at the end of 2015, Lyon hailing Mate’s Fate instantly tempt attention with a reflective melody as the EP, crowd-funded with fierce success, opens up with its title track. With beats for company , that first enticement draws ears into a waiting wall of rapacious yet controlled riffs, that the plateau for an opening web of wiry grooves.  Guitarists Quentin Reberat and Yoan Larme continue to spin their respective lures and designs as vocalist Matthieu Delage roars with great and potent variety backed by other members of the band. There is no escaping a Bring Me The Horizon influence at play with the track not dropping many big surprises yet such the craft and passion involved with Mate’s Fate’s own invention, the song leaps boldly from the speakers to ignite thick pleasure and enjoyment; its melodic and calmer flames along with a want to stretch the track’s creative landscape especially pleasing.

The following Souvenirs had ears hooked from its first Korn like breath, a sonic spiral and breathless vocal bait the seed to an antagonistic stalking of the senses swiftly accelerating into a predatory tempest again mixing a great blend of varied vocal assaults and guitar spun adventure fuelled by hostility. There is a touch of now sadly expired Irish band iBurn about the track but it soon boils up its own creative and invasive character as the swinging beats of Nicolas Ammollo incite and punish alongside the equally carnivorous groan of Thibault Chemineau’s bass.

Closing on a swirl of suggestive melodic toxicity, the song is instantly followed by the opening mists of Hopeway, the crystalline glimmer remains a persistent glaze even once accompanied by an ever enjoyable span of vocals it is interrupted and inflamed by ferocious strikes of sound and intensity. There is a rawness and volatility to the song which potently tempers the melancholy and unsettled calm, eventually sparking even more tempestuous traits across the excellent encounter. The captivation of its creative enterprise is matched within the more primal but no less resourceful Undercover. Featuring additional vocals from Florent Salfati, who also mixed and mastered the EP, it’s every taut sinew, savage riff, and venomous syllable is a magnetic trespass and only equalled in strength and appeal by each citric melody and hope lined harmony that surfaces. Once more, it is probably fair to say that uniqueness is not as forceful but it matters little in, as the EP overall, a proposition as unpredictable and imaginative as it is irresistibly compelling.

Prison Of Silence brings the release to a close, its voice sharing many attributes of its predecessors like a linked story yet sharing individual twists and turns to ensure just as eager and persistent attention; every steely tendril of guitar and rapier thrust of rhythm an incitement to vocal and sonic dexterity.

It is no surprise that A Home For All is waking up the metalcore scene, for a debut it pretty much wipes the floor with anything out there right now but with the potential also in its ranks and the band’s future imagination, it is easy to suspect that we have seen and heard nothing yet.

A Home For All is available now @ https://matesfate.bandcamp.com/releases

https://www.facebook.com/matesfate    https://twitter.com/MATESFATE

Pete RingMaster 30/03/2017

Copyright RingMaster: MyFreeCopyright

Annisokay – Devil May Care

annisokay-devil-may-care_RingMasterReview

With attention increasingly being drawn their way, German metallers Annisokay have just released third album Devil May Care, a release which rumbles and roars in ears demanding attention. The successor to their acclaimed 2015 full-length Enigmatic Smile, a release following an equally well-received debut in the shape of The Lucid Dream[er] a year earlier, Devil May Care is a rousing and tempestuous beast as at home casting ferocious confrontation as it is sharing melodic and harmonic enterprise.

Creating a sound spun from the heart of metalcore and post hardcore with just as rich rock and electronic flavours involved, the Halle/Leipzig hailing quintet has grown from a national roar to an eagerly welcomed European proposal, the success of their albums and tours across the likes of Austria, Switzerland, France, Russia, and the UK proof. Now it is Devil May Care looking at expanding the band’s presence and sound, a result the release certainly achieves with the latter if still driven by their familiar yet persistently unpredictable sound.

The album opens up with Loud, a track which initially shimmers but soon breeds a scuzzy dose of guitar before catching light with primal rhythms, romancing keys, and riffs which infest the senses. There is no escaping a Rammstein edge to the crowd roars and intensive examination but as the growls of Dave Grunewald shares the platform with the clean tones of Christoph Wieczorek, the song soon takes on its own persona and continues to tempt and ignite the senses. The rhythmic animosity of bassist Norbert Rose and drummer Nico Vaeen is as direct and uncompromising as the throat scarring shouts of Grunewald but perfectly tempered by the harmonic caresses of Wieczorek and the melodic enterprise and sonic ferocity escaping his and Philipp Kretzschmar’s guitars.

The following What’s Wrong also makes a gentle entrance which needs little time to catch aflame as keys and grooves collude  within another rhythmic/riff led onslaught. It too is a passing moment as warmer lures wash ears with matching vocals, but it too becomes a relatively fleeting passage in the revolving landscape of the swiftly infectious encounter. The mix and contrasts of vocals is not surprising these days in caustic metal but works a treat and is emulated in the imaginative textures within the ferocious intensity devouring air and listener.

Featuring Northlane vocalist Marcus Bridge, next up Smile quickly commands ears and imagination. Its initial melodic coaxing is as suggestive as the rapier like thrusts of the grouchy rhythms and harmonic union aside the lusty scowls of Grunewald which follows; their tempting sprung within a carnivorous tide of riffs and djent spiced rabidity. Twisting and turning with increasing virulence, the track is superb, a rousing and dementedly addictive affair as prone to melodic seducing as rancorous trespasses.

Through the haunting drama of D.O.M.I.N.A.N.C.E, another thrilling dichotomy of melodic temperance and punishingly inhospitable attitude in sound and intent, band and album devour as they ignite an even greedier appetite for the release while the mellower but still volatile fire of Blind Lane leaves ears more than satisfied. The second of the two does fail to live up to the creative drama and unpredictability of its predecessors but provides plenty to be wholly engaged in before Thumbs Up, Thumbs Down uncages its own maelstrom of mercurial incitement as ravenous as it is melodically tempting. Aggressive and invasive it surely is yet it also shows Annisokay songs to be as catchy as they are challenging and with the guest appearance of Christoph von Freydorf from Emil Bulls, offers another eventful and magnetic proposal.

Both Hourglass and Photographs have body and imagination firmly held, the fierce yet enchanting first with its poetic melodies and angst fuelled vocals and the second through its volcanic nature. Each again only please though the latter is another lacking the more unique essences of others around it to shine as impressively for personal tastes while after them Gold is a maze of twisted grooves and hungry riffs driven by biting rhythms but equally a beacon of harmonic and melodic elegance around an electronic heartbeat.

Concluded by the mercurial theatre and roar of The Last Planet, the initially impressing Devil May Care only grows in stature with every passing listen. You could say there is a similarity between many tracks within the release, a surface familiarity but it is countered by the fresh revelations found within its inventively layered tracks once given closer attention. The enjoyment found with it also leaves any shortcomings, of which there are few, an ever diminishing essence.

Devil May Care will be released through SPV / Longbranch as a Limited Box-Set, CD Digipak, Vinyl Version (incl. CD), and Download.

http://www.annisokay.com/    https://www.facebook.com/annisokay/

Pete RingMaster 30/11/2016

Copyright RingMaster: MyFreeCopyright

From Rust – Lost Sense Of Life

from-rust-online-promo-shot_RingMasterReview

British metalcore outfit From Rust have just unleashed debut EP Lost Sense Of Life, a release which makes up for what it lacks in real surprises by breeding an attention luring character bound in a ferocious tempest of sound.  Fair to say it is a promising, potential loaded introduction to the Somerset hailing quintet which has installed itself as one of our current persistent listens.

Created in 2014 by long-time friends, vocalist Jake Searle and lead guitarist Camden Gibson, From Rust has taken their time to emerge. With a line-up finally completed by rhythms guitarist Tom Waters, bassist Sam Elswood, and drummer Sam Kellaway, the band spent numerous months creating and honing their sound, its raw and pungent creative roar making a potent impact once the band hit the live stage towards the end of 2015. Since then they have shared stages with the likes of Despite My Deepest Fear, Thrones, Values, and Materia while hitting the studio earlier this year to uncage the fury fuelled Lost Sense Of Life.

Inspirations to the band are said to include bands such as Parkway Drive, Northlane, and All That Remains; essences which do not hide within the EP and opener Whispers but it is fair to say adds to the storm rather than drives it. The first track coaxes with a fiery groove initially as rhythms and riffs collect in the background before consuming the senses and shaping the blossoming assault. They align to rather than devour that initial enterprise, melodic flames and scything sonic spears joining the potent ire and variety in Searle’s vocal trespass. As atmospheric throughout as it is venomously fierce and relentlessly vicious, the track is a strong and engaging start but soon outshone by its successor.

from-rust-cover-artwork_RingMasterReviewInside Out is superb, from the sonic web slung out there by the guitars at the start exposing itself as a ravenous beast of raw and inventive temptation which burrows itself into the imagination and psyche. There is a swagger to that initial tapestry of guitar matched in the prowling beats and threat loaded bassline of Elswood; all luring and baiting the senses before entangling in a rabid onslaught. Twisting through those varied attacks and more across its inventive body, suggestive intrigue soaked melodies and varied metal strains circling ears, the track grips and enthrals taking best track honours whilst uncapping the potential of real uniqueness within the band to hopefully emerge ahead.

If the previous track is predatory, Predictable Pain is bestial as it stalks the listener, all the time jabbing away with its salacious rhythms as guitars and bass weave a mercurial tapestry of sound and imposing emotion further shaped by the raw throated intrusions of Searle. With senses wilting breakdowns and rapacious vocal squalls within the net of sonic enterprise, the track is certainly a centre of attention if lacking the final elements which ignites its predecessor and indeed the following Grey World. With Searle using his range of attacks, to great effect, the track is a cancerous yet infectious abuse cast with an invention and imaginative boldness hinting at greater things ahead as the band develops in sound and songwriting.

Final track Gone Forever is just as intensive and enjoyable, epitomising the release in many ways as recognisable essences are embraced by the band own keen invention and readiness to be bold and try to be different. It is that element which really helps Lost Sense Of Life command the senses and suggests that once From Rust really go for it, they could be one of those taking British metal boldly forward.

Lost Sense Of Life is out now on iTunes.

https://twitter.com/fromrustoffical    https://www.facebook.com/fromrust/

Pete RingMaster 29/11/2016

Copyright RingMaster: MyFreeCopyright

Blood and rage: exploring the roar of Incentives

Incentives_RingMasterReview

Bred in and roaring from the heart of the Australian melodic hardcore/metalcore scene, Incentives is poised to release new EP Dusk. Already drawing potent attention their way, the release is sure to accelerate awareness of the striking quintet. We recently took the chance to explore the band ahead of the EP’s unleashing and get to the core of the potential fuelled outfit…

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

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

Holla! We are Incentives, a band out of Melbourne, Australia. We started about three years ago thanks to our guitarist Rory bringing us all together.

Is Incentives your first musical adventure?

None of us had really been involved in anything of any real significance before the band. I suppose it was kind of cool that we can all call this our first and only band!

What inspired the band name?

Honestly, I’ve no idea what inspired the name it was more of a “this will do for now” kind of thing, and then it just stuck and we’ve grown to really love it.

Did you come with a specific idea when forming the band and also in what you wanted it and your sound to offer?

We really had no idea what we wanted to sound like or anything along those lines. I feel that this has in a way helped us to find our own sound which I believe we are honestly starting to do.

Do the same things still drive the band when it was fresh-faced or have they evolved over time?

Well I guess it grows a bit. We started off happy just playing any show, but now we are looking to play bigger shows, get on more tours and just generally keep growing as a band!

Photo Andrew Bromley

Photo Andrew Bromley

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

I’d say it’s just constantly becoming a more refined sound. We were all teenagers when we first started and so now we are finding we are making a more complete (whole) sound. Slowly learning what suits us and what doesn’t and hopefully making stuff people will enjoy too.

Has that refining been an organic movement or more through the band deliberately setting out to try new things?

I’d say pretty organic, nothing is forced within the group. We obviously always like to experiment, some of which works, some that certainly doesn’t but it is all part of moving towards a unique sound.

Presumably across you guys there are a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

I couldn’t really name one specific band or artist that has really changed our approach, but bands such as Volumes and Counterparts have provided a massive influence on our writing and sound. Parkway Drive is probably the reason we all got into this kind of music in the first place so they deserve some credit in here that’s for sure!

Is there a certain process to your songwriting which generally guides the writing of songs?

Usually our guitarist Max will write some riffs and melodies and then our drummer Joe will program drums and then Kyle our vocalist will write all his lyrics and patterns over that.

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

Everything is based off life experiences. And more specifically they are based around relationships, with friends, loved ones, and family. Sometimes things will get exaggerated, but who doesn’t love a bit of a story hey!

Can you give us some background to your latest release?

Our latest release is Corrode which is the first single off our upcoming EP, Dusk, set for release on the 30th of June. It’s a fast paced hard-hitting track with our mate Max from Imprisoned art_RingMasterReviewfeaturing in it and doing a stand up job.

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

I’ll answer this from the viewpoint of the whole EP (yet to be released). It’s all to do with relationships and the ups and downs to pretty much every little emotion and situation that defines them. Corrode in particular is about dealing with a partner that is suffering from a mental illness and just how damaging it is to not only them but to you too.

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

It’s a bit of both really! We usually go in with a pretty decent idea, but there are always aspects that still need writing or changing and Sam who produces our stuff and also writes for his band Ocean Grove really helps us out.

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

Absolutely! We all love playing live. We like to think we are pretty high energy band, lots of bouncing around and head banging. If it’s fun for us, we figure it is fun for the audience!

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands?

Oh for sure! There are sooooo many bands out there at the moment and to stand out you really have to do everything right all the way from image to music and live performance. Melbourne in particular has a ridiculous amount of talent (Void of Vision, Ocean Grove, Sentinel) just to name a few. I guess what we do to separate ourselves is just play our style and hope people dig it. High quality production of music and promotional work is of huge importance if you’re going to get anywhere!

Incentives2_RingMasterReviewHow has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success?

Without social media I doubt we’d be anywhere. In fact this is a certainty. We were lucky enough to get to tour overseas last year and I know for a fact that we were discovered via social media! So best we all pray to the Facebook God’s and hope that our ridiculously over-priced Facebook Boost’s get us some decent exposure!

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

Thanks for having us! Keep an eye out for our debut EP coming June 30th which hopefully you will enjoy!

https://www.facebook.com/IncentivesMelb   https://incentivesmelbourne.bandcamp.com/

Pete RingMaster

The RingMaster Review 10/06/2016

Copyright RingMaster: MyFreeCopyright

Cleanse The Hive – From The Depths EP

Photo Credit - A D Zyne

Photo Credit – A D Zyne

If you have not head the buzz around Scottish metallers Cleanse The Hive yet, there is a pretty good chance you soon will as the band’s debut EP explodes in more and more ears. An irritable and dynamic fusion of death and groove metal with ravenous metalcore, the band’s sound shows all the qualities of a someone taking their time to evolve and hone their craft and imagination; a intent which here ensures the From The Depths EP is an introduction which not only grabs attention, it demands it!

Formed in 2011, the Aberdeen hailing Cleanse The Hive, as mentioned at the start, have not rushed to the moment to broadly unleash their inventive exploits though live the quintet has been a hungry incitement soon becoming eagerly followed and praised. Drawing on inspirations ranging from Lamb of God, As I Lay Dying, and Whitechapel to Periphery, Pantera, and Cancer Bats, Cleanse The Hive has earned a potent reputation for their explosive live shows and reputation building tours alongside bands such as Heart of a Coward, Nexilva, Carcer City, Exist Immortal and many more. Now they are ready to wake up a national, if not larger, spotlight upon themselves, a success already expected with the immense roar and persuasion of From The Depths alone.

The EP hits ears straight away with a wall of intimidating and prowling sound; riffs and rhythms colluding in predatory relish as a vocal growl erupts from the throat of Callum Hutchinson.  Taking a further moment to compose itself, Eviscerate then springs with greater zeal at ears, the guitars of Jordan Pacitti and Glen McMillan casting surges of ravenous riffs and sonic dexterity as Hutchinson’s vocals share varying shades of hostile and venomous squalling. In no time ears and imagination are gripped, further enthused by the broadening enterprise of the guitarists amongst the brutal swings of drummer Greig Hadden and alongside the pestilential encroachment of John Campbell’s bass riffs. Lamb of God is easy to offer, Cryptopsy too, as a hint to the maelstrom of craft and sound assaulting and exciting ears yet already something individual to the band is emerging and continuing in its successor.

cleansethehive large_RingMasterReviewCities Of Gold is arguably even more primal and inhospitable than its predecessor; vocals spewing malice with every syllable and the instantly captivating grooves spreading toxicity with very swing of their body within another tempest of emotional and aural animosity. To that though, a perpetually virulent infectiousness flows and in time, a melodic seduction from keys and guitar which is as bracing and invigorating as the animus of confrontation surrounding it. The opener grabbed ears and appetite, its successor trapped both, and by The Reign Of Tyrants, it is fair to say that band and EP had these ears enslaved. Thrash metal is never too far from the textures of death and extreme metal, and drives the third track with open eagerness, though things soon become a part of A thick tapestry of flavours and rabid intent as unpredictable as it is enthralling. Compared to the previous pair, it also has less urgency to its devouring; a more reserved violence to its assault that only makes it more dangerous and captivating.

The EP’s title track descends on the listener next, it too a less vicious attack initially, preferring to build its intensity and savagery over time as grooves and melodic acidity vein its evocatively volatile landscape. As the previous song also, it does not quite make the same impact as the more boldly eventful trio of tracks starting things off though its adventurous nature, as melodic mystique coats guitar imagination, only leaves a want and appetite for more in place.

The dramatic dance and intimidating theatre of Terror Rising brings the release to an impressive close. Again a siren-esque hue wraps melodies; their middle eastern scent a masterful temper to the cantankerous invention and resourcefulness soon driving riffs and rhythms. Emerging as the most imaginative and diversely sculpted track on the EP as even more metal bred styles are included in its emprise of sound and invention, Terror Rising alone provides plenty to use as a reason to get excited about Cleanse The Hive and for the UK metal scene ahead with them in it.

It is hard in modern metal to make a mark on your debut powerful enough to pull attention away from all the other emerging bands do the same thing, but take it from us, Cleanse The Hive have done so and how.

The From The Depths is out now @ https://cleansethehive.bandcamp.com/releases and across other online stores.

https://www.facebook.com/CleansetheHive/    https://twitter.com/CleansetheHive

Pete RingMaster 20/04/2016

Copyright RingMaster: MyFreeCopyright

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