I.C.O.N – The Blacklist

I.C.O.N_Reputation Radio/RingMaster Review

Six years on from their well-received and acclaimed debut album, UK’s I.C.O.N make another noticeable and even more potent imprint on the British metal scene with its successor The Blacklist. It is a brute of an encounter yet jammed with stirring melodies and sonic enterprise to temper and complement its muscular aggression. The album is not one to seriously tear up the metal/heavy rock landscape but in giving it an invigorating stirring, The Blacklist does a massive job.

From the release of their first album New Born Lie in 2009, I.C.O.N has continued to reinforce their potent reputation and increase a loyal fan base through a live presence taking in stage sharing with the likes of Breed 77, Blaze Bayley, Warrior Soul, Diamond Head, Furyon, Zico Chain, Witchfynde, and Voodoo Six amongst many others. Numerous festival appearances have only enhanced their growing stature too, with the release of The Blacklist now carrying the broadest potential to awaken major spotlights. Produced by Pete Troughton, the album is a tapestry of hostile exploits and melodic temptation cast in an array of individual proposals. Some tracks outshine others but from its first atmospheric breath to its final roar, the release provides one rugged, raw, and rousing enjoyment.

The album opens with A Room In Hell, a short instrumental gently and evocatively luring the listener into the heart and turbulence of The Blacklist. Guitars cast an enticing web of expression and craft whilst rhythms rumble like an encroaching storm, their shadows colluding with sonic persuasion in a potent intro to the release and the sinew stretched swagger of Feeding The Negative. Instantly riffs from guitar and bass are a gripping coaxing matched by the increasingly aggressive and agitated assault of beats. The growling tone of Reece Bevan’s bass additionally provides a great accompaniment to the equally gravelly vocals of Mark Sagar and a predatory contrast to the acidic and scorching endeavour of Scott Knowles’s guitar. In full stride and attitude, ground-breaking the song is not but like the album, in prime and inventive metal spawned rock ‘n’ roll, the track is a storming incitement and pleasure.

i-c-o-n-the-blacklist-1400_Reputation Radio/RingMaster Review     The following Grindin’ Wheel, though appearing less confrontational, is a matching beast of provocation. As the keen swipes of Larry Paterson’s drum sticks hit skin and senses, a spicy groove is cast by Knowles, its revelry sparking a similar swing to riffs and subsequent rhythms whilst band vocal calls add an anthemic tempting to around increasingly imposing and impressing tones of Sagar. The song does its big part in the continuing strong and gripping start to The Blacklist and is instantly backed by the thrash seeded I’m The Venom, a song with a hint of bands like Metallica and Testament but flinging those flavours around like a baker with dough to create its own recipe of melodic/heavy rock infused antagonism. There is that familiarity though but it only makes things spicier around the uniqueness fuelling the incendiary solo which breaks free and the bracing vocal/rhythm collusion shaping all tracks.

Both Welcome To My War, with its deliciously barbarous bass insurgence and uncompromising drums swings, and Speak To Your God keep ears and appetite fully fed. The first of the two is just breath-taking at its start, an inescapable consuming of the senses and imagination which then loses its fullest potency once it settles into a more reserved and restrained prowl. The song still impresses and ignites full satisfaction to be fair but such its glorious opening, it feels a little like a missed opportunity unlike its successor which brawls and rages from its first breath. With a hint of a southern twang to its air, the track reveals its whole weight and weaponry straight away, simply increasing its richness with nagging riffs, riveting grooves, and a fiery solo, not forgetting virulent rhythms.

The slower, more controlled Devil’s Blacklist walks through ears with emotional expression and descriptive sonic hues, and though it maybe lacks the spark of its predecessors, it hangs a creative arm around attention to keep it fully involved before Wrong Way Back turns in a heavy and forceful stomp equipped with raw contagion spun by the skilled exploits of each member of the band. There is no avoiding the technical and accomplished craft from I.C.O.N, and how individually and united its members know how to write and deliver a fully rounded and attention grabbing storm of an encounter, no better proof coming than with Man of the North. From a cold and lonely canvas the instrumental builds an evocative landscape of solitude and beauty, its range of minimalistic textures to full blown tempestuous endeavour and ideation a relentless suggestiveness for the imagination.

The outstanding rampage of Deconverted descends on ears and air next, another thickly persuasive bass lead stirring up body and emotions for the song to bruise and ignite further, though it is another which maybe does not realise the potential hinted at throughout. It is still an excellent encounter though leaving the closing and tenacious sonic might of Drowning In Their Screams to bring this thoroughly enjoyable and invigorating album to a close.

For honest and uncluttered, as well as seriously accomplished heavy metal, it will be hard to find anything much better than The Blacklist this year we suggest. It is not flawless and as mentioned it does not fulfil all the promise hinted at, but you can only feel that there is a major classic lurking inside I.C.O.N as they evolve and grown further whilst this release persistently shows itself to be one powerful and seriously tasty encounter all metallers should take time to devour.

The Blacklist is available now via Metalbox Recordings digitally and on CD @ http://www.iconukonline.com/webshop

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RingMaster 16/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Immension – In Vain

Immension Press Shot

Continuing where their previous EP left off whilst showing greater rigorous invention and accomplished songwriting, British metallers Immension release debut album In Vain to reaffirm the potential of their already potent emergence. It is not an encounter destined to leave ears awe struck but certainly it is an album merging familiarity and fresh imagination in one persistently enjoyable proposition.

The Sheffield bred Immension was formed in 2008 by Jake Kearsley (vocals, guitar, bass and piano) and Tim Dolan (lead guitar), and soon began earning local attention with a sound seemingly Bullet For My Valentine inspired, certainly on the evidence of their self-titled first EP. Its successor The Enemy Within increased the band’s ever growing fan base whilst sparking a more national awareness too, its arrival also revealing a more Metallica influenced creativity and air was blossoming in the band’s sound and again part fuels Immension’s first and increasingly pleasing full-length. With drummer Jonni Sowter, who joined the band back in 2011, the trio are set to awaken the strongest and broadest spotlight yet with In Vain, with expected success.

Carrying a presence which is like nineties era Metallica meets Trivium, In Vain opens up with its title track and an enticing of guitar which in turn leads to a robust and skilfully tangled weave of melodic endeavour and rhythmic incitement. The vocals led by Kearsley, similarly have a tenacious and full presence, and like the music carry a Hetfield and co ring to them in varying ways. Rigorous in some moments, more energetically composed in others, the track grabs ears and attention with ease with Sowter a commanding and resourceful presence within the web of enterprise cast by Dolan’s guitar.

Immension Album Cover Art   The rich start to the album continues with The Fantasy, Sowtor’s heavy swings again instantly incendiary bait as riffs and grooves unleash a fiery magnetism against the dark swing riffs of bass. As the rest of the album, there are plenty of recognisable aspects to the song, of others and the band’s previous releases, but equally a new adventure is explored too via more provocative sonic textures and Middle Eastern spices. It is a climatic and richly satisfying encounter, its mix of deliberate prowling and ruggedly enthusiastic charges a contagious persuasion reinforced by the creative imagination and ever impressing vocals within all sides of the band.

All That Remains follows with a mellower and more restrained if still fiery character, vocals and guitar caressing ears as rhythms provide a sturdier framing. Impassioned energy flows through the heart and narrative of the song though, ensuring its more placid nature is always on the edge of emotional eruption before it makes way for the skilfully crafted and dynamic Lost & Forgotten. Neither track can match the persuasion of the first two on the album, and both also begin to reveal a surface similarity in certain areas between tracks within In Vain, but each has ears and appetite enthused for more with their also present elements of individuality, and again duly offered by In The Dead Of Winter and Shadow Of Yourself. The first of these two opens with an ominous yet regal ambience around dramatic beats before being further infused with wiry melodic hues of guitar. There is a rampancy to it which is just as highly persuasive as the ever evident technical and thoughtful potency going into songs. It is one of the loftier peaks of the album, a height its successor tries to emulate with its familiar inventive route clad in thoroughly engaging sound and creativity.

For maybe the first openly dramatic time a major twist of originality comes with the piano led and vocally harmonic Love Never Dies. Its opening charm and beauty is mesmeric but aligned to portentous shadows through the heavy tones of bass and firmly jabbing beats, it all gripping the imagination as much as ears. Continuing to evolve and expand its character and creative colour, the song becomes a blaze of melodic and emotional angst, sublimely capturing pleasure and thoughts before the just as excellent The Enemy Within uncages its barbarous and exhilarating turbulence. The track is never as aggressive and volatile as it might be due to the excellent smooth tones of Kearsley, but it thrills a treat with an enticing which is inviting and barbed simultaneously. The two tracks provide further pinnacles to the album before closing track The Father You Will Never Be offers a final imposing croon and emotional ferocity restrained by melodic temptation.

The song is a fine end to a consistently and increasingly enjoyable release. Immension are still a distance away from finding a truly unique sound but In Vain shows that in craft and sound they have taken big and impressive steps. This is not an encounter to be surprised by or find brand new terrains through but as a proposition to simply spend forty five minutes or so enjoying potent melodic metal, it is a success many other bands will envy.

In Vain is available from June 15th through all stores.

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RingMaster 15/06/2015

Copyright RingMaster: MyFreeCopyright

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Islasorna – E.D.E.N

Islasorna Online Promo_Reputation Radio/RingMaster Review

Band and sound might be tagged as progressive metal, but the best description for both elements and the creative and technical fury of Scottish band Islasorna, is psychotic. The Edinburgh quintet’s debut EP E.D.E.N is a tempest of bedlamic ideation, a deranged onslaught of inventive noise which could be declared a sonic psychosis and should be acclaimed as one intoxicating slab of thrilling turmoil.

Formed at the beginning of 2014, Islasorna create the most unpredictable maelstrom of sound. It is indeed bred in from a progressive seeding, but from second to second comes infused with a diverse array of flavours and psyche twisting imagination. Inspirations for the band are drawn from the likes of The Devil Wears Prada, Northlane, Whitechapel, Sikth, The Dillinger Escape Plan, Animals as Leaders, and Metallica, varied spices adding to a striking proposition in sound matched by a live presence which has increasingly earned acclaim and attention as the band shared stages with bands such as Bleed From Within, Carcer City, Demoraliser, Martyr Defiled, and Continents over the past year or so. E.D.E.N is a fierce nudge on broader awareness and recognition, and though for some it might be a creative turbulence too far such the intensive nature of the EP, Islasorna will surely be a name on a much wider roar from hereon in.

The EP opens with Obliteration and a melodic twang of guitar which alone soaks the air in a sultry yet slightly portentous suggestiveness. It is a hint quickly realised by the forceful beats of Michael Devlin and the vocal roar of Justin Dilworth. At first their presence only brings a small element of imposing urgency with it, a slither of increased intensity but also a stronger and darker apocalyptic hue which toys with and ignites the imagination. At the song’s climax a voice skirts the senses and provokes thoughts, menacingly flirting from the shadows before the following Achluophobia emerges to bring its words to thicker destructive reality.

Islasorna cover_Reputation Radio/RingMaster ReviewThe second track instantly expels a djent spawned predation around a blaze of vocal scowling and sonic intimidation from the guitars of Dean Watson and Jamie McArthur. As the first track, it is more a prowling ravenous predator than a vicious onslaught yet the pathological agitation its title suggests is fuel to the attention gripping enterprise and imagination cast by the band. Simultaneously the track is savage and seductive, extremes entwining and in revolt against each other as the listener is dragged through a landscape of metalcore and grindcore to name two of the open essences sculpted in a progressive and experimental voracity.

Judas in comparison is a calmer incitement on ears and senses, and opens with a thoroughly engaging melodic caress of guitar courted by the darker lures of Mark Brunton’s bass. It is a fascinating start, the equally mellow tones of Dilworth adding to the tantalising proposal. The feeling that something is brewing is never far from the surface though and by midway the brief but potent offering has uncaged a caustic climate of sound and emotion though it is still with restraint as the band reveals more of their diversity in songwriting, sound, and individual prowess. Its magnetic bellow makes way for the harsher but no less inventive Choices. The song continues the melodic and dazzling progressive elements of its predecessor but cages them in a jagged confrontation of riffs and barbarous rhythms, both Devlin and Brunton as carnivorous in their attack as the guitars are melodically riveting. Arguably the encounter fits into the more expected template of progressive metal and the inspirations to the band mentioned earlier, yet it is a perpetual provider of unique twists and senses spearing sonic flirtation again setting the band apart from the crowd.

Creative mania returns in full lung bursting vocal and noise driven devilry next with 4-2-8, the track full warfare on the senses as Dilworth reveals his broadest vocal derangement yet and musically the band twists like a sonic and rhythmic dervish. The track is outstanding, not necessarily better than any other upon E.D.E.N but staking a favourite claim with increasing success over every listen. Its rigorous and rugged turbulence is instantly contrasted by the EP’s closing title track where once more Islasorna pull back the shades on another side of their imagination. An initial breeze of melodic beauty kisses ears and thoughts first, keys colouring a shadowed ambience with elegant charm before evolving into an electro rock seducing around militant rhythms and a union of harsh and harmonic vocals. Post hardcore, scream, post rock, they are all amongst the spices within the encounter, whispering hues within the enthralling finale going towards further proof of the band’s originality.

As outstanding as it is, E.D.E.N still feels like it is only the first big step of the band, one loaded with such promise that it suggests it is merely going to be the springboard for bigger, bolder exploits ahead. This only adds to the excitement of the emergence of potentially a new force in European metal.

The E.D.E.N EP is available from June 1st through all stores.

http://Facebook.com/islasornauk

RingMaster 01/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Carnal Agony – Preludes & Nocturnes

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Preludes & Nocturnes is an album which manages to impress, excite, and disappoint in one go, though admittedly the latter is a mere fraction of the enjoyment had from the Carnal Agony release. There are just times though where it feels like it missed the opportunity to make an even greater impact on ears and subsequently the metal scene, evaded the chance to pungently push this highly accomplished band towards the brighter spotlights which admittedly it still might awaken.

Hailing from Umeå in Sweden, Carnal Agony began in 2011 and swiftly began luring attention for their diversely flavoured style of metal around lyrical themes inspired by the classic literature from the likes of HP Lovecraft, John Milton, and Edgar Allan Poe. Musically the band, on the evidence of their latest album, weaves in everything from heavy and classic to power and melodic metal to a thrash seeded sound, revealing inspirations from artists such as Iron Maiden, earlier Metallica, In Flames, Mercyful Fate, and Testament along the way. Early demos sparked interest whilst the band’s live presence has brought them attention and acclaim, especially through a tour with Six Feet Under last year. Carnal Agony has been called the latest sensation in the Scandinavian metal scene, a big claim not majorly contradicted by their debut album.

Produced by Ronny Milianowicz (ex-Sinergy, Dionysus, and Saint Deamon) and featuring former Helloween/Masterplan drummer Uli Kusch (also Gamma Ray, Holy Moses), the album gets off to a rousing start through War Prayer. Straight away heavy duty riffs and matching rhythms stand toe to toe with ears, setting down a sturdy thrash bred stride. Unpredictability shows itself to be a ripe essence within Preludes & Nocturnes and within just a few moments the first song has expectations wrong footed by slipping into a calmer melodic passage. This enticing invention is quickly surrounded by brewing essences of epic metal and stronger drama clad textures which in turn lead into another muscular onslaught. The gruff raw vocals of David Johagen join the mix now, his rugged, raw tones admittedly taking a little time to acclimatise to against the flowing tide of sound but an increasingly strong ingredient through subsequent listens of the release. Folkish elements tease alongside classic and power metal elements, already the band’s sound defying any precise tagging. The song continues to stampede and potently relax across its engaging length, a tasty appetite raising start to the encounter provided.

carnalagony-cover   The opening vocal lure of next up The Frozen Throne is excellent, mass clean vocals like a band of brothers crooning air and ears and an element not used enough as the voices are spot on. A guttural roar from Johagen brings the air born invitation down to earth, his warlike call the spark for a web of sonic enterprise from guitarists Mathias Wallin and Pär-Olof Persson, buffeted by the thumping skills of Kusch. Hooks and melodies colour the chest thumping proposition too as again a clutch of different flavours align impressively in the track which by its end you will surely be raising a fist and vocal chords with.

Rebel’s Lament is a less forceful proposition next, though still a muscular persuasion. Inventive endeavour from the guitars bound the rally of beats and riffs whilst the dark tones of bass from Roger Andersson add rich shadows which nicely temper the skilled craft flaming from the fingers of Wallin and Persson, especially in a bewitching solo. The track though does not match up to its predecessors but still has ears engrossed and satisfaction bubbling as does the next up Rebellion. A power ballad of sorts, Johagen reveals more of his slightly cleaner and stronger qualities, and if I am being honest it is when he lets those free that he and songs find a new quality. To be fair, it is personal taste more than anything but nudged by the fact that when he does ‘sing’ he often ignites already gripping songs further. The track grows in weight, intensity, and anthemic energy so that by its close you feel like you are astride a stallion going into battle.

As good as those two songs are Carnal Agony overshadows immediately after. It is a beast of a song, a stalking intimidation of stabbing riffs and scarring beats from its first breath and a carnivorous charge of sound and energy from there on. But that is only part of the confrontation, the guitars sparking within the core rampage with slithers and spears of sonic imagination and melodic toxicity, it all ridden by the commanding ‘follow me into battle’ tones of Johagen. The track is outstanding but too damn short at barely over two minutes.

Next up is the heavy/classic metal spiced Night of the Werewolf, a track with gothic overtones. This is one of those moments where personally an opportunity was lost, the earlier mentioned clean vocals feeling like they would have been a better fit whilst musically apart from a fiercely enticing bassline, the band feels like they kept a check on the imagination which had already lit up earlier songs.

Fire Walk with Me has ears and emotions feeling feisty again next, its fluid travel through a landscape of stormy energy and reflective melodies fascinating whilst once more guitars and bass reveals striking exploits bursting with magnetism and individual skill. Backed by voice and drum swipes, the track leaves a breathless listener in its wake, ready for Sleep Waker to please with its spicy heavy metal enterprise and Crystal Lake to turn into a head nodding enthusiast with its contagious and sinister imagination. The first of the two is another which, like the album, is a blend of full captivation and less successful elements or choices, but does get stronger and more enthralling with every listen. Its successor is a glorious stomp of horror bred devilry, everything from hooks to grooves, riffs to rhythms, an emotion inflaming festival of aggression and temptation.

The opening grisly bassline of Secrets Within the Shrine next sets the tone and scene of the triumph to come. Its thick bait is swiftly joined and enhanced by prowling riffs and venom swing grooves whilst beats are more predatory than vicious at this point. There is no escaping a Metallica whiff to the song but equally a scent of Misfits and the grouchy air of Mastodon helps bring alluring flavour of the song, whilst the constantly evolving ingenuity of the guitars takes it all to another level.

The track is excellent leaving Together We’re Lost the task with closing up the album, which it does in potent style. Familiar yet fresh, the track is an infectious and highly enjoyable end and another song which finds Johagen running the range of his delivery and yes he needs to ‘sing’ more because that is where he excels.

Definitely Preludes & Nocturnes is a release to take time with because it just grows with every recruitment of its bold and flavoursome adventure. Bottom-line is that it is a strong and enjoyable introduction to Carnal Agony who carry the promise of even greater exploits ahead.

Preludes & Nocturnes is available now via Sliptrick Records @ http://www.carnalagony.com/?audio=preludes-nocturnes

https://www.facebook.com/CarnalAgony  https://twitter.com/carnalagony

RingMaster 09/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

ISLASORNA REVEAL THEIR E.D.E.N’ ON 1st JUNE

Islasorna Online Promo shot

SCOTTISH PROGRESSIVE METAL OUTFIT ‘ISLASORNA’ NATIONALLY RELEASE THEIR DEBUT EP ‘E.D.E.N’ ON 1st JUNE, THROUGH ALL STORES.

Spawned from the depths of Edinburgh, and conceived at the start of 2014, Scottish experimental metal crew ‘Islasorna’ have picked up a legion of fans throughout the far North. And through dedicated and rampant gigging, word is beginning to spread about the band’s high octane live shows further afield in the UK. Adding more fuel to their fiery cause, the progressive metallers have supported the likes of Bleed From Within, Carcer City, Demoraliser, Martyr Defiled and Continents.

Consisting of vocalist Justin Dilworth, Guitarists Jamie Mcarthur & Dean Watson, bassist Mark Brunton and drummer Michael Devlin, Islasorna fuse together colossal riffs, tech playability and even hints of jazz to the melting pot. With inspiration coming from everyone from The Devil Wears Prada, Northlane, Whitechapel, Sikth, The Dillinger Escape Plan and Animals as Leaders to Metallica, the band offer a sound that is inherently steeped in metal, but undoubtedly pushes the envelope.

Islasorna are set to break out to the UK with the official release of their earth shattering debut EP, ‘E.D.E.N.’. The opening track ‘Obliteration’ pulls you in with its haunting atmospherics and pummelling drop beats. The five-some then crank it up with the sludgy riff assault of ‘Achluophobia’, which immediately grabs you by the nether regions. The band showcase their astute use of dynamics for the hypnotic track ‘Judas’, while the guttural attack of ‘Choices’ slams your eardrums, and the craft of ‘4-2-8’, framed by blistering guitars and jagged rhythms, is just pure intensity. The metallers draw the record to a close with the EP’s namesake ‘E.D.E.N.’, and it’s an eerie slab of moody heavy electronica which displays the band’s growing maturity. With shows in the can for this Summer, Islasorna are bursting to rise.

-ISLASORNA RELEASE ‘E.D.E.N.’ ON 1st JUNE THROUGH ALL DIGITAL OUTLETS-

Islasorna cover

http://Facebook.com/islasornauk

Atomik Destruktor – Unnatural Disorder

Atomik Destruktor 2015

If looking for some old school thrash inspired by the genre’s founders then the debut album from Portuguese metallers Atomik Destruktor is the perfect offering to get your teeth in to. Influenced by the likes of Destruction, Sodom, Kreator, Metallica, Slayer, Exodus…well you get the picture, the Braga quintet is straight down the line thrash metal but with an attitude and creativity which makes their release much more than expectations filling. Explosive and suitably aggressive, it is full-on enjoyment with a great anthemic presence, a mix which always goes down a treat.

Atomik Destruktor began in 2007, formed by three high school friends in vocalist Turtle, guitarist Gibson, and drummer Jota, with second guitarist Pedraça straight away brought into the band too. The departure of Turtle saw bassist Marco joining up alongside vocalist Paulo Thrasher, but it was only a few months later that the latter left and the returning Turtle completed the now in place line-up. 2008 saw the band ventured into the live scene and the following year the release of the Destroy, Disagree & Disrespect demo. In 2011 the band entered Grave Studios to record their first album. With live shows also going on, its recording took a long time to complete but finally it gets it’s unveiling via Helldprod Records, providing a fierce, volatile, and thoroughly enjoyable outing for thrash fans.

The album opens with Atomic Destruction, its initial touch samples within a distant but swiftly brewing web of guitar enterprise. They swiftly confront ears in full volume and tenacity though as riffs become a fiery and inviting incitement matched by jabbing beats and a meaty bassline. Top gear is soon locked in, the band charging with spicy grooves and rabid riffs across the senses and into a quickly greedy appetite. Turtles’ vocals are antagonistic and raw, the perfect fit for the erosive energy and driving riffery fuelling the highly agreeable encounter. Backing vocal calls and sharp hooks certainly hold no surprises, as the rest of the track in many ways, yet it matters little in the contagious and accomplished persuasion of the excellent song.

album cover - promoçao  A great start is matched by the following Attack of the Virus where again riffs and rhythms collude with ripe vocal bait to create a virulent slab of thrash addictiveness. Those earlier mentions influences are heard across song and of course album, extra colour to the infectious exploits of the band. A hostile swagger and enticing grooves unite to create a bruising march on the senses whilst a spicy sonic guitar solo towards the song’s end, is a moment revealing more of the skill and imagination of the band.

Comatose next is anything but, an explosive and hungry surge of nagging riffs and vicious rhythms stoked further by the angry tones of Turtle, whilst the album’s title track roams the senses with niggling infectiousness and bracing ferocity. Both also expel moments of inventive melodic acidity and uncompromising sonic intrusiveness which only captivates as it stirs up the already turbulent landscapes of the songs. The same again applies to the excellent Phantom City, its bruising and intensive assault, though less violent than the previous two, comes with tasty veins of imaginative grooving and searing individual endeavour courtesy of the guitars.

No song is anything less than vehement rhythmically, though that element is never short of imagination, and in basslines a constant offer of primal temptation, as found in the blistering confrontation almost punk like of Merciless Squad and after, the barbarous War Machine. Both as you would expect are loaded with anthemic persuasion and raw power, though the latter feels like a barrage of the most brutal armoury at the band’s creative disposal.

The same kind of extreme viciousness soaks final track DxDxD too, though it infuses its attack with hardcore attitude and punk energy for quite simply a mouth-watering riot of rock ‘n’ roll. It provides a thrilling end to a great encounter. Originality is at a premium but for unbridled fun and exhaustingly accomplished thrash metal Unnatural Disorder is a triumph all should take a romp with.

Unnatural Disorder is available from April 30th via Helldprod Records, digitally at https://atomikdestruktor.bandcamp.com/album/unnatural-disorder

https://www.facebook.com/atomik.destruktorthrash

RingMaster 30/04/2105

Copyright RingMaster: MyFreeCopyright

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Chasing Ghosts – Everything Changes

Chasing Ghosts cover

Not even touching six months as a band, Chasing Ghosts is already stirring up the UK rock scene and online radio interest with their epic sounds and now new single Everything Changes. London based, the quartet create a melodic rock propositions which certainly on the evidence of their latest song is as imposing as it is seductive and as atmospherically provocative as it is creatively intensive. The buzz around is that Chasing Ghosts is a band on the march and there is nothing about Everything Changes to bring doubt to that claim.

Formed as 2014 became its successor, Chasing Ghosts draw on inspirations from the likes of Paradise Lost, Therapy, Metallica, Alice In Chains, Moonspell and more for their dark and adventurous evocative sounds. Bassist/keyboardist Lee Brueton and guitarist Harry Mitten had already played together for four years in the band Embersfire and once united again they proceeded to write a trio of songs before booking Chapel Studios in Lincolnshire to record them. Next step was to find the rest of the band, an unusual way round of doing things but with the addition of vocalist James Marsh and drummer John Watt, plus the impressive adventure of Everything Changes alone, the band obviously knew best. A three track demo recorded with Enter Shikari engineer Tim Morris resulted from the session and brings us the band’s new single, whilst the other songs This Fear and From Depravity show themselves to be both similarly impressive explorations.

The single opens on a dawning wave of dark shadows and sounds, their invitation swiftly erupting into a thick wave of melodic persuasion and earthy rhythms as immersive as they are imposing. You sense some of the essences of those earlier mentions influences as the song expands and evolves, but the one band which really comes forward as the rich endeavour of song and sound engulfs ears and imagination, is Johnny Wore Black. Both he and Chasing Ghosts are openly adept at aligning dark emotive shadows and fiery beauty into physically and mentally stimulating propositions. The flowering provocative sounds of the keys and guitars back this up, almost entwining around each other across the song with fluid and impacting enterprise whilst the vocals of Marsh become as transfixing as the emotionally tempestuous sounds around him.

    Everything Changes is an exciting introduction to Chasing Ghosts, a striking doorway into their sound and potential soaked presence. It is a promise already coming to fruition across the three songs making up their demo and most potently revealed in the single, but one hinting at even greater adventures ahead.

Everything Changes is out now.

http://www.chasingghosts.co.uk/     https://www.facebook.com/Cghostsmusic

RingMaster 20/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net