The Unbroken – Human Crown

It may have been unleashed last year but Human Crown is one encounter you really do not want to have missed. The release comes from Brooklyn metallers The Unbroken and offers five rousing tempests that had us grinning from ear to ear.

The quartet brews a ferocious cauldron from a feral fusion of punk, thrash and groove metal and it proves a potently incendiary mix in this their debut EP. Influences to the band include the likes of Metallica, Pantera, and Slipknot and in some ways there is plenty that is familiar to the release yet from first to last breath Human Crown stands as something aggressively individual and fresh in ears and indeed the metal scene.

Co-produced by the band with John Bender (Breaking Benjamin), mixed by Johan Meyer (Gojira) and mastered by Alan Douches (High On Fire, Mastodon), Human Crown erupts upon the senses with Stuck In The Way, an initial spiral of guitar sparking a thicker volution of groove wiring, the pugnaciously swung beats of Tamas Vajda in the middle. That grooving continues to wind around ears as lead Mark Johnson skilfully entangles the lead vocals of fellow guitarist Chester Oszustowicz, the song forcefully jabbing and inciting as it leads to a chorus which is just as galvanic. There is something akin to American Head Charge meets Mudvayne to the encounter but swiftly it stamps down its own compelling character as the EP gets off to a voracious flyer.

Suffering In Silence follows and quickly lays down its own formidable proposal, rhythms tenaciously marching through a weave of riffs, from which Johnson casts another rich melodic web. Hitting its meaty stroll, contagion soaking sound and vocal attack, the track swings with more of the virulent grooves the band is already proving so fertile with as the bass of Jeff Hinz magnetically growls in the midst of it all, ears and attention eagerly immersed in the thick enterprise making up the welcomed trespass.

Though the track did not quite get under the skin as its predecessor it only had us greedy for more which the EP’s outstanding and spiky title track delivered. Its calm melodic opening made for an evocative contrast to the storms before though a volatile heart is soon exposed as Oszustowicz’s belligerent vocals erupt in the background. As things brew a delicious nagging groove breaks, the vocalist’s snarl riding its rapacious incitement while it all leads to a brief but dynamic chorus, the cycle repeating to further enthral.

Just as addictive is next up I Never Forget, its agile entrance soon the seeding for more of The Unbroken’s unapologetically ravenous grooves and barbarous but welcomingly manipulative rhythms. From start to finish the song savages as it seduces; it’s snarled tone and truculent nature proving as irresistible as the quarrelsome sounds making up its untamed character and inescapable persuasion.

Nothing Left To Sell brings the release to a close, it immediately coaxing ears with a melodic caress full of intimation and elegance and again from the equally warm and intrigue hug of vocals which blossoms a charged and irritable eruption breaks driven by thrash nurtured riffs. The song though is a tapestry of contrasts, the reflective and serene uniting with a disturbed and volatile divergence as the band’s imagination and craft shape another fresh aspect in writing and sound.

The Unbroken is a band easy to see making great strides up the metal ladder especially if Human Crown is a sign of things to come and they exploit its very open potential and prowess.

Human Crown is available now @ https://theunbroken.bandcamp.com/releases

https://theunbroken.band/   https://www.facebook.com/theunbrokenofficial    https://twitter.com/theunbrokenrock

Pete RingMaster 07/02/2020

Copyright RingMasterReview: MyFreeCopyright

Intimacy and the Roar: talking with Jack And Sally

Hi and thank you for sparing time to chat with us.

Could you first introduce yourself/the band and tell us how it came to be?

Prav-Like Fez from That 70s Show, I was given the name Prav by the band and yes, like Fez I am also an International student. I moved to London to play Rock ‘n Roll and met Ben and Josh in the winter of 2018. We formed the band shortly after.

Josh -I’m Josh, I’m play guitar for the band. I was originally going to join Ben’s old band but before I could, they fell apart! I went ahead and met Ben anyway, and we eventually found Prav from the musicians network group and as they say, the rest is history.

How would you define not only your sound but the creative character of the band?

Prav -The sound is probably best described as Green Day meets Rise Against. If the band had an alter ego, it would be a boy/girl in their early 20s who are at a critical point in their life. He/she would be experiencing feelings of love and loss, discovering how messed up and complex the modern world is and also finding their own passion for the good and genuine things in life.

Ben –Like Prav said, our song writing revolves around issues in real-life that regular people deal with on a regular basis –and just like everyone else, we do too.

Josh -Creatively I think we draw from a lot of disparate places but it blends well. I listen to a lot of harder stuff and I bring that into the songs we write. Ben’s vocals are mainstream sounding but he writes them into punk riffs, and Prav brings in his influences from grunge and hard rock into the drums.

You touched on previous musical experiences for band members, would you elaborate and suggest how have they been embraced in what you do now?

Prav -I used to play in a Funk Rock band back in India and played with another Hard Rock act in London for just over a year. I would definitely say that those experiences shaped what I play now for Jack and Sally.

Ben –I’ve played in bands in college. I was in a band in 2009 that was called Aisle Riot –we played one gig but my time in that band had a major influence on my life and showed me that I could be in a band –that I could actually do it.

Josh -I’ve been in bands since school but my last serious band was at university -Chance Encounter. We tracked a few songs, it was a pretty fun experience especially it was my first few times ever playing live in the U.K.

Is there a particular process to the band’s songwriting?

Prav-Ben or I write a song and bring it to the studio where we then fiddle around with our parts and start adding in ideas. Slowly but surely, the song starts taking shape as each of our styles pour in. Once we feel confident that this is how we want our audiences to listen to the song, we make a demo.

Ben -I write lyrics first, based on ideas I have in my head. The idea for our second single Macy came to me when I was on a train in Finland -from a graffiti image sprayed on a wall. It actually took me 6 years to write Tomorrow’s Revolution! Based on my influences in life, I’ve carried a lot of anger –and all of that inspired me write about a whole new world -that world is called ‘Nevernia’ –it’s what the EP is based around. Once I have finished writing the lyrics to a song, I’ll put some basic chords around it and then take it to the studio to work on, like Prav said.

Josh -We continually fiddle with our songs as well to improve it for live situations –Tomorrow’s Revolution for example sounds much different today than when we originally played it live, and it’s much better (in my opinion at least!)

Would you tell us about your latest release?

Ben –Our latest release is our EP, Who We Become!

Josh -It’s out everywhere to stream and buy from 11th November. We’ve also released two music videos for the singles on it, so check it out!

What are the major inspirations to its heart and themes?

Ben –Our EP is based on a concept, which follows the life of its protagonist ‘Macy’ who has grown up into a world plagued by issues like racism, corporate greed, austerity and oppression. It deals with how Macy stands up to these issues of modern day society.

I am always intrigued as to how artists choose track order on albums and EP’s and whether in hindsight they would change that. What has been the deciding factor for you?

Prav -The EP’s track order follows Macy’s journey. Superstar is her Father’s message to her that she doesn’t have to try too hard to make the world see that she is good. Nevernia is essentially a metaphor to describe the messed up world we live in and how Macy tries to traverse it. Tomorrow’s Revolution is about Macy’s rebellion after she realises that she needs to take drastic measures to bring about change. Long Way Home is about her feeling homesick and how she longs to go back to the people she loves. Macy is ultimately the story of how Macy’s loved ones mourn her loss.

What do you find the most enjoyable part of being in a band and similarly the most cathartic?

Prav -playing original songs that we made from the ground up on stage, touring and when people come and tell you that they had a sick time watching us play.

Ben –Being able to play our songs to people that they sing back at us is one of the most underrated achievements anyone could ever have. It’s beautiful, and seeing people believe in words that I wrote in my bedroom is truly unreal.

Josh -I’ll never get used to hearing people say they like our songs, but it’s definitely one of the best things about being in a band. Playing shows live as well -the adrenaline rush is unreal.

For anyone contemplating checking you out live give some teasers as to what they can expect.

Prav-thumping grooves, sick riffs and yes, be ready to sing with us!

Ben –We are loud, yes we are Pop Rock to the core, but you will hear Metal, you will hear Punk Rock and you will also want to dance to our tracks.

Josh -Riffs, solos, and some meaningful lyrics.

What has been your most thrilling moment on stage to date?

Prav -Probably at The Cavern, Exeter a few weeks ago. The place seemed so packed all of a sudden when we played All The Small Things. We couldn’t believe our eyes!

Josh -Yeah I’d agree with Prav -the Cavern show was mental.

Do you have live dates coming up?

Ben –We do, yes. We are booking our tour for April 2020, and some shows have already been confirmed.

What else can we expect in the near future?

Prav -More releases, probably some collaborations with other artists as well.

Ben –Definitely new music, but for now we’re focussing on our debut EP and getting a tour or two together.

What are the major inspirations to you sound wise and as a musician?

Prav -Green Day’s American Idiot, Audioslave, Velvet Revolver and Switchfoot.

Ben –Green Day is my favourite band, Linkin Park and Nirvana.

Josh -Soundwise -Blink-182, Paramore. Musician wise -Metallica, Enter Shikari.

And finally what song or release would you say was the spark to your passion for music?

Prav -Superunknown (Soundgarden)

Ben –Jesus of Suburbia (Green Day)

Josh -Master of Puppets (Metallica)

Many thanks guys once again!

Check out the review of Who We Become @ https://ringmasterreviewintroduces.wordpress.com/2019/10/09/jack-sally-who-we-become/

 

https://www.jackandsally.co.uk/   https://www.facebook.com/jackandsallyuk   https://twitter.com/jackandsallyuk

Pete RingMaster

The RingMaster Review 12/12/2019

Copyright RingMasterReview: MyFreeCopyright

Meshiaak – Mask Of All Misery

Pic/copyright Karina Wells

Three years back we, as so many, more than enthused about the impressive debut album from Australian metallers Meshiaak and now we find ourselves doing the same again with even greater rigour for its successor, Mask Of All Misery. Everything striking about that first album has been intensified and melded with even richer and bolder adventure resulting in an encounter which left us simply greedy for more.

Calling the band’s sound as metal is the easiest option but does not explore the richness of its tapestry. Thrash and groove metal collude with progressive and voracious rock ‘n’ roll across its unpredictable body with plenty more involved in its imagination. Equally familiar textures invite and tease alongside the band’s own uniqueness as songs rise drenched in drama and invention as well as contagious endeavour.

Formed in Melbourne by Danny Camilleri of 4ARM and Teramaze’s Dean Wells, Meshiaak’s line-up is completed by bassist Andrew Cameron and drummer David Godfrey who has replaced original rhythm caster Jon Dette between albums due to logistical reasons. Together the quartet snarl at and trespass, seduce and fascinate the senses across the ten tracks of Mask Of All Misery bringing reflections on toxic  issues, intimate and worldly, to the fore.

It begins with the enthralling Miasma, a piece of music which instantly hooked the imagination with its mournful orchestration and melodic melancholy. Its initial portentous breath is soon a tempest of sound and intensity cored by a groove which just seeped under the skin. The predominantly instrumental track provides a deluge of craft and suggestion within its polluted air, closing with the same captivation it rose from before the album’s title track launches its own turbulent contagion.

There is no escaping a Metallica tinge to the track as it expands yet we can only say it is one mere hue in the Meshiaak web of imagination shaping this thrash bred but diversely woven gem. Camilleri’s tones are as commanding and gripping as the sounds around him as the track reveals its drama and infectiousness, grooves and hooks breeding the magnetism which melodies and atmospheric intimacy exploits with matching prowess.

Bury The Bodies is next up, strolling in with a tempestuous if controlled breath which vocals echo within the melodic wiring of Wells. It is an absorbing encounter only more fascinating with its haunting strings, open emotion, and classic metal lining; eclipsing its impressive predecessor through every drama filled second though its pinnacle moment within the album is quickly matched by the equally thrilling City Of Ghosts and its hardcore bleeding rock ‘n’ roll. As with all tracks, it soon evolves in enterprise and flavour, its body a flood of styles and textures honed into one predacious and thickly rousing incitement.

There is something Bloodsimple like to the following Face Of Stone, certainly initially but it too evolves its own character and web of diversity while Tears That Burn The Son finds an industrial edge to its thrash/groove bred trespass of the passions. There is a climatic tone to the track which only accentuates its catchiness and seductive irritancy, volatility that fuels an anthemic dispute and urgency swiftly contrasted by Doves and its melodic drama though the fire in its heart is a perpetual eruption across its serenade, the sparks raised by both the stirring tones of Camilleri and the sonic calm of his companions in maybe the album’s most majestic and darkest moment.

Through the aggressive defiance of In The Final Hour and the predatory instincts of Adrena, the album only entrenched itself deeper under the skin even if neither quite matched the heights of those before them. Truthfully though both songs left a lingering impression and manipulation with the second a ferocious insurgence we keep finding ourselves drawn to.

Godless brings the album to a fractious close, its dirty toxic breath and tetchy exploits raw magnetism and a great splenetic end to the album though it makes room for some just as arousing emotively embroiled vocal dexterity and melodic temptation.

If Meshiaak impressed and thrilled fans the first time, their second album will have them drooling; it did us and continues to as it lingers in the speakers keeping the exploration of new discoveries on delay.

Mask Of All Misery is out now via Mascot Records / Mascot Label Group.

http://meshiaakband.com/   https://www.facebook.com/meshiaak

Pete RingMaster 26/11/2019

Copyright RingMasterReview: MyFreeCopyright

Dog Tired – The Electric Abyss

The metal world has never been majorly short of striking and often influential bands from Scotland and adding to that list of potent protagonists is Dog Tired. They are not newcomers as such having emerged in 2004 and have earned a strong reputation and loyal fan base for their riff driven metal but with new album, The Electric Abyss, they have revealed themselves ready to step into a far larger spotlight.

Hailing from Edinburgh, Dog Tired are described as “Merging the relentless brutality of Gojira and Entombed with the riff orientated assault of Pantera and Metallica.” It is a fair description for the band’s multi-flavoured metal but only hints at its voracious sound and presence. At times across their quartet’s latest release, it is a proposition which involves the familiar with their own imagination but persistently comes through speakers with a character and freshness individual to Dog Tired.

The Electric Abyss opens with its title track, the song looming out of sonic electronic mists with dark ominous shadows behind a foreboding breath. In swift time heavy ravenous riffs laid down their claim on an already eager attention, as quickly erupting in a predacious contagious stroll as rhythms equip the emerging track with their own imposing bait. The grouchily throated vocals of Chris Thomson in turn make for a vociferous incitement, growling across the wiry exploits of guitarist Luke James and the virulent rhythmic trespass of bassist Barry Buchanan and drummer Keef Blaikie. It is a persistent and rousing nagging which only proves more persuasive as imagination brings greater twists and richer atmospheric intimation.

It is an outstanding and impressive beginning to the album and never relinquished favourite track honours but harried for that positioned across The Electric Abyss and quickly proven by the following Flesh Church. Its visceral trespass is bred on a mix of death and groove voracity, everything slightly less urgent than within its predecessor but just as predatory and even more sinisterly emotive. There are moments when the track uncages its vigour but still there is a dark restraint which only helps thicken its lure before Dagoth’s Nine accosts the senses with its creative animus. Grooves and indeed vocals in part have a harmonious toning which escalates the inherent catchiness of the pugnacious assail escaping the craft and invention of the band.

Beyond The Grave provides the best beginning to any track within the release, its rhythmic incitement within almost perniciously alluring waves of sonic intimation pure temptation and only escalated as the bass unfurls its bestial and virulent provocation. The track’s expanding prowl continued to seduce from under the skin; its addictive lures and feral snares quickly and insistently compulsive as Thompson’s barbarous tones prey on song and senses alike as another major moment within the album is discharged,

The melodic elegance and calm of Aeon provides a magnetic respite and seduction from the voracious darkness before and after it, the instrumental a beacon in the surrounding storm which returns with almost carnal relish within Lord Of The Vile. From its deception of atmospheric tranquillity if one embracing dark whispers and portentous intimation, Slayer-esque riffs erupt as rhythms venomously pummel. Immediately a viral contagiousness invades ears and appetite, the outstanding track swinging and savaging with insatiable intent and zeal; as throughout the release individual craft uniting with collective imagination and invention.

Both 1968, with its carnivorous stalking of the senses amidst a blackened hue as crawling riffs court ravenous grooves and vocals, and the primal gait and breath of Hunter’s Moon left little for ears and pleasure to want for, the first of the two especially inspiriting with its successor a full and riveting adventure all on its own as its instrumental landscape, lined with a slight Celtic lit intimation, twists and turns with rousing and potent effect.

Kingdom brings the record to a close, the final track another slab of animated and invigorating skill and enterprise leaving this listener welcomingly harassed and aroused. It is a song summing up the craft and invention of Dog Tired and the thick textures and varied nature of their sound within a recognisable yet individual extreme metal tempest.

As much as The Electric Abyss made a potent mark first time around it was with subsequent plays that it truly blossomed into one of our favourite metal onslaughts of the year; give it time and it could be yours too.

The Electric Abyss is out now; available@ https://dogtired.bandcamp.com/album/the-electric-abyss

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

Pete RingMaster 27/09/2019

Copyright RingMaster: MyFreeCopyright

NoYz? – Tinnitus

Ever since being introduced to Noyz? years back through their ear grabbing track Happy Hour In A Junkyard, a song persistently played upon the internet shows we were involved with, The RR has been patiently waiting for the first album from the Serbian band. Finally it is here and there is no let down for hopes and anticipation by Tinnitus and its collection of multi-flavoured rock bred tracks.

Formed in 2004, the Belgrade outfit lacked a truly stable period line-up wise and went on a hiatus in 2012. Three years later founder and vocalist/guitarist/songwriter Stevan ‘Sharkey’ Radoičić brought the band back and set about creating that long promised first album. Their sound is a fusion of grunge, hard rock, metal, and punk; a mix embracing unpredictability and prone to ear grabbing hooks and bold enterprise. Inspirations to the band include the likes of Nirvana, Alice In Chains, Soundgarden, Metallica, Megadeth, System Of A Down, The Offspring, and Bad Religion; a list giving a good hint to that blend in their music.

Tinnitus opens with Introbytes, a slice of metal infused punk nurtured rock immediately presenting the type of ear catching hooks the band specialises in. Despite its title it is far more than an intro, the predominately instrumental encounter a stomping invitation into the weave of sound, design, and textures shaping the album ahead with the following Pure Fucking Metal Pwnage skilfully exploiting all. The second track’s first breath is thrash like, its second a thicker mix of metallic flavouring before the band’s rock ‘n’ roll instincts emerge in the blossoming song. Sharkey’s vocals are as keen as the sounds around them, the rhythms of drummer Milan Jejina Yeqy a swinging and rousing trespass while the bass of Anja Tvrtković is a heavy throaty lure with the song itself not holding back on the imaginative twists which again provide persistent temptation across the release.

Blow Joe is next up and straight away drums tease and tempt, their beats an infectious coaxing matched by the glorious lure of the bass. Swiftly the guitar casts melodic strokes across their irresistible dark bait before the track opens up a web of hooks and grooves, a hard rock infusion erupting upon the compelling landscape.

Similarly Cold Turkey enters on appetite pleasing bait, bass and guitar entangling around vocals before the track exposes its dirtier grunge nurtured side. Grooves soon expose greater lures in the track as vocals reflect with irritability and angst. Magnetic from start to finish, the track easily hit the spot before Ein Neues Leid steps forward with its classic punk breeding. That in turn gives birth to a broader punk ‘n’’ roll roar lined with grunge and melodic rock enterprise.

The senses became entwined by guitar wires as What You May Call It rises up straight after, infectious dexterity a rich wash in its imaginative tapestry of sound and invention. Again manipulative hooks are freely sprung and greedily devoured, Noyz? sharing their dextrous conjuring of such tempting with ears grabbing unpredictability and keenly echoed in Diarrhea and in turn Dream. The first of the pair is a catchy and swiftly satisfying offering if not quite matching up to those before it for personal tastes whilst its bolder successor bears its Nirvana inspirations proudly before immersing them in Noyz? individuality, one drawing on a palette of rock.

The melodic caresses of Cherished Leader easily seduced, the relatively calm yet fiery song casting its own uncomplicated but potent hooks within melodic metal scenery, while Happy Hour In A Junkyard once more simply hit the spot with greedy accuracy. Once its familiar opening hook leaps forward there was no denying its command, bass and guitar making a potent force within the lively swings of Milan, and once that effortlessly persuasive chorus erupted , old instincts flared. Every band has a moment or a few which is their calling card and this is still easily the one for the Serbian outfit.

With the final trio of the feral punk ‘n’ roll driven, diversely flavoured and sculpted Boy/Girl, the equally untamed hard rock reared Pissoff and another host of an inimitable Noyz? hook in The Gootch leaving ears bursting with satisfaction, Tinnitus is easy to fully recommend.

There are moments which simply stole the passions and others which had us boisterously bouncing so fair to say that from start to finish the long awaited Tinnitus hit the spot.

Wrapped in the great artwork of Anja Tvrtković, Tinnitus is out now and available @ https://noyzband.bandcamp.com/album/tinnitus

https://www.facebook.com/noyzgrunge

Pete RingMaster 07/09/2019

Copyright RingMaster: MyFreeCopyright

Promethium – Revisions

Exploring the acoustic soul of their songs is a venture which few metal bands undertake or at least publically share but one that UK metallers Promethium has embraced. The spark to that exploration came in 2017 when the band was asked to play an acoustic slot at SOS Festival. Such the enjoyment band and fans shared it led to enquiries about an acoustic album and now two years on we have the seriously captivating Revisions.

The album features a collection of reworked tracks from the Lancaster quintet’s three albums and two EPs; songs which have shed heavy metal bodies to unveil their acoustic hearts through the prowess of vocalist Steven Graham and guitarist Daniel Lovett-Horn. Those familiar to a sound bred on inspirations ranging from Black Sabbath and Pantera to Metallica and Megadeth know it is a redoubtable and rousing proposition but one Promethium reveal a new depth and a fresh voice and power to tracks which have already left a potent impact.

Revisions opens with Tribute To The Fallen and as Lovett-Horn’s guitar coaxes ears and attention already there is a new sense of drama and intimacy to one of Promethium’s most compelling songs. Once Graham’s earnest tones join in, the track resonates in craft and emotion simultaneously revealing a new strength and depth of melancholy to immerse in.

Further new shades and aspects in the familiar characters of songs continue to be unveiled as the likes of Shellshock and Enemies Fate step forwards to equally enthral; the melodic hearts of all beacons in the dramatic arms of sorrow and reflection as echoed by the touchingly relatable intimacy of Nothing and the broader apocalyptic reflection of 20, 21, 15.

The following Visions features the guest vocals of Hannah Morris, her siren tones easily luring ears and imagination onto the mournful rocks of Graham’s voice and words. It is another gripping and powerful moment within Revisions joining every song in providing a majorly absorbing moment as shown again and again by the addictive likes of Murder Inc, Crashing Down Pt2. Reflections and Rain.

Sons Revenge completes the release, it too a piece of fascination as the craft and emotion of Graham and Daniel Lovett-Horn further highlights the strength and power of the band’s songwriting  whilst bringing new aspects of fear, heart, drama, and potency to tracks which have generally already proved striking propositions.

Revisions is for sure a must for all Promethium fans but equally a real pleasure for all with the appetite for powerful songwriting, melodic and emotional intensity, and creative dexterity.

Grab your copy of Revisions now @ https://www.promethiumband.com/shop

https://www.promethiumband.com/    https://www.facebook.com/Promethiumband/    https://twitter.com/promethiumband

Pete RingMaster 05/09/2019

Copyright RingMaster: MyFreeCopyright

Infrared – Back To The Warehouse

Pic By Gord Weber

The Back To The Warehouse EP sees Canadian thrashers Infrared releasing in their words “… the last of the old songs that we felt should see the light of day.” It comes as the band prepares to record a new album for an anticipated 2020 release and we can only agree that its 4 originals and one cover of an Iron Maiden song are certainly deserving of this rather enjoyable outing.

Ottawa hailing Infrared originally rose up back in the mid-eighties as the likes of Metallica, Megadeth, Slayer, and Anthrax were shaping the attention on thrash metal. Embracing that Bay Area inspiration, Infrared released the R.I.P. EP in 1988 before going on an extended hiatus the following year. 27 years on the band united with original members in vocalist/guitarist Armin Kamal, guitarist Kirk Gidley, and drummer Alain Groulx recruiting bassist Mike Forbes to replace the other band founder, Shawn Thompson who had since those early days moved to Miami. A debut album in No Peace soon followed with its successor, Saviours, released last year.

Back To The Warehouse echoes that time when the Big 4 were driving thrash, the likes of Testament, Exodus, and SOD equally making an open inspiration to the tracks within it yet it has a freshness to its particularly individual nostalgia which is not out of place with anything new being cast by current thrashers.

The EP opens up with Meet My Standards and instantly hits its stride and groove as riffs and rhythms cast a familiar thrash incitement upon the senses. Its voracious swing just as urgently got under the skin, setting up body and appetite for the subsequent trespass of familiar yet as suggested freshly animated thrash enterprise. As arousing as its assault is there is also a predatory essence which particularly stalks the listener in certain moments before One Mouth Two Faces brings its own rapacious canter and character to the fore. Forbes’ bass particularly grabbed the appetite but no more than the insurgent riffs and intrepid wires of the guitars and Kamal’s potent tones, it all resulting in a track which easily splattered the spot.

Hate Today, Despise Tomorrow launches on another great rhythmic incitement from Groulx, his tenacious and galvanic dynamics sparking similar exploits in the exploits of Gidley and Kamal as the song expanded its infectious character and enterprise. With a Skids like tinge to its hooks and real individuality to the craft of the guitars, the song takes favourite track honours though it is soon seriously harassed for the title by the just as outstanding Animated Realities. With a punk-esque strain to its hooks and manic edge to its unpredictable nature, the song simply stirred the passions and a greed for more.

Infrared’s cover of Maiden’s Wrathchild is a sure and enjoyable proposition which fans of the latter will embrace with ease but against the prowess of the previous four songs just did not light the fires here. Even so it makes an alluring end to a great EP.

We admit Back To The Warehouse is our introduction to Infrared and we cannot help feeling that we have seriously missed out if the EP’s songs are the last of their arsenal deserving release.  As for the next Infrared album, it cannot come soon enough.

Back To The Warehouse is out now.

https://www.facebook.com/infraredmetal/   https://twitter.com/infraredmetal   http://infraredmetal.ca/

Pete RingMaster 21/06/2019

Copyright RingMaster: MyFreeCopyright