Though new album Evolving is the first time we have come across US rockers Syztem 7, it is a proposition which immediately felt like an old friend back to eagerly stir things up. That is because the Seattle hailing outfit openly aligns familiar rock, industrial, and metal textures to their own just as bold imagination. It is the distinctiveness of the latter though which fuels and drives their rousing sound and makes their new album one highly enjoyable encounter.
The multi-flavouring adventure of their industrial rock sound has allowed Syztem 7 to share stages with and find support amongst the fans of bands as varied as Zakk Wylde, The Genitorturers, One-Eyed Doll, Thrill Kill Kult, Lords of Acid, King’s X, The Dreaming, and many others. It now provides a gripping incitement within Evolving which needed mere seconds to ignite attention and appetite as album opener No Regrets erupts to kick things off.
An initial lure of guitar makes for a potent coaxing, one swiftly ignited as the rolling rhythms of drummer Ed Rhoads add their ear grabbing bait to the great dirty grumble escaping Nathan Raynes’ bass. With keys keenly bursting into the already rousing mix, the track had us swiftly bouncing before relaxing into an infectious stroll alongside the enticing tones of vocalist Jason Ames. Rhythms continue to pick their spot with military precision, accelerating their strikes as the track’s anthemic chorus erupts upon the increasingly intense sonic hookery of guitarists Jaymz Kennedy and Shane Scot. Like a blend of Gravity Kills, Powerman 5000, and Rammstein, it is a gripping and highly manipulative start to the album and a persuasion only matched and twisted to greater temptation thereon in.
This Disguise is next up, the song laying down an electronic misting from which sonic tendrils wrap the imagination and a thick fusion of rock and metal spirals. As with the first, a certain familiarity in its voice and moves only entraps eager participation while fresh enterprise and individual imagination breeds the overall uniqueness which fuels the Syztem 7 sound. It swiftly had body and ears engaged passing them over to the just as easily persuasive Eternita Divina. Emerging as one of if not our favourite moment within Evolving, the song has a great touch of Breed 77 to its cosmopolitan web of melody and rhythmic animation, it all making the passage under our skin fluid and swift.
Proving just as captivating, Forgive and Forgets raises its anthemic hand upon the equally magnetic croon of Ames, the song with a Mudvayne meets Stabbing Westward air swiftly irresistible while The Worst sizzles on the senses straight after to match the virulence and captivation previously on offer. From guitars to rhythms, vocals to electronics, the track is a rapacious dance of varied rock enterprise designed to and succeeding in enticing full participation from its willing victims.
The following Skintag captures a 16 Volt/Celldweller hued temptation to its breath-taking enticement, the song another with a firm grip on best album moment as it nags eager and complete involvement in its arousing endeavours. Unsurprisingly it cast a web of tantalising flavours lined with varied and recognisable yet freshly individual threads in its energetic and inspiring weave and no shock, it too had us hook, line, and sinker.
Evolving closes out with firstly the physically intoxicating Godsend and finally the spiralling tempest of its title track. The first of the pair stalks the senses as it seduces ears with its melodic yet more carnal traits; its electronic elements inciting the bite of its rock and metal nurtured essences whilst equally breeding richer harmonic tempting in sound and vocals. Its successor aligns sonic turbulence and emotional intimacy with melodic intimation and ravening electronic contagion resulting in a final slice of inimitable Syztem 7 enterprise and audacity.
With every second, from its first lungful of sound to last, hitting the spot, Evolving easily rose as one of the year’s most arousing moments and Syztem 7 a band we can only anticipate much bigger attention rising up for.
Evolving is out now via Mighty Music @ https://targetshop.dk/product/syztem-7-evolving-cd?lang=en
https://www.facebook.com/Syztem7band/
Pete RingMaster 12/12/2019
Copyright RingMasterReview: MyFreeCopyright
1200 Goddamned follows, the rhythms of drummer Mattias Starander again a potent and insatiable coaxing before the song uncages its full belly of riffs and grooves, the exploits of Jelencovich and lead guitarist Peter Hunyadi mercilessly infectious and invasive just as is the former’s great grungy tones. Even with its eager swing, there is a riveting predatory edge to the bass of Dennis Österdal, his lines threat and temptation together much as song and sound around them across the release.
The following Miracle Drug is equally as virulent in its catchiness and energetic hard rock cast dynamics if taking things down a gear gait wise. But a single gear it is as the track still flies from the speakers with zeal and enterprise before Off My Leash has the body bouncing with its contagiously predacious animation. Punk and grunge infest its metal lined rock bred swagger, another collusion of flavours which seeds something truly fresh and viral. Unexpected twists only add to its relentless and unbridled tempting.
Hailing from Århus, Rolled Up Sleeves is a young band in presence and individual ages consisting of Christian Askehave, Magnus Krag Nielsen, Oliver Alexander Landgren, and Søren Schroll Rasmussen. Apparently they have been kicking up some real attention in their homeland and it is easy to hear why through their new four track release. Receiving its international release through Mighty Music, Pointless immediately gets down to business with opener Happy And Alone. Straight away beats rap at the senses, stabs of guitar swiftly joining their baiting presence with spicy grooves in close quarter. Once hitting its infectious stride, the track stomps along with attitude in vocals and swagger as hooks work their devious intent. It has a bit of an old friend feel to its character but the song is as fresh as anything heard this year and all addictive contagion to our ears with a bit of a Escobar meets The Senton Bombs scent added pleasure.
Formed by bassist/keyboardist Lee Brueton, the Chasing Ghosts line-up is completed by vocalist Nelson Cancini, lead guitarist Harry Mitten, and rhythm guitarist Ashley Clark. The Milton Keynes based band draw on the influences of bands such as Paradise Lost, Anathema, and Moonspell for their sound and the past year has been a big one for it and the band, culminating in their signing with Danish label Mighty Music for the release of their first album next year but before then this new single.
New praise gathering single Take The Last Dance With Me launches at ears with a zeal and energy again impossible not to be caught up in, riffs and rhythms colluding in tenacity as they lead to a chorus which simply demands participation. A song to ensure blossoming romances within any mosh pit it stomps and pumps its sinews like The Pirates meeting Misfits in many ways, but as all stands as something uniquely Grumpynators while preying on the weakness for heart bred rock ‘n’ roll.
riveting invention. There is toxicity to the grooves which, not only in this song, has a Pantera-esque quality but also a waspish nagging character which increases an already keen appetite for song and album. Its sizzling hostility is matched by that of The Lie which steps in next. It is a song unafraid to develop a contentment to stalk as well as simply rage at the senses whilst coating its grooves and vocals with a southern fried metal edge as it stomps with virulent endeavour. The track’s bracing presence makes way for firstly the groove metal coated predation of Last Words Are Lost and then the volatile character of the album’s title track. The first of the two without stepping from the shadow of the previous songs, lurches with nostrils flared and sinews stretched, offering a mix of Bloodsimple and Exodus in its own unique form. Its successor picks up a recognisable old school hook and lays it openly down before its expressive sonic narrative, the bait soon embroiled in a steady but dirty rage of voice and sound. It is equally prone to exploding with uncaged viciousness and intensity, planting another notable signpost in the new direction of the band’s sound.
designs. Less aggressive than its predecessor in some ways and more intimidating in others, the track explores a melody rich but imposing scenery of invention and enterprise before making way for the outstanding Black rebel noise. A spicy groove wraps ears early on before the track finds a swagger to its punchy incitement. There is a definite Volbeat feel to the energy of the song whilst musically and vocally it is hard to look past Metallica and John Bush era Anthrax as references but the track soon develops its own contagious suasion to enslave body and passions.
song explores with eagerness. Once into a purposeful stride with flailing sonic flumes wrapping notes and ears as the gruff tones of Paul eagerly travels the road of the song; it is a magnetic anthem awakening attention and appetite for the impending adventure, which the following engagement of The Price Of Love takes into another gear. Again there is nothing flash about the song, just straight forward and accomplished rock ‘n’ roll cored by infectious short grooves and an excellent rhythmic tempting. The bass also adds to the irrepressible bait of the song, its dark throaty tones a prowling shadow to the punkish twist of the song and the fluid addictive call of the band vocals across the chorus. The song easily confirms, alongside its predecessor, the strength and potency of Scream Arena’s sound and the strength of the album though levels do ebb and flow throughout its remainder.