Golers – In ‘n’ Outlaws

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Originally out as a limited edition CD in 2013, In ‘n’ Outlaws is now digitally poised to pounce on the world and a tremendous assault it is too. The fourth album from Canadian punk metallers Golers, the release is a furious and ridiculously contagious slab of crossover ferocity throwing thrash, hardcore, and crust punk voracity into one bruising and belligerent treat. Every mention of the Vancouver quartet seems to draw comparisons to Slayer and DRI, and it is hard to be any different here, though there are plenty of other extreme provocateurs hinting in the spicing of the ultimately fresh fourteen track brawl.

Golers first uncaged their belligerent and sonic fury on ears in 1998, forming after the end of the band they were all playing in, Subversion. The following year saw debut album South Mountain Style uncaged, it establishing the core Golers sound which has snarled and rampaged ever since. 2nd Generation followed in 2004, offering a honed and more impacting flavouring which again was intensified and broadened a touch more with Backwoods Messages five years later. Sparking the keenest attention on the band yet, its well-received arrival was more than emulated by the appearance of In ‘n’ Outlaws with easy to expect greater success coming with its digital unveiling. Recorded with producer/engineer/manager Rob Shallcross (Gene Hoglan, Strapping Young Lad, West Of Hell), the album commandingly and tenaciously shows why Golers has been so greedily devoured on records an live across North America and Europe alike, a presence taking in shows and tours with bands such as Toxic Holocaust, Kreator, The Accused, Napalm Death, Suicidal Tendencies, Dayglo Abortions, Destruction, Ghoul, and Prong. The ultimate step of recognition has yet to be breached though; something In ‘n’ Outlaws definitely has the potential to trigger given the opportunity.

The album’s title track roars in ears first, riffs and rhythms an instant bombardment, gripping attention and an early appetite with force. The great blend of vocals led by Walter ‘Chainsaw Charlie’ Mason, straight away ignite an already contagious offering whilst the sonic craft of Derek ‘Henry the 1st‘ Rockall squeals with appeal against the caustic scrub of riffery from Mason. In 'n' Outlaws_fullCatching the anthemic essences of thrash and punk in one almighty invitation, it is a thrilling start potently backed straight away by the even more hostile Lemon Eyed Devil and the following irritability of Angle Disruption. The first of the two is sheer primal virulence, vocals and grooves a spiteful bait against the fiercely provocative muscles of Jason ‘Cranswick’ Mosdell’s swings and Stuart ’Jonny Goler’ Carruthers predatory bass lines. Its punk rabidity is matched by that of its successor, a song with a bee in its bonnet and malevolence in its breath. Again though, every hook and rhythmic swipe seems to have a devious contagion matched by grooves and riffs, an enslavement of ears and imagination upon which the vocal squalls impressively vent.

Behind the Sun embraces a heavy metal spicing in its corrosive turbulence of sound and aggression next, the track as addictive as those before but finding a rawer, nastier nature to seduce and scar simultaneously. It is a bracing and abrasive quality which is just as vocal in Inbred Militia and soon after Kamikaze. Both tracks brawl with the senses and ignite emotions, the first blessed with a delicious crunchy growling bassline amidst a tempest of guitar and vocal inhospitality. It is pure addiction; the bands thrash intent the raging force of the compelling intrusion. The latter of the pair savages with every syllable and note expelled but again has a catchy enticement to its grooves which leave ears basking.

It is fair to say that there is no weak moment across the whole of In ‘n’ Outlaws; some songs might have a surface similarity at times but each reveals its own distinct character in time, as proven by the sonically inflamed Paradise Entrails, with its bewitching niggling and repetitive grooving, and the vicious When Shit Goes Down. This track scowls and abuses with every rhythmic flex and vocal glare, it’s brief but inescapable ire undiluted intimidation with, as in the previous track, a melodic toxicity to share.

The more composed and melodically fuelled Scratch steps forward next, it’s sonic enterprise a riveting tonic which as you might rightly assume, is soon smothered by an unfriendly vocal confrontation still impressing in its multi prong attack, and a more classic metal coloured voracity. It is another slight twist in the album and nature of songs, one turned a few degrees more in the hellacious storm of Quickshit McGraw with its exhausting intensity and melody induced trespass of the senses, and again in the rabid punk flirtation of Country Blumpkin, this another heady peak in the album.

The album ends as welcomingly riotously and adversarial as it began, Alcoholics Unanimous coming first and bellowing with rancor and rhythmic violence; a malice tempered again by irresistible and unrelenting grooves. It is a tremendous onslaught from the start but finds a new ground of addictiveness with its slip into a punk bred anthem towards the end. The Path is equally as incendiary and persuasive with its concussive charge and vocal causticity, whilst the closing Riff Cult / Relations just stands before ears and growls them out in sound, vocals, and attitude to provide a mouth-watering, energy sapping end to a thoroughly invigorating and rigorously enjoyable album.

Golers will be a secret to a great many no more, new hungry appetites sparked once In ‘n’ Outlaws hits the webby place. The album might not be quite announced as the very best thrash/punk metal offering in history but it is destined to be one of the favourites.

In ‘n’ Outlaws is digitally available from February 6th via Bandcamp. Check https://www.facebook.com/pages/The-Golers-Inbred-Militia-/103231376426551 for details.

RingMaster 05/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

Shadowspawn – Ashes Of Sorrow

Photo- Bo Toftegaard

Maybe it is no surprise the striking and accomplished presence that Ashes Of Sorrow from Danish metallers Shadowspawn makes given the intensive experience of the band’s members, but that cannot only explain the impressively riveting and ferocious exploits of the encounter. Consisting of six tracks which twist and roar with a technical and creative enterprise as persuasive and impacting as the raw aggression and malevolent charm which soaks the imposing tempest, the Horror Pain Gore Death Productions released Ashes Of Sorrow is a debut swiftly earmarking Shadowspawn as one exciting and seriously compelling proposition.

As mentioned the histories of Shadowspawn’s line-up are drenched in experience in the underground metal scene, the band emerging from the union of ex-members of Cinerator and Gods Secret Army late 2012. Aligning all the creative and hostile traits of old school death and thrash metal with a technical expertise and imagination unafraid to taunt melodies and grooves, the quartet swiftly goes for the jugular and psyche with their sound and new album. The accompanying press releases suggests Ashes Of Sorrow is a must for fans of bands such as Asphyx, Benediction, Bolt Thrower, Death, Disincarnate, Entombed, Gorefest, Grave, Napalm Death, Obituary, Sinister, Unleashed, and Vader, a healthy list indeed but quite simply Shadowspawn will appeal to all with a bent for technical hostility and extreme metal bred voracity.

Opener Mind Shut Down instantly smothers ears in an infectious weave of acidic grooves pierced by a similarly impressing bassline, all punctuated further by the vicious demands of the drums. It is a fierce entrance but equally a compelling and inviting one which darkens as soon as the strong guttural vocals savage syllables and senses simultaneously. As the music, vocally the song shows adventure, a cleaner abrasion of voice adding fresh drama and expression to the just as pleasingly volatile and inventive sounds. Unrelenting in its thick snarl and predatory imagination, the track sets the release off in scintillating style, a level as good as matched by Life Is The Way You Die. Its initial coaxing shows a drama and intrigue which alone draws ears and thoughts deep into its impending malice soaked presence. Drums provide a gripping bait from the off too whilst guitars add abrasive toxicity whilst also venturing into a sonic temptation which is as caustic as it is melodically colourful. It does not ultimately have the same irresistible spark as its predecessor but everything about the song bleeds thoughtful provocation and incendiary frontcoverpersuasion as it reinforces the early stature of the release.

Hellavation stalks the listener next; it’s prowling riffs and matching rhythmic predation a controlled but deep rooting trespass into senses and emotions. Vocally another new passage of ideation and strength is forged whilst grooves and riffs collude to create an inescapable infection, given extra spice and majesty by the captivating flight of celestial aiming melodies. The mix of thrash and death metal is a sultry almost torrid but seductive blend on another pinnacle within Ashes Of Sorrow, a peak challenged and surpassed by both Slaves In Delusion and Sins Of The Deceiver. The first of the pair opens with a gut expelled growl and never loosens its intensive examination of the senses thereon in, even with the soothing melodic enterprise and gripping enthralling invention which clads numerous unpredictable turns in the outstanding incitement. The vocals especially impress and excite; another array of deliveries and textures shown to compliment the grind of beats and riffs aligned to tangy grooves and again a progressive, almost spatial endeavour. The second of the two has the imagination hooked from its opening swing of strings and orchestral ambience, the seducing embrace never far away even as the track unleashes its aggressive and rapacious rabidity in sound and character. Shamanic spices and symphonic whispers only add to the whole theatre of the track, a proposal leaving appetite and emotions basking.

The album’s title track brings it to a mightily potent close, a seemingly barren landscape at the start soon the canvas for an epic festival of destructive rhythms, vociferously corrosive vocals, and an epidemic of invigorating and bracing grooves. It all blossoms within a climate of melodic and raw emotional turmoil, creating a tremendous conclusion to an increasingly impressive and persuasive album.

Recorded, mixed, and mastered by Shadowspawn alone, Ashes Of Sorrow stirs up a major appetite and attention for itself and subsequently its creators, a hunger you can only see, on the evidence of this stunning debut, being fed with greater exploits ahead.

Ashes Of Sorrow is available now digitally and on CD via Horror Pain Gore Death Productions @

http://www.shadowspawn.dk/

RingMaster 04/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

Sidious – Revealed in Profane Splendour

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The first infestation of pestilential temptation came with Ascension to the Throne Ov Self and now the ruinous seduction returns to devour the soul as Revealed in Profane Splendour.

No, this is not a portentous warning of biblical design but the next inescapable savaging cast by UK blackened death metallers Sidious. Following their acclaimed and attention gripping debut EP, the London quartet now unleash their first album and it is fair to say that everything potent and impressive about its predecessor has been bred, dragged, and sculpted to another irresistible level.

Ascension to the Throne Ov Self was a disarming introduction to Sidious upon its release in 2013 but in hindsight just an appetiser of broader and more intensive invention and imagination to come from the band as swiftly evidenced by Revealed in Profane Splendour. Between releases the band which features members of Eye Of Solitude, has had movement in its line-up with the departure of vocalist Tom “Void” Allen and the coming in of Krhudd, the man behind solo project COLOSUS. With guitarist Isfeth adding lead vocals to his role in the band, Sidious has found further depths and exploration to their songwriting and rigorously imposing sound, their album not only another striking offering from the band but one to assert with greater potency and authority their leading role in the future of British extreme metal. Released on Kaotoxin Records, Revealed In Profane Splendour is an insatiable temptress which from its enslaving first moments takes ears and imagination through an epic emprise of almost carnal and certainly uncompromising raw beauty.

Recorded with Russ Russell (Napalm Death, Dimmu Borgir), Revealed In Profane Splendour emerges through a haunting sonic groan as opener Sacrilegious Majesty sets things in motion. Within a breath pungent anthemic drums are casting their irresistible bait upon ears and imagination, riffs just as hungrily skirting their potent lead. Portentous melodies amidst a sinister air joins the expanding landscape but it is still those provocative beats which provide the richest coaxing before a maelstrom of intensity and malevolence erupts in sound and vocals. It is a ravenous consumption of the senses within which grooves and hooks flirt with the listener without always breaking free from the oppressive strength of the track. It is the drama of the song which ignites thoughts and emotions as much as anything though, every rhythmic swipe and sonic tempting adding to an epic excursion into dark realms and a fateful emprise. Ending as it’s began; the track is a riveting and thrilling entrance into the album and an immediate declaration of the new creative strength and ingenuity within the band.

The following Inexorable Revelation is less startling in its opening but still a forceful impact as riffs and rhythms career through ears with hellacious urgency as keys alongside sonic enterprise tantalise with menacing suggestiveness in Sidious-Revealed-In-Profane-Splendour-coverthe background of the thick violation. It is a torrential outpouring of malicious and imaginative provocation which deeper into its heart you go, the more toxic elegance and emotive grandeur is shared. Exhaustive in touch and intensive ideation, the track bridges the serpentine animosity of black metal with the corrosive predation of death bred fury for another welcome and scarring persuasion before the album’s title track spreads its blistering venomous charm. As the last track it is a tempest of fierce creative twists drenched in insatiable energy sculpted and provocatively honed into a climatic and vehemence soaked inventive soundscape.

There is no mercy given by any song, each a psyche devouring, emotions despoiling rage as proven with the next up Annihilation Ov Abhorrent Credence and its successor Obscenity Ov Old. Each though colours their rugged canvas with an evolving cauldron of melodic ingenuity and intuitive invention which may need close attention but rewards with a fiercely busy and oppressively seductive blaze of invigorating enterprise. The first of this pair a case in point, its cloistral entrance the doorway in to a ravenous insurgence in theme and sound upon religious templates and the listeners senses. Simultaneously stalking and rampaging through mind and body respectively, the track is a scintillating marauder chewing upon ears and emotions with virulent and destructive rabidity. Its glory is emulated by the second of the two, a similar yet distinctly separate beginning the unveiling of a bestial and ravenous violation complete with torrential spite and as in the last track, bewitching clean vocals which escape the carnage for exciting deviation.

A cold ambience brings Infernal Reign to light, its chilling landscape swiftly scored by inhumane vocals and a brewing sonic causticity. There is little time for frost bite to set in before rabid rhythms bludgeon the senses and venom spilling grooves begin squirming under the skin of song and passions. It is an increasingly transfixing fascination of sound and emotion which is as debilitating in its calmer moments as it is in full cruel flow, the fine mix of vocal styles a driving force in that success.

Revealed In Profane Splendour is brought to a close by O Paragon, Bringer Ov Light, a dare one say mellower track, certainly initially which is soon merging floating celestial harmonies with predatory beats and hungry riffery. It is a song which at times seems like a recap of other tracks essences but once it brings out its own warped rhythmic antagonism and sonic majesty, the track turns into a searing and spellbinding intrusion.

It is a mighty conclusion to an increasingly imposing and impressing release. Revealed In Profane Splendour is a startling step on from the band’s first EP, employing all of its assets in viciously richer and deeper cavernous dark hymns. Sidious is on a demonic march with sounds to breed fear in even the devil.

Revealed in Profane Splendour is available now via Kaotoxin Records on CD @ http://www.kaotoxin.com/shop/cd/sidious-cd-pack/ and digitally @ http://listen.kaotoxin.com/album/revealed-in-profane-splendour

https://www.facebook.com/sidiousofficial

RingMaster 05/11/2014

Copyright RingMaster: MyFreeCopyright

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

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Machine Rox – Next Level

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British industrial metallers Machine Rox has never been a slouch in stirring up ears and emotions with its fiery and rapacious energy and imagination, but the London quartet has found a new covetous creative tenacity to consume the senses with new album Next Level. As its title declares, the eleven track adventure sees the band rise to a new plateau in songwriting, sound, and sheer contagious enterprise. Not exactly a game changer but an encounter to set a fierce new blaze within the landscape of industrial and electro rock, Next Level is a gripping and feistily enjoyable rampage.

Originally formed by musician/songwriter Richard K as a solo project in 2007, Machine Rox has evolved into a full line-up consisting of guitarist Val Oproiu, drummer Nuj Farrow, and Aga on keys and vocals alongside vocalist/bassist/ programmer Richard K. Employing his experiences in bands like industrial metallers Meat Machine and Global Noise Attack, and in the sharing of stages with the likes of Rammstein, Napalm Death, and Covenant, Richard after some time away from music began exploring a merger of metal and electro rock in his band’s emerging sound. It is a journey which has intensified and grown with accompanying acclaim through releases such as the Activate Your Anger EP and debut album Shout, both in 2013. Last year also saw the release of the more metal infused Intox EP, a tasty hint of the exploits to be found on Next Level, though to be fair the band’s electro and industrial side is as vocal and potently evolved on the album.

The album flirts with ears straight away through the opening crystalline electro coaxing of Lost My Mind. The first track takes little time to flex its muscles and intensity though, sinew packed riffs and rhythmic teasing combining to challenge and ignite the senses as the vocals of Richard K similarly work on thoughts with his raw expression. The electronic lure of the track provides a contagious enterprise whilst the muscular strength of the song and the vocal bait adds anthemic essences, it all adding up to a riveting and impressive start.

The melodic Front Line Assembly meets Ghost In the Static feel of the song is replaced by the more caustic breath and ferocity of Love Explosion, KMFDM and Godflesh coming to mind though as with all songs the finished recipe is all a2738925395_2Machine Rox. The second track also unleashes an insatiable energy and charge to its pulsating persuasion, synths swirling feistily around the senses whilst guitars and beats cast a heavier and darker confrontation in the relentlessly infectious endeavour. With a glorious solo adding to the proposition, the song continues the outstanding start to the release and is immediately emulated by the heavy and catchy swing of Losers In Your Game. A Marilyn Manson-esque swagger fuels carnivorous riffs and eager rhythms whilst vocally Richard K prowls ears with a provocative narrative cast by his distinctive tones, the mix another slab of inescapable virulence.

Next Level is an album which holds a greater diversity than any Machine Rox release to date, the following warm mellow embrace of Electric Sun one example of the different sides to the character of the album. It is a melodic and seductive smouldering reminding of fellow Brits MiXE1, but also a song unafraid to spread a rawer climate across its sultry canvas; keys and guitars merging extremes for a heat wave of evocative and imaginative adventure.

Both Illusion and Cycle Complete keep body and emotions aflame, the first a bubbling yet bordering on corrosive devilry gaining swift enslavement of feet and imagination, whilst the second has a sinister edge to its imposing presence and electronic fascination. A throaty bass flavouring adds to the song’s drama, its weave of noir kissed shadows soaking the otherwise magnetically fiery track driven by vibrant electronics, heavy metallic riffery, and enticing vocals of Richard and Aga. Though neither song quite finds the plateau of their predecessors, both leave an already hungry appetite greedier before making way for the bewitching instrumental Last Kamikaze. Keys and guitars entwine with melodic beauty whilst the electronic atmosphere of the track provides a mesmeric soundscape for thoughts to drift into their own adventure through. There is also a sterner intimidation offered by slow but voracious riffery, again a blend which results in a stunning incitement for ears and emotions.

The aggressive yet welcoming presence of Breathe Again comes next, its striking metal seeded attack and rabid toxicity instantly contagious as a spice reminding of Gravity Kills and Die Krupps shows itself. Another scorching solo from Val Oproiu lights the exciting and scintillating tempest, its impressive offering contrasted and matched by My Own Religion as a resonating electro temptation swallows the senses to breed a similar weighty enticement as its predecessor. Only nailed to the floor feet could resist its enthralling call whilst the raw glaze to the vocals and the scything guitar invention gives the rest of the body a welcome work over. The two songs show another twist in the nature of the album but each slightly pales against the might of Mind Game. It is a thunderous provocation, rhythms and riffs the heaviest on the album and melodies the most acidic as it evolves into an irresistible almost savage stomp which leaves thoughts and lungs breathless.

The album closes with You Belong To Me, itself another slab of industrial metal loaded with creative voracity and uncompromising attitude within heavyweight infectiousness. It is a thrilling end to an enthralling and rigorously compelling album. Next Level is without doubt Machine Rox at their most potent and thrilling yet, the start of a new adventure which should push the band into a new and greedy industrial /electronic spotlight.

Next Level is available now @ http://machinerox.bandcamp.com/album/next-level

Be sure to catch Machine Rox at the DARK7 festival at The Electrowerkz, London on October 11th

www.machinerox

RingMaster 19/09/2014

Copyright RingMaster: MyFreeCopyright

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

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Lesch-Nyhan – Lesch-Nyhan Syndrome

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The first album since their return, Lesch-Nyhan Syndrome makes a ravenous and richly satisfying confrontation from US death metallers Lesch-Nyhan. The successor to the band’s 1991 demo Indistinguished Remains, the seven track savagery is a rewardingly imposing and thrillingly incessant beast of a proposition, a bestial encounter recalling the seeds and original toxicity of the Philadelphia quartet whilst equally holding an unhealthy dose of modern intrigue and fresh faced twists. It is not an album to blow extreme metal away but certainly a ravaging to make Lesch-Nyhan’s comeback a highly joyous and thrilling one.

Formed in 1989 by vocalist Gary Hadden with brothers, Mark (drums) and Anthony Delacandro (guitar), Lesch-Nyhan was soon completed by bassist Greg Oreski and guitarist Mike Carr. Quickly getting to play live shows with the likes of Suffacation, Incantation, Crucifier, and Ripping Corpse, the band released their demo in 1991 from which the band was invited to play a showcase in front of numerous label representatives. What followed though was the demise of the band; a slow falling apart which new members could not bring any halt to with the band stopping in 1994. Fast forward to 2012 and a discussion between Hadden and guitarist Rob Vanderveer (a member of the last line-up of the band), about reigniting things, to “Put our stamp on this shit”. A year later saw Lesch-Nyhan reform with a re-issue of Indistinguished Remains on Horror Pain Gore Death Productions, just as the new album. With guitarist Jack Carmichael, bassist Chris Miller, and drummer Mark Stainthorpe alongside Hadden, Lesch-Nyhan has produced a riveting scourge of sound and intent with Lesch-Nyhan Syndrome, a furious hostility sure to excite those with an appetite of bands such as Autopsy, Bolt Thrower, Carcass, Gorguts, Immolation, and Napalm Death.

Recorded live in the studio helping to bring the raw brute creative force of Lesch-Nyhan to life, the album opens with World Destruction, a track as expected from its title with all the hostility and rancor to bring all before it to its frontcoverknees. It also comes with a passions binding groove which from its first breath grinds and worms deeply into the psyche as rhythms cascade voraciously down on the senses. Complete with the barbarous rancor of Hadden’s throat and the nagging contempt of the bass, it is an irresistible blast of insidious feuding which ignites appetite and passions just as forcibly as the album itself.

Its stunning start is not quite matched by the following Septic Hole and Flock Of The Misfortunate, though it is more to do with its might than their failings. The first of the two again is offering a scathing infection soaked groove around with rhythms bring a barbaric unpredictability and guitars a sonic smog of contagious endeavour. Vocally Hadden lurches syllable after syllable across the senses, his delivery breeding a pestilential persuasion which is as sinister and merciless as the predacious sounds scarring his way. It is another masterful proposition if without bringing too many surprises, similarly as its successor. The album’s third track prowls with purposeful weight and predation, every riff and rhythmic provocation concentrated in its oppressive incitement which an emerging fiery but respectful groove cannot defuse. With the vocals at their most demonically intimidating and caustic, the track sends primal shivers down the spite but fails to find the same spark to ignite the passions as the opener and subsequent tracks hold.

Bathed In Phlegm returns the senses to a tempestuous torrent of frenetic riffs and rhythms bred from the darkest despair. It is a storm which has a rein on its hunger though, switching intensities of gait and ferocity for a filth clad waltz of insurgent sounds and rabid animosity which ebbs and flows in its voracity and ultimately success. To be fair though it is a proposal which ears and emotions welcome with open submissive arms, but one again only stirring up the passions rather than igniting them. The following Regurgitation Through Decapitation has little problem in seizing imagination and those passions, such its corrosive beauty and invention. Marking the moment where the album reveals it’s most potent and addictive nature, the song thunders against ears with a wall of barbaric rhythms and an intensively fused swarm of riffs. It is tsunami of spite and malignancy turned into a sonic vendetta in turn driven by a great dual squall of vocal spite from Hadden feverishly backed by Miller. The song stomps and rages with little regard for the health of its recipients, bass and drums crafting a frame of tortuous entrapment which any dungeon would be proud of whilst the guitars and vocals lay waste with an emotion violation of hellacious enterprise.

The glorious rhythmic coaxing which brings the title track into view is one of those instinctive baits there is no resistance to, an insatiable coaxing which only increases its toxic potency when aligned to the serpentine bred vocal cancer brought by Hadden. It is not long before the enthralling leviathan tones of the bass stalk air and guitars spread their caustic waves, the emerging blend of ferocious rapaciousness only reaching deeper into the psyche and greedy hunger inspired by the album. Roving with pack like relentlessness, the track is a predator of sound and bestial appetite, its grinding incitement and gutturally shared narrative an evil suasion to unrelentingly and sublimely excite the whole body.

Lesch-Nyhan Syndrome is brought to a powerful close by Internal War And Hate, a final purge of hope and security brought with an increasingly dangerous consumption of single minded grooves and scarring riffs within a network of bass rabidity and rhythmic enmity. It is an outstanding end to a thrilling encounter, not one as we said to turn extreme metal on its head but a release to easily place Lesch-Nyhan back in the heart and intensive spotlight of death metal.

Lesch-Nyhan Syndrome is available now via Horror Pain Gore Death Productions @ http://hpgd.bandcamp.com/album/lesch-nyhan-syndrome

https://www.facebook.com/LeschNyhanMetal

8.5/10

RingMaster 16/07/2014

Copyright RingMaster: MyFreeCopyright

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Sassy Kraimspri – Cock Fight 2

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For dirty and sexy rock ‘n’ roll with little care for anything more flamboyant than virulent flirtation, Cock Fight 2 the new EP from Sassy Kraimspri, is a rigorous mischievous pleasure. Consisting of three tracks brewing up brawling storms of voracious rock with the antagonism of punk and salaciousness of grunge kissed garage rock, the release is a dirty contagious stomp reaffirming the impressive emergence of the Norwegian based band.

With the merged nationalities and skills of members from Norway, Australia, and the US, Sassy Kraimspri has been on a constant and attention grabbing rise since forming in 2006. They have played across the globe, impressing audiences from America, Canada, and Australia to China, Norway, and the UK to name some of the places hit, and earlier this year released the first in a trilogy of Cock Fight EPs. Cock Fight 1 roused ears and appetite for the band but now the second in the series thrusts the hunger bred for their presence into a new greed. It provides a blaze of hard hitting devilry which simply ignites the imagination and passions, making little more demand than you enjoy its adrenaline and invention brand of bruising revelry.

Recorded as its predecessor with Russ Russell (Napalm Death, The Wildhearts, Dimmu Borgir), Cock Fight 2 immediately lays down irrepressible and irresistible bait with the opening bestial bassline of Like a Drug provided by Cock Fight 2Lovely Linda Lustsalot. It is a primal lure soon joined by similarly addictive riffs and hooks from the guitars of Dick Deviant and Sassy Kraimspri, whose vocals blaze upon the ear the moment they touch. Driven by the resourceful and inciting rhythms of Etienne the Frenchman, the track swaggers with a defiant and saucy gait which itself enslaves attention. There is an instant indefinable familiarity to the song too, creating an old friend in new explosive clothes stance to make a recognisable yet fresh impact accentuated by the ridiculously anthemic chorus with its swinging hips and seductive lures. As the accompanying press release suggests there is a definite PJ Harvey edge to the vocals of Sassy whilst musically elements of L7 and Valentiine revel in the dusty hard rock and infectious punk exploits combined. The song is a riveting and extraordinarily thrilling encounter which puts the pressure of the other two tracks alongside it.

To be honest neither can match up to the first but each offers their own exciting and sweltering slabs of rock vivacity. Riot comes next taking a more deliberately even paced entrance punctuated by stabs of riffs and thumping rhythms stalked by again a deliciously sinister bass sound. The song prowls around ears as its settles into its intensive charm, melodies pouting and heavily stomping rhythms uniting for an incendiary persuasion led by the impressive fire of vocals. Bursting with rapacious expulsions of energy and coarse guitar adrenaline, the encounter ebbs and flows with a volcanic climate and ferocious enterprise, never leaving senses and appetite devoid of a tasty endeavour.

The closing Say What comes closest to matching the opening triumph with its outstanding adventure. Its first second brings a winding spiral of grooves and temptress bred vocals, each seducing with magnetic wantonness. The song continues to swerve with stirring melodic enticement and mesmeric vocal tempting, predatory riffs and rhythms urging full submission to which harmonies and those inescapable melodies bring mouth-watering rewards. It is a sultry and memory haunting end to a completely thrilling encounter.

As shown powerfully by Cock Fight 2, Sassy Kraimspri knows how to create and uncage rock ‘n’ roll to steal the heart and invigorate the soul, roll on EP 3 we say.

Cock Fight 2 is available via Lady Luck Records now.

http://www.sassykraimspri.com

9/10

RingMaster 0707/2014

Copyright RingMaster: MyFreeCopyright

 

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

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Conjuring Noise: The Great Sabatini Interview

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Having inflamed like so many others, our passions with their blistering intensive and thrilling album Matterhorn, Canadian noise metallers The Great Sabatini returned earlier this year with an even greater mouthwatering proposition. Third album Dog Years is a masterful tempest exuding virulently destructive and invasive sonic devilry; an enthralling examination and manipulation of the senses. Not needing to be asked twice, we rifled questions at Sean from the band to discover the depths of The Great Sabatini, talking about origins, lyrical intimacy, musical magick and much more…

Hey Sean good to meet you and thanks for giving over some of your time to chat with us.

Tell us about the birth of The Great Sabatini and the time leading up to the uncaging of the band in 2007?

Hey, nice to meet you too. It’s our pleasure to talk a bit about our dumb selves. All of us came together when bands we were previously in collapsed. We all decided to start moving away from the kind of things each of us had been doing with past efforts, musically. It seemed to come together easily, naturally. We just kind of went with the flow.

How did the four Sabatini’s meet?

Rob and I have been playing music together since we were 15 or so. We’ve played in bands together since that time. We knew Joey from other bands around town, and even shared a jam room together years before we started playing together. We met Steve in Sudbury, 2004 at a really crappy weekend fest that both of our bands at the time were playing. We became fast friends, and the rest is history.

Did the band start out with a specific intent and is that still the same driving force now or has it evolved with your music?

I think the only intent really was to move away from our previous musical comfort zones. Rob and I were used to writing more technical metal things in standard tuning, so there was a focused effort to distance ourselves from that. We bought baritone guitars and started slowing things down naturally, due to the nature of the much lower tuning and feel of the instruments. You can’t be as busy sometimes when you’re playing in a lower register, so riffs start slowing down for clarity’s sake. In regards to intent, it’s the same as it was from day one; keep challenging ourselves to create music that subverts our own comfort zones as artists. It might not be a huge leap from record to record, but there is movement, and growth, with every new project we take on

You sound is a unique brew of noise, sludge, doom, progressive rock…and plenty more. How would you describe it to simplify things?

As a kind of inside joke, we refer to our sound as “swamp trench arithmetic”. Maybe it hints at a sludgy math-rock vibe… Usually I describe us as a sludge band, because for all the variety rolled into our songs, all of it is pretty grimy or sludge-based. The end result is sort of wrapped up in this sludgy package.

We discovered you through your second album Matterhorn, a startling and riveting treat to our ears. How would you say your music and 1964881_815898598424769_284230856_ncreativity has changed and evolved from your first days, through that great album and onto the just released Dog Years?

I think that, as songwriters, we focus on making things simpler; communicating ideas in a simpler way. Part of that is recognising our strengths, and reining them in. We want to include a myriad of ideas and influences into our sound but feed them through our creative process in a way that results in more a more cohesive end result. I suppose one might call it “nuance”… Not something that most folks associate with brutal, loud music, but I feel that there’s more and more depth and nuance to our songs as we go. Matterhorn was the first time I really felt like we’d accomplished a certain level of that in our music. The songs are relatively simple in structure and riffing, and seem straight forward production-wise, but there’s a subtle balance of feels and ideas stitched together throughout. I think Dog Years employs this much better. Taken at face value, it’s a loud, raw, angry record, but there’s a lot going on in the songs, in a way that isn’t like an overt genre mash-up kind of thing.

We feel the brilliant Dog Years, and it is, is less cruel and destructive than its predecessor but has a more intensive and precise examination of the psyche which makes it just as exhilarating and threatening. Is that something you would agree with?

I do agree. Matterhorn was about cruelty and violence and the harshness of life, ‘cos that’s what I felt when I heard the music we were writing. Dog Years, musically and lyrically, is kind of exploring the things that drove us to play music initially. It has some throwback moments with the punkier parts, and maybe it rocks out a little easier. I still feel like it’s a punishing, loud, angry record but maybe you picked up on the focus of the record. It’s hard to tell sometimes, as the creators of the music, how much of what we’re saying is obvious and how much is completely buried in the end result, but Dog Years is more of a look inside OUR heads and our history, to some extent.

Did you approach the writing and recording of your third album in any way differently to the previous release?

Well, we usually do a lot of writing together in the jam room but a few small bits were demoed separately and sent out via email to the guys, and then tweaked and moulded by each of us on our own time. The songs are totally malleable… they can change easily before we hit the studio. In the past, a lot of our material, especially the Matterhorn stuff, was played on the road a lot before it was recorded, so the songs adapted and changed a bit more, but almost all of the Dog Years material was written and then quickly recorded with less time to mutate. Maybe that gave it a bit more immediacy, or urgency.

I guess the studio and recording process is something always bringing new lessons and discoveries which can be used or avoided next time. Was there anything from Matterhorn which had that inspiration and any new things learned with Dog Years?

There’s always a learning curve. We’re always learning things and trying to apply them the next time around. I can’t think of any major things that happened with Matterhorn that wound up shaping Dog Years in an obvious way… we’ve always strived to make things sound more raw, natural or live-sounding on our records and Matterhorn was a nice step in that direction, but Dog Years, I feel, has a bit more of that raw thing going on.

How long was the new album in the making?

We started writing in earnest at the start of 2013. We spent a lot less time on the road that year and really just focused on writing. By December 2013 we were in the studio and by February of this year the record was mastered. It was a pretty quick turnover, for us.

Like a great many bands do you have to struggle and deal with obstacles of everyday life when it comes to creating and certainly recording a record?

Obstacles are always present. But we’ve been a band for almost 7 years and we deal with things together, in a focused manner, quite efficiently. Making records is something we’re always trying to get better at, but we’ve all been doing it for over ten years and our collective experience is constantly being employed to overcome any obstacle. Thankfully, we’re all really good friends, so we’re good at working together to accomplish our goals

There seems an intimacy at times to the lyrical side of your music which suggests inspirations often come from things close to home and personal experiences. Give us some idea of stories or situations to songs upon Dog Years.

Some of the songs relate to people or things in our personal history. Pitchfork Pete is about a guy Rob and I knew many years ago. Some of the songs deal with our rituals, our perception of our lives as romantic black-magick purveyors of the Almighty Riff. When the reality of being a penniless touring musician sets in, the thing that keeps us going is the magic. Music is total magic and we have fun projecting some kind of cartoonish self-importance onto the band. It’s much more fun to think of ourselves as traveling Riff-Warlocks spreading the unholy gospel of Satan through amplified guitar riffs than it is to see ourselves as the jaded, ageing heshers that we ACTUALLY are. We’re following our dreams. Dog Years is a glimpse into that world, we hope. Lyrically it’s all about that… the world we’ve created for ourselves, full of feral beasts, oracles, war-cries, Viking battle-lust and strange visions. But sometimes this kind of fantasy shit collides with the naked truth of our choices in life, and that’s where the “Dog Years” thing comes in. One day, maybe, we’ll be old men looking back on these times as our Dog Years, all that time we spent hammering away at our dreams.

487212_598817973466167_250606339_nHow does the creation of songs more often than not transpire in the band?

More often than not, Rob and I write riffs or ideas in our own time, and then, when we get together, the ideas are presented and everyone puts forth their own takes on the riffs and we arrange the structures together. There isn’t any one mastermind. Everyone’s fingerprints are on the end result.

Is there a particular moment or twist in Dog Years which gives you an extra inner tingle of pride or just satisfaction?

I think each of us probably has his own moment like that, but for me, Akela was one of those. I wasn’t thinking that would be on the record, but the guys heard my demo, and wanted it to be there. It’s a pretty naked thing, for me, to have a song like that on there. There isn’t any wall of noise to hide behind. I recorded that in my room at home and everyone agreed that to re-record it might ruin it. So, I feel pretty happy that Akela is on the final cut.

Tell us about the great ‘scary’ album cover.

We wanted the cover to reflect our childhood in some weird way. We were aiming for an image that looked borrowed, from another time, not from 2014. I made the puppet, and he represents a certain aspect of our collective personality. Rather than actually steal an old image that may have worked just as well, we opted to create this thing ourselves and hopefully imbue that aspect into it in a subtle way. Really, I want people to see it, react to it, and fill it in with whatever feeling they think is best.

The album has been released on the great Solar Flare Records. How did that come about and is it true that the equally brilliant Sofy Major has some inspirational input?

We met Sofy Major first in North America when they came here to make a record and tour a bit and then later when we played with them in France. Sofy Major/Solar Flare are the raddest dudes on the planet, so their interest in Dog Years is incredibly flattering. Those dudes have been through a lot and suffered it all with a smile on their faces so that alone is a huge inspiration to us. Their music is incredible… I don’t wanna butter them up too much, but getting to work within that particular family is a huge privilege.

What is the Montreal metal and rock scene like right now and specifically in regard to your style of creative mayhem?

Montreal is always a hotbed of awesome music. In recent years, more of the sludge, doom, noise-rock and stoner rock stuff has been surfacing, which is nice, but I feel like everyone here is reacting to their surroundings, in a nice way… nobody is trying to sound like anyone else, I feel. Everyone that I know kind of does his or her own thing and tries to blaze their own trail. Sometimes it’s hard to be heard among all the amazing bands and artists, but we have our niche.

What comes next for The Great Sabatini across the rest of 2014?

We’re just about to get home from the first stretch of touring. We’ll probably do a few small things this summer but in the fall we head out again to do some touring in the U.S and then get ready to hit Europe in the spring of 2015.

Once again big thanks for sitting down with us; any final words for us to contemplate?

Thank you for your interest and support. Final words? Ummmmmmmmmmmmm……

And lastly give us an idea of the biggest inspirations on you musically and individually.

Take your basic 80’s/90’s generation stuff, all the grunge, punk, metal and hardcore, and throw our dad’s old Beatles, Zeppelin, Sabbath, and King Crimson records in there too. We’re all just disciples of this great tome of Rock. Finding a nice balance is the hardest part when starting a band, but ALL of that stuff is in our music, and album covers, lyrics etc. You could get real specific and say things like Melvins, Today Is The Day, Helmet, Jesus Lizard, Napalm Death, King Crimson, or what have you, but there’s just too huge a range of stuff influencing us to make for an easy answer.

http://www.thegreatsabatini.com

Read our review of Dog Years @ https://ringmasterreviewintroduces.wordpress.com/2014/06/02/the-great-sabatini-dog-years/

Pete RingMaster

The RingMaster Review 21/06/2014

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