HOT-TIPPED METAL CREW LEFT FOR RED, NATIONALLY UNVEIL THEIR STUNNING DEBUT ALBUM!

Left For Red Online Promo Shot

‘Pantera-influenced metallers Left For Red are loud, heavy and will make you wanna throw your super-size Coke over someone.’ -Jennyfer J. Walker, Kerrang!

‘This is metal as it ought to be, from a band with great potential’ – Rocksound, 8/10.

Oozing gargantuan riffs and imposing melodies, Midland metallers ‘Left For Red’ step up with their enthralling debut album All Things Known and Buried, out through Burning Halo Records on 27th April.

Hailing from the same fertile region that bred metal kings such as Black Sabbath, Napalm Death, Diamond Head and Judas Priest, Left for Red were spawned in 2010 and soon soaked up the records of Sabbath and Judas Priest before spreading their wings to help form their own blend of modern heavy metal.

The past four years have been very productive for the midlanders; they have built up an army of followers and are well renowned for delivering stunning live performances. Sharing stages with the likes of Chimaira, Crowbar, Beholder and Breed 77, and winning Kerrang!’s TNA competition, have all contributed to the band’s growing stock. Added to that, the metal monkeyshave nationally released two killer EP’s: ‘Vol 001 – Empty Shell’ and ‘Vol 002 – Mercy Flight’, which both picked up considerable national and widespread online praise including rave reviews from Kerrang!, Big Cheese and Rock Sound.

The five-some surge forward with their first full-length debut album, entitled ‘All Things Known and Buried’, which is unleashed in April. This record etches a line in the sand and it’s poised to mark the band as a true force within the UK metal scene. Stacked with pounding riffery, immersing vocal passages and intricately woven layers, the album offers up nine beefy slabs of cutting edge modern metal. Current single ‘Master Of The Game‘
( http://youtu.be/C0GKtzvLv-g) is a true statement of intent; so too is the magnificent ‘Reborn’ with its Tool-esque hook that will leave you pining for more. Look out for the raucous metal-heads when they bring the party to your town, as they plan a flurry of shows and festivals this year.

LEFT FOR RED LIVE:28th February – Album Launch – 02 Academy, Birmingham; 28th March – The Unicorn, Camden, London; 25th April – The Old Sal, Nottingham; 15th May – Mosh Against Cancer Festival – The Lomax, Liverpool; 16th May – Lower George Inn, Gloucester; 30th May – Midlands Metal Crusade – Slade Rooms, Wolverhampton; 20th June – Hard ‘N’ Hevy Fest – The Dollhouse, Abertillery.

Left For Red

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

– LEFT FOR RED RELEASE ‘ALL THINGS KNOWN AND BURIED’, OUT 27th APRIL THROUGH ALL STORES –

Stoneghost – Faceless Ghost

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As Faceless Ghost, the new single from UK metallers Stoneghost furiously and creatively bellows in the ears, there is no escaping offering a hearty thank goodness. The reason being that the song and album it comes from, was written at a moment it is fair to say which was pointing to the demise of the band. This had come about because, in the words of vocalist Jason Smith; “I was having a kid and I couldn’t cope with it, I didn’t think I would be able to carry on with the band too, I wasn’t in a good place.” Deciding to go out with a bang and show the world the most potent essence and fury of what was Stoneghost, the South East London quartet created debut album New Age of Old Ways. Thankfully the band’s sound and new offerings found their way to the attention of the Mascot Label Group (Black Label Society, Volbeat, Gojira, Joe Bonamassa), and here we now are with the album scheduled for release in April, its lead single poised to stir up the European metal scene, and Stoneghost seemingly back on compelling course.

The Bromley band began in 2007 and swiftly made a potent impression on the London live scene. Forging a ferocious blaze of rock ‘n’ roll bred from varying strains of metal and a hardcore voracity, the foursome of Cris Finniss (drums), Jamie Nash (bass), Andrew Matthews (guitar), and Smith continued to grip attention and increasingly so across the UK, making highly successful appearances at Bloodstock in 2009 and 2010 with equally impressive performances at the Wacken Open Air festival and Metal Hammer’s Hammerfest IV in their wake over the next couple of years. It was 2013 when the band’s frontman had his ‘crisis’ and turmoil reached the band. Fighting through it though to subsequently record New Age of Old Ways with Russ Russell (Napalm Death, Evile, Dimmu Borgir, Sikth, New Model Army), Stoneghost is now ready to take their place at the forth of British metal and again we can only give thanks.

As the majority of songs gracing the album, Faceless Ghost was bred in that troubled time for band and Smith, the singer talking about the song recently saying, “It’s about my daughter, she was on the way, I was feeling apprehensive and scared about the responsibility and seeing a therapist at the time, I was having some really low points, but because I had a daughter on the way it gave me the reason to sort myself out.” There is a definite personal angst and passion behind the song which echoes that moment, an intimacy to its tempest which rages as potently as the ravenous sounds.

The song opens with a dazzling weave of guitar enterprise, a spicy melodic colour which captivates from around just as swiftly established and equally compelling rhythmic predation. Things only intensify and grip tighter as Smith’s punkish roar spills emotion across the thrash toned canvas. Grooves and hooks add different and fascinating flavours and textures to the song next, the proposition already transcending various metal subgenres whilst brawling with its own aggressive individuality.

Matthews’s superb sonic and melodic designs continue to ignite the imagination as does the lyrical force of the song, whilst bass and drums are predators within the magnetically spiced triumph. Across track there are glimpses of bands like Pantera, Bloodsimple, and Overkill, but only whispers in a sound which leaps out like a beast and incites body and emotions with tempestuous majesty.

Roll on New Age of Old Ways

Faceless Ghost is available from March 2nd and New Age of Old Ways on April 27th via Mascot

https://www.facebook.com/STONEGHOSTROCKS

RingMaster 02/03/2015

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://reputationradio.yooco.org/

 

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

http://audioburger247.webs.com/

 

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

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