Mammüth – Outlander

An epic journey in time at almost an hour and a half and a rich exploit in sound, Outlander the new album from Norwegian rockers Mammüth is one unforgettable proposition already easy to suggest will make regular appearances on end of year best of lists. The band’s sound is a thick and flavoursome not forgetting imposingly heavy invasion of stoner metal and quite addictive within the walls of their striking new album.

Hailing from Drammen, Mammüth emerged in 2007 forged in its members love for stoner, space rock, metal, doom, drone, and hard rock. They are flavours which entangled to make the quintet’s debut album of 2012, Gone with the Wolves, a well-received and praised encounter. Since then the band has honed their writing and sound while breeding open maturity in all aspects, all fuel to the instantly and increasingly impressive Outlander.

Produced by the band and mixed and mastered by Martin Skar at Skar Productions and Norsk Lydstudio, Outlander instantly draws and grips attention with the opening strains of Circling Vultures, its initial wired grooves and senses rapping rhythms nothing less than predacious. With just as hungry riffs in tow, the potent bait only strengthens with the earnest vocals shared by rhythm guitarist Stian Svorkmo and synth player Steffen Overaa. Their union is superb, magnetism in its own right and matched by the rabidly writhing yet controlled sounds around them. Like a fusion of Mastodon, High on Fire, and Down yet not such its and indeed the whole album’s individual character, the track is manna to an appetite for heavy, voracious rock ‘n’ roll and a great tease for what is to come.

The compelling dynamic beats of David Hjellum lead in next up Dead Man’s Trail, a track swiftly as addictive as its predecessor and unveiling a web of varied flavours in its bold trespass. The bass of Stig Johansen growls with almost bestial temptation, its dark lures contrasted but matched in salacious intent by the gripping enterprise of lead guitarist Christian Schei. Drama soaks every twist and turn, accentuating each inventive note and atmospheric breeze blowing across the track’s serpentine landscape whether melodically calm or tempestuously intense.

That mellower air blows through the following Fields of Bones in voice and music though there is always a certain volatility waiting to catch which it does with a dirtier, grouchier eruption. Virulently catchy and manipulatively fascinating, the song is quite superb and if the album collapsed in on itself thereon in, with its two companions, would make Outlander a notable recommendation.

Of course the album does not slip from its heights, Fortuneteller and God Eater just as beguiling as they devour the senses. The first, and one of the candidates for best song, is a relentlessly nagging irritancy on ears, riffs and rhythms alone harassing quick submission for its proposal with vocals again pure raw seduction in the midst of the guitars tenaciously resourceful webbing. Its successor has a more concussive touch tempered by grooves which crawl under the skin with primal desire, again everything offered as predacious as it is irresistible.

Through the early atmospheric suggestiveness of Hadrin’s Wall, a lure which grows more invasive and portentous as the band bears its gladiatorial dexterity, and the even more confrontational, certainly cranky, Heirophant, the real world is an even more distant reality, band and album consuming all attention soon gripped even tighter by the senses enveloping, discord blessed Lightyears. With grooves which worm into the psyche with ease and a tempestuousness that roars upon the senses from within a mercurial sonic cyclone, the song is just majestic yet still eclipsed by the mighty Monstrosity. With waspish grooves swarming the senses from the first second and vocals buffeting ears with their emotive holler, the track soon steals best moment upon Outlander in our ears, its voluminous rock ‘n roll manna.

The album’s title track finds a somewhat moderate attack in comparison to the previous track but as expected with a threat of a brutal eruption at any time. It is a peril which remains lurking around as melodies and harmonies radiate though it does have a say on the growing energy and flurry of the encounter before the extensive creative theatre of Space Ghost unfolds. With an eager lilt towards thrash metal at times across its sinuously textured evocation, preying on body and imagination at every turn and there are plenty across its nine minutes plus, immersion into the song’s crafty tale is easy.

Uncharted Waters completes the exceptional adventure of Outlander, its thick shadows and dark depths as transfixing as the sound as they colour. An array of flavours twisted into a coiled spring, nothing predictable escaping as it tenses and discharges its enterprise, the track is an enthralling finale to one remarkable album to which we can give numerous references to others for certain moments but really only embraces its own uniqueness.

There will be many important propositions across 2018, encounters which will guide its musical direction and Mammüth with Outlander has come up with the first.

Outlander is available now through Negative Vibe Records across most online stores.

https://www.facebook.com/MammuthMetal

Pete RingMaster 18/01/2018

Copyright RingMaster: MyFreeCopyright

The Nika Riots – Set Fire

Having found the Norwegian hardcore scene a rather fruitful place to excite personal tastes, there was a definite twinge of eager anticipation when we found ourselves receiving he debut EP from Oslo outfit The Nika Riots, especially upon seeing it features members from bands such as Man the Machetes, Torch, and IEatHeartAttacks. The prospect of hearing something flavoursome to really get the teeth into was quickly confirmed by Set Fire and only reinforced across its six ferocious tracks.

Consisting of Christopher Iversen (Man The Machetes), Jørgen Berg (Torch), Kristen Fjeldstad, Morten Vikanes, and Noppers Myren (IEatHeartAttacks), The Nika Riots fuse their hardcore with voracious metal essences while drawing on the inspirations of bands such as Every Time I Die, the Dillinger Escape Plan, and Rise Against for its still individual character. It is a mix which grooves like a Bokassa, snarls like a Shevils, and has the irritable melodic punk fuelled fury of Bad Religion aligned to the unpredictable dexterity of Every Time I Die and all delivered with a defiant antagonism living up to the historical unrest behind their name. Those metal bred essences add yet another aspect to their sound, a hungry trespass which accentuates every other thread in its fractious web.

As soon as the rousing rhythmic invitation of Anti-Social Social Club was launched within a raw sonic breath attention was grabbed, the initial handful of seconds of the opener a welcoming intrusion which swiftly becomes a tirade of addictive grooves, thumping beats, and vocal argument. The track proceeds to swing along with intrusive hardcore tenacity, inciting ears and spirit at every turn with the imagination hooked by its melodic punk hues. Metal textures equally give it a diverse nature and potency as the song gets Set Fire off to a heady start.

A chest beating roar of defiance, it is pretty much matched by the following Knock ‘em Dead. Straight away it is sharing solicitous hooks, a touch of Billy talent in their spicing before its punk canter brings a great bend of throat scarring and melodically sandy vocals. As in its predecessor, attitude fuels every note and syllable, the melodies even carrying a slight toxic edge to their temptation but it all combining for another fiercely infectious affair before allowing the excellent Kill This Chaos emerges from its last sonic sigh on a rhythmic roll. This leads to another contagious intrusion equipped with hungrily anthemic rhythms, vocal irritancy, and caustic riffs. It is pure magnetism, especially when the incitement of drums and throb of bass only accompanies raw throated appeals, guitars accentuating the bait on their return with strains of heavy metal in their attack.

A melancholic melodic caress opens up Hanged Drawn & Quartered but all time becoming dirtier and unsettled before breaking into punk thrusting rock ‘n roll though that too is only another shade to the song as melodic metal essences take their moment to captivate. It epitomises the fluid resourcefulness of the band’s sound, a quality as open if not to the same prevalence within next up Skeleton Crew. Opening with an Avenged Sevenfold scented beckoning, the song soon rattles the cages with its hardcore guile and fury lined acuteness aligned to punk rock virulence.

All Hail the Queen completes the attack, its body breeding its own fusion of sound and enterprise. As the previous track, it did not quite light the fires as dramatically as those before them but with vines of grooves wrapping round the ears and a rich bluster of energy wearing the senses, it simply left pleasure and appetite hungry for more.

Set Fire is a striking introduction to The Nika Riots hinting at even bigger and bolder exploits ahead whilst stirring the passion and instincts for uncompromising punk rock; Norwegian hardcore continues to impress and excite.

Set Fire is released January 19th through Negative Vibe Records.

https://www.facebook.com/thenikariots/

Pete RingMaster 18/01/2018

Copyright RingMaster: MyFreeCopyright

Shaving The Werewolf – The Pissing Link

STW-PISSFACE2_RingMaster Review

Always partial to a dose of bracing noise rock, it did not take Shaving The Werewolf long to spark our attention with new EP The Pissing Link; subsequent listens only inciting a greedy appetite for the four track animus of sound and hostility. It provides a psychotic and experimental fusion of noise rock and hardcore belligerence with a healthy metallic ferocity to it all. Simply the Norwegian band’s sound is a savage roar with the potential and antagonism to leave ears and thoughts the worse for wear but with the more involved glory of deranged imagination to further ignite the senses.

Formed in 2010, the quintet of Snorre, Kenneth, Ottar, Vegard, and Alexander have released two previous EPs in the shapes of Your Head is a Toilet and You Say Tomato, I Say Fuck Off, the first released in 2012 and its successor earlier this year. Now they go for the mental and physical jugular with The Pissing Link, a release with its Kunz meets Shevils like rancor surely destined to awaken a great many more hungry appetites for the band and their fearsome violations.

The-Pissing-Link-EP_RingMaster Review   It opens with Death of the Dying Corpses of Death, a track certainly for newcomers offering a deception of sound with its fizzy electronic opening. Soon scythes of fierce guitar splinter the by now equally tempestuous coaxing, raw vocals a step behind before rhythms prowl and grooves entwine ears and the increasing vocal hostility with venomous intent. It is compelling stuff from the off but growing darker and more inviting as flirtatious bass bait entices within a song simultaneously becoming harsher and more blisteringly bracing. That rhythmic flirtation is part of the core catchiness which only adds to the full captivation of the song, the swagger of the vocals and hooks raw infection playing their keen part in the sonic trespass.

The excellent start is matched but with unexpected success by Do Mind if I Don’t. The track is a collage of pulsating, discord honed noise and bent rhythms around a warped vocal not too far removed from that Crazy Frog thing which went viral a few years back. It should not work yet after multiple plays the track still fascinates and makes a highly enjoyable persuasion, so it must be doing something right.

Doing something right is certainly what Earth Song achieves, the track an instant explosion of barbarous rhythms, vocal raging, and toxic sonic rapacity which twists into a keener and more dynamic protagonist of body and pleasure with every hellacious minute of its tempest. Again electronic and raw sounds clash and collude in a primal yet virulently captivating stalking of the senses before the EP’s title track brings the wonderful torment to a close.

The Pissing Link flexes its metal muscle and fury from its first breath, the hostility merging with punk raging and again off kilter ingenuity which wraps and warps every flavour and addictive twisting emerging from within the cancerous and irresistible beauty of the sonic war swallowing the senses.

There is also a touch of Coilguns and Pigs to The Pissing Link EP, all great spices dissected and part of the Shaving the Werewolf uniqueness. This is a great release from a great band, not much more to say…

The Pissing Link EP is out now via Negative Vibe Records.

https://www.facebook.com/shavingthewerewolf

Pete RingMaster 09/12/2015

Copyright RingMaster: MyFreeCopyright

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