Exploring the rousing roar of Maxdmyz

Maxdmyz_RingMasterReview

Maxdmyz is a London based metal quintet who has earned a potent reputation over the year as a live proposition and through their striking sound and releases. We were took the chance to find out more about the band with thanks to its members, exploring its origins, heart, and creative pulse…

Can you first introduce the band and give us some background to how it all started?

Twister: So I’m Twister – I sing, write the lyrics, melodies and make the odd contribution to the tunes themselves. You’ve got Roger on guitar, A’Zedd on bass, and Vortex on keys and programming with Jay on drums and programming.

The band has taken different forms over the years – I’m the only founding member, although Jay and I have been working in the band for quite a while now. A’Zedd and Vortex joined a couple of years ago, and have each brought their own flavours to the band – A’Zedd in jazz and blues, and Vortex in goth, industrial and electronica. Roger was the brains behind German death-metallers, Apophis, and Jay has an incredible number of influences from Cardiacs to Nile and Squarepusher.

Have you been involved in other bands before? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

Jay: Yeah, we’ve all been band whores ever since any of us can remember. I don’t think we consciously decided on one musical direction or another – what does mark us out though is an openness just to see where things take us. It’s a unique combination of influences and personalities and it’s that chemistry that gives us our sound, and everyone is welcome, in fact encouraged, to contribute as fully as possible to the best of their ability.

What inspired the band name?

Vortex:  Twis likes to tell a story where it was a dyslexic founding member who came up with it – I’m still not sure whether I believe him but the name at least is distinctive and, if not memorable, you remember that you can’t remember it – er, if you see what I mean!

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

A’Zedd: Wow, I’d like to say there is and that we have a sense of a specific sound and vibe that we want to create. But it would be a massive lie. It’s much less conscious than that and all the better for it. Emotional connection – that’s the beginning and the end of it, and our music is the vehicle to do it.

maxdmyz1_RingMasterReviewDo the same things still drive the band when it was fresh-faced or have they evolved over time?

Roger: What do you mean – “was” fresh-faced – I think the band has developed over time, but whether progression or regression, who knows. As for evolution, well, every time we play or rehearse, we get closer and stronger – the material improves, as do our live performances. We are all incredibly driven, and always will be – it’s just a compulsion to connect.

So since your early days, how would you say your sound has actually evolved?

Twister: We’ve become heavier and more melodic – we started out really almost as loopy drum ‘n’ bass laced with samples, goth vocals, and heavy guitars. And it’s definitely an organic thing, although this openness to see where things take us naturally has definitely led to innovation and experiment?

Presumably across the band there is a wide range of inspirations, you touched on it with Jay but are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

A’Zedd: It’s weird, you know, but almost everything you encounter and process, musically or otherwise, has an impact – either as repellent or attractant. There are certain kinds of music and artists I don’t want to emulate – and that’s as much if not more of an influence on our music, vibe and outlook as anything else. But my native discretion forbids me from naming names.

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

Jay: Each of us is a songwriter in their own right – so what generally happens is that one of us presents an idea, even at a relatively early stage of development, and we jam and refine it. We all have our areas of expertise, but we are all very open to contributions and suggestions from band mates. The songs refine and develop through practice and live performance.

Roger: If one of us doesn’t feel comfortable with something, we generally dump it as we’ve all got to be happy with the final product if we’re going to deliver it with conviction; having said that, we are all happy to compromise. This is one of the most productive and democratic bands I have ever worked in – it’s just mutual respect and everyone working towards the same goal. Publishing is always divided five ways, regardless.

Vortex: Yeah, part of the pleasure of being in this band is that everyone works to get the best possible level of creativity out of everyone else – we all see ourselves as enablers of the others’ creativity and are glad to be so. It feels so good to be working in a collaborative environment where everyone is respected and feels represented.

Where, more often than not, do you draw inspirations for the lyrical side of your songs?

Twister: I guess this is my shout – since I write the damn things. It’s from the extremes of emotional experience, more often than not – or sometimes from some ironic or sardonic take on an issue that grabs me – from anorexia to suicide bombers. They’re noises made to music in the end and they either work or don’t work.

Can you give us some background to your latest release?

Jay: It feels a little weird talking about it, as it feels a long time ago now and we will be releasing a new album later this year or early the next – The Hate Plane was released in August 2014, maxdmyz artmaxdmyz_RingMasterReviewalthough it still seems to be exciting interest and radio play etc. as if it had been released just a month or two ago; that may be a characteristic of the internet age, people come across this stuff online every day and for them it’s new and fresh. Grieve, the single off the album, is still getting a lot of radio play, especially in the States, as are All and Side with Satan.

Give us some insight to the themes and premise behind the album.

Vortex: Apocalypse, the counter culture under pressure, individual desperation in the face of personal powerlessness and alienation, anger, boredom, sex, mental illness, political injustice – you know; the usual stuff. The premise is, I guess, is that existentially you have to make a statement even if the only one listening is yourself.

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

A’Zedd: The answer is yes. I think you have to be as prepared and ‘finalised’ as possible and that’s because things will always change and that’s good. We can’t afford financially or creatively to mess around composing on recording time. That’s why, when I estimate how long it’s going to take to record anything, I estimate, double the figure, then double it again.

Tell us about the live side to the band, presumably the favourite aspect of the band?

Roger: As a relatively new member, I can say that that’s what drew me to the band. I’d seen them in one guise or other playing live for a few years on the London circuit. It was one show in particular which I thought was electric – at the Dome in North London. Twister is a fantastic singer, and A’Zedd is such a fluent, effortless bassist. Vortex has this extraordinary presence. And Jay is one of the most phenomenal drummers I have ever seen, let alone played with. Playing with these guys is an incredible adrenaline rush and communicates that excitement to the audience, and that, in the end, is what it’s all about.

maxdmyz2_RingMasterReviewIt is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it? Are there the opportunities to make a mark if the drive is there for new bands?

Jay: London is the last place in the universe you’d want to start or be in a band. There are probably thousands of different acts all trying to climb out of the sewer that is the London music scene. Some of the great metal bands have come from the UK, but culturally there seems to be less appetite for it than you’d think. There are opportunities to make a mark for new bands of course, but there is always that element of luck – being in the right place at the right time, knowing the right people and so on. Rick Wakeman once said that any band looking for a deal doesn’t deserve one – easy for him to say, but he’s only half right. With the internet now though, it’s sometimes easier to make a mark somewhere else in the world rather than closer to home.

So how has the internet and social media impacted on you guys to date?

Vortex: It’s had a massive positive impact on getting our music out there. There is a fantastic democratizing influence that the internet has had – it kind of flattens out celebrity – everyone has a website – you can visit Slayer’s or Maxdmyz’s and the experience is much the same – you listen and you either like it or you don’t. True, it’s less easy to get rich off music if you’re an artist – well, it was never that easy, but so what! In what moral universe does Phil Collins earn millions of dollars off a song it took him three minutes to write, where the average ambulance driver or nurse earns naff all by comparison. And you don’t need any specialist skills apart from the ability to click on links and send emails, seriously.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

A’Zedd: Well, thank you for your interest. Yep, we’ve just heard we’ll be playing Club Antichrist on 11th November. See you there!

Check out Maxdmyz further @ https://www.facebook.com/maxdmyz and their music @ http://maxdmyz.bandcamp.com/

https://maxdmyz.uk/

Pete RingMaster

The RingMaster Review 17/05/2016

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Stone Cold Dead – Lava Flows

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Lava Flows is one of those encounters which grabs rigorously, cuts off all forms of escape and in turn plies you with intoxicating persuasion which leaves you woozy and desperate for more. The heavy weight groove fest is the debut album from Greek metallers Stone Cold Dead, a band entangling the richest essences of groove and heavy metal with those of experimental and alternative rock. The result is a virulent form of predatory rock ‘n’ roll which leaves a thick greed for more as ripe as the outright enjoyment experienced from its thrilling introduction to a band destined to great heights.

Stone Cold Dead is the brainchild of former Rotting Christ and Nightfall guitarist George Bokos, a project which is not so much a solo adventure but one luring the talent of equally experienced and innovative guests. The Athens hailing Stone Cold Dead gave a potent hint of the quickly impressing sound fuelling the album a few short weeks back with the release of the single Hubrism, a teaser which awoke intrigue and anticipation with ease band now proven to be just the one facet of a triumphant beast.

The first inescapable seduction of the album comes through the union of Bokos’ glorious baritone guitar enticement with that of Charis Pazaroulas’ (ex-Ostrobothnian Chamber Orchestra) irresistible bowed contrabass temptation. Both aspects are a theatre of invention and controlled rabidity, of creative attitude and expression colluding to create bestial stomps of fierce rock ‘n’ roll with an unrelenting appetite to devour and incite ears and imagination. That ingenuity alone makes Lava Flows a must investigation but add the majestic and fearsome rhythmic bait bullying and igniting the senses throughout , and you have a proposition which is pure metal alchemy. Split into three sections; Stone, Cold, and Dead, which “unfolds along the Cosmic Tree, which connects three different realities”, Bokos has given the three tracks in each part to a trio of exceptional drummers to drive, twist, and elevate the nature and personality of each movement within the album. Yannis Stavropoulos takes the first section, to be followed by Dimitrios (Vorskaath) Dorian, the multi-instrumentalist behind Zemial, and Nile drummer George Kollias respectively. It is an aspect to the release that just adds further formidable drama to the provocative journey of the album, a potency which makes more of a thrilling impact than was definitely expected.

cover_RingMaster Review     The album opens with Climbing The Cave and straight away it is prowling ears with sonic craft as a rhythmic rumble builds into an anthemic addiction. As becomes the diverse mouth-watering norm across the release, riffs nag and gnaw on the senses as quickly enslaving vocals and the jungle of beats from Stavropoulos descend to seduce and ravage the body. Like a mix of Bloodsimple, Killing Joke, and Black Tusk, the track swings its bait whilst drilling deeper in to the psyche with every torrent of rabid riffs and web of insatiable grooving. It is probably right to say our passions were hooked from this point, a submission ensured by the contrabass seducing of Pazaroulas but only confirmed time and time again across Lava Flows starting with Cyclone Speaking.

Instantly the second song is more bestial in the tone of guitar and bass, and strolling with an antagonistic gait soon drawing in melodically enflamed roars of sound and voice. Rhythmically things are another maze to explore and be willingly trapped by as the melodic tenacity of Bokos flirts and explores new designs and instincts within the bruising rock ‘n’ roll climate. As with its predecessor, swift submission and a lusty reaction from body and thoughts are given, a success found again by the album’s title track. Lava Flows, as its title suggests, smoulders and crawls from its first breath but around an already keen burst of rhythms which provide the spark for a subsequent sludge bred swagger as volatile in energy and hunger as it is immersive in weight and ambience. Pazaroulas again bewitches with his bow on strings whilst Bokos and Stavropoulos entrance as they turn limbs and neck muscles into their puppets.

An apt colder steely hue flows through the album’s Cold section, Death Drive preying on ears with increasing intensity and energy as a punk ‘n’ roll attitude and irritability runs through the song’s pulsating veins. The craft of Dorian has a more rock ‘n’ roll energy and swing to its attack which is translated in the sound around it, that in turn creating another strain of alternative and groove metal united in stoner-esque toxicity to grip ears.

Both The Black Snake and Hubrism transfix with their individual invention and natures, the first emerging on a tribalistic, mystique clad trespass breeding a caustically flamed swing of riffs and incendiary grooves. The perpetual niggling quality of both continues to make the juiciest irresistible bait matched by vocals, rhythms, and that contrabass and bass ingenuity, manna throughout the album. Here it creates an emprise of colourful melodic and sonic mystique within a net of addictive creative voracity whilst its successor is a more sinister and disentangled weave of voices and atmospheric intimidation crowded by a great irritant of waspish grooves and robustly dynamic rhythms. Once more songwriting and sound infests and twists the listener this way and that with startling invention and imagination, and though many elements are familiar there is no doubting they are employed and evolved into something rabidly fresh and unique to Stone Cold Dead.

The exceptional Deconstructing The Architect is the first offering in the Dead segment of the adventure, Kollias sculpting a wonderfully intrusive and anthemically invigorating wall of rhythms as the guitars open up their own net of inimitable and irrepressible imagination and craft. The body becoming a puppet to the strings of band and album is nothing new at this point but certainly strung out and sent into their biggest frenzy yet as the song builds into its Torche meets Mastodon meets Trepalium emprise of sound and temptation.

A shamanic scent opens up with the entrance of Umbilical Cord next, the guitar again spinning a sultry and exotic coaxing before the track erupts into its muscularly predacious and erosive glory, which itself is never absent of unpredictable and smouldering flavours from distant shoes and cultures. The track, as all, simply engrosses and thrills, a tempting emulated in the closing extensive exploration of And The Tree Becomes A Sphere, a travelogue of sound and inspiring hues in its own right that has ears and thoughts as enslaved as the emotions amidst a massive greed for more.

Lava Flows is real heavy groove woven magnificence for the ears, and even if others find themselves to be not quite as lustful in reactions as we found ourselves to be, Stone Cold Dead are still a big reward all should give themselves a chance of getting excited over.

Lava Flows is out now via digitally and on CD via Volcanic Music @ http://stone-cold-dead.bandcamp.com

https://www.facebook.com/StoneColdDead

Pete RingMaster 10/11/2015

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Arcturon – Expect Us

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Released to mark their ten year anniversary, the Expect Us EP from Swiss melodic death metallers Arcturon, makes a tasty and intriguing proposition marking the beginning of a new decade for the band and twist to their enticing sound. Seemingly more adventurous than ever and certainly more bold in the use of additional flavours and styles, it is maybe not a release to blow anyone away yet its lure makes a compelling invitation to keep revisiting the encounter, a potency which should not be underestimated. More successful in some moments than others, but never leaving dissatisfaction lording over proceedings, the EP is a fascinating and ultimately highly enjoyable adventure.

It was around ten years ago that two fourteen year olds, guitarist Florian Moritz and drummer Samuel Fischer, gave creative birth to Arcturon. Honing their sound over time, the band’s first release, the Breaking Walls Demo in 2007, sparked increasing attention for their presence leading to support spots alongside the likes of Six Feet Under, Nile, Finntroll and Belphegor. Three years later came the extremely well-received debut album The Eight Thorns Conflict, with its acclaimed successor An Old Storm Brewing savaging ears in 2013. Sandwiching a successful Europe tour with Rotting Christ and Omnium Gatherum, both releases put the band into a more intensive spotlight which Expect Us does nothing to defuse. Released through Supreme Chaos Records, the Johan Örnborg (Arch Enemy, Soilwork, Amon Amarth) produced EP offers a new diversity and imagination than arguably previous Arcturon encounters. It might be more intriguing than rigorously successful in its imagination, but Expect Us unveils a rather potent and captivating suggestion of where the Basel quartet’s sound is evolving to.

The release opens with My Treasure, an instantly gripping and fiery proposition which from a lone rub of guitar, explodes into a turbulent stroll of abrasing riffs and punchy rhythms cored by a tight intrusive groove. Within seconds Arcturon - Expect Us - Artworkimagination and appetite is alight, greedy for the intimidating expansion of the song. The raw hoarse vocals of Aljosha Gasser venomously abrase the senses as a small respite to the tempest unfolds, but it is a reining in soon spearing by bulging beats from Fischer and a dangling web of temptation cast by Moritz, whilst the bass of Sam Fischer (yes two members with the same name) provides a shadowed prowl to the song’s continually twisting landscape. Sonic enterprise and melodic flames also scorch the multi-flavoured interpretation of melodic death metal pouring from the band’s creativity, the incendiary persuasion of the track playing like a mix of Bloodsimple, Dominanz, and Scar Symmetry.

The outstanding start is backed up by the EP’s title track. Raging from its first breath, keys and guitars swarm the senses with toxic melodies as rhythms and riffs sculpt imposing scenery to wall in the magnetic endeavour. As its predecessor, the song grows and expands into a threat of malevolent expression and sonic radiance though it lacks the biting wind and energy of the opener. Instead it breeds an emotive atmosphere which tempers and evocatively colours the robust furnace of intent and sound beneath it, the song captivating and impressing if not igniting the same strength of passions as the first.

A Restless Soul swiftly asserts its compelling hold on ears and thoughts next, an opening melodic caress and embrace of clean vocals unexpected and pleasing freshness, though it is soon turned by a spiteful and malicious intensity, Gasser reaching to his guts to roar with caustic antagonism. Surprises and unpredictability stay to the fore though as the clean vocal delivery entwines with the harsh tones whilst a carnival-esque like drama and sinister seduction flirts with and infiltrates the brewing tempest of the song. It is a tantalising treat of a track, a bruising and tender merger of creative hues which maybe does not go as far into the unknown and explore bold imagination as it could, but definitely leaves anticipation for the band’s exploits ahead excited.

The release is closed by Rowan, another resourceful and radiantly provocative entrance which needs little nudging to turn to its shadows and predacious side. The vocals stalk as keys mesmerise, but it is the rugged terrain of raw riffs and thumping beats which bind the emotions, though their presence again is never clear cut as haunting melodies and sonic expression veins their hostility. A song which at times is glorious and in others a more unsure persuasion, it still provides further food for thought and interest for the band’s new exploration in sound to make a potent close to Expect Us.

Already used to praise and keen attention, Arcturon with their EP as potent evidence, appear to be moving towards a fascinating new chapter in their sound which Expect Us suggests is going to be something very worthy of close attention.

The Expect Us EP is available via Supreme Chaos Records from 24th October.

www.arcturon.ch

RingMaster 24/10/2014

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Deconstructing Sequence – Access Code

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Immersing the imagination in a journey which is at times as bewildering and exhausting as it is evocatively enlightening, Access Code, the new EP from UK metallers Deconstructing Sequence is a spellbinding challenge of an adventure. Comprising of two tracks which weave strains and toxins of everything from black and extreme to progressive and avant-garde metal, the release is a startling and breath-taking creative emprise. Easily accessible yet imposingly challenging, intricately woven yet consuming ears in a maelstrom of intensive rapacity, Access Code is a masterly confrontation which sets the Taunton based trio as one of, if not, the most exciting prospect in the UK metal scene.

The beginnings of Deconstructing Sequence came from the demise of black/death metal band Northwail, who had relative success with the albums Enigma and Cold Season in 2008 and 2011 respectively. From the ashes of that band, members Morph (guitar, vocals, sequencing and synthesis) and Tiberius (lead guitar, bass, vocals) decided to continue exploring progressive and avant-garde regions of extreme music with a new project, that being Deconstructing Sequence. Taking inspiration from the likes of Emperor, Nile, Arcturus, Dødheimsgard, and God is an Astronaut, the pair has proceeded to sculpt a uniqueness of sound which they describe as Extreme Progressive Art. Next the band enlisted drummer J. Nerexo, also of Shadows Land, and forged debut EP, Year One with their combined ingenuity and imagination which Access Code now pushes further whilst threatening to thrust the band to the fore of European metal. It is a proposition which brings an innovative and invigorating presence to numerous genres and a creative alchemy to ears.

The release opens with A Habitable World is Found, a track which according to the band “is a space-opera metaphor for search of a place on this world, a path that leads to completion of one’s self. It’s also a statement of our musical ds coverway, an opening act of chapter two of the odyssey.” Riffs make the first rigorous persuasion from within the track, their almost bitter textures startling and incendiary. Around them a sonic brew of invention warms its hands before descending on ears and imagination whilst those imposing riffs and a rhythmic battering led by equally caustic vocal growls intimidatingly spawn their specific furnace of attractive yet destructive bait. The twin vocal assault in its relentlessly varied delivery from the band founders is as gripping and unpredictable as the now in full flight tempest of sound and ideation. To be honest the track is as difficult to portray in words as it is unpredictable in sound and enterprise, additives of post punk and post rock endeavour just a few of the flames adding to the continuously intriguing and bewitching soundscape. As proven by the track alone, handful of listens still barely scratches the surface of the song’s depths and unrelenting ingenuity, ensuring each dive into its ravenous structures and agitated imagination of sound and skilled musicianship is a freshly rewarding experience.

Second track We Have The Access Code, is an immediate scrub of sonic acidity and rhythmic hostility which again is as seducing in its presence as it is venomously uncompromising. As its predecessor, the track is a merciless turbulence of sound and creative rabidity but whereas the first has a fluid and seamless evolution even in its most agitated and ferocious moments, the second song brings a bedlamic and discord fuelled frenzy which clashes and sparks against the senses and itself for another ridiculously compelling and scintillating proposition. Also employing a haunted and stark post punk essence within its melancholic shadows as well as electro spiced causticity, the song is equally unafraid to entwine a torrent of flavours and insatiably rabid creativity around its bordering on maniacal walls and charm.

Access Code is invention at its most damaging, arousing, and brilliantly animated best, extreme metal with a new intent and breath which sets Deconstructing Sequence not only apart from the rest but as a template for others to find inspiration in.

The self-released Access Code EP is available now @ http://dsprogart.bandcamp.com/

https://www.facebook.com/DeconstructingSequence

10/10

RingMaster 12/08/2014

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Alexanred – Rest After Result

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Upon covering Non-Stop Non-Stop, the debut single from industrial metallers Alexanred near the end of last year, we admitted though the song strenuously impressed it was too early to make a judgement of the band as much as the potential seeded real anticipation for future endeavours. The release of new single Rest After Result brings two more songs into the equation and all the promise and thrilling attributes of that first song have now been reinforced and pushed on. The new release is a thumping and rousing anthemic roar of electro and metal invention, again not one diving into brand new undiscovered territories but a proposition to ignite imagination and passions with a predatory virulence.

Alexanred is the solo project of Finnish industrial metallers 2 Wolves’ guitarist/synth player Aleksi Susi. Formed in 2012 and taking influences from the likes of Rammstein, Lacuna Coil, Type O Negative, Cradle Of Filth, Paradise Lost, Septic Flesh, Rob Zombie, Prodigy, Autopsy, Nile and more, many of which loudly call out within both of Susi’s releases, the band makes a rigorously compelling persuasion with its raucous energies and ridiculously addictive qualities. As its predecessor, Rest After Result infiltrates the ears with a voracity and hunger which virtually stalks down thoughts and emotions, demanding attention and ultimately submission to its fiery charms. It is a predator of the senses but one which just as potently takes them on a stomp of electro adrenaline aligned to industrial rapaciousness within a web of metallic antagonism.

The title track launches its predacious crawl from a deep breath, electro teasing uniting with raw thrusts of guitar as beats place their heavy fingers into the mix. It is a menacing start which takes little time to remove the reins on a feisty energetic chorus spurned on by electronic urgency and melodic infectiousness. It is highly anthemic bait which is prepared to slip back into portentous shadows as the track slows back into its initial prowling intent, happy to lie there waiting for its moment to again fill and incite ears and passions. In many ways especially around the chorus there is a strong essence of early Ministry to the song, the time before Al got all macho on us, whilst the darker evocative and intimidating passages holds a Nine Inch Nails breath to their imagination.

It is a thoroughly enjoyable encounter which is straight away exceeded by the accompanying Effective. From its first second soaring melodies soak the flight of the synths whilst guitars and beats paint a sinewy aggressive canvas clad in shadows and challenging textures. Right away thoughts of Rammstein come to the fore through the vocal and muscular drama of the emerging song, but with evocative keys and unsettling twists in the gait of the song there is plenty to temper any over familiarity with the Germans. Feet, body, and neck muscles are soon given an intensive workout as the song pumps through their veins inciting full involvement though respite is given when the track unexpectedly and extremely pleasingly slips into a cavernous epically cast scenery. It has thoughts and imagination racing with pleasure before the previous inescapable toxicity merges with the new landscape for an exhausting climactic finale. It is a glorious track revealing more of the invention within Alexanred than arguably the other two songs from Susi together whilst continuing to seduce and infect a growing appetite for the man’s sound and imagination.

Rest After Result and Alexanred are not offering anything openly new in industrial metal but it sure is a frighteningly exciting proposition and that is good enough for us.

Rest After Result is available via Inverse Records now.

http://www.facebook.com/AlexanredFinland

9/10

RingMaster 22/05/2014

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Loudrage – Uglier Than Thou

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2014 is already getting off to a thumping musical year with numerous impressive releases across numerous genres even though barely into its second week and you can add another gem to the growing list in the towering shape of the Uglier Than Thou EP from Romanian death metallers Loudrage. Five tracks of groove infested malevolence which takes the ears and imagination on a rampant dance of incendiary and devilish contagion whilst gnawing away at the insides. It is voraciously compelling protagonist for senses and emotions and easily one of the most scintillating tempestuous assaults daring to molest the psyche in recent months.

     Formed in 2005 and bringing influences from the likes of Six Feet Under, Debauchery, Sepultura, Obituary, Grave, Bolt Thrower, and Deicide into their horror bred malevolence, the Ludus hailing, Transylvania based Loudrage are no strangers to attention and acclaim being named as Best Romanian Death Metal Newcomer in their second year and playing with the likes of Sepultura, Vital Remains, Godphobia, and Rictus Grin in their first couple of years as well as sharing a split DVD with the last of the four in 2007. The following year saw the release of the Rage Unleashed – Tale of a Murderer EP which followed a self-released demo two years earlier. Shows with bands such as Grave, Belphegor, Nile, Opera Ix, Lividity, Furnaze, Nuclear, and Amethyst to name just a few filled the following years as well as the release of the Pungent Roots demo in 2011. Last year saw the quartet of Molester (vocals), Bestial (guitar), Vomital (bass), and Canibal (drums) enter the studio to record their new release and though wide recognition outside of their home territories still escapes them, given luck and attention it is hard to imagine Uglier Than Thou not providing the hefty key to open up new doors in recognition.

   It is fair to say that as soon as opening track Doomed thrusts its muscular intensive frame upon the ear and an instant predacious groove calls from within the tsunami of sound the band has their irresistible hooks in deep. Riffs gnaw away at the senses with torrential persistence whilst the drums clobber the ears with sturdy endeavour and enthusiastic violence. The predominantly death metal track is an unrelenting nagging driven by the guttural squalls of Molester. It is a potent irrepressible mix, arguably not breaking new ground but is virulently contagious especially as little splinters of grooves entwine the tempest from time to time. It is an impressive start to the encounter with greater assaults to come it soon emerges.

     As Long As I Live soon has things instantly aflame as it stomps into view wielding an addiction fuelling groove which wraps around the ears like a salacious temptress. The stroll and swagger of the song is virulent in the extreme, a wonderful carnivorous bass sound constantly chewing upon the infectious lures laid by the guitars alongside corrosive vocals which get better and more impressive as the EP progresses. With the lyrics parading the nastiest dangerous romance and often slight but always open twists and turns to the invention and gait of the song almost taunting, it is a masterful insidious seduction. Again you can argue that Loudrage are revitalising previously sculpted sonic animosity and venom rather than spawning their own but truthfully who cares when it sounds so good.

    Both Fear Me and Suffo-Kate stalk voraciously the new found plateau of the release, the first a thoroughly ravenous intrusion on the senses. Riffs crawl and antagonise the air whilst rhythms show rigid restraint to frame the savagery though still managing to have moments to add their bone splintering spite too. Again the bass feeds the primal beast inside, its stringed jaws a rapacious aggressor alongside the toxic scrub of riffs. Its successor is no less pestilential and more ferocious in its energy and groove lit rabidity. There is also a crunch to the tone of the song, a metallic intensity which infests and resonates in bone and the imagination, whilst the melodic poison raging through the veins and grooves of the track sear and almost asphyxiate the senses. The pair are again pinnacles which linger and drive a real hunger to hear more from the band now and in the future.

     The EP closes with the groove fest of Intruders; from vocals to riffs, rhythms to those wonderfully infernal grooves the song savages with death metal sculpted hips swaying like a whirling dervish. It is an infection which should be quarantined, though only if we are locked inside with its uncompromising, ferocious devilry. It is a blistering conclusion to an impressively hellacious release. There is nothing to fault the EP over apart from debatably it holding a strong familiarity in some ways to established invention, but as mentioned before it is a minor thought before a major triumph and the moment when Loudrage will be a name eagerly thrust around the metal world.

Go grab Uglier Than Thou as a buy now name your price release at http://loudrage.bandcamp.com/album/uglier-than-thou now!

https://www.facebook.com/loudrageband

9.5/10

RingMaster 10/01/2014

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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Alexanred – Non-Stop Non-Stop

alexanred pic

Just in case in the Christmas rush you missed the release of the debut single from Alexanred, we thought we would give you a nudge to one contagiously addictive track. Non-Stop Non-Stop is pure industrial virulence, a pulsating infection soaked song which pounds the senses with anthemic temptation and captures the imagination with arguably not ground-breaking but fresh and magnetic irreverence. It is not a release which will have your thoughts and emotions stretched and lost in contemplation but unashamedly a song which skilfully and mischievously goes straight for the primal and rhythmic beast inside with a bait of tub thumping rhythms and coarse electronic wantonness.

Formed last year Alexanred is the creation of Aleksi Susi, guitarist/synth player of Finnish industrial metallers 2 Wolves. Listing influences which include the likes of Rammstein, Lacuna Coil, Type O Negative, Cradle Of Filth, Paradise Lost, Septic Flesh, Rob Zombie, Prodigy, Autopsy, Nile and more, some which you could almost guess from the single, Alexanred makes an undeniably impressive entrance with the Inverse Records released Non-Stop Non-Stop. It is never wise to make a full judgement of a band upon one song, every artist more often than not having one acceptable gem inside them whoever they are, but it is hard not to anticipate and suggest richly promising and thrilling things to come from the project ahead.

Still from 'Non-Stop Non-Stop' video

Still from ‘Non-Stop Non-Stop’ video

The opening seconds of the song alone incite full attention; they maybe clad in a simple rhythmic lure and a restrictive pulsing electro rub but there is immediate intrigue and temptation which takes hold. Barely another moment passes before the track is in full muscular stride, synths stomping with devilry dripping from every note as vocals taunt from the surrounding shadows. Once Susi makes his full vocal appearance the sounds show a restraint to allow his almost whispered provocation to wash smoothly yet sinisterly over the senses. Soon though, the song is thrusting out its imposing chest within a riveting rhythmic caging, exploding into an anthem of sound and epidemic vocal incitement to confirm the seduction of thoughts and emotions.  As mentioned the track is not really setting new boundaries but with a raw threat and empowering intent to its vocal and rhythmic barracking, and a virulent toxicity to its electronic suasion the single is pure irresistible temptation.

Like the bastard inventive son of a union between Rammstein and Rob Zombie, Non-Stop Non-Stop is the perfect appetiser to band and their horizons, something it is hard to wait for with patience.

http://www.facebook.com/AlexanredFinland

10/10

RingMaster 08/01/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com