Desert Storm – Omniscient

Photo by Matt Winyard.

Two years on from their acclaimed second album Horizontal Life, British heavy blues metallers Desert Storm unleash a new cauldron of ridiculously addictive temptation in the ravishing shape of Omniscient. Before listening to the new release we would have been ecstatic to announce that the album was an equal to its brilliant predecessor. But it is not; just like the last album was a fascinating and thrilling step forward from the band’s outstanding debut full-length Forked Tongue, the glorious Omniscient is a leap to new plateaus. Everything about the encounter is a gripping evolution of adventure and maturity; riffs are dirtier, grooves keener edged, and it has a contagion which borders on slavery, all without losing any of the blistering uniqueness and raw power which has always soaked Desert Storm’s sonic invention.

Where many similarly styled bands seem like servants to the riff, in that it predominantly consumes their songwriting, Desert Storm enslave that feature of their sound and twist it into a web of just as forceful and potent grooved and melodic exploration. As proven by their previous album it means each track has a distinct character and creative emprise of its own, and in Omniscient all songs come from an even broader canvas of imagination and craft. Since forming in 2007, the Oxford quintet has challenged and lit ears right through to the passions with their persistently gripping releases. Equally they have earned a formidable reputation for their live presence through shows and tours with the likes of Karma To Burn, Nashville Pussy, Peter Pan Speedrock, Honky (ft. members of Down/Melvins/Butthole Surfers), Orange Goblin, Red Fang, and American Head Charge, not forgetting igniting festivals like The Bulldog Bash, The Desertfest, Brisfest, and Roadkill. Their stature and reputation already goes before them but now with Omniscient global recognition and spotlight has to be on the cards.

The band’s fans are sure to break into a broad smile as opener Outlander instantly collides with ears through excited rhythms and imposing riffs. As spicy grooves swiftly join the revelry it is prime Desert Storm psych blues flavouring, intent on seducing senses and imagination with concussive beats and intoxicating sonic temptation. Already there is a sense of new adventure though, OMNISCIENT_FCbackground melodies and atmospheres adding their suggestiveness as vocalist Matt Ryan roars. His voice is as bracing and gruffly coated as ever but also seemingly carried on a new clarity and variety. As expected it is impossible to escape the lures of guitarists Chris White and Ryan Cole or their weave of sinew driven riffs and toxic grooving, every note spilling temptation and virulence to match the similarly seductive dark throated tones of Chris Benoist’s bass and the anthemic heavy footed swipes of drummer Elliot Cole. It is an enthralling and incendiary start to the album, body and emotions already aflame from its creative bait and blues spirit.

The following more predatory Queen Reefer is just as irresistible. The source of the band’s new video, it is a ruggedly charming temptress with bulging beats and acidic invention. Far heavier and threatening compared to its more devilish predecessor, it casts a darker more volatile demonic air in its breath around a corrosive touch. In saying that though, the song is still irresistibly catchy and commanding, and with a mesmeric slip into a gentle embrace of expressive melodies and low key drama cast by guitars and bass at one point, mouth-wateringly adventurous.

Horizon continues to spread thick almost doomy textures of intensity and emotion next, drums creating a clash of percussive disorientation which only adds to the power of Elliot’s swings and the tangy blues grooving binding song and senses. It is just one part of the track’s scenery though as halfway it explodes into an explosive rhythmic tango which in turn seems to incite greater energy and venom to flush through the brawl of vocals and sonic enterprise. The track never quite ignites into the fury you suspect it might but is the better for it, the relative restraint adding to the dramatic tension of the song, a scintillating theatre which again turns Sway of The Tides into a battlefield of hostility and contagion, and Home into a folk ballad of sheer beauty. The first of the pair comes with flared nostrils and a rhythmic blood lust as heavy metal and stoner-esque blues rock clash in ears. The song is breath-taking, especially when it switches to a folkish pasture of cleaner vocals and a simple but expressive melody midway. It only impresses more as the scene and sounds start building back up to another fire of intensive emotion and searing grooves. Its successor is even more tantalising and enslaving. Voice and guitar again align to create a mesmeric smoulder of blues folk and southern tinged melodic rock which simply delights. Whereas the last album had the transfixing unexpected melodic delights of Gaia, Omniscient has this absorbing treat to wrong-foot, surprise, and thrill.

Not that the album has a moment where it does not do all those things in varying degrees anyway, as proven by the boozy swagger of House of Salvation which stomps in next. The track with its bar room like blues grooving and abrasing riffery reminds of N Ireland band Triggerman in some ways, especially in the melodic toxicity veining the devilment and the magnetic flame of a groove which has the appetite licking its lips and body swerving in subservience. The excellent temptation is matched straight away by the funk nudged stroll of Night Bus Blues. Making the perfect soundtrack to those times after a show where the cold flirts as you wait for the over-due conveyance to take you home and that is only part of the recognisable drama, the track proves humour is never a missing ingredient in the recipes Desert Storm conjures. Obviously it is not lacking addictive sounds either, an adjective which perfectly fits both Bandwagon and Blue Snake Moan which follow.

The first revels in a seventies blues rock seeding, spawning its sonic tempting from a psychedelic scent as fresh as it is familiar. The song provides yet another shade of colour and striking originality to the album, Omniscient easily the bands most excitingly and enjoyably diverse and expansive offering yet. The second of the two bristles and bellows with the heavy rock ‘n’ roll sound that the band has always bred its imagination through. Again though, it is widely spiced and commandingly robust with an array of rock bred flavours inviting feet and soul to roll with its rigorous devilry.

The album closes with Collapse of The Bison Lung, a summing up of things in a way as ripe grooves and intimidating riffs collude with rampant rhythms and snarling basslines to bind attention and light fires in the passions. A masterful end to a mighty release it reinforces and confirms what Omniscient suggests and we declare, that Desert Storm should be mentioned in the same breath as bands like Black Tusk, Red Fang, The Sword, and yes maybe even Mastodon.

Omniscient is released worldwide via Blindsight Records on January 26th.

Following the album’s release Desert Storm will be going on a short European tour:

Fri 6th Feb – Antwerp Music City, Antwerp BE w/ Atomic Vulture

Sat 7th Feb – Rock Cafe Jinx, Zaandam, NL w/ Millstone

Sun 8th Feb – Bassy Club, Berlin, DE w/ Samsara Blues Experiment

http://www.desertstormband.com/

RingMaster 22/01/2015

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

 

Brain Pyramid – Chasma Hideout

brimstone-coven_photo01

As impressive debut albums go, Chasma Hideout from French psych rockers Brain Pyramid is right up there amongst the most enthralling and scintillating propositions. The seven track sonic exploration is a transfixing adventure of ear bending, mind warping psychedelic revelry, but one equally bred on the finest stoner rock grooving and experimental mischievousness. At times it feels like one massive glorious jam but throughout there is an enterprise and inventiveness which just as potently leaves senses basking and passions greedy. If the album is your introduction to Brain Pyramid, be prepared for one ruggedly spellbinding ride.

The Rennes band was formed in 2012 by guitarist Gaston Lainé and drummer Baptiste Gautier-Lorenzo drawing on inspirations from the likes of Led Zeppelin, Hendrix, Sabbath, Motorhead, and Blue Cheer alongside those of Kyuss, Sleep, Nebula, Earthless, and Orange Goblin. Last year’s well received Magic Carpet Ride EP put ears and attention on notice but now with bassist Ronan Grall of Huata alongside the founding duo, Brain Pyramid is ready to really stir things up with their thrilling offering.a0031606373_2

The earth bound spatial adventure is started by Living in the Outer Space, a country twang and kick over of a truck engine the lift off to a groove driven flight through sultry skies and flaming sonic landscape. Instantly riffs draw a raw canvas framed by an unpredictable rhythmic incitement. It is a compelling coaxing but it is the similarly unpolished vocals and senses entwining grooves which brings the strongest colour to the contagion. A flirtation with a noir wrapped jazzy seduction provides a new twist of pleasure before the fiery surface and enterprise of the song re-establishes a forceful and gripping presence. Continuing to surprise and enthral, the song is a sizzling and immersive treat but only the beginning of the fun.

The following Lazy instantly unveils its funk seeded heat and tenacity, the lure bubbling with relish and energy the more the song reveals itself. Grooves and rhythms make a flavoursome embrace whilst the bass with its throaty temptation offers intriguing shadow soaked hues. It is a roaring blaze of melodic and sonic toxicity, the song worming under the skin through the excellent slightly deranged craft of Lainé and the irresistible heavy stoner-esque stroll of the track. Its success is soon surpassed by the even hotter creative breath and climate of Landing on the Pyramind. Soaked in tenacious and intensive blues flavouring, the song twists and entwines ears with serpentine agility through scorching grooves and another deliciously imposing bass tone. It is a big boned temptress with all the moves and invention to enrapture anyone with a lust for dirty riffs, thunderous rhythms, and caustic sonic beauty.

The pair of Lucifer and Twin Headed Giant provides strong individual temptations, the first a mesh of lumbering intensity and sci-fi noise which leads into a smouldering psychedelic wash of sinister persuasion. This in turn slips into something ferocious and fiery, heavyweight riffing and destructive beats punctuating burning grooves; The Doors meets Orange Goblin and Desert Storm if you will. Though it does lack something compared to its predecessors, the track’s dark demonic texture and presence leaves ears enthralled before its successor draws on even stronger seventies psychedelic and heavy rock inspirations to cast its pulsating and pleasingly raw mind-bending adventure. Guitars and keys radiate hallucinogenic sonic colours aligned to a warped imagination whilst rhythms just as voraciously impose upon and stalk the psyche with the gripping cleaner vocal delivery.

  

The song is a fireball of sound but even its qualities and potency cannot match up to the album’s pinnacle, Into the Lightspeed. The instrumental is sensational; an impossibly addictive and infectious stampede of hooks and grooves bound in another seemingly organic and improvised majesty. Its opening is a riotous almost chaotic coaxing which flirts with disaster as eagerly as the senses before settling into a gloriously robust and hungry swagger of rhythms from Gautier-Lorenzo. Every swing resonates through to the bone even when Hammond-esque keys wind around its spine with taunting relish and the bass of Grall adds its own irrepressible throaty resonance. Spicy grooves and deeply rooting hooks are no strangers either as the piece continues to grow and increase its enslavement on ears and emotions. The track is a mind-bending, thought twisting journey and quite brilliant.

   Chasma Hideout sees its title track bring its triumph to a close. Flowing out of the previous track, its celestial exploration proceeds to soar across an expansive melodic and cavernous ambience, guitars and bass slowly swaying with evocative radiance and imposing enterprise as the good ship Brain Pyramid fuels its flight with a transfixing creative sonic illumination. The song leaves listener and album on a high, its energy and incitement continuing to increase with every second of its creative hunger and technical urgency.

The track is a captivating end to an awe inspiring release. Managing to impress and offer more with each and every listen, Chasma Hideout is one of the year’s real treasures and Brain Pyramid a band destined to leave psychedelic rock aflame now and ahead.

Chasma Hideout is available now via Acid Cosmonaut Records @ http://acidcosmonautrecords.bandcamp.com/album/chasma-hideout

https://www.facebook.com/brainpyramid

RingMaster 02/10/2104

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/

 

 

 

 

Electric Taurus/Prehistoric Pigs – 12″ split

cover

Split releases are invariably a gateway into new striking adventures and intrigue drenched propositions, the awakening of attention to artists seemingly more often than not lying in shadows away from attention. They can be the beginnings of great sonic friendships and in the case of the Electric Taurus/Prehistoric Pigs split from Go Down Records, the announcement of important emerging forces. Consisting of three tenaciously imaginative and vivaciously inventive soakings of stoner/hard/psychedelic rock, the release is a mouthwatering encounter to invigorate the senses and stoke up the passions.

 

First up is Irish band Electric Taurus with their sixteen minute epic Behind The Sun, a glorious exploration through a space rock landscape with ever shifting and expanding scenery. Formed in 2010 as a recording project by guitarist/vocalist Matt Casciani, the Dublin trio went through numerous line-up changes before finding stability with the addition of bassist James Lynch, and drummer Mauro Frison. 2012 saw the band sign with Moonlight Records for the release of debut album Veneralia, a well-received encounter bristling with the inspirations of heavyweight like Black Sabbath, Hendrix, Led Zeppelin, and Deep Purple with those of underground bands from the same era such as Buffalo, Leaf Hound, Iron Claw, Primevil, and Captain Beyond. It is only one shade of their sound though as evidenced by Behind The Sun, the sultry sizzling flavouring from bands such as Monster Magnet, Kyuss, Electric Wizard, and Orange Goblin, adding to what is a refreshingly distinct conjuring from Electric Taurus.

Their contribution to the split embraces ears in a sonic web, a spatial entanglement which teases and stimulates the imagination and senses. It is also an intimidating enticement but one with charm and bait to inspire a hunger to dive in deeper, especially when a flirty stride of rhythms burst out of the thick mist with mystique wrapped, fuzz kissed melodies riding their lure. Now within an evocative premise still revealing its intent with unpredictable twists and diversions, the track steadies its pace and experiment to slip into a potent blaze of stoner fuelled sonic endeavour and melodic blues acidity. Binding the ears in rich grooves, provocative rhythms, and a great doom groan, the song paints an emotive journey, which finds its strongest trap for the passions with the entry of guest vocalist Barbara “Babz” Allen of Irish blues rock titans Crafty Fuzz. With a delicious growl to her riveting tones, air and thoughts are brought into a sirenesque harem of syllables and melodic incitement. Her presence also sparks a stronger flame to the sonic thrust and tenacity constantly weaving through the track, resulting in one searing blaze. Again though it is just one turn in the emprise, the song continuing to colour and bewitch ears for a voraciously creative and thrilling escapade sculpted by the skilled and magnetic exploits of each band member. It is a stunning track setting a formidable task for its release companion to match.

Italians Prehistoric Pigs more than put up an enjoyment equalling effort with their two tracks, even if personal tastes does just plump for the previous track as the pinnacle of the impressive release. Hailing from Mortegliano, the trio of guitarist Juri Tirelli, drummer Mattia Pi, and bassist Jacopo Tirelli employ inspirations from the likes of Kyuss, Jimi Hendrix, Sleep, Black Sabbath, and Led Zeppelin into their instrumental incitements. Their sound is a sludge rock rich mix of bracing doom soaked psychedelic alchemy, an earthy mix which paints the imagination and strokes the emotions for individual sonic paintings, as presented on Wormhole Generator, their excellent album of 2012. The Perfection Of Wisdom presents the perfect evidence of their potent weave of sound. Starting with a lone bass lure beneath whispered calls of the song title, the track shapes a compelling ambience with precise melodic hues of guitar, their presence gentle and unhurried as they colour the increasingly smouldering breath of the emerging track. It is a seductive unveiling of the full weight and terrain of the ever impressing piece, rhythms gaining intensity as the sonic enterprise ebbs and flows in insistence before unleashing a voracious flame of imagination and ingenious texture.

It is an enthralling provocative flight of sound and creativity swiftly backed by 79360 Sila-Nunam. Its entrance is subdued and slightly muffled in comparison it its companion but ready and eager from its reserved poise to escape into a climactic burst of intensive sonic wind and rhythmic demands. Grainy in its air and scorching in its touch, the track sizzles with the heat of a Karma To Burn upon Kyuss like desert rock, every note and riff igniting thoughts and emotions for a thoroughly captivating and somewhat corrosive treat.

Electric Taurus and Prehistoric Pigs come together for one of the best split releases in recent years and one of the most exciting psyche/stoner heavy rock releases in recent times. It is an essential doorway into the worlds of two extremely talented and imagination inspiring bands which deserve the fullest attention possible.

The Electric Taurus/Prehistoric Pigs Split is available now on 12″ vinyl format through Go Down Records @ http://www.godownrecords.com

https://www.facebook.com/electrictaurus

https://www.facebook.com/PrehistoricPigs

9/10

RingMaster 20/06/2014

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

Return from the Grave – Gates of Nowhere

Return From The Grave - Band

Seeded and drenched in the thick atmospheres of seventies metal aligned to the oppressive textures and persistence of doom metal and blistering stoner designs, Gates of Nowhere the new album from Italian metallers Return from the Grave is a wide wake-up call to a band with rich potential and exhausting intensity. Its seven tracks consume and suffocate the senses relentlessly yet bring them and the imagination alive with compelling resourceful enterprise. It is a proposition which ebbs and flows a little in holding the tightest grip on attention but never lets it wander or enjoyment of its often spellbinding and predacious incitement falter.

Hailing out of Venezia, the quartet of vocalist Semenz, guitarist Sparta, bassist Kilo, and drummer Jack came together in 2011 and soon unveiled their self-titled debut EP. It was followed the following year by first album The Rebirth from the Last Breath, its heavy tsunami like provocations earning comparisons to bands such as Black Sabbath, Orange Goblin, and Orchid in the acclaim. Casting themes bred from ‘Horror stories and the hidden meanings of Life and Death’ within Gates of Nowhere, the debut release for the band on Argonauta Records, Return From The Grave are entering through a doorway to a wider recognition with its release. A one way trip you feel such the richness and depth not forgetting rigorous seduction oozing from within the Richard Whittaker (Saint Vitus, The Who, Black Sabbath and Rolling Stones) mastered release.

The first thing hitting senses and appreciative thoughts is the production. As thick and cavernous as the sounds it surrounds, it brings the Return From The Grave - Coverlistener into the dark origins of the ingredients the band infuses into their propositions. It gives, as evidenced superbly in the ravenous Intro which starts the journey off, a sinister foreboding air and seemingly analogue breath to the release, a portentous oppressiveness which really suits the music and intensive energy of the tracks. The opening piece is dark and ravenous, a dangerous swamp of sound and intimidatingly emotive textures which seduces as it infests the psyche. It has a heavy poetry to its funereal stance which captivates thoughts as it leads the listener into the last strikes of its storm and subsequently the following Words In Words. The start of the second track is deceptive, its welcoming strands of sonic coaxing almost jovial after the sufferance before. It is bait which persists as rugged rhythms and swipes of guitar and bass enter the narrative but eventually swamped as the vocals blaze away within a now burning cauldron of energy and sound. There is still a swagger and melodic temptation which steals attention from the weighty substance around them though but in turn it loses out to the excellent resonance effected vocals. Ultimately all combined it is a storming stomp of a song, a dramatically magnetic slab of voracious metal.

Center Of The Will opens up next with a bewitching crawl of gnarly bass and teasing percussion before being joined by the entwining tendrils of guitar, its lure acidic and searing as it crosses the senses. Finding a potent stride with rhythmic muscles swiping through every beat, the track becomes a furnace of melodic rabidity and sonic tenacity which flares and seduces with incendiary potency from within the lumbering yet keen gait of the song. Twists and turns bring intrigue to the generally singular course of the incitement, adding along with the scorched vocals, rich distractions to the compelling burdensome weight of the encounter. Leaning into its finale the track explodes into a rabid charge of riffs and rhythms, a thrash like urgency and hunger taking over the driving seat for an exceptional climax.

The intensive intimidation of The Rage Of Rays steps in next to push the listener into an even deeper wash of seventies nurtured metal, again a Sabbath like predation and enticement leading the way, though that bait is never far from the surface of any song within the album. The impressively sculpted and layered beast smoulders and burns with an even tempered intensity and appeal compared to the previous tracks but it lacks the indefinable something which left its predecessors so persuasive and gripping. It is still an appetising meal for the ears but soon forgotten as the rolling menacing rhythms of Uncovered Fate burst into life. The drums hypnotise senses and imagination instantly before sharing time with another excellent animalistic snarl from the bass and cutting scythes of guitar. Snatches of melodic seducing and glazes of sultry suasion almost dance within the devilish portrait unfurling within the imagination whilst the vocals, which were not as effective on the last song, are back on form here as they join the creative maze spun by the guitars within the expanding rapacious enthralling adventure.

The release closes with firstly the mesmeric River In The Sky, a fascinating flight which reveals more about the band in many ways than the other songs, its sirenesque use of atmospheres and ambient beauty within dramatic aural structures sheer captivation, and lastly Inside Human’s Soul. The final song is an alternative version of a track which appeared on the band’s debut album, a more of a straightforward charge within more predictable walls which reveals the growth between the band’s two albums.

Gates of Nowhere is an engrossing encounter from a band evolving potently and it is easy to feel has a big future on the larger stoner/doom metal stage waiting.

Gates of Nowhere is available via Argonauta Records and @ http://returnfromthegrave.bandcamp.com/album/gates-of-nowhere now!

https://www.facebook.com/returnfromthegrave

8/10

RingMaster 03/06/2014

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

 

7stbaby – Control

 

7 st baby

    Providing an encounter which not only sparks the imagination but takes it on a rapacious ride through a maze of sounds and metal bred styles alongside the passions, UK band 7stbaby is a provocation we are going to hear much more of and be persistently impressed by. The reason for that bold declaration is debut album Control, a compelling and scintillating landscape of invention and adventure. The Guildford trio has created a juggernaut of riffs and grooves aligned to a sonic mastery which just infects thoughts and emotions. Equally though it is an adventure unafraid to leave expectations and assumptions a barren wasteland with nine tracks which explore and stretch everything from stoner and progressive metal to ambient textures and heavy rock enterprise. Released January 31st via Got Wrong Records, it is one of the first important introductions of the year and already a heavyweight contender to rival the established regime within rock and metal.

     Founded a few years ago but held on the back burner until last year by Kyle MacKenzie (vocals, guitar) and Ben Martin (vocals, bass), both members of the also impressive Surrey band Static Plan, the duo enlisted the presence of drummer Greg Webber also of their other band to complete the active line-up. August last year saw the band record and self-produce their debut album, a release which seizes ears and thoughts from its opening moment and never relinquishes its imaginative feisty hold until its parting breath. Now with its impending release also ready drawing impressed responses alongside ours, the album is poised to thrust 7stbaby into the heart of the heavy riffing intensive fire of British stoner and progressive metal.

     An atmospheric electronic breeze opens up Behind The Looking Glass, an ambient coaxing infused with distant vocals Screenshot-2014-01-07-at-16.15.30taking over the first few seconds before the song slowly stretches out a melodic arm. Again this is a mere moment in the evolving fire of the track, soon bulging riffs and crisply cracking rhythms assault the ears as a sonic weave of guitar class veins their urgency. Into its sirenesque stride the vocals from MacKenzie and Martin punch through air and sounds, their tones laid with effects but expressively forceful in their own right. A Queens of the Stone Age flavouring emerges at this point though similarly the track offers essences of bands such as Orange Goblin and fellow Brits Ten Foot Wizard to the mix. Three minutes of blood rousing, emotion inciting endeavour the tracks makes the perfect contagious start which the album only grips tightly and continues across subsequent offerings.

    The following Somebody’s Bitch opens with a grouchy bassline gnawing at the ear before sonic winds erupt from within the equally rapacious riffery. An acidic groove only adds to the instant lure and as it settles into a more relaxed but still intensive stroll with outbreaks of intimidating and weighty aggression, the song sparks another wave of hunger in the awoken appetite. As magnetic as the first but bolder in its merging of varied styles and sonic spicing, more than happy to slip into voice and ambient progressive breaths within the sturdy enticement , the song continues the strong and riveting start with an ease soon matched by the next up Psycho and its successor, the title track. The first of this pair stalks the senses with an initial predatory snarl and combativeness, a Devildriver feel wrapping the vocal delivery and antagonistic menace. It is an immense opening soon taken to another plateau when the band steps into a gentle melodic embrace, warm vocals and dark rhythms combining for a Korn like temptation which persists throughout. It is a seamless transition repeated as the voracious and virulently addictive chorus erupts. The track is metal alchemy, a voracious invention soaked hunt and enslaving of the passions. Its successor delves into a blend of striding melodically caustic sounds and smouldering vocals, a Palms like venture that seduces and riles the imagination and senses with another mouthwatering fusion of songwriting ideas and musical craft.

      Leave Me To Bleed is another song with a ravenous snarl and heart to its creative abrasiveness yet skilled in immersing melodic and sonic persuasion which leaves the track unpredictable and impossibly compelling. From an Alice In Chains like start the track through an electronic whiff of ambience unleashes a blaze of rhythms and riffs which devoid of vocal direction simply consumes and invigorates with anthemic potency. Its robust and torrential energy is very different to the atmospheric climate of Lucid. The next song on the album carries strong elements of the band’s sister venture, a Static Plan rock elegance merging with a Deftones like immersion for the imagination to seduce and enthral. It is a glorious wash of emotive and bordering on melancholic beauty with shadows as company.

      The outstanding Horses puts the listener back under intensive and heavy incitement next, its vocal drama and tightly gripping grooves sparking thoughts of Life Of Agony whilst the mesmeric Bastille and the closing Pale Horse only reinforce and intensify the impact of the album. The first of the final pair is a riveting interfusion of light and dark, hope and pain through again a Deftones cast ambient transfixing within a threatening and skilful frame of rhythms, bass menacing, and shards of guitar invention. The final song is a drifting melodic caress matched by a similarly sculpted vocal embrace. A progressive flight through reflective beauty lyrically and musically it is a bewitching end to a simply impressive debut.

     From a rigorous and towering first half through to the emotionally driven beauty of its second with maybe just the production a minor niggle with its slightly suffocating touch on the songs, Control is a fluid evolution which takes the listener on an exceptional flight of brave adventure and skilfully sculpted emotional provocation; it gives the passions and neck muscles a damn good time too. 7stbaby is destined to major things…you heard it here!

https://www.facebook.com/7stbaby

9.5/10

RingMaster 17/01/2014

 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

The Goddamn Electric – Snake Bite

The Goddamn Electric pic

Whether rioting in the ear or slowly burning off the hairs on wilting flesh with smouldering intensity, Snake Bite the debut album from UK rock band The Goddamn Electric, is a thrilling and strikingly crafted release. It takes just one listen to the ten tracks to know that British rock is in safe accomplished hands with bands like the Manchester quartet, their mix of contagious and powerful riffs with equally potent rhythms and a whiskey soaked gravelly vocal delivery winding up the passions until they break out in mutual hunger and energy

Formed in 2010 and taking their name from a Pantera song, The Goddamn Electric combine influences from the likes of GnR, Life of Agony, Pantera, Metallica, Down, AC/DC, Biffy Clyro, Motorhead, Clutch, Red Fang, Orange Goblin, and many more into their own tempered sound. The rich inspirations certainly go to make an album which is not breaking down barriers of uniqueness but in exchange Snake Bite offers up an experience and craft which numerous other similarly sound clad bands would sell their grandmothers for. It is a snarling and passionate multi-flavoured rampage which inspires nothing less than deep satisfaction and enthusiastic involvement.

As soon as the first fiery riffs of opener Loyal To The Sinner open up their arms the weight of the album is apparent especially 34__400x320_image_12once the drums unleash their muscle and the bass begins its constant growl.  With vocals spilling passionate bear like quarrel from every syllable to add further texture and expression to the encounter, and the guitars sending shards of sonic craft and temptation across the southern infused sounds, the contagion of the start is irresistible and sets up a real appetite for what is to follow.

Morning Injection bounces around the ear with a blues temperament and energetic hunger to continue the strong start if not quite to the level of its predecessor whilst the next up Scarecrow and Jealous Contradiction take things to a new pasture of pleasure. The first takes the passions on a rampage of deviously addictive riffs and insatiable energy though it also makes pit stops from its charge into emotive and melodically swept breathers that keep things in check and intriguing. It is a virulently compelling piece of stoner and classic rock fusion that tempts limbs and voice into its anthemic persuasion rewarding with a blistering solo that sends a heat haze around the ear. It makes a challenge for its successor to live up to but that it does with a glorious southern twang to its slowly dawning melodic swagger. Like looking into a fire it dances before the senses and thoughts, inviting emotions and ideas to play with its whispering suggestions before sending explosive flames of sonic grandeur into the roof of its exceptional triumph. One of the pinnacles on what is a constantly impressive release it is a mighty signpost to the album.

The carnivorous bass temptation of Something More sets off another furnace of exhausting enterprise before passing over to another plateau of excellence in Revive And Survive. With a punk drive to its metallic voracity, the track expands its horizons with a blaze of instinct igniting rock ‘ n’ roll, it unleashing shards of sonic flames and anthemic group vocal recruitment whilst never losing its spine of rapacious energy, though the whole song is one to call to the passions.

The blues enriched title track smoulders and twists with traditional flavouring and breath; again it is hard to say there is anything new working on the ear but its lure and expression is riveting so there is never, like for the album, an issue when it provides such an invigorating time. Both Too Dirty and Holding Me send further wholly engaging and enterprising treats straight down the ear to the passions, the first with a sleaze rock mischief to its hard rock honesty and the other through a hazy atmosphere over a mouth drying desert walking adventure which explodes with shafts of blazing sun and fire across its enthralling narrative. It is a stunning finale to an outstanding album.

Well there is one more track on the album, San Francisco, but made up of part silence than instrumental which in length is barely over the minute mark combined, it seems a little…well pointless…though that was only until learning it is an outro/teaser to the opening track on the next album. Snake Bite is an excellent release, an album which places The Goddamn Electric alongside the likes of Godsized and Trucker Diablo, as the drivers of British rock.

http://www.thegde.co.uk/

8.5/10

RingMaster 06/06/2013

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

Everything Burns – Take Your Aim

live with logo

It is probably fair to say that Take Your Aim, the second album from UK melodic metallers Everything Burns, has been a lesson in determination, patience, and dedication for the band such its traumatic emergence. Through the likes of an injury to the drummer, shock departure of the bassist, long studio delays due to a refit, and several changes of mixing engineers, it has been a long drawn out process to the point of release. Add to that the delay due to vocalist Tim Kellow being run down by a car after a gig it has not been an easy ride for the release and quintet. Thankfully and miraculously the singer stepped away from the accident with only shoes flying down the road rather than him, and apart from being pissed that by the time he picked himself up the KFC he was heading to for a post London show feed had closed, the band is ready to make a big mark with their Meshhead released gem.

Everything Burns emerged from the ashes of Seven Days Awake in 2007 and signed with Rising Records the following year. 2010 saw their debut album Home released, the Mark Daghorn (Orange Goblin, Trigger The Bloodshed) produced earning strong positive responses. A mix of post hardcore and melodic metal, the eleven track album set the band up as ones to watch and bred a couple of hungrily viewed videos. The first release with their new label, Take Your Aim with its tightly carved aggressive traits and even more emotive progressive potency is set to take Everything Burns to a new level of awareness. It has a sound which is familiar, already the release pulling strong comparisons to Bullet For My Valentine with its voice maybe too close to the Welsh band for some, but also there is invention which intrigues and suggests the band is well on its way to finding its own true stance.

From the intriguing Intro, a very brief piece of combustible sonics and fiery vocals with metalcore tendencies, the release opens EverythingBurnsup its melodic arms with Ghosts & Angels. Initially it has to be said that there was a tinge of disappointment as the intensity and commanding first track suggests something similar ahead to what the second track delivers but song and band soon with a potent mix of crisp rhythms from drummer Jez Marshall alongside sonic flames of guitar from Chinn Lawlor and Vince Finch inspires concentrated attention. As the excellent vocals of Kellow light up the already bright encounter with strength and expressive melodic poise, ably backed up by the equally strong tones of Finch, it is impossible not to be excited by the first single from the album and release after all.

The skills of the guitarists and vocals easily impress at this point and only further their status as the title track steps up next. From a music box beckoning the song pounces with melodic elegance and inciting temptation, their seductive fire finding the equally inviting bass of Aaron Robins prowling the outskirts of their imagination. It is a captivating and contagious mix which spreads open the invention and thoughtful songwriting of the band into clear sight and though again you could claim the song is heavily whispered with the BFMV spice, it more potently reveals the promise and creative enterprise and class of Everything Burns, whilst again the vocals of Kellow and Finch leave a smile on the ear such the solo and combined talent and raw harmonic delivery they find.

Both Our Story and Interlude fall beneath the impressive stance set by the opening trio of tracks but at the same time reinforce the quality of band and sound especially the second of the pair where emotion and passion drips from every note and syllable. Neither find something truly new or distinctive to engage deeply though as the release is one which gets better with each and every listen, it has to be said to dismiss anything about this pair is wasteful with both revealing plenty to be enthused if not exhilarated about. The same can be said of Battlefields, another track where a flame of beauty accompanies undeniable passion and creative intensity. With almost carnivorous riffs and snapping rhythms the song is a formidable proposition but fails to find a strong snarl behind the wealth of melodic triumph. It is a thoroughly pleasing song though and one easy to return to, like the album itself.

Shadows and Whomper finish off the release, the first an excellent blend of growling bone splintering, riff guided antagonism in league with tempestuous emotive harmonies and searing melodic invention. It is an easy rival to the opening songs and again leaves only keen to endorse impressions of the band whilst the closing track is an unpredictable tempest of ideas and rhythmic shuffling honed with metal cursed invention. Both make a final persuasion which is pleasing and ear catching, something you can throw over the whole of Take Aim.

Yet to find their true voice, Everything Burns sets a satisfying and exciting base for their future endeavours whilst lighting up the appetite right now.

http://www.everythingburns.co.uk/

8/10

RingMaster 20/05/2013

Copyright RingMaster: MyFreeCopyright

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

www.audioburger.com

 

Desert Storm – Horizontal Life

desertstorm.jpg2

If like The RR you thought the debut album Forked Tongue from UK heavy blues metallers Desert Storm was the dogs meat and two veg than their new album is going to excite places you never knew existed. Whereas the previous album from the Oxford quintet also boasted an avalanche of heavily boned riffs and sludge thick blues grooves not forgetting equally demanding rhythms, Horizontal Life expands it all to hungrier heights whilst drenching the results in a fire of passion and striking invention. The band has grown so impressively between albums, the new release holding a maturity and enterprise which makes its excellent predecessor look almost lightweight in comparison.

Formed in 2007, Desert Storm took little time in finding a greedy appetite locally for their formidably pressing sounds going on to breed a similar and larger following and hunger across the UK through their impressive live performances and festival appearances. They have also shared stages with the likes of Orange Goblin, Taint, Weedeater, Zoroaster, CKY, Winnebago Deal, Firebird, and Black Spiders across the years to ever increasing acclaim and swiftly growing fanbase. Forked Tongue added its impressive weight to their sturdy rise but with the sheer quality and brute force temptation of Horizontal Life you can only assume the widest recognition is waiting to embrace the thunderous quintet.

Released via Blindsight Records, the album opens with the charismatic and contagious Word to the Wise Man, a track which desertstormtakes off from where last album left off, its care free swagger and magnetic lure of inciting thick riffs and crisp rhythms instantly addictive. The vocals of Matt Ryan are as grisly and throaty as ever whilst the bass of Chris Benoist brings its own primal breath to stalk the ear within the fires of sonic excellence from guitarists Chris White and Ryan Cole. The blues fuelled lining equally excites the senses whilst the potent call of the guitar within the song is a French kiss for the ear.

Both Shadow of an Eagle and Astral Planes leap upon the passions with stirring craft and exciting melodic flames, the first off of a impacting spike of drums from Elliot Cole which sets up the strolling blaze of searching riffs and sonic temptation all again with a hooked persuasion which ignites energy and captivation. It is a scintillating romp with a familiar air to its curvature of infectious sounds and rich grooves as well as compelling enticement from its thoughtfully sculpted variation to gait and direction. Again the vocals of Ryan bring a rich whiskey breath to the encounter whilst the guitar solo sears the senses gleefully. The second of the pair again holds the ace card of being new yet a returning friend to the passions in many ways and like the previous songs commands hungry affection and commitment to its tremendous provocation.

The following No Slave to Master increases the heaviness and rapacious sound, its Orange Goblin/ Down like stance an air sucking beast coated in shadows and venom musically and vocally which has the need to devour the listener without offering the easier to digest swing and grooves of other tracks. Instead it unveils a light sucking intensity which is just as fascinating and magnetic, as does its successor Mr Strongbatch, a track equipped with carnivorous riffs and punchy rhythms. Its inviting groove does ignite a heat and barbed welcome which is impossible to be ignored and again has a confidence to its stroll which borders of aural cockiness which is irrepressible.

Both Enslaved in the Icy Tundra and Lunar Domes unleash corrosive riffs and an intensity which plenty of metal bands can only dream of, with the energy and vocal spite to match, whilst the second of the two from a bass driven aside, creates a passion exploiting mesmeric and abrasively smothering ending which is outstanding. It also marks the point where there is a shift in the album, Desert Storm exploring more of their progressive/psychedelic side than ever before. Firstly Titan steps forward within a sludge toned swamp of sound which shifts into a cavernous beckoning of noise Ryan growls the narrative with even stronger shadows in tow. The riffs still dictate the course of the song whilst a slow burning groove makes its declaration but once things slip away into a haunting evocative ambience, a wonderful exploration of band, imagination, and sonic beauty is unveiled. It is a startling and enthralling joy with a muscular finish to cement its impressive contribution to the now in place rapture for the album.

The release does not stop there as the serpentine treat of Shenzhen next twists and writhes all over thoughts, emotions, and the senses with reptilian chills, sonic ferocity, and wolverine rabidity before handing over to the best track on the album in Gaia. The song is pure sonic alchemy, a pungent soak of southern heat, eastern shimmering, western harmonies, and tribal instinctiveness. It is glorious, a masterpiece of aurally expressive songwriting and exhilarating imagination, and the undeniable proof of just how far and expansive Desert Storm can push themselves  if they so wish.

Closing with a return to the uncompromising energies and trunk thick riffing in the Mastodon spiced Hofmann and the mercilessly contagious Scorpion to ensure further exalted satisfaction, Horizontal Life is a major triumph not only for the band but UK melodic metal/rock. It is explosive and impossibly impressive with Desert Storm putting a great many established signed bands to shame, long may they continue. A must have release.

http://desertstormband.com/

10/10

RingMaster 23/04/2013

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

Devil To Pay – Fate Is Your Muse

dtp2013_300dpi_sm

Returning with their fourth album Fate Is Your Muse, Indianapolis rockers Devil To Pay continue to feed the hunger for rich powerful and impacting rock n roll. Combining the richest essences of heavy intensive rock with fires of stoner and sludge flaming intensely within, the album is an irresistible feast of perfectly sculpted sounds muscular and evocative. It offers what you expect from the band and the genres they seed their creativity within but delivers it with an enterprise and near hypnotic embrace which can either squeeze the breath from the lungs or mesmerise out a submission to its inventive lures, often combining both in a singular blaze of sinewy seductive persuasion.

Formed in 2002, the band has ridden numerous obstacles as they drove forward. A year after forming, Devil To Pay saw vocalist/guitarist Steve Janiak hospitalized after a medical emergency and placed in a drug induced coma.  Despite the grim prognosis of doctors, Janiak came through despite being besieged by visions and hallucinations from the ‘other side’ because of it and the band strode on to release debut album Thirty Pieces of Silver the same year. Creating a strong response for the album the band hit the touring road and despite the setbacks of dissolving record labels, a continual change of rhythm guitar players, tour van breakdowns, and a lack of proper distribution the quartet released their second full length Cash Is King in 2006, to be followed by the acclaimed album Heavily Ever After and the DVD 48 Minutes both in 2009, all self-released by the band. The year before the third album Devil To Pay found guitarist Rob Hough who joined founders Janiak, bassist Matt Stokes, and drummer Chad Prifogle, and for many the moment when things truly clicked for the band as Heavily Ever After readily proved. Released via Ripple Music, Fate Is Your Muse is a powerful return and though it arguably does not markedly improve on its predecessor, the album is easily its match and partner in cementing the potency of the band, both releases thought provoking and passion inciting temptations.

Within a breath opener Prepare To Die easily captures the imagination, its striding riffs and muscular rhythms ridden by the DTP_LP_cover_forprintexcellent tones of Janiak, his gravelly vocals shaping the lyrical narrative with compelling expression and varied textures. The track is an infectious stomp which shifts upon its core intent with magnetic teasing from the guitars and roaming bassline, but from first note to last it is a direct and forceful riff fuelled thrill marking an anticipation for the album ahead though the band are not slow in offering open diversity starting with its successor. Wearin’ You Down is a slow burn of incendiary blues kilned riffs and classic rock swagger all slowed to a Clutch/Orange Goblin like consumption. Sonically pungent and fiery to the touch, the track is a hypnotic inducement with little respect for clean living or restrained peace.

The heavy opening prowl of Ten Lizardmen and One Pocketknife comes next and immediately the track stakes claim as the major highlight of the release though it is continually challenged and equalled elsewhere. The song soon slips into a more urgent gait with the vocals a boisterous expulsion of passion within the charged and energetic stomp of the groove littered treat. A rampant beast with the wares to recruit the most resistant of passions, the song is a QOTSA plays Down type of glory which switches intensity and heat at a blink of a note and with that deliciously contagious insidious groove breaking free at times, the song is rock manna for the heart.

The likes of Yes Master with its mix of intensive progressive rock, weighty riffs, and expressive Soundgarden like shadows, the bluesy stomping Already Dead, and Black Black Heart with its hungry energy yet restrained patience to pounce on the senses, bring further variation to sound and intensity as well as like all the songs a greed to satisfy and ignite the passions, which all do with ease and skilled tenacity. Amidst this trio is This Train Won’t Stop, a track which leaves an exhaustion and grinning pleasure in its rampant wake. As furious in pace and intensity as its title suggests and as heated, the song is a riot of fatiguing riffs and frazzling sonic invention all within a juggernaut of rapacious energy and melodic enterprise. The best track on the album it is animated rock n roll at its very best.

Right through to its completion the album inspires the passions with tracks such as The Naked Truth and the heavy groove laden Mass Psychosis raising major sparks within, though it is fair to say every track achieves that. Simply Fate Is Your Muse is a mighty encounter offering massive rewards for every rock soul’s melodic horizon.

www.deviltopay.net

9/10

RingMaster 11/04/2013

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

Mothership: Self Titled

Mothership Live

    The bio for the self-titled album from US rock band stated the band Mothership had a sound which ‘satisfies like a steaming hot stew of UFO and Iron Maiden, blended with the southern swagger of Molly Hatchet and ZZ Top’. Now that statement is enough to send an army of classic rock fans across battlefields and sultry deserts to grab an ear full of the promise suggested and in this instance they would not be disappointed upon arrival. The trio from Dallas is a formidable and impressive unit which knows the richest essences of rock n roll and how to brew them into feisty and fiery melodic encounters.

Founded by brothers Kelley (guitar) and Kyle (bass) Juett, the band fuses stirring elements of hard rock, stoner, blues, and classic rock into a thrilling guitar driven sound all of their own. The pair grew up on the seventies record collection of their father John, who they recruited on drums as their rock project emerged in 2010. Creating songs bursting with raucous riffs and melodic flames, the band knowing the contribution of their father was temporary began searching with his help for a permanent replacement who came in the shape of Judge Smith late 2011. The following year saw the band enter the studio to record their debut which was then self-released later in the year. Now given a re-release though Ripple Music, and following a successful end of last year supporting bands such as Prong, Red Fang, Gypsyhawk, Earthen Grave, and Lo-Pan, Mothership is set to ignite 2013 for all heavy rock fans.

The album opens with the mesmeric instrumental Hallucination, a track which emerges from a spacey ambience through firm Ripple Music - RPL2188beats and a sultry guitar glaze upon the ear. Its early presence is a slow smouldering enticement of sonic caresses and sinewy rhythms which equally burn and kiss the ear to capture the imagination, a union which goes into overload once the track instantly shifts up a couple of gears to rock the air out of the passions. It is an enthralling encounter to announce the album and ensure only a riveted focus is at play for the rest of the release.

With barely time to lick the lips of the prospects to come the following Cosmic Rain engages the ear with punchy rhythms and spires of sonic persuasion. Within seconds it has feet and emotions in league with its passionate gait and heated expanse. As the fine vocals of Kelley launch from the musical fire to add to the already anthemic stoner swing, the track rampages as a delicious agreement of blues and rock wrapped in heart driven energy. Mid-way the song takes a step into an aside full of bass beckoning to intrigue and elevate the already submissive senses further before returning to its uncomplicated and fully enthralling revelry.

As the songs City Nights and Angel of Death open up their hard rock hearts with craft and eagerness there is a continued variety under the overall pulsating lick and hook raining skies of the album. Though neither song steps onto the same lofty plateau of their predecessor, both crowd the ear with inciting blues guitar mastery and refreshing winds of instinctive and satisfying rock n roll, with the second of the two especially rife with a seventies brilliancy recalling the likes of Thin Lizzy.

Adding another step into new avenues Win Or Lose is a strolling treat of heavy rhythms and unavoidable intensive energy veined by a niggling sonic insistence and melodic elegance. Within its expressive stance the track moves through levels of pace and creative heat whilst offering moments of simmering beauty, rampant guitar crafted pulses, and heavyweight rumblings all delivered with invention and passion. It is a tremendous track which makes way for the equalling spellbinding and explosive Elenin and the towering closer Eagle Soars.

The final track is a masterful treat of lung bursting energy driven by robust rhythms and scintillating sonic seduction. The song rides the passions with majestic ease and accomplished skill as it immerses the senses in searing sonic bait and wickedly tempting melodic glamour. It is a final triumph which directs one straight back into the arms of the album, the lure of diving right back in to the release too irresistible.

Mothership, band and album, are encounters any fan ranging the likes of Red Fang to Orange Goblin and Black Sabbath to Thin Lizzy will find an ardour for as the band primes itself for a massive year.

http://www.facebook.com/mothershipusa

8/10

RingMaster 12/02/2013

Copyright RingMaster: MyFreeCopyright