Black Oil – Resist To Exist

Black Oil_RingMaster Review

I think we can all agree it is seriously hard to be truly original in the music scene now and just as difficult to be noticeably unique against the hordes of other bands tempting time and attention. A few though do instinctively stand out through sound or presence to stand many steps from the masses, and one such proposal is US based groove metallers Black Oil. Their sound is a furious maelstrom of various strands of metal, Latin and worldly invention, and a defiant passion which binds it all for one, as shown by their new album, blistering and rousing confrontation. Resist To Exist is a riot in the imagination, a tempest in the ears, and an anthemic incitement just leaving the body alive.

Calling LA home, Black Oil originally emerged from Brazil with a sound crafted and honed with a unique blend of cultures and years of experiences gained by founder Addasi Addasi, whose travels have taken in the life and flavours of over thirty countries. Since forming the band has earned a big reputation and following through a previous pair of acclaimed albums, including the predecessor to their new encounter, the Logan Mader (Machinehead, Soulfly, DevilDriver, Gojira, FFDP) produced the Not Under My Name, as well as a live presence which has seen them play with the likes Megadeth, Fear Factory, All Shall Perish, Soulfly, Otep, Cavalera Conspiracy, Arch Enemy, Anthrax, Cattle Decapitation and many more. Their renowned metal-samba sound and hard hitting politically charged lyrics has made Black Oil a hungrily devoured proposition already, and now with Resist To Exist it is easy to expect even greater reactions and spotlights on the band, the album simply one of the most exhilarating incitements of the year.

cover_RingMaster Review     Produced by Cristian Machado of Ill Nino, with many other contributions, Resist To Exist sees the quartet of guitarist/vocalist Addasi, vocalist Mike Black, bassist /vocalist Drew Petropoulos, and drummer Michael Gomez joined by a host of guest contributions including Fear Factory/Archaea’s Raymond Herrera and ex-Static X/Soulfly and now Fear Factory bassist Tony Campos amongst them. This and the unbridled imagination and ideation soaking songs all goes to create incendiary tapestries of sound and energy which from the opening track makes Resist To Exist one feverish conquest of body and emotions.

It all starts with Rise Up, a song with its intent in its title and success in a character which just will not accept anything less than full involvement from the listener. From its first breath, riffs and rhythms are a cauldron of enticing intensity, a tenacious prelude to swiftly joining and just as quickly virulent grooves. Aligned to the guttural roar of Black, the track is in full violent swing in seconds, its rhythmic hips casting a commanding swagger as guitars and bass cast an inescapable web of searing grooving and infectious riffery. Like Five Finger Death Punch meeting Powerman 5000, but so much more, the track is an incendiary device of invigorating and exhausting metal contagion, raw alchemy to get the blood and energy rushing through anyone’s veins.

The ferocious start continues with the just as explosive Justified where malevolently swung beats and a carnivorous bass tone add their great grouchiness to a wind storm of sonic hostility, and that is just the initial impact on the senses. Soon Middle Eastern hints stir within a spicy expulsion of guitar before the track puts its head back down for another hellacious and rabid stomp. As much death and industrial like as it is a grooved fury, the encounter continues to ignite and incite ears and thoughts before passing the senses over to Callate. The third track, which features Campos on bass and vocals, is a predator of emotional bedlam and creative unpredictability, its sound as diverse and ravenous as the vocals fuelling its inner corrosive rage, and as irresistible.

Exoskeleton savages ears with its vocal and rhythmic hostility next, whilst simultaneously seducing the imagination with a tangy web of melodic grooving and feistily flavoured enterprise. The result is something which roars like a blend of Fear Factory and Devildriver yet equally only has its own distinct animus of sound and intent. It is a flesh searing bellow leaving the body shell shocked and ready to be taken on a fiery ride by the following Combustion. From its initial fierce caress of sound, Latin bred percussion and melodic hues are enriching the song’s rhythmic and sonic tempting, elements of bands like (Hed) PE and Bang Data joining the muscular rebellion and expelling even greater influence as the track springs its bruising anthemic shuffle. Joined by guest Silverio Pessoa on vocals, Black is the ringleader of one addiction forging, body igniting tempest. The guitars alone create an enslaving persuasion with their relentless and evocatively creative twists whilst the percussive aspect of the song aided by Mario Pallais, is simply a puppeteer on the listener.

One brilliant encounter makes way for another in the insatiable shape of Revolution. Featuring and driven by the ravenous rhythmic swings of Herrera, the track is a bestial onslaught but one littered with infectious grooves and sonic devilment. The track is psychotic, never allowing the listener to make assumptions on its direction and with more guests involved, evolving character. The same can be said about Stand Against Everything which comes straight after, the song akin to the last and taking certain aspects of its persuasion into its own persistently evolving and fiery samba.

Resist To Exist closes with Paper Slave, a final aggressive and venomously inflamed uprising of creative hostility and impassioned defiance. It comes shaped with cantankerous riffs, merciless rhythms, and mesmeric invention, bone breaking hostility merging with worldly and emotive resourcefulness. Stuck Mojo and Ill Nino come to mind as it ravages air and ears but again the song in reality is something else again, and though maybe not matching earlier heights, it leaves the listener only wanting more upon departure.

Black Oil brings something different and relentlessly exciting to the metal table with Resist To Exist. Some tracks soar above others in creative adventure and sheer compelling power but all leave a greedy hunger and thick pleasure behind them. Who can want much more than that?

Resist To Exist is available now via Sliptrick Records through most digital stores.

http://www.blackoil1.com/   https://www.facebook.com/blackoilofficial

RingMaster 22/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Caustic Method – The Virus

CMPic_Reputation Radio/RingMaster Review

     The Virus is a scourge to the senses as potent and inescapable as the equivalent physical protagonist is to the flesh, but a fierce ravishing easy to develop a rabid appetite for. The album is the new incitement from US metallers Caustic Method, a fury of raw and contagious animosity that stirs up the blood and puts a fire in the belly. Though the band has been devouring audiences and fans since 2003, the new release is, like for so many, our introduction to the Syracuse roar, and no finer a way to get infected can you imagine.

Caustic Method has earned a rich reputation for their sound and live performances since forming, sharing stages with everyone from Hatebreed to Cypress Hill, American Head Charge to Otep, Hed P.E. to Korn and hordes more from all diversities of metal and voracious rock ‘n’ roll. Last year The Virus EP sparked thick attention and feisty anticipation for the band’s new album, its success a step towards the band signing with Pavement Entertainment for its successor’s release.

The album launches itself on ears and senses with an instant wall of sound and the vocal roar, the song’s title Virus, the first word expelled by the throat of Matt Caustic. Right there the infection has taken hold; that initial concussive touch the opening toxin in a tide of predatory rhythms and hellacious riffs driven by a sandstorm of a vocal delivery. The track is never an out and out savaging though, Darin Scott’s grooves and hooks given space to wind their temptation around the imagination, backed similarly by the dark throaty tones of Eric Maliszewski’s bass. The Caustic Method sound brings up thoughts of bands like Hatebreed, Bloodsimple, and Mushroomhead across song and release but ultimately there is a freshness and originality which offers a distinct proposal from the NY quartet.

The opener is also the band’s current single with an outstanding video to match its presence and an explosive start to The Virus quickly reinforced by the following Left to Die Alone. This too is a blaster to the senses set on the highest setting, riffs and beats stalking the listener as vocals rummage in the psyche with Caustic’s ever gravelly persuasion. The rhythmic jabs of drummer Angel Rivera are a deceptive lure, initially seemingly merciful whilst still resonating on bone before the man’s stick swings get more creatively agitated and venomous. The song even with a slightly mellower embrace midway continues to hunt down the passions before making way for the similarly ravenous tempting of The Lone Star Tragedy. The song is a more straight forward but enjoyable offering at first, holding back its imagination until it is well entrenched in ears. Clean vocals and spicy grooves soon break free, though are soon swamped by the hostility that set things off and the track ends as it began, snarling relentlessly.

CAUSTICMETHOD COV_Reputation Radio/RingMaster Review  Integrity Fail continues the bruising next, but with a bluesy melodic seducing which spices up its hooks. Aligned to a less intensive energy and atmosphere, it ensures the track is a juggernaut with the hand brake on in attack but a heavyweight persuasion that prowls and lingers as more variety is shown within The Virus, and in turn S.D.V. straight after. The track unleashes its dirtiest heavy rock ‘n’ roll traits to collude with a metal ferocity, a mix of vocal delivery as enticing as the blend of flavours stirred into the tempest of sound.

Through the groove infested Six Feet and the rhythmically compelling Which Way the River Runs, the contagion grips even tighter. The first is a storm of again vocal diversity and tenacious guitar bait, a feverish turbulence of attitude and creative energy which is something akin to Drowning Pool meets Blunt Force Trauma, and another pinnacle of the album. The second of the two avails ears of its fearsome potency through an opening assault of beats from Rivera which sparks a torrential virulence of hungry riffs and cantankerous grooves, the bestial bass of Maliszewski offering the most magnetic one of all. Both tracks kick the album back to the impressive levels it began on, though to be fair the previous couple of songs or so were hardly lightweight in arousing pleasure and emotions either.

Fool Me Once finds yet another gear in the toxicity of the release, it’s addictively malicious and insatiable onslaught an evolving ravaging as able to stroll invitingly with spite in its eyes as it is in uncaging a tirade of raw intensity. It is another landmark in the album, a mix of Static X and Agnostic Front which is not emulated but strongly backed by the melody rich, blues grooved rocker Bottle of Scotch. At times there is a little surface similarity across the album which certainly does it no harm at all such the enterprise and invention within, but it is great to have something additionally unique from the first breath, and the penultimate track is nicely that.

The album injects its last dose of pathogen through Anti Hero, a final slab of metal and emotional vehemence to set ears and thoughts ablaze with a spiralling of inflamed grooves, caustic riffs, and a bass seducing which borders on the carnal. It is a tremendous end to an excellent release and though Caustic Method is not going to turn the metal world on its head with The Virus, they will and certainly are earning a new and broader enamoured spotlight on their presence as the album’s qualities live up to their biological namesake.

The Virus is available now via Pavement Entertainment @ http://www.pavementmusic.com/product/caustic-method-the-virus-pre-order/

www.facebook.com/causticmethod   http://causticmethod.com/

RingMaster 04/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Forever Still – Save Me EP

Forever Still_Reputation Radio/RingMaster Review

Every time we feature Danish rockers Forever Still on our online radio shows, The Bone Orchard and The Ringmaster Review, barely one play goes by without suggesting the band’s time for global recognition is nigh, thoughts seemingly replicated in the minds and responses of the listeners. The Copenhagen trio has yet to receive that deserved break, though every release certainly pushes them closer. Their new EP Save Me, is the most potential and ability equipped proposition from the band to date and if this does not rupture the broadest spotlights with accompanying successes than something is seriously wrong out there. Its three tracks explore the full range of the band’s songwriting and sound, seducing and savaging the senses with an imagination and passion which just leaves you hungry for much more.

The band since forming in 2010 has perpetually infused the music scene at home and increasingly further afield with a fresh breath of creative attitude and sound. In 2013, the band unveiled debut EP Breaking Free, a release seriously acclaimed by fans and media alike and emulated in success by the equally impressive and stature pushing Scars EP of last year. Both encounters lit a fire in the European independent rock scene if not yet quite to the level found in the passions of an increasing fan base. Now it is the turn of the exceptional Save Me EP to have a go at breaching broad horizons, a success impossible to bet against. The encounter flourishes once again from the melodic roar and harmonic seducing of Maja Schønning, and the maturely inventive songwriting of her and Mikkel Haastrup (bass / guitar / keyboards / drums). Backed by the skilled abilities of Dennis Post (guitar), the EP simply ignites ears and thoughts alike from its first breath.

cd-cover Reputation Radio/RingMaster Review    Awake the Fire opens up the release and instantly grips the imagination with its initial tangy grooving. It is irresistible bait continuing intermittently across the song, holding its own against bulging rhythms and hungry riffs unleashed by the band. Once the ever compelling voice of Schønning takes ears in her potent hands, drums seem to elevate in boldness and intensity whilst the guitars cast a sonic tapestry as spicily aggressive as it is virulently imaginative. There feels like there is a new confidence within the song, indeed EP, compared to the band’s previous and seriously impressive offerings, every element of the song from writing to sound bearing a creative swagger and almost volatile passion. The track is a masterful roar of melodic and heavy rock, alone ensuring any old references to bands like Evanescence and Lacuna Coil are now redundant. Forever Still has evolved into something wholly unique, a fact quickly reinforced by the second song on the EP.

Breathe In opens with an electronic teasing before a vocal snarl from Schønning triggers a lively magnetic saunter of eager riffs and bewitching melodic grooves. That electronic coaxing still continues within the blossoming croon of a song, whilst a wiry bassline captivates as a more tempestuous yet still restrained atmosphere fuels the increasingly impressing encounter. The sudden eruption of carnivorous intent in voice and sound seals the deal on another outstanding proposal, an Otep like ferocity expelling its fury before the song relaxes once more ready for one final forceful eruption.

The EP closes with its title track where the band reveals they are just as able and striking at creating mellow but inflamed seductions soaked in emotional turmoil as they are with thunderous tempests. The song is bewitching, Schønning a poetic aural lure in a similar embrace of melodies from guitar and keys. Within its mesmeric textures though, an electronic agitation lurks and a more sombre bassline prowls, their pairing creating riveting shadows within the evocative fire of the melodic serenade. An underlying snarl also brings more depth and potency to the closing persuasion, reminding all again of the range and imagination within the invention of Forever Still.

Save Me is the most powerful and gripping release from Forever Still yet, building on past triumphs and exploring far loftier heights. Hopefully it will mark the moment the world catches on to band and their dramatically thrilling sound. If not now it has to happen some when soon.

The Save Me EP is out now as a name your price download at https://foreverstill.bandcamp.com/album/save-me-ep-name-your-price

https://www.facebook.com/Foreverstill   http://foreverstill.dk/

RingMaster 21/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Mongrel – Evolution

MONGREL - Evolution - front cover - scaled

Towards the end of last year US punk metallers Mongrel released the single Snakes to provide a very appetising taster for their next EP whilst simultaneously reconfirming themselves as unique and passionate provocateurs of antagonistic punk rock and dirty metal. The band now unleashes that highly anticipated Evolution EP, a release which surely places them on the precipice of a well-deserved intensive world spread spotlight. Sealing a spot on an impending cover mounted CD of the renowned Terrorizer magazine as well, The Boston quartet are poised to make the next big step in recognition. It is an ascent their releases have threatened to spark for the past couple of years but it is easy to feel and expect that Evolution will be the potent fuse that achieves the breakthrough.

Formed in 2003 by guitarist Adam Savage, Mongrel has earned themselves the reputation of one of the hardest working and increasingly acclaimed bands in the underground of metal and punk rock. Each one of their releases has thrust the band on another lofty step though it was the addition of vocalist Jessica Sierra in 2010 where things truly clicked into place and the arguably dormant fire in their already impressive sound and presence erupted. From The New Breed of Old School EP of that year through the following Declamation EP in 2011, there was a new potency and venom on the grooves, hooks, and rhythms which core Mongrels’ invention. Alongside these successes the band live has earned a reputation most bands could only dream of, their sharing of stages with the likes of GWAR, Korn, Otep, Sepultura, Prong, Halestorm, Wednesday13, Fu Manchu, Dizzy Reed, Misfits FEAR, Blitzkid, Trashlight Vision, Michale Graves, Mindset X and hordes more garnering tides of fans and recognition. The Reclamation album of 2012 saw the band ascend to new heights in songwriting and imagination which now Evolution pushes further forward. Recorded with Jim Foster (POD, Nullset, Sully Erna), mixed by Dave Fortman (Slipknot, Evanescence, Godsmack), and mastered by Howie Weinberg, (Metallica, Nirvana, Soundgarden, Pantera), the EP is a stirring anthemic brawl which is as contagious and addictive as it is raw and lyrically uncompromising.

Snakes opens things up and as soon as the initial controlled blaze of guitar from Savage hits the ears there is a sense of impending infection which is soon confirmed by the crisp beats of drummer Mike Hogan and even more so by the riveting vocals of Sierra. With the pulsating bass groan from Michael Ariza added to the mix, the song is rapidly into a potent stride heading towards its virulently compelling chorus. The band takes little time in enslaving the imagination, treating it further with a seamless drift into a smouldering sultry passage with emotive guitar rubs and a glow to the voice of Sierra, a lady who seems to own ears, thoughts, and songs whether she is roaring with antagonism or seducing like a temptress. Building up its energy and passions throughout the lighter flight, the song creates a dramatic crescendo of a finale which leaves appetite licking lips and emotions looking at a lustful hunger.

Mongrel have a certain distinct sound which never deceives its source but within that the band with Evolution seems to be exploring their punk side this time around, the first song giving a major hint which the following Oxygen Mask elaborates on within a still heavily insatiable metal toxicity. An acidic groove hits ears first, though rhythms and a great gritty bassline is courting its coaxing. Pulled together by the commanding vocals, the track twists through a predatory intensity and gait, Savage spearing the air with metallic vines of sonic bait. Persistently turning with singular moments for the bass and guitars to flirt with ears, the song recalls essences of Siouxsie and the Banshees, certainly if they had embraced metal. Imposing but respectfully forceful the track backs up the immense start easily even if without matching its heady heights.

That first plateau is equalled by Consumed; a deliciously abrasive enticement of caustic hooks and senses burrowing grooves. Guitars worm under the skin within seconds with rhythms swinging punches soon after, the combination a hungry platform for the dark hearted bass sounds and rich vocals to colour their canvas. Unleashing a swagger to match the almost brutal energy, the song stomps with epidemic irresistibility, those spiteful grooves especially inescapable whilst sonic hues sculpted by Savage in an engrossing solo provide further rigorous colour to the outstanding incitement.

Best Revenge has the hard task to follow the triumph which it does with a rawer hostile punk enticement, the bass finding a carnivorous throat to its presence and the guitar a combative attitude to its riffs and squalling flames. Once again though it is caged by great controlled rhythm work by Hogan and led by the expressive might of Sierra. The track is not as immediate as others on Evolution but emerges as another pinnacle with punk nostrils flaring and metallic muscles challenging.

The release is concluded with another sizeable success with the riotously catchy Over And Over. An addiction forging bassline sparks ears first before riffs and rhythms cascade upon the lure to build a rampant canter of punk rock. Hooks and grooves from both stringed antagonists grip with a constant temptation whilst Sierra swings syllables and intent into their barbed scenery with the expected but never under-appreciated skill and passion she brews. It is an exhilarating conclusion to a tremendous encounter, leaving ears, thoughts, and passions bursting with greed for more.

Guiding their sound to a side step in many ways from that taking Reclamation to such heights, Evolution stands side by side with its predecessor’s undoubted success and quality, though with a heart for well-crafted punk rock if pushed the EP shades it. What is clear for all though is that Mongrel just goes from strength to strength whilst evolving with a constant flair and voraciously appetising enterprise. It really is about time the band was known worldwide and Evolution might just be the trigger.

Evolution is available on iTunes on May 20th and via all major online retailers and streaming services from June 3rd with physical copies available through Mongrel, Unable Records and Amazon.

http://www.MongrelBand.com

http://mongrel.bandcamp.com

9.5/10

RingMaster 16/05/2014

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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Mongrel – Snakes

Mongrel

The first release since the outstanding Reclamation album of 2012, US punk metallers Mongrel unleash their new single Snakes and continue to set new standards for themselves and aspiring rock/metal bands. Taking from their upcoming Evolution EP which is slated for an early 2014 release, the new track employs all the renowned and expected inventive and addictive aspects of the band but gives them a new fire to burn explosively within further exploration from the band and their songwriting. As anthemic and contagious as you would expect from the Boston quartet, Snakes reinforces the hunger of their fans for their bruising, riotous sounds whilst laying down plenty of bait to recruit new greedy hearts.

Formed in 2003 by guitarist Adam Savage, Mongrel has over the years evolved into a highly sought after live band and a formidably potent studio encounter with a wealth of releases strikingly marking their steady and continual rise. Since forming the band has laid waste to stages alongside the like of GWAR, Korn, Otep, Sepultura, Prong, Halestorm, Wednesday13, Fu Manchu, Dizzy Reed, and the Misfits numerous times as well as touring with others such as FEAR, Blitzkid, Trashlight Vision, and Michale Graves, all the time continually drawing acclaim. Equally from the start their releases have lit up the passions of fans as well as the independent airwaves, the band a regular on the likes of shows at http://www.Audioburger.com and The Bone Orchard podcast, but it is fair to say that the full potency and heart of the band exploded when they enticed vocalist Jessica Sierra into the fold, her snarling vocal beauty igniting something lying dormant in the band with previous frontmen. Through The New Breed of Old School and Declamation EPs on to Reclamation, Mongrel has grown and evolved into an intensive and magnetic force which Snakes only elevates further.

The single wastes no time in tempting the ears as the guitar of Savage skilfully strokes the extremities with his inviting riffs, its call soon a0370760246_2joined by a pulsating bass call from Michael Ariza and the crisp beats provided by drummer Mike Hogan. Settling into an open temptation, the power and thrust of the song is taken up another level as Sierra punches the lyrical intent forcibly and melodically into the imagination. All the while there is a reserved but persistent groove which wages seduction upon the senses throughout the song, it enticing greater passion and hunger from the listener and it is fair to say that at this point the single has submission already in its hands. This is not enough though it seems as the instigator then shifts seamlessly into an evocative and intimidating yet smouldering flame of sonic endeavour and emotive persuasion which has the band pushing their boundaries and ideas without losing their core energy and intensity. The moment is brief but potent and makes for a building step for the final adrenaline lit finale. There is a certain pop punk element to Snakes which arguably has not appeared before with Mongrel and it is a refreshing move brought with craft and adventure which avoids eroding any of the band’s confrontation and  inciting invention.

It is hard not to be excited and full of impatient anticipation for the Evolution EP thanks to Snakes, but the wait will be relatively short and the single ensuring the time is well fed with its incendiary exploits. A name your own price release at Mongrel’s Bandcamp profile, the single is the perfect invitation for those new to one of metal’s best ‘undiscovered secrets’.

http://www.mongrelband.com/

http://mongrel.bandcamp.com/music

10/10

RingMaster 29/10/2013

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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Fade Out – Welcome to My Hell

Fade-Out - Welcome to My Hell - 2013

Fancy being thrust into a caustic creative storm…an agitated squall of rapacious and voracious imagination? Then checking out Welcome to My Hell, the debut album from Russian band Fade Out is a must. Combining a core of alternative and nu-metal with varied abrasive extras, band and release create an encounter with is richly invigorating and enthralling whilst simultaneously being intrusive and corrosive. Whether chewing the senses or bewitching them with acid borne melodic enterprise the album conjures a stirring web of invention proving that certainly nu-metal is not quite an empty well yet.

Formed in 2007 in Voronezh, Fade Out initially started out with a gothic metal intent but soon the band decided to explore a heavier nu-metal sound. The following year saw their first single released, the song proving to be the last to be sung in Russian by the band and the final appearance on vocals of guitarist Roman “Dagen” Davidov. From this point Fade Out decided all future songs would be sung in English only, the direction easily accepted as the band added incoming vocalist Katerina Davidova to the line-up. With the autumn of 2008 came second single Don’t Shoot followed in 2009 by festival appearances and gigs, all strengthening the rising reputation and fanbase of the band. Late the same year though also saw Fade Out go on a lengthy hiatus though a maxi-single kept their sound and name in the thoughts and passions of fans. The line-up of Davidova, Davidov, guitarist Ilia Sysoev, bassist Roman Kurlykin, and drummer Evgeniy Yakunin returned in 2012 and immediately began gracing festivals and working on releasing their full-length debut, Welcome to My Hell.

From the exploratory kinetic maelstrom of the intro Fade-In, the album sets to work on the senses with the exhilarating title track. Immediately riffs are rigorously rubbing the ear whilst drums unleash a mesh of bone splintering rhythms and the bass stomps with equal hunger within it all. It is an instantly contagious invitation set ablaze by the emerged carnivorous charge of the track and the rapacious vocals of Davidova, her delivery impressive guttural squalls stemmed from malevolence and bestial invention. The track gnaws with insidious passion but throughout the onslaught is constantly evolving and twisting its back and imagination for an irresistibly captivating forage of the senses. There is diversity and skilled provocation to every aspect of the song, musically and vocally which preys on the ear with craft and devilment like a mix in many ways of Iwrestledabearonce and Spineshank.

The following I Realize continues the stunning start, warning sounds heralding its malicious invention. Heavy riffs and intimidating rhythms wrap viciously around its recipient whilst again vocally there is a tempest of aggressive passion. Into its stride the track shifts and swerves into further intriguing and rewarding adventures, sonic enticements and ingenious avenues that only light stronger rapture for what is offered. In its nastier aspects there is a feel of Otep to the ravenous provocation whilst where melodies bring their easier warmth it is hard to imagine rock any more satisfying.

The open diversity continues through the menacing and oppressively chaotic Jump!, the industrial spiced Don’t Shoot, and Five Seconds with extensive cleaner vocals being merged with again wonderfully coarse scowls, all the songs exceptional and impacting confrontations. Amongst them is another major highlight in the scintillating shape of Ultima Ratio. Once more the vocals crawl the range from melodic to vicious with skill and temptation whilst musically the song is an insatiable fire of classic rock, groove metal, and melodic endeavour which, like the album as a whole, gives expectations short thrift with its unpredictable and fully imaginative course.

The opening of Twitch For Threads is a delicious mix of a pit spawned throaty bass lure and the kind of sound which harkens the presence of a devil in Asian horror movies like The Ring, the subsequent passage of the song intimidating as it crawls through its and your darkest shadows with evocative vocals and addictively harmful essences. It is an excellent lingering ‘evil’ soon pushed aside by the outstanding Annihilation Tool, another Otep like toxin of predatory fervour and esurient addict forming excellence leaving the senses and heart a furnace of lust.

Completed by Пять секунд, the Russian sung version of Five Seconds, and the closing Три цвета (Three Colours)which features Davidov on vocals, Welcome to My Hell is a thoroughly exhilarating storm and hopefully the start of a constant and successful presence for Fade Out, metal and definitely nu/alternative metal needs this band.

10/10

RingMaster 20/06/2013

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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Interview with Adam Savage of Mongrel

Hard work and fighting spirit, not to mention determination, has been a trade mark alongside their outstanding punk/metal sounds of US band Mongrel, a quartet which has thrilled and ignited passions through their dynamic live shows and equally impactful releases. Shows with major rock names such as Misfits, Korn, Otep, Sepultura, Mindless Self Indulgence, Wednesday13, and Prong to name just a few has brought the band to the fore of attention for masses of fans, as well as their albums and EPs, but there has been plenty of obstacles to overcome at the same time. With the release of their excellent new album Reclamation, a definite contender for album of the year, Mongrel have emerged again as one of the most impressive rock n roll bands around. The band has been a permanent feature of The Reputation radio Show and Bone Orchard podcast for many years so we just had to grab some time of guitarist and band founder Adam Savage to find out about the band, their album, and their new refreshing onslaught on rock music.

Hi Adam and many thanks for taking time out to chat with us.

My pleasure!

It is probably fair to say the last few years has been a battle for the band so how does it feel to finally be unleashing your new album in a stable and powerful situation, band wise and support wise with the label?

I’d be lying if I didn’t say it felt great!! It’s definitely been a struggle the last few years for sure, and fighting to get this album done and released has been a huge amount of time, stress, energy, frustration, etc since the initial start of the process over 3 1/2 years ago. Not to say there wasn’t good stuff going on and lots of fun these last 2 years but finally putting this album out and being able to do so with a great team of people both in and around the band (label, publicist, radio promotion, etc) feels great!! It’s a huge relief and certainly really exciting to see where things will go now.

Before we get in to certain aspects of that time can you give for newcomers to Mongrel some early background to the band, its beginnings and early successes?

Sure, I started the band in 2003 with our original singer after pulling the plug and imploding my prior band. We went through a lot of early transitions of band members and within 6 months I was the only survivor of the original line-up but we found new people and carried on. We eventually found some longer term members, put out our 1st full length album in 2006 which was then picked up by Screaming Ferret Wreckords/ Locomotive Records and re-released in 2008. In 2009 we put out another EP in association with Screaming Ferret. After some revamping of the band (new drummer and now a female singer) we released “The New Breed of Old School” EP in September 2010, “Declamation” EP in May 2011, and now the “Reclamation” album on September 25th 2012 on THC-X.   Some of the early successes were getting to play at CBGB’s before they closed, tours with Blitzkid, Trashlight Vision, and FEAR; getting called “the hardest working band in Boston” in Metal Edge, some really cool sponsorships; playing with bands like the Misfits, Otep, Korn, Prong, etc. Getting played on Sirius/XM and Music Choice; and seeing support from people around the world from us has always been amazing to me.

You have played with many of the major names in rock and metal as you just referred to; did that bring any direct positive impact and openings for the band outside of your home state other than making your Resume look rather special?

Hah hah. Well a good resume doesn’t hurt but yeah, it definitely helped get our name out, and it got us into some places in other markets for sure.

2010 saw the departure of your long time vocalist and drummer, obviously a major setback for any band, but how did it affect you as people and your determination to keep fighting as a band?

It was a setback in the sense that we had actually just finished up a new album (mixed/mastered/etc) at that time which was then promptly scrapped. But in all honesty it was actually the best thing possible for me as a person and for the band. Tensions in the band were horrible and negativity was continually getting worse. It wasn’t at all fun anymore dealing with it.  So as odd as it may sound, I was far less stressed out when it was myself and Rev (our former bassist) left in the band than I had been for a good number of months with a full line-up. I was then even more determined to rebuild, regroup, and re-record the album and to make the band better than ever. It was definitely a blessing in disguise for sure!

After trying a few vocalists I believe as you kept gigging as a band throughout the period and you called on your friend Jessica Sierra to fill in some dates. We know she was a great presence and vocalist back from her days with Affliction and may I say even more impressive now fronting Mongrel, but as initially it was for just a few shows to help out why did you look at a female vocalist for such an initially planned brief moment in the band’s life, or was there a secret plan at work? 🙂

I wish I could take credit for some super diabolical master plan in that regard but essentially we’d been auditioning male singers, we got a new full time male singer (Scott Campbell, ex-Graveyard BBQ), but due to other issues in his life it didn’t work out and he had to drop out. We had 3 days notice to cover a show we had booked months prior in Boston and the only singer I could think of who’d potentially be ready in 3 days like that was Jessica….she did it, and she did a great job with the situation and continued covering shows… lo-and-behold she sounded great on the tunes, we were having a lot of fun again and she threw her name in the hat to audition for the band (and yes, she insisted on going through the formal audition process despite having done like 6-8 shows with us at that point). It was just too perfect and worked too well for it not to go forward like that.

At what point did you make the decision to make her a permanent member and I assume there was no persuasion needed to convince her?

Shortly after her “audition” we made her official at a show we did in her hometown right around her birthday (early August 2010) actually so it worked out pretty cool like that. Other than promising her that we would eventually get her a pony for the tour bus Dethklok reference> it didn’t take a lot of persuasion.

We know what we feel she offers the band which has brought a new strength to your sound but what for you has she brought which has helped evolve and shape your music now?

Jess brings a whole lot of personality and fun to the band as well as a new sense of melodicism and aggression (she’s gotten even fiercer since she came back from her hiatus!), plus having a female singer brings a different level of meaning to some of the songs (for example, the kind of sultry melodic singing she brought to “Zombies of War” on the new album to me brought a layer of meaning cause of how they try to sell the military as sexy and glamorous in order to recruit people).

Drummer Dave Kazukiewicz joined just before Jessica, and most recently bassist Micah Maltais joined the band as replacement for the departing Rev. How did you come across the guys and can you give a word about the legend which is Rev?

Dave was actually introduced to us by his girlfriend who was a fan of the band and it worked out perfectly at the time (he’s actually just recently been replaced by new drummer Mike Hogan as Dave stepped down in order to focus on his painting and his band Polluted Remains). Micah we knew from shows we played over the last few years with his band Tell It To The Dead. Micah was a big fan of the band and we always had a great time hanging out with him when we’d do shows together so it was really cool cause he had so much enthusiasm about the songs and getting into the band since he was a fan first.  As for Rev, he’s a hell of a bassist and a fun person to have around. Very witty and a very unique character (in a good way). Definitely not a bad word to say about “responsible rockstar #1” – he’s currently playing in several projects but primarily in a band called The Evil Streaks (female fronted surf-garage-rock-horror punk) and in a Rob Zombie tribute band called American Hellbilly.

Would you say Rev leaving was a bigger jolt than anything before, just for personal feelings?

Yeah, I was personally more bummed about Rev leaving than the others before him cause he is such a good guy to have around and it was a bummer we wouldn’t get to see him/hang out as often but he put a lot into the band over the years and was such a class act (even recording 2 EPs and an album with us knowing he was going to be stepping down so as to make sure we didn’t get sidelined again with this album). He seems really happy with what he’s doing musically these days and will on occasion do a guest spot with us so it’s all good. Thankfully we have a great group of people with us still though and Micah has worked out great for us, not necessarily filling Rev’s shoes but bringing an equally cool pair of his own to the party if you know what I mean.

Let’s come to the main reason we grabbed you, your new album Reclamation. A mighty, rampaging, and thrilling release which dare we say is your best yet by far? There must have been a real buzz brewing as the songs and release came together for you?

Thank you! I definitely agree that this is the best release yet for us. Part of the frustration with the delays and sidelines over the last few years has been that I truly believe in these songs and felt that they had to be recorded and released properly come hell or high water. It’s great to see in the really early reviews we’ve gotten for it (your own included) that other people really are connecting with the songs too. It’s definitely been exciting seeing it all coming together finally and who knows, maybe the timing is finally “right”, the stars aligned, etc and this was the time it was right for it to come out. Who am I to argue that is so, we’re just super excited that it’s all finally happening.

Did the songs find their first breath around the time of the Declamation EP of last year or were recorded later? I ask as the EP feels like a lead in to the album, a teaser of what was to come.

So you did catch that. Well played Ringmaster! Yeah, we actually recorded all 17 tracks at the same time. Our then management consultant (and later label boss, Thom Hazaert) suggested splitting it into an EP and a full album. So we figured out what we thought made for the best full album and what songs worked best as the EP and “Declamation” and “Reclamation” were born. The similar names and artwork were definitely intentional since the EP was meant as both a teaser for the full length album and as a companion piece to it. Originally we expected to release “Reclamation” much sooner after the EP but when we found out that Jessica needed to step down it got put on hold again until her return this past spring.

How long did the album take to record, one senses you are a band which is explosive in all aspects and just gets down to it and to the point in all aspects.

We recorded it (and Declamation simultaneously) over the span of 2 months I believe (we were playing shows and such still as well) and then mixing/mastering/etc was another couple months span or so. We definitely don’t screw around in the studio though. We’re not a band who goes into the studio to write songs while the clock is ticking and we know we’re not there to slack so things definitely do get done pretty quickly when the time comes to hit the studio.

Tell us about the writing process within Mongrel.

Historically I’ve been the main songwriter in the band. Typically I’d have lyrics and the basic outline of the song and bring it in and we’d jam on it then decide if it needs anything else, if it works, etc. With the new line up though, I expect we’ll have some more collaboration on the next album as both Jessica and Micah have been songwriters in their prior bands and will be able to contribute the next time around.

The album is released through THC: X, but I gather there was plenty of hard work and again battles behind the album, in getting it to this point (though not within the band), certainly with labels and things?

When Jessica came back and we were going to start figuring out the release plans for Reclamation, I had approached our on again/off again management consultant about putting it out through his label. After some discussion we worked it out and then it was time to set a release date and get the game plan in order. so definitely work was taking place and since then in the getting the full team together, coordinating, etc but Thom (Hazaert) and I have been talking for years now so that process was actually pretty smooth.

It is so hard to pick out favourite tracks, everyone a blistering slice of essential punk/metal/rock n roll. Twist our arm and maybe we would pump, today, for Pseudocide, C and a Half, Crucifiction and Revisionist. Is there any moment, song, or element of the album which gives you the deepest glow personally inside?

Honestly it’s really hard to say, I’m really happy with all of them personally…. I dig Tarnished Halo and Zombies of War a lot cause I think they kind of branch out style wise a bit, Revisionist like you said cause of the story/message of the song, No Gods No Masters is kind of our anthem… like you said, it probably varies day to day here too.

Mongrel is a band which has never not been flat out gigging, so one assumes there is a feast of dates coming up to support the album?

Yeah, we’ve been doing a run of cd release party shows and we’re playing the Rock & Shock Festival (rockandshock.com) with the Misfits, Shadows Fall, God Forbid, and Vision of Disorder in Worcester MA on October 12th which we’re psyched for, we’ll even be at the convention all that weekend where they’ve got stars like Danny Trejo, the guy who played Dante in Clerks, Bill Mosley, Sid Haig, Peter Criss, Dee Snider, etc all doing meet and greets and such. It’s gonna be amazing!

Where do you get the deepest pleasure as a band, live or in the creating and studio times?

At the core we’re a live band. That’s what we do all of this for is that thrill and energy of getting on stage and connecting with people. Obviously we get excited about creating new music, and while perhaps more tedious at times the studio is exciting too but it’s that time on stage that is truly what it’s all about.

Listening to the album one senses a freedom to the band again, is that how it feels and what is on the horizon for us from the band?

Can’t agree more! It’s fun, it’s exciting for us, having Jess back with the band, and the enthusiasm we have going right now is awesome. We’re hoping to work on writing towards the next EP or album over the winter when the show schedule slows down a bit just cause of the unpredictability weather wise it’s incredibly frustrating getting a show snowed out or something so we’ll prolly keep a lighter show schedule but spend more time writing over the winter months. I’d like to see a second video from the album happen as well so hopefully that will fall into place as well. We’re also working on releasing the album in the UK as well later this fall (physical CDs, not just iTunes since it’s already on there and Amazon, etc)…. a lot will depend on how things take off and play out with the new album though. Fingers are definitely crossed though!

Lastly tell us about the new video for Bored To Death, the first song on the album.

We did the new video with Red13Media, who happen to also be the people we recorded the new album with and who did our photo shoot as well. They really “get” us there and have a good sense of what we’re about and work well with us so it’s very low stress and a lot of fun working with them. The video itself was shot in one day at a couple of locations, and in our traditional “keep it in the family” way of doing things, actually features 2 people who at different times covered some shows on vocals for us (Blu Jess and Scott Campbell) so it was a cool family reunion type thing doing the video. The response on YouTube for the video has been really cool to see with over 2,000 views in just about a week so far. It’s been awesome and we’ve definitely seen the impact at shows where people who don’t have the album yet since it JUST came out, are already singing along with that tune which is the greatest feeling as a performer. If any of the readers haven’t seen it yet, here’s the link:

http://www.youtube.com/watch?v=nZiczkduf2E&feature=share&list=UU2JwNRa_Sc4-OktF5-CiU-w (or below)

Thanks for talking with us, really appreciate it and good luck with the album…any final words?

My pleasure! Thank you for all the support, the great review of the album on your site, and for really doing your homework on these questions!! You rock!!  If people want to hit us up directly they can reach us at http://www.mongrelband.com  and http://www.facebook.com/mongrelofficial  or http://www.twitter.com and I hope everyone will check out the new album Reclamation on iTunes, Amazon, etc.   Thanks again!!! –

Read the review of Reclamation @ https://ringmasterreviewintroduces.wordpress.com/2012/09/18/mongrel-reclamation/

RingMaster Review 02/10/2012

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