The Unbroken – Human Crown

It may have been unleashed last year but Human Crown is one encounter you really do not want to have missed. The release comes from Brooklyn metallers The Unbroken and offers five rousing tempests that had us grinning from ear to ear.

The quartet brews a ferocious cauldron from a feral fusion of punk, thrash and groove metal and it proves a potently incendiary mix in this their debut EP. Influences to the band include the likes of Metallica, Pantera, and Slipknot and in some ways there is plenty that is familiar to the release yet from first to last breath Human Crown stands as something aggressively individual and fresh in ears and indeed the metal scene.

Co-produced by the band with John Bender (Breaking Benjamin), mixed by Johan Meyer (Gojira) and mastered by Alan Douches (High On Fire, Mastodon), Human Crown erupts upon the senses with Stuck In The Way, an initial spiral of guitar sparking a thicker volution of groove wiring, the pugnaciously swung beats of Tamas Vajda in the middle. That grooving continues to wind around ears as lead Mark Johnson skilfully entangles the lead vocals of fellow guitarist Chester Oszustowicz, the song forcefully jabbing and inciting as it leads to a chorus which is just as galvanic. There is something akin to American Head Charge meets Mudvayne to the encounter but swiftly it stamps down its own compelling character as the EP gets off to a voracious flyer.

Suffering In Silence follows and quickly lays down its own formidable proposal, rhythms tenaciously marching through a weave of riffs, from which Johnson casts another rich melodic web. Hitting its meaty stroll, contagion soaking sound and vocal attack, the track swings with more of the virulent grooves the band is already proving so fertile with as the bass of Jeff Hinz magnetically growls in the midst of it all, ears and attention eagerly immersed in the thick enterprise making up the welcomed trespass.

Though the track did not quite get under the skin as its predecessor it only had us greedy for more which the EP’s outstanding and spiky title track delivered. Its calm melodic opening made for an evocative contrast to the storms before though a volatile heart is soon exposed as Oszustowicz’s belligerent vocals erupt in the background. As things brew a delicious nagging groove breaks, the vocalist’s snarl riding its rapacious incitement while it all leads to a brief but dynamic chorus, the cycle repeating to further enthral.

Just as addictive is next up I Never Forget, its agile entrance soon the seeding for more of The Unbroken’s unapologetically ravenous grooves and barbarous but welcomingly manipulative rhythms. From start to finish the song savages as it seduces; it’s snarled tone and truculent nature proving as irresistible as the quarrelsome sounds making up its untamed character and inescapable persuasion.

Nothing Left To Sell brings the release to a close, it immediately coaxing ears with a melodic caress full of intimation and elegance and again from the equally warm and intrigue hug of vocals which blossoms a charged and irritable eruption breaks driven by thrash nurtured riffs. The song though is a tapestry of contrasts, the reflective and serene uniting with a disturbed and volatile divergence as the band’s imagination and craft shape another fresh aspect in writing and sound.

The Unbroken is a band easy to see making great strides up the metal ladder especially if Human Crown is a sign of things to come and they exploit its very open potential and prowess.

Human Crown is available now @ https://theunbroken.bandcamp.com/releases

https://theunbroken.band/   https://www.facebook.com/theunbrokenofficial    https://twitter.com/theunbrokenrock

Pete RingMaster 07/02/2020

Copyright RingMasterReview: MyFreeCopyright

Dog Tired – The Electric Abyss

The metal world has never been majorly short of striking and often influential bands from Scotland and adding to that list of potent protagonists is Dog Tired. They are not newcomers as such having emerged in 2004 and have earned a strong reputation and loyal fan base for their riff driven metal but with new album, The Electric Abyss, they have revealed themselves ready to step into a far larger spotlight.

Hailing from Edinburgh, Dog Tired are described as “Merging the relentless brutality of Gojira and Entombed with the riff orientated assault of Pantera and Metallica.” It is a fair description for the band’s multi-flavoured metal but only hints at its voracious sound and presence. At times across their quartet’s latest release, it is a proposition which involves the familiar with their own imagination but persistently comes through speakers with a character and freshness individual to Dog Tired.

The Electric Abyss opens with its title track, the song looming out of sonic electronic mists with dark ominous shadows behind a foreboding breath. In swift time heavy ravenous riffs laid down their claim on an already eager attention, as quickly erupting in a predacious contagious stroll as rhythms equip the emerging track with their own imposing bait. The grouchily throated vocals of Chris Thomson in turn make for a vociferous incitement, growling across the wiry exploits of guitarist Luke James and the virulent rhythmic trespass of bassist Barry Buchanan and drummer Keef Blaikie. It is a persistent and rousing nagging which only proves more persuasive as imagination brings greater twists and richer atmospheric intimation.

It is an outstanding and impressive beginning to the album and never relinquished favourite track honours but harried for that positioned across The Electric Abyss and quickly proven by the following Flesh Church. Its visceral trespass is bred on a mix of death and groove voracity, everything slightly less urgent than within its predecessor but just as predatory and even more sinisterly emotive. There are moments when the track uncages its vigour but still there is a dark restraint which only helps thicken its lure before Dagoth’s Nine accosts the senses with its creative animus. Grooves and indeed vocals in part have a harmonious toning which escalates the inherent catchiness of the pugnacious assail escaping the craft and invention of the band.

Beyond The Grave provides the best beginning to any track within the release, its rhythmic incitement within almost perniciously alluring waves of sonic intimation pure temptation and only escalated as the bass unfurls its bestial and virulent provocation. The track’s expanding prowl continued to seduce from under the skin; its addictive lures and feral snares quickly and insistently compulsive as Thompson’s barbarous tones prey on song and senses alike as another major moment within the album is discharged,

The melodic elegance and calm of Aeon provides a magnetic respite and seduction from the voracious darkness before and after it, the instrumental a beacon in the surrounding storm which returns with almost carnal relish within Lord Of The Vile. From its deception of atmospheric tranquillity if one embracing dark whispers and portentous intimation, Slayer-esque riffs erupt as rhythms venomously pummel. Immediately a viral contagiousness invades ears and appetite, the outstanding track swinging and savaging with insatiable intent and zeal; as throughout the release individual craft uniting with collective imagination and invention.

Both 1968, with its carnivorous stalking of the senses amidst a blackened hue as crawling riffs court ravenous grooves and vocals, and the primal gait and breath of Hunter’s Moon left little for ears and pleasure to want for, the first of the two especially inspiriting with its successor a full and riveting adventure all on its own as its instrumental landscape, lined with a slight Celtic lit intimation, twists and turns with rousing and potent effect.

Kingdom brings the record to a close, the final track another slab of animated and invigorating skill and enterprise leaving this listener welcomingly harassed and aroused. It is a song summing up the craft and invention of Dog Tired and the thick textures and varied nature of their sound within a recognisable yet individual extreme metal tempest.

As much as The Electric Abyss made a potent mark first time around it was with subsequent plays that it truly blossomed into one of our favourite metal onslaughts of the year; give it time and it could be yours too.

The Electric Abyss is out now; available@ https://dogtired.bandcamp.com/album/the-electric-abyss

http://www.dogtiredmetal.com/   https://www.facebook.com/dogtiredmetal   https://twitter.com/dogtiredmetal

Pete RingMaster 27/09/2019

Copyright RingMaster: MyFreeCopyright

Promethium – Revisions

Exploring the acoustic soul of their songs is a venture which few metal bands undertake or at least publically share but one that UK metallers Promethium has embraced. The spark to that exploration came in 2017 when the band was asked to play an acoustic slot at SOS Festival. Such the enjoyment band and fans shared it led to enquiries about an acoustic album and now two years on we have the seriously captivating Revisions.

The album features a collection of reworked tracks from the Lancaster quintet’s three albums and two EPs; songs which have shed heavy metal bodies to unveil their acoustic hearts through the prowess of vocalist Steven Graham and guitarist Daniel Lovett-Horn. Those familiar to a sound bred on inspirations ranging from Black Sabbath and Pantera to Metallica and Megadeth know it is a redoubtable and rousing proposition but one Promethium reveal a new depth and a fresh voice and power to tracks which have already left a potent impact.

Revisions opens with Tribute To The Fallen and as Lovett-Horn’s guitar coaxes ears and attention already there is a new sense of drama and intimacy to one of Promethium’s most compelling songs. Once Graham’s earnest tones join in, the track resonates in craft and emotion simultaneously revealing a new strength and depth of melancholy to immerse in.

Further new shades and aspects in the familiar characters of songs continue to be unveiled as the likes of Shellshock and Enemies Fate step forwards to equally enthral; the melodic hearts of all beacons in the dramatic arms of sorrow and reflection as echoed by the touchingly relatable intimacy of Nothing and the broader apocalyptic reflection of 20, 21, 15.

The following Visions features the guest vocals of Hannah Morris, her siren tones easily luring ears and imagination onto the mournful rocks of Graham’s voice and words. It is another gripping and powerful moment within Revisions joining every song in providing a majorly absorbing moment as shown again and again by the addictive likes of Murder Inc, Crashing Down Pt2. Reflections and Rain.

Sons Revenge completes the release, it too a piece of fascination as the craft and emotion of Graham and Daniel Lovett-Horn further highlights the strength and power of the band’s songwriting  whilst bringing new aspects of fear, heart, drama, and potency to tracks which have generally already proved striking propositions.

Revisions is for sure a must for all Promethium fans but equally a real pleasure for all with the appetite for powerful songwriting, melodic and emotional intensity, and creative dexterity.

Grab your copy of Revisions now @ https://www.promethiumband.com/shop

https://www.promethiumband.com/    https://www.facebook.com/Promethiumband/    https://twitter.com/promethiumband

Pete RingMaster 05/09/2019

Copyright RingMaster: MyFreeCopyright

All the means TO AN END

With a persistent taste for Australian metal in any guise we recently had the pleasure to check out Melbourne outfit To An End, talking with guitarist Matt Turner and vocalist Al Gammie about the band’s origins, their current album, opportunities and much more…

Hello and thanks for taking time out to talk with us.

Can you first introduce the band and give us some background to the beginnings of the band?

(Matt)To An End comprises Al on vocals, myself on guitar, Yiorgs on bass and Shane on drums. The band initially began as a project where myself (Matt) and Al wrote all of the songs and completed a full album studio recording. Then, it was easier to find band members once the album was completed and we could show people exactly what we were all about.

Were you involved in other bands before? If so has that had any impact on what you are doing now?

Each member has been in various bands over the years but we really feel like this is the band we have been waiting for. We can’t wait to get our songs out as far and wide as possible! This band has elements familiar to each member, but is quite different if compared to our previous bands side by side.

What inspired the band name?

The name was one of many for consideration at the time. It was quite difficult to find something that firstly, wasn’t already taken and secondly, sounded good and was decent as a logo. We think ‘To An End’ ticks the boxes!

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

As the band started out as a project it was really a matter of just starting the recording process and seeing where it would all end up. There was room for genre jumping and just having fun with it. Once the album was done, we were absolutely certain we needed to be an active band playing frequently…and here we are!

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

Given we all have a history of playing in other bands and we aren’t too ‘fresh-faced’ anymore ha-ha, the band is definitely serving our passions and we are driven to make sure it’s fun for us and our fans. Anyone who comes to see us live will see all of that translate on stage!

Since those first days, how would you say your sound has evolved?

We just released our debut album in November 2018 so we are still promoting that. In the background we are writing and doing demos for another album which we are excited about. There will be evolution and only time will tell to see where it all ends up.

It is an organic exploration within the band sound wise or you setting out to try new ideas etc.?

We are flexible musicians, so I think we’ll always have a mix of melody/heavy and soft/loud over the course of an album. There will definitely be some more evolution and experimentation for the next album.

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

Our individual music tastes range from Journey, Pantera, Glassjaw, Faith No More, Tool, Slayer, Meshuggah to 80’s rock to death/black metal. As a band, we feel we’ve been influenced by heavy music with melody so there are elements of Metallica, Killswitch Engage, Stone Sour, Sevendust and Disturbed. Personally, I’ve always gravitated towards song writers and great riffs so my heroes are Metallica, Pantera, Lamb of God, Alice In Chains, Tool. Way too many to mention though!

Do you have a particular process to your songwriting?

The songs will usually start as a completed demo and then we let the song evolve naturally in the rehearsal room with all of the individual personalities and play styles shining through.

Please give us some background to your first album?

We think we have a great collection of songs on the debut album Redefine and there is certainly something there for everyone whether you are into rock and/or metal. We have some heavy songs like our single Wasteland, plus Hear No Evil which features a killer guitar solo from Christopher Amott (formerly of Arch Enemy) to more rocking songs like Fracture and Left Untold. There is also a piano/acoustic song as well that closes out the album.

…And an insight to its themes?

(Al) The instrumentation and feel of the song really dictates to me where I need to go lyrically and I feel we covered a lot of different ground on the album. There are songs like Fracture and Wasteland – the world is becoming more and more confusing, turbulent and extreme – I wanted to remind people that they have a voice and need not conform. There’s the horror film-inspired Out Of My Hands which touches on violent imagery, although is tongue-in-cheek also. Of course there’s plenty of pent up aggression to express throughout, and the personal moments like From Grace Until Demise and Collide are where I can get deeper and more sombre rather than just yelling in key!

You talked about demos in the songwriting process, so you a band which goes into the studio with songs pretty with their character set or prefer to let it develop as you record?

(Matt) We’ll go into the studio fully prepared and ready to go. I think being well rehearsed is key, given studio time is costly. Plus the more efficient you are in the studio, the more chance you have trying a few ideas on the fly.

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

With our live show, we aim to be tight and on point musically but not at the expense being too clinical in our playing and not enjoying ourselves. We hope that the crowd enjoys our music as much as we love playing it. That back and forth energy is contagious.

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

Whilst the heavy music scene in Australia would be considered to be small in relation to the US and Europe, there are super dedicated fans who are enthusiastic about the scene and music in general. I think it is hard for a new band to make a mark no matter what, but we are fortunate to be located in Melbourne where there is a thriving live music scene and plenty of opportunities to play in front of new people. We also love playing regionally and interstate where there are always people willing to come out and support local music. Every band was local at one point, so we are more than happy to get out as much as possible and we are fortunate to team up with other amazing bands to put on local shows.

How has the internet and social media impacted on the band to date also? Do you see it as something negative or positive overall?

The internet and social media has allowed a low barrier to entry to get music out to people however, the challenge is navigating through such a crowded space. It is difficult to break through it all however I think the positives outweigh the negatives. As a new band we are able to share our videos, live clips, our album, photos, interviews, reviews etc. at the click of a button which allows us to connect with fans really easily. I would say determining a bands worth through how many Likes they have and dismissing a band just based on a particular number next to a thumbs up icon is unfair….but it is a reality. We think that the connection to the fans is the most important thing and we’ll just concentrate on being the best band we can be within our control. Hopefully when people hear our music we’ll get inundated with all those Likes ha-ha!

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

We just want to say thanks for the support and opportunity for chatting with us and hope your readers will check us out on all digital platforms (Spotify, iTunes, Google etc.) just search To An End Redefine. Also, you can check out the video to our debut single here: https://youtu.be/KodUFu2shKw

More details available at our Facebook page and https://toanend.com/

Questions Pete RingMaster 04/05/2019

Copyright RingMaster: MyFreeCopyright

RingMaster Reviews Interviews – Terraborn

Pic by Greig Clifford

For those who may not know who you are, introduce yourselves quickly.

Terraborn (Melodic Death Metal) based in Sussex, UK

Describe your sound in as few words as possible.

 Post-Apocalyptic Soundtrack of Destruction.

Who are your three biggest influences as a band?

 Lamb of God, Pantera, Parkway Drive

What’s the meaning behind your band name?

 It means “Born of the Earth”. Mainly fitting in with the post-apocalyptic theme

How did you approach your latest release, the ‘Call to War’ EP, in terms of writing and recording?

Mainly through collaboration at home for the writing process with most of the music written by Dave (Guitars). All of the EP was recorded, mixed and edited by ourselves (with the exception of live drums) and fully self-produced using Andy (Guitars) home studio setup

Do you have any personal favourite songs on the release?

Our favourite tracks from the EP are the title track ‘Call to War’ and ‘Nations Wake’

Explain the meaning behind the title.

 Call to War! – Rallying the troops for battle.

Describe the concept of the video.

Trying to bring the Chaos behind our live performances into a video…Lots of lights, glitches, flashing, sci-fi type feel!

How does it tie in with the themes around the song?

Yes, calling on our soldiers to join the cause and fight for survival

Was it fun to shoot or did it prove to be quite a challenge?

Very fun, with access to a lot of hi-tech kit, an array of 4K HD cameras, HUGE screens, crazy lighting rigs! – As with any video though when you have performed the song 100+ times it wears a little thin!!

Do you have any live dates lined up at present?

Friday 2nd August at the Facebar in Reading (Supporting Rammlied – Rammstein tribute), Friday 1st November at the Crown in Littlehampton (Headline)

What are your favourite songs to perform live?

‘Hypocrisy’, ‘Nations Wake’.

What are the best and worst shows you’ve played to date?

The Best: Mammothfest 2016, M2M final Brighton 2017. The Worst: The Hub Brighton (horrendous sound issues!!)

If you could open for anyone, who would it be?

Lamb of God

Any comical stories from your time as a band you can share with us?

A Seagull stealing, and swallowing whole our bass players battered sausage outside of Sticky Mikes in Brighton, and our Guitarist (Dave) having to run out of the car at traffic lights in a one way system approaching Reading as he needed to pee, for us only to realise afterwards he had left his phone in the Car and was subsequently lost in the middle of the City with no way for us to contact him!

What’s the plan for the rest of 2019?

Promoting our video release and continuing the writing process for our album which we hope to get into the studio to record later this year – with a few live shows thrown in to keep us on our toes of course!

https://www.facebook.com/terrabornband/

Questions by Elliot Leaver

 

Hitman – The Offering: Side 1

With their sights unerringly on giving heavy rock and metal fans a rousing sound to erupt with, Canada’s Hitman release their third EP in the shape of The Offering: Side 1. With Side 2 scheduled for release next year, the first four track encounter is an attention grabbing slab of stoner metal ferocity blended with classic and fresh essences of rock and metal. It is a mixture which has a familiarity as potent as the individuality it breeds and most of all a concoction which incites thick enjoyment as neck muscles keeps busy and the body bounces.

Hailing out of Halifax, Nova Scotia, Hitman emerged in 2011 and has earned a fine reputation for their sound, releases, and a voracious live presence.  The band was the brainchild of drummer Sylvain Coderre who linked up with long-time friend and vocalist Jordan Rose initially before the duo were joined by bassist Andrew Coutts. Subsequently the line-up was completed by guitarist Corey Norman. 2013 saw the release of debut EP, Whiskey Downfall; its successor, The Preacher, dropping the following year and sparking even greater awareness and praise of the band with a re-release in 2015. All the while gigs and festival appearances escalated their reputation; headlining the Maritime Metal and Hard Rock Fest in Nova Scotia and playing the Warped Tour in New York in 2016 major highlights. Now the band is aiming for broader attention with The Offering; intent easy to see breeding success.

 Their inspirations are said to include the likes of Black Sabbath, Corrosion of Conformity, Clutch, Pantera, and Down; influences you could maybe guess listening to the new EP. They are spices though which adds to its potency rather than defusing its individuality. You can debate whether it makes for a sound which is unique enough to make a truly major impact but as release opener Curtain Call proves it all makes for one seriously appetising proposal commanding attention. The first track initially unleashes a defined rally of beats which swiftly sparks grooved tendrils and rapacious riffs aligned to a great bass grumble. There is equally a grainy growl to the vocals of Rose which in turn ignites an even more potent snarl to the already captivating proposition. Short but a sweet snare of rock ‘’n’ roll with a sludge hued spicing to its stoner liquor, the track quickly and increasingly had ears and appetite gripped

There is no dismissing those Pantera/Down essences to the track though in some ways its heavy rock drawl reminds of now demised Northern Irish band Triggerman while the following Under The Weight openly wears its Sabbath influence especially when it makes its punchy entrance, rich riffs to the fore. Intoxicating grooves are swiftly woven as beats land with creative zeal, the track a magnetic web of enterprise where maybe surprises are understated but the freshness of sonic and melodic endeavour is all 80% proof fresh.

Next up, Nero is grooved entangled rock ‘n’ roll also proving very easy to be hooked upon, the track an inescapable lure of flaming guitar, bass predation, and vocal enticement. Its blues lining and sonic sighs add sonic firewater to magnetic rhythmic temptation, tempting escalated by the smouldering grizzled grouch of the bass and Coderre’s irrepressible exploits.

Enchanted Wizard/ Hail The Outro bring things to a close, its wiry tendrils leading to a hellacious outcry before once more grooves simply entwine and seduce ears. Classic metal instincts dance on the senses before the band springs a stoner bred canter, all the while embracing and evolving things with those initial essences and perpetually lighting up the imagination and the intensity of the pleasure found in the exhilarating tapestry.

It maybe only four tracks but side 1 of The Offering is a rich and thick morsel of rock ‘n’ roll. It may not be overtly unique but it is mightily damn good and we for one always have a hankering for that kind of sonic intoxicant.

The Offering: Side 1 is out now, available @ https://hitmanhalifax.bandcamp.com/

https://www.facebook.com/Hitmantheband   http://www.twitter.com/hitmanhalifax

 Pete RingMaster 24/09/2018

Copyright RingMaster: MyFreeCopyright

Gutlocker – Cry Havoc!

It is a release which has no qualms in punishing the senses and venomously attacking the psyche with its irritable and grievous intent; an encounter seemingly hell bent on leaving charred remains behind in its vicious sonic wake but it is hard to return that enmity when every twisted trespass and grievous throe inflicted leaves you hungry for more. The perpetrator of that creative animosity is the Cry Havoc! EP from UK sludge punks Gutlocker, a quartet of visceral noise and groove breeders which you may fear liking but find no other option available.

Born and bred in darkest Woking, Gutlocker emerged in 2012 inspired by the likes of Pantera, Mastodon, and Lamb of God and have since gone on to share stages with the likes of Trepalium, Evil Scarecrow, and Raging Speedhorn among others and made a reputation enhancing appearance at Download. We will be honest, Cry Havoc! is our long overdue introduction to the quartet of vocalist Craig McBrearty, guitarist Peter Tucker, bassist Ben Rollinson, and drummer Dean Walker but possibly the perfect moment to be infested by their sonic animus.

The release opens up with Bitter Memory and immediately devours the senses with predacious riffs, merciless rhythms, and the vocal individuality of McBrearty. His rancorous tones twist and squirm by the syllable, a trespass as magnetic as the tempest of sludge metal bred sound around him. Grooves invade and beats rupture as the track parades its grudge carrying enterprise, a raw irritation spawn incitement which crawls deeper under the skin by the minute with its multi-flavoured sonic antipathy.

The great start evolves into the equally violent and compelling No Burden, a matching cauldron of hellacious noise and emotions cast in its own individual likeness. As in the first, there is a great hardcore insurgency lurking in the lining of the track’s prowl and adding to both the songs’ continued blossoming listen by listen.  Unpredictability similarly adds to their prowess in music and voice if not to the same heights of our favourite track within Cry Havoc!

Stuck is simply superb, a web of creative deception and ingenuity never going where it suggests or expectations assume. Straight away it is weaving with cunning devilry and with vendetta in its veins, swaying away like a Pantera coaxed cobra as McBrearty spills his bad blooded venom. Captivating in seconds, addictive soon after, the track just outdoes itself minute by minute as guitars and bass collude in predacious imagination, its pinnacle coming as a bass and drum swagger ignites a manipulative noise rock discordance as fully catchy as it is unexpected.

As great as the other three are, the track steals the show but not before being worried by closing encounter, Welcome to Fucktown. As those before, it stalks and crawls over the senses sharing rancorous breaths and malignant invention matched in kind by the vocals. There is tension in every note and second, malice too especially oozing from McBrearty’s throat and heart, it all going to make the final song one fearsome but captivating incursion.

Uniqueness is still a relatively rare find within modern music but Gutlocker have a good handle on it already and are on the path to making it a key weapon.

Cry Havoc! is available now through most online stores.

https://www.facebook.com/gutlockeruk

Pete RingMaster 24/04/2018

Copyright RingMaster: MyFreeCopyright