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

Nale – Death, Skulls, Satan

Driven by infection loaded scowls, hungrily rousing sounds, and rock ‘n’ roll roars, Death, Skulls, Satan is one of those encounters you not only want but need to set the day swinging. The second album from Swedish outfit Nale, it is a rowdily explosive, physically manipulative stomp echoing by all accounts the band’s renowned live energy and prowess.

Formed in 2007, Stockholm hailing Nale released their self-titled debut EP that first year with its successor, From Shit to Salvation uncaged two years later. Critical acclaim met the band’s first album in 2012, Ghost Road Blues recorded with producer Lawrence Mackrory (F.K.Ü, Darkane). The Zombieland EP since has only pushed their growing reputation as too a potent live presence which has seen the band playing the likes of the Getaway Rock Festival, Sabaton Open Air Festival, and Wacken Open Air as well as headlining their own tour in India. Death, Skulls, Satan is Nale’s fusion of rock and metal in full holler and at a whole new level of adventure and persuasion, one of those encounters you just cannot tuck away and move away from.

Slither kicks things off, immediately gnawing and inflaming the senses with its instinctive swing and prowl. Voracious rock and grooved metal unite, riffs harrying and rhythms biting as the track rips through ears. There is a great Static X essence to the Pantera meets King Hiss like song, more so from the vocal contagion of Mathias Blom and a flavouring which pursues the appetite across the multi-hued release. The track continued to writhe and trespass, quickly getting under the skin and thereon worming itself deeper by the second.

The excellent start is forcibly backed by the raw and concussive antics of Filth, the track a predacious confrontation crawling across the senses with ill-intent in its devilry. A touch of Devildriver lines the beast, the song almost leering and drooling over the listener with its nagging riffs and salacious grooves; guitarist Tomas Åkvik laying down sonic pheromones. Its primal temptation moves over for the blues lilted, stoner dusted Dead Man’s Song. As its predecessors, it is a web of grooved and rhythmic tenacity merging the familiar with wholly fresh imagination and invention. It did feel the least original proposition within the album yet it certainly emerged as one of the most captivating.

The album’s title track is contagion, feral rock ‘n’ roll as irritable as it is virulent with Blom a rascal ringleader to the inescapable rhythmic swing of drummer Anders Ljung and the snarling mischievous bassline of Johan Risberg. With Åkvik similarly whipping up spirit and imagination, the track is superb leaving the body breathless and spirit elevated ready for the heavy weighted arousal cast by Exit. Ljung pounds the senses like there is no tomorrow but with purpose and craft whilst Risberg’s bass growls with carnivorous intent. Riffs in turn match its antipathy as Blom crawls over the damage caused; the united proposition another fiercely catchy intrusion with a tinge of Powerman 5000.

Blues and muscle strung hard rock colour the following No Escape, it another adrenaline driven, inventively woven escapade while for fifty odd seconds Drive power drills into the senses with punk discontent and grooved metal toxicity. It is a glorious assault just far too short though its lack of length is more than compensated by the ear entangling, groove twisting seduction of The Black. Dark and sinister, the track writhes over the listener fingering every weak spot until submission like a flirtatious grim reaper.

Hell’s Wrath has the body back bouncing within seconds after, rhythms and grooves alone enough to spark eager participation with Smasher after leading the imagination into dark contemplation. The first just barrels through ears with its voracious rock ‘n’ roll whilst the second takes a more considered attack weaving an array of flavours into its tapestry of temptation.

Final track Pigs mixes both assaults, flying at the senses at times and stalking ears in between but all the time teasing and inflaming an appetite for bruising rock ‘n’ roll. It is a fiery conclusion to an album which ok maybe lacks true uniqueness at times but excites ears and ignites the spirit from start to finish.

Death, Skulls, Satan is out now via Black Lodge.

http://www.naleband.com/   https://www.facebook.com/naleofficial/   https://twitter.com/naleofficial/

Pete RingMaster 29/03/2018

Copyright RingMaster: MyFreeCopyright

Animosity Kills – Severance

Pic: Tom Robert Wold

Well over two years ago, Norwegian outfit Animosity Kills stole attention with their first EP, Manipulative. It offered up a rousing mix of heavy and thrash metal, a fusion nurtured in the influence of bands such as Metallica, Iron Maiden, Pantera, and Testament but as fresh and bold as it was familiar. It was fuelled by inescapable potential and suggestion of bigger, bolder, and more individual things to come; a suggestion more than partly realised by the band’s debut album, Severance.

It is probably fair to say that the Bergen hailing quintet still has some way to go to find their truly unique sound and character but with releases like Severance there will be no irritation at the wait. The eight track release is a magnetic beast of a roar with songs which just glue to the memory as greedily as they do ears. Formed in 2013, Animosity Kills boasts a three-pronged guitar attack all geared to stir up the listener in body and spirit; an intent as forcibly and inventively matched by the band’s rhythmic enterprise. Manipulative was an ear catching introduction to Animosity Kills; Severance evidence of a band destined to be further widely embraced.

The album opens with Black Death, gently luring in the listener with an opening melody. It is soon backed by a towering wall of riff and rhythm, one still controlled but swiftly springing a ravenous charge of raw riffs and rhythmic biting. Its thrash instincts are to the fore, driving through ears as eagerly as the swinging incitement of drummer Eirik Nilsen and the brooding tone of lead vocalist Erik Lindelid’s bass. With an underlying rabidity to its charge and a predacious restraint to the invasive bait of guitarists Stephan Høgtun, Rupert Notøy Rødland, and Mats Bruland, the song tempts and teases in between ravaging the senses, promising more ferocity than it unleashes but benefitting in that manipulative suggestion.

It is a potent and enticing start Dead On Arrival continues with its bristling and irritable but fiercely infectious attack. Leading up to its virulent chorus, the song commands eager attention but grabs it like a puppeteer with a focal point which has neck muscles and fists as involved as vocal chords. Around that beast of a chorus, the guitars weave a web of enticement as rhythms again prowl and pounce with anthemic prowess, the track real evidence of the band’s growing and evolving sound whilst stirring up the senses and attitude with prime thrash volatility.

The following Lord Of Darkness looms over ears from its first breath, riffs and grooves colluding in thick enticement as rhythms firmly rap the senses beside Lindelid’s vocal growl. As it grows, the song twists and turns, the guitars weaving individual and united resourcefulness with almost lusty appetite as beats and bass continue to bring threat and intensity to the inescapably catchy challenge.

Its success is swiftly matched and eclipsed by that of Thermic Vision, a track which instantly gripped personal appetites with its snarling opening riffs and a gnarly carnivorous bassline to drool over. Captivating grooves entwine the dark intent and temptation, the rapacious edge to Lindelid’s vocals adding to the alluring menace of the song. Its thick thrash nurtured riffs are an equally predatory incursion aided by the thick slaps of Nilsen’s beats, it all together creating a track as sonically stylish as it is barbarously intrusive around a volatile heart.

The album’s title track is next, instantly pulling ears into its torrents of compelling riffery and pummelling rhythms with an addictive touch which seeps into the following Pantera scented prowl of voice and song. It is a predacious trespass broken by Metallica-esque twists and flames of metal varied rock ‘n’ roll, groove and alternative traits among many. With a mouth-watering hook which infests the psyche, the song grabs a thick urge of participation before Revolutionary Suicide saunters in with a feisty and imposing swagger. From its first breath it swings as it harries the senses, its contagious instincts complimented by a more composed but just as tempting exploration which leads to a mercurial passage of melodic and progressively scented enterprise.

The mighty Ballistic was a major treat on the band’s first EP and again hits the spot with its grooved entangled rock ‘n’ roll. With something of Grumpynators to its virulent swagger and ravenous swing, the track is a quickly addictive incitement which only escalates its individual lures and united contagion by the groove, rhythmic swipe, and vocal snarl.

Invictus completes the release, its opening riffs preying on ears and appetite with a predatory intent before taking it into its blossoming prowl of thrash discontent and heavy metal fire which in turn expands into melodically cast suggestion amid bolder adventure. Though the song did not grab as vigorously as others, its enjoyable individual endeavour suggests a sound already evolving with an imagination to really anticipate ahead.

Certainly Animosity Kills has a sound which is not the most unique but as Severance declares in a roar which leaves ears richly pleasured, it has freshness and potential which is only heading in one direction.

Severance is available now @ https://animositykills.bandcamp.com/album/severance

https://www.facebook.com/AnimosityKills/    https://twitter.com/AnimosityKills

Pete RingMaster 08/03/2018

Copyright RingMaster: MyFreeCopyright

Promethium – Faces Of War

There is nothing better than hearing, release by release, the growth of a band in craft and sound especially when their potential is realised step by step whilst offering plenty more promise to be anticipated. Such has been the case with British metallers Promethium, a band who has openly blossomed record by record and now breaches a whole new plateau with Faces Of War.

Creating a sound merging old school with modern rapacious flavours, Lancaster hailing Promethium formed in 2007. Inspirations to the quintet included the likes of Black Sabbath, Metallica, Megadeth, and Pantera, essences still colouring a sound today which is as individual to its creators as you would wish. Quickly releasing their first EP, The Revenge, it was in 2009 and with debut album, Welcome to the Institution, that the band grabbed our, as so many others, attention. It was a raw yet accomplished introduction rich with that earlier mentioned potential brought to some fruition in its successor Origins four years later. As it built upon its predecessor’s strengths, so Faces Of War builds upon the second album but with a far more dramatic impact in songwriting to imagination to craft.

A concept album with each song offering a different perspective to war, the album launches at the senses with opener Enemies of Fate. A portentous sonic tone lures a march of riffs and rhythms into view with grooved armoury in its midst as vocalist Steve Graham swiftly joins the attack. It is a composed assault though, the band almost sizing up the listener rather than going at them full charge, providing a healthy mix of intrigue and predacious intimation. In no time guitarists Dan Lovett-Horn and Rossi are weaving a transfixing tapestry which is more than matched by the great vocal backing unity between Rossi and bassist Henry Greenwood; just two aspects in the inescapable maturity and growth in the band’s sound already being unveiled.

The outstanding start is followed by the similarly impressive Declaration. From its initial grooved trespass and Graham’s earnest calls, the track just wormed its way under the skin. The swinging strikes of drummer Kev Yates potently stir the senses, their rapacious incitement aligned to the groaning contagion of Greenwood’s bass as again a great maze of sonic enterprise is cast by the guitars with Curran Murphy guesting with a flavoursome solo. Drops in intensity brings spoken words from Nev Jones as Graham croons, a fluid twist which subsequently sparks a roaring finale before the outstanding P.O.W steps forward with its own dark clouds and intent. Grooves and rhythms instantly collude around vocals as an irritability fuels the nature of the track, essences of those aforementioned influences to the band spicing the volatile air of the track.

A shadowed calm is brought in by next up Shell Shock, its atmosphere as claustrophobic as it is seductive. That reflection rich restraint intermittently erupts in a cauldron of turbulence and emotive turmoil yet all the time guitars continue to weave a suggestive web of melody and predation. It is another gem and though only four songs in fair to say Faces Of War had us firmly hooked; a grip only tightened by 20,21,15 and its wirily grooved stroll. With Barry Mills sharing vocals with Graham across the song it boils with sonic dexterity while rumbling with rhythmic manipulation.

Such the massive heights of the first half of the album maybe it is inevitable that the task of living up to what came before slips up meaning personal tastes are not always stoked up as rigorously yet everything about Turncoat, from its vocal mix and rousing rhythms to sonic invention, is an ear grabbing proposition. It just misses some of the major sparks of its really striking predecessors.

As soon as the grooved webbing of Stolen Valour wraps ears straight after appetite was back to greedy, guitars and rhythms almost dancing on the senses with their snarling and badgering enterprise as again a vocal blend simultaneously entices and harries. With every passing minute the track simply blossoms as it evolves, harmony loaded vocals and creative unpredictability fuelling its compelling arsenal of invention. Another candidate for best track it is swiftly followed in matching captivation by Final Solution, itself an almost deceptive proposal being as intimidating and predatory as it is invasively infectious.

Featuring one of our favourite guitarists in Jay Parmar, Kill on Demand is one of those rousing anthems which have thoughts and spirit as eagerly active as the body. Led by the crunching beats of Yates and the brooding tones of Greenwood’s bass, the track is a magnetic fusion of old school and current ferocious metal shaped by the ever imaginative work of Lovett-Horn and Rossi and capped by the stylish raft of Parmar.

The album closes with its title track, another rigorously catchy and aggressive creative raid warlike in its tone and galvanic in its character. Epitomising the fresh strength and guile not forgetting that real maturity in the band’s sound, the track is a masterful conclusion to one mighty fine release.

Promethium and their sound just go from strength to strength, in turn so too pleasure. Yet there is still the feeling that they are yet to hit their full potential which considering the sheer unrelenting  quality of Faces Of War is something to keenly anticipate.

Faces Of War is available now @ https://www.promethiumband.com/product-page/faces-of-war

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

Pete RingMaster 12/02/2018

Copyright RingMaster: MyFreeCopyright