Potergeist – Crocodile Teeth

Potergeist 1

The lure of a southern blues swamp is unleashed once again by Greek band Potergeist through new album Crocodile Teeth, and once more ears are treated to a contagion of dirty uncompromising rock ‘n’ roll which is as unique as it is familiar. The band has a sound which even with constant evolution across releases has a recognisable presence but comes as something undeniably individual to the Athens quintet. As the new album shows it is fresh and it is invigorating, and one thoroughly enjoyable stomp.

When forming in 2004, Potergeist had a more straight forward Kylesa /Down like southern metal sound as evidenced on debut album Southwards two years later. By the time of its successor Muddy Mermaids in 2012, the band’s sound had got harder and more aggressive whilst delving into the darkest depths of blues. Tagged as swamp metal by the media, the Potergeist sound was matched in progression by the attention given them and a live presence seeing the band share stages with the likes of Lynyrd Skynyrd, Monster Magnet, Pro Pain, The Haunted, The Shrine, Kylesa, and Paradise Lost. The outstanding Swampires unleashed its swamp toxicity in 2013, Potergeist’s third album darker and more voracious in sound and presence again. Though not outgunned in attack and ferocity, fair to say Crocodile Teeth takes the Potergeist sound to yet another depth of quality and invention.

Feeling as intense and intimidating at times as the last release the Peter Rutcho (Falling in Reverse, Revocation, Bury Your Dead, Havok, Seemless, The Ghost Inside) produced and mixed Crocodile Teeth reveals the band’s fullest and rounded sound yet, settings its stall out in the brief intro Swamp Muse Summoning before going for the throat straight after with its title track. Riffs and rhythms are an immediate barrage and temptation backed by a quickly emerging tangy groove. It is the first bait to the sturdy stride of the song quickly accompanied by the grizzled tones of vocalist Alex S Wamp. He is soon showing the great prowess of his grouchy and clean tones as guitars and bass cast their own intimidating and dynamic enterprise. There are no major surprises in song, or indeed album, yet as suggested earlier there is freshness and distinctive essence which ensures this is no run of the mill metal or Potergeist offering.

Crocodile Tears Artwork   The following Visit From A Swampire canters in on an infectious swing, riffs as rampant as the energetically skilled swings of drummer Tolis Toleas whilst grooves are as fiery as the melodies and solos which breed throughout. The track easily has body and emotions involved in its anthem as does What Then which comes next. The song is a touch more restrained in aggression and energy initially, but soon a bracing canter of raw riffs and rapier like rhythms entwined in the spicy grooves and bluesy melodic hooks of guitarists Nick XP and Stratal. Complete with an irresistible swagger, the song keeps things boiling over before in turn making way for the southern metal drawl and heavy rock brew of Truth. The track begins with the same groove the previous song left on but is soon sculpting its own tenacious and aggression roar. There is a touch of Crowbar in some ways to the song as the bass of Kostis Vihos brings a predatory proposal against the as dramatic but more welcoming vocals and sonic adventure cast elsewhere.

Atonement takes over next and is soon spreading a weave of southern rock inspired melodic spicing around the ever formidable and engaging rhythmic strength of the Potergeist sound. Featuring guest backing vocals from Anna Stephanou, the song is a warm slice of blues rock ‘n’ roll equipped with a dark edged groove and a blaze of imagination around the constant lure of Wamp’s vocals.

Roaming ears with a thick stance of sinew swung beats and bestial riffs The Preacher And The Witch stalks the appetite next with its magnetic web of sound. Both Fotis Benardo and Penelope Anastasopoulou add additional vocals to the tapestry of sonic and melodic craft. It is a fine song if without the spark of certainly the early songs, though much is down to a big personal appetite for when Potergeist go hell for leather in their rock ‘n’ roll, and quickly over shadowed by the excellent Eve. It too is more reserved in its gait and coveting a more classic metal whisper to its body but moulds everything and more of the band’s potent enterprise into a pungent slab of anthemic persuasion.

The album closes with Last Punk Standing, a compelling bellow of a song aligning mellower melodic tempting with a rigorous snarl resulting in a dramatic and impressive end to another mighty offering from Potergeist. We will admit that the previous Swampires still has the steal on the passions but there is no denying that Crocodile Tears is the band’s most accomplished proposition yet and one of the most enjoyable and satisfying slabs of metal driven rock ‘n’ roll you will hear this year.

Crocodile Tears is available digitally now and on CD and Vinyl via G.O.D. Records

https://www.facebook.com/potergeist

RingMaster 08/06/2015

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

 

Cold Snap – World War 3

CLDS - 2015 Promo Pic - 600x400

It roars, it bellows, and it rages with all the spite found in a pit of venomous snakes, but most of all World War 3 provides a seriously mouth-watering treat to open up 2015’s metal offerings in blistering style. The explosive confrontation of Croatian band Cold Snap, the album is an imagination sparking tempest of groove metal infused with a very healthy dose of nu-metal and various other spicy strains of extreme provocations. It comes with slithers of familiar and recognisable moments and sounds which only add to the drama and pleasure found in its maelstrom of inventive and adventurous enterprise. If you are looking for your first bold purchase of 2015, then World War 3 is a major contender which will not disappoint.

Coming out of Varazdin, Cold Snap formed in 2003 and was quickly into their stride with increasingly impressing live shows which subsequently saw them play with the likes of Disturbed, Suicide Silence, Pro-Pain, Dead By April, Ektomorf and Unearth as well as playing festivals such as Metal Camp, Metal Fest, and Wacken Open Air. There has also been well-received releases increasingly pushing the band’s presence into broader attention, debut EP Mea Culpa of 3005 the forerunner of their albums Empty Promises and Perfection of 2008 and 2010 respectively. Following the departure of guitarist Vlado Soldatek last October, the foursome of vocalist Jan Kerekes, guitarist Leo Friscic, bassist Zoran Ernoic, and drummer Denis Roskaric has driven on with the release of the Tue Madsen produced World War 3 through Eclipse Records. It is an attention grabber from start to finish with the weaponry and ingenuity to awaken the attention and passions of metal fans around the world.

From the first breath of Straight to Hell, song and band are rampaging through ears and brewing up a keen appetite for what is on offer. Rhythms barge and riffs snarl over the senses, only stepping back slightly as the impressive vocals of Kerekes vent with narrative and eventful ferocity. Guitars and drums are soon back to throwing their muscles around though as the song flirts with essences of Mudvayne and Slipknot embroiled with those of American Head Charge. It is a formidable and addictively flavoursome mix given originality by the unpredictable invention and enterprise of Cold Snap. Raging and accusing as it opens up the album’s premise of looking at the ‘end of days’ we live in through every form of our lives, the song is a tremendous start swiftly emulated by the psyche revelry of Carnival. Exploring a (Hed) PE like fusion of groove and punk rap, the song smoulders with intimidating character, expelling furies of waspish grooves and sonic predation. It is a stunning encounter, stalking ears and thoughts with compelling craft and threatening intensity under the rhythmic slavery of Ernoic and Roskaric.

Friscic’s guitar is equally imposing and sonically inflammatory but even more skilled and adventurous within the following Rise Again and its Disturbed meets One Minute Silence stampede CLDS - 9038 cover - 1500of sound and enterprise. As in most songs, every passage and indeed moment comes with a subsequent twist in the flow and imagination of the incitement, here a sultry and tangy croon of guitar the respite in the tempestuous majesty of the aural protest.

The brief and warped rabidity of Unleash Me comes next to intrigue and excite as it leads the listener into the destructive heart of Monster, the unveiling of the danger portentously suggested in the first of the pair. The second track sways and challenges like a heady mix of Skindred, Devildriver, and Limp Bizkit, filtering their strengths into another uniquely gripping and seriously contagious storm of aggression and sound. Every second and aspect of the song ravages and seduces ears; stirring up even greedier appetite for the album, though that is something which applies to every track it is fair to say.

The much calmer atmosphere and thick provocative depths of Dead Guardian continues the diverse nature of the album, its sublime dark caress a gentle coaxing which increases in intensity and anger as the song proceeds to release its controlled but bile loaded roar. It relaxes again but only to start the compelling process all over again. With Kerekes increasingly impressive and extending the variety and adventure of his vocals, the track is a brew of enthralling emotions and antagonism leaving ears and thoughts engrossed and easy prey for the sensational brawl of Doomsday. Opening in a similar vein to how the previous song crooned the senses, it is soon a boiling vat of emotional hostility and raging sounds but psychotic enough to fluidly drop into deranged calm before a great bedlamic mix of various caustic styles. Another major highlight of the album it is matched by the might of Silent Killer, but only after the bewitching cyber haunting of instrumental Freedom has its moment to prey on the psyche and challenge the imagination. Silent Killer opens with riveting guitar bait before launching a Mudvayne seeded challenge vocally and sonically which in turn courts a rhythmic threat and anthemic tenacity spiced with Korn colouring. Again it has to be stated that for all the comparisons what emerges is something fresh, adventurous, and virulently infectious.

The final trio of songs all add to the increasingly impressive stature of the album, Court is Corrupted stepping up first with its venomously pungent bluster and creative rabidity. It is a growling provocateur, intent on enslaving the listener with bruising and vicious craft, something it definitely has no problem succeeding with. Chameleon seizes its chance next to rage across senses already softened elsewhere on the album. Juggling rhythms and rancorous vocals under a mesmeric sonic climate, it is soon throwing off its shackles to stomp belligerently and contagiously whilst establishing another pinnacle in the mountainous range of songs.

The closing My Emptiness unveils a final new twist in the album, its Palms whispered peace the calm before the storm of Machine Head hostility tempered by melodic metal tenacity. The song continues to shift and evolve across its eight minutes leaving ears blissful and thoughts captivated.

Wrapped in just as impressive artwork, World War 3 is a real treat from a band looking ready to stand boldly and confidently in the biggest spotlight of global metal.

World War 3 is available now via Eclipse Records @ http://www.eclipserecords.biz/brands/Cold-Snap.html

http://www.cold-snap.com/

RingMaster 13/01/2015

Copyright RingMaster: MyFreeCopyright

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KomaH: Between Vice And Virtue

   Komah - Press Pix

     If you are looking for something brazenly unique and innovative then Between Vice And Virtue the latest album from Belgian metallers KomaH will not exactly suffice your appetite but for insatiable groove veined hunger driven metal there are few better. Aggressive, powerful, and unrelenting, the ten track beast simply leaves no passion untouched or lifeless with its predatory voracious sounds.

Formed in 2007, the quintet of vocalist Leny Andrieux, guitarists Luigi Chiarelli and Greg Discenza, bassist Nicholas Brynin, and Jonas Sanders on drums, soon sparked enthused attention their way with debut album Straight Line, released in 2009. It was an album which took no prisoners but against the towering intent of Between Vice and Virtue confirms how strong and accomplished the band has become. Recorded with Charles Deschutter and produced by Luigi Chiarelli, the album also features guest appearances by Pro-Pain vocalist Gary Meskil and guitarist Adam Phillips on the track The King of Raptors.

The Brussels band takes mere seconds in seducing the ear, a serpentine groove squeezing tighter and tighter as it introduces openerKomaH cover The Birth. Once settled into its pattern of attack riffs carve their rich touch into the senses whilst rhythms scrambled synapses with their urgent and crippling punches. The coarse scowls of Andrieux squall within the devious web of grooves which entrance continually within the tempest of annihilatory intensity, and though the song switches its tact to tease and wrong foot it all goes to bring overwhelming pleasure to the listener. As mentioned there is nothing particularly new going on but you would be stretched to find too many songs or releases better or as irresistible in the area KomaH rampage.

      One After The Other and Breaking Horns continue the strong start even if with a less impacting presence than the terrific first song. Both tracks though are not content in sitting back and simply chewing on the ear with skilled violence, the band easily able to do so and keep the listener riveting for sure, but as in every song there are shifts in gait and direction which are imaginative and seamlessly crafted. A Humbling Experience is the perfect example, the song from its emotive piano start with the gravelly tones of Andrieux adding a coarse glaze to the melodic lure thrusting forth heavyweight carnivorous riffs and acidic grooves to devour with glees as spite drips off every note and syllable. It is a continually impacting song which brings a wealth of raw energy and breath taking persistence through creative and unpredictable craft.

The King of Raptors adds more devastation to the battleground raging welcomingly inside the senses and thoughts, its intensity gnawing with rabid eagerness whilst melodic sonic enterprise picks the bones of its victim with an equally intrusive lust. It is another magnetic aggressor which makes way for the equally mighty and compelling Last Way To Cerberus, a track which shows more restraint than elsewhere but still leaves exhaustion in its impressive wake.

The instrumental Beyond The Limits is in a way puzzling but equally exceptionally potent. The dramatic and epic sounding piece feels out of place where it is positioned, though you can feel a relationship to the beginning of its predecessor. It feels almost like an interlude with no real connection to the sounds around it but it is so impressive and emotively inciting with colourful imagery flying from its depths, that one feels as an opener it would have truly found its triumph.

Through the remaining likes of the raptorial Destiny Written In Blood and the senses burrowing feast of excellence The Hunt, the album just ignites the passions continually. It is a release you can immerse within knowing that every time it gives its all with the purest of heart and temptation. Between Vice And Virtue is a thrilling and thoroughly satisfying release which knows what it is great at and takes that to its most potent extreme. KomaH is a band you can only ever eagerly make time for.

http://www.komah.net

www.facebook.com/komahofficial

8.5/10

RingMaster 15/03/2013

Copyright RingMaster: MyFreeCopyright

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Grenouer: Computer Crime

When a band appear out of nowhere with a sound and release that makes one stop and pour full attention on its fresh and stirring body it simply lifts and re-energises the enthusiasm to continually search and listen to each and every new band that comes into view. Russians Grenouer is such a band though they are not really as such only fresh to these ears. The band itself has been a force in their country for many years but have yet to obviously make a truly striking mark outside of their homeland borders. With their excellent new mini album Computer Crime released via UK label Copro Records, they could turn the current interest from the rest of Europe into a much more powerful energy towards them.

Formed in 1992 the history of the band seems to be one of continual change or evolution going by their bio, not only in people but sound, and not a slight change either. Initially the St. Petersburg band was an underground/death metal band and with a sound which found a definition and maturity by the time of their debut album Border of Misty Times in 1996. Three more albums followed in the shape of Gravehead, The Order O’Folly and Presence with War between 1999 and 2003 to establish the band with fans and the underground media.

2006 saw the release of Try and a new sound for the band as they moved from within their death metal sound into a more experimental sound combined with industrial and polyrhythmic invention. The album took them to the attention of the likes of Hard Rock, Rock Sound and Metal Hammer and into a full album release with Casket Music. Next came Lifelong Days in 2008 through Locomotive Records and a busy time of festival and touring to share stages with bands such as Anathema, Cradle Of Filth, Soilwork, Pro Pain, Neurosis, Entombed, Tiamat, Testament, Textures, and Tesseract. Another rethinking of direction and sound emerged from this point with the discussions and differing opinions causing the band to go through a line-up change as it split in half. Vocalist Andrey Ind and guitarist Alexander Motor brought in second guitarist Igor Arbue and drummer Michael Coroner to replace the departed members of Grenouer, and worked on new songs to add to three recorded before the split. The new hard rock and post grunge lined sound took inspiration from the likes of Alice In Chains, Filter, Stone Temple Pilots and Soundgarden. With a quintet of tracks renewed, produced and mixed at ‘Astia’ Studio in Finland with Anssi Kippo, who played bass and keys on the songs, and Jonas Kooto, the band created Computer Crime.

The release opens with Last Stop, a track which immediately announces its arrival with muscular riffs, intimidating rhythms and a predatory prowl around the ear. Sharp melodies cut through the intensity with a sure and satisfying craft whilst the growling intensity of the song is never far away, eager and ready to pounce from behind the inventive play and strong smooth vocals of Ind. The song offers up a mix of Gruntruck, Prong, and The Sun Explodes with more than a Meshuggah flavour to the rhythms and riffs.

The following Rejected is an equally impressive and welcome invasion of the ear, placing its creative melodic enterprise and blood pumping darkened energy upon the senses with craft. The bass of Kippo is a brooding stalking beast which adds a glorious sturdy and threatening vein to the openly appealing song.

One highlight of a very impressive album is See No Sun. Opening on an emotive atmospheric melodic weave with an ethnic lining the song entrances and entices immediately. It reminds of Motherjane as it sways and lights up the emotions, the controlled and passion fuelled path a compulsive and touching experience. Then the track unleashes a surprising inner blackness in an intense and venomous expulsion mid way in before returning to the captivating grace before.

The powerful and equal best track on Computer Crimes is Fix Your Life and with Golden Years completes the release. The first is a blend of towering riffs and spiky melodic intrusions whilst the latter a warm and vibrant track which without the harder edge of the other songs is still as rewarding and an infectious song that soon has one involved.

    Grenouer maybe new to a great many but with Computer Crimes that is sure to change, and the recommendation is to just go find it before it finds you.

http://www.facebook.com/#!/pages/Grenouer/89279191818

RingMaster 01/04/2012

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