CRNKSHFT – Self Titled EP

Photo Credit – Alex Barredo

We surely have a soft spot for things carrying real punch and that is exactly what the new self-titled EP from Canadian outfit CRNKSHFT has in sound and presence. The four track offering is an imposing roar of hungry and varied metal but equally shows a blaze of hard and melodic rock ‘n’ roll, a trait even more compelling in the successor to their previous well-received debut EP helping stir up a very healthy appetite for the band’s fierce and rousing attack.

Hailing from Vancouver, CRNKSHFT (pronounced crankshaft) have begun waking attention far beyond the local scene they have already been devoured by. Support slots for the likes of Lordi, Prong, Grim Reaper, and The Veer Union have capped a powerful live presence and reputation to date, one like their releases beginning to stir broader spotlights. Providing the evidence, their recent single Systematic won an award from the Academia Awards Academy in Los Angeles and there seems little to stop the Daren Grahn (Metallica, Hedley, Mötley Crüe, Bon Jovi) produced EP nudging greater focus their way.

That single opens up the EP, Systematic instantly stroking ears with grouchy riffs before a wave of tenaciously swung beats and wiry grooves join the initial wave of snarling guitar and the mutually striking tones of vocalist Shane Jolie. With equally rapacious melodic strands breaking through the aggressive trespass driven by Josh Lauze’s potent beats, the song develops a Nonpoint meets Five Finger Death Punch like incitement loaded with the band’s own fresh and inventive attributes. The infectious growl and stride of the song is inescapable, guitarists Geoff Way and Sebastian Mark Pulse casting a web of voracious enterprise as intrusive as it is flirtatious; a union the song embraces as a whole.

The following Tears Me Apart bursts into life with its own antagonistic yet welcoming blaze next, riffs and rhythms ravishing the senses but equally content to pause for melody warm breaths. The calmer moments still have a shadowy air as the bass of Trevor Miles courts the peace while Jolie springs his own diversity of magnetic attack throughout. With unpredictable essences emerging, occasionally with a Korn like nature, the song leaves pleasure full before Old Habits has its go at exciting ears. Another of the singles tempting anticipation the way of the EP, the song assertively simmers and boils; its robust imagination lined body a raw fire of Three Days Grace/ Bring Me The Horizon like dexterity and adventure.

Again, it is a song with something individual to CRNKSHFT in its dynamics, a welcome trait even bolder in the dark prowl of Breaking The Silence; a track virtually stalking ears from its start before its emotive and volcanic heart erupts, a cycle then repeated with fluid craft and invention. The most unpredictable moment on the release, it is as cantankerous as it is melodically reflective in tone. Fierce and venomous whilst contagiously engaging in touch, the song ensures the EP ends on the same major high it started with, heights closely nudged in between.

With familiar textures and essences in its design, the CRNKSHFT’s sound and EP do not quite find major originality but the signs are there, as strongly proven by its closer, whilst enjoyment is already a done deal. Things are looking good for band and ears.

The CRNKSHFT EP is out now across most online stores.

https://www.facebook.com/crnkshft/   http://www.crnkshft.com/

Pete RingMaster 27/03/2017

Copyright RingMaster: MyFreeCopyright

Hometruths – Open Your Eyes

As the world persistently sails towards greater degeneration in respect and real equality for all, British metallers Hometruths send a ferocious shot across its bow with their debut EP. The Manchester band is a tempest of rage and defiance; one socially, politically, and sonically antagonistic to the inequalities, intolerances, and lack of compassion now seemingly the main fuel of the modern world. The Open Your Eyes EP is their reaction; one that is part reflection, part call to arms, and an advocate of hope all rolled up into an impressive scourge of raging sound and emotion.

Coming forward in the early throes of 2016, Hometruths merge groove honed metal hostility with raw passion driven hardcore. It is a fierce roar with a freshness defusing any recognisable traits, a sound matching virulent infectiousness to its senses trespassing incitement of sound and anger. They pull no punches lyrically and musically and indeed emotionally, every syllable and note incendiary. Familiar essences are part of the mix, hues which are suggested compare to the likes of While She Sleeps, Stray From The Path, and Madball, but also there are the early seeds and rich potential of uniqueness, all striking traits within Open Your Eyes.

The EP opens up with Embers, a minute of rising sonic discord and vocal ire creating a climate of raw discontent in a wake-up call triggering the just as unruly tempest of Feral. With sound and emotion living up to its title in moments, the track imposes on ears with agitated rhythms and caustic riffs, the similarly natured birth of grooves and fury laden vocals involved before it all twists into a seriously catchy incitement. As vocalist Gaz Davies spews frustration and contempt, grooves get instinctively funky, winding venomously around viciously swung beats from Alex Mac and a great grumbling bassline from Dan Hancox with his vocal potency backing up and aligning with the cantankerous prowess of Davies. It is irresistible stuff, the song just growing in strength and persuasion with every corrupted second.

Barely a breath is taken between the outstanding encounter and the equally impressive Divide, a twitch of ears and you miss the moment but not the fresh character of craft and intent quickly confronting ears. The track, even with its own unchained ferociousness and emotion, is more is a predator than its predecessor, sizing up and lunging at the jugular time and time again. Again steely grooves enslave and incite body and appetite, Antony Costello and Jack Day creating a senses eroding web of enterprise and infection while the diversity of spiteful vocals more than fully satisfy.

Successor Vigilante looms out of the dissipating mist of the song, its atmosphere claustrophobic but bearing rousing rhythmic bait from Mac swiftly courted by toxic grooves and intrusive voice. Riffs and rhythms snarl and bruise even as the track shares its own addictive swing in its imagination bred adventure and rancor. Again it is impossible to evade being hooked in by the tenacious landscape of the song though arguably it does not quite go far enough, at times seeming to hold back as things appear poised to detonate to greater creative heights and friction.

WMD stomps in next, its tension racked prowl like a fusion of Die Krupps and Prong, picking its spots before unveiling a slightly friendlier canvas of piercing hooks, magnetic vocals, and mercurial energy; and when we say slightly we mean just that. The track still gnaws and pulls at the senses, beats scything across their surface as guitars and bass twist and turn with a vengeance.

Just stealing best track honours it moves over for the closing despite of Genocide. Its heart is more a hardcore bred animus but just as rich in the metallic and grooves woven assets of those before it and though it lacks their final lethal punch makes a stirring end to an excellent and impressing debut.

Open Your Eyes is a formidable and exciting introduction to a band beginning to really kick up a buzz around themselves, a fuss which can only get bigger as Hometruths bring just that in surely even bolder propositions ahead.

Open Your Eyes is out now through CI Records.

https://www.facebook.com/hometruthsu

Pete RingMaster 06/03/2017

Copyright RingMaster: MyFreeCopyright

Hedfuzy – Self-Titled

Catching up on another release appearing towards the rear of 2015, we offer up the self-titled album from Hedfuzy as a proposition to seriously consider investigating, especially if progressive rock gets the juices flowing.

Hedfuzy is the solo project of Irish multi-instrumentalist Pat Byrne and its debut album a captivating progressive adventure of melody thick and magnetically tenacious rock ‘n’ roll with a rousing contagion to it. The musical history of the Limerick musician includes touring at the age of 17 with Celtic Fusion, followed by experience building exploits touring and recording with bands such as rockers Kraven and reggae outfit Jeffonesta as well as playing bass on some of Delorean Suite’s current release Two Lives. Now Byrne is ready to ignite attention and ears with his own solo proposal, recruiting additional talent from Shardborne’s Ben Wanders, Delorean Suite keyboardist Graham Conway, guitarist Graham Keane of The Vicious Head Society, and guitarists Mike Moriarty and Cameron Allen to bring his seriously engaging songs to life.

Mixed and mastered by Chris Collier (Prong, Lynch Mob, KXM), the Byrne produced album opens with Sing which quickly coaxes ears with an enticing lure of guitar. Settling into an energetic stroll as Byrne’s potent vocals sit invitingly upon his blend of melody fuelled guitar and keys, the song soon begins to swing with a gripping catchiness aligned to a darker shade of similarly lively and eager bass led rhythms. With eighties seeded air reminding nostalgically of Modern English and currently David J Caron veined by fiery progressive enterprise, the track is a rousing start to the album quickly backed by the muscular persuasion of Snakes. Melancholic keys offer the first suggestive caress, Byrne’s vocals swiftly adding to the alluring start and in turn followed by a thicker smothering of riffs and rhythmic theatre. It is a potent collusion of textures which again has infectiousness running through it as heavier and darker shadows envelop the senses.

Hedfuzy - Self-Titled_RingMaster ReviewThe creative and physical skills of the artist persistently ignites ears in the song and album but always without offering any indulgence to temper their strength or the organic creativity impresses in the likes of How To Tear Your World From My Head. As the third song begins to flows through ears, initially bass pulses the lone dark protagonist in a misty glaze of harmonic and melodic tempting, things quickly come to boil as rugged rhythms and gravelly riffs collude with wistful keys, provocative guitar, and jazzy bass. The result is an eventful and at times volatile landscape of stirring invention and compelling craft keeping the imagination as busy as ears whilst pushing the already impressing stature of the album to new heights.

Mine brightly shimmers with melodic and vocal expression next, it an alluring serenade of melodic rock with the flavoursome essence of UK band The Inner Road to it as it settles enjoyable between the more raucous and dynamic exploits of the previous roar and The Death which follows. Not as dark as expected, the new track is another beacon of resourceful composing and boisterous musicianship lined with a craft and imagination which has body and emotions eagerly engaged.

The emotive croon of When I Come Back Down is open evidence of that core prowess in songwriting and emotion, and diversity as with This Broken Throne, a grouchy but again wholly virulent roar of aggressive rhythms and sonic adventure laced with the impressing vocal tones of Byrne. A thrilling and fluid mix of Squidhead like cantankerous metal soaked in a warmly reflective exploration of melody and voice, the track is as absorbing as it is anthemic before a mellower proposition in Name comes in. With winy melodies and atmospheric drama within again an intensive proposal of bass and rhythmic confrontation, the song carries a touch of Johnny Wore Black to it, captivating and stirring the senses from start to finish before leaving the album’s outstanding title track to bring things to a ferociously dynamic close. The instrumental is glorious, a brawling seducing collage of sound and textures woven into an anthemically fiery and exhaustingly exhilarating tempest as virulently incendiary as it is dramatically provocative.

Hedfuzy is an album to light up any day and the band a project which, even with Byrne seemingly perpetually in demand, the man soon appearing on the debut album from Irish progressive metal band The Vicious Head Society alongside keyboardist Derek Sherinian (Dream Theater, Black Country Communion) and drummer Kevin Talley (Chimaira, Suffocation), we can only hope to hear a lot more from.

The self-released Hedfuzy is out now via Amazon.

https://www.facebook.com/Hedfuzy

Pete RingMaster 13/01/2016

Copyright RingMaster: MyFreeCopyright

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Grenouer – Unwanted Today

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Russian metallers Grenouer are one of those bands which has been seemingly around for decades, two in fact, and increasingly been looking like they were about to break from relative obscurity into intensive spotlights within world metal through their recent releases. Certainly the Saint Petersburg quartet has been drawing stronger and broader attention over the past few years but still they have yet to make that big step; maybe though that moment has come with the release of new album Unwanted Today. A release bulging with melodic expression, grooved tenacity, and sharp hooks, it also carries a hungry snarl bred in the early days of the band, a combination which goes to make one rather impressive offering from a band surely poised to leap into the wider consciousness of the metal world.

Formed in 1992 by vocalist Andrey Ind and guitarist Alexander Motor, Grenouer has released seven albums to date with the last, Blood on the Face, a thrilling and gripping enticement confirming the creative invention and musical weight of the band for those in the know whilst luring a great flood of new appetites. Again released via Mausoleum Records, Unwanted Today takes its potency into new explorations of imagination and sound. It is not a big departure from or massive leap forward in their already established sound yet there is something fresh and unique at the new album’s heart which gives the release a new voice. Emerging twenty plus years ago, the band was a raw and uncompromising extreme metal proposition, but over time and records, a melodic and alternative metal exploration has evolved and now shows its finest blooms within Unwanted Today.

With its line-up completed by bassist Al Bolo and drummer Danny D, Grenouer works on the imagination right away with brief opener Awake, a cinematic and provocatively atmospheric piece with industrial clangs and suggestiveness courted by floating harmonic vocals. It is an imposingly picturesque lead into the album’s title track, a proposal instantly pouncing on ears with punchy rhythms and growling riffs. This in turn slips into an inviting embrace of gentle melodies within a warm ambience, though even this is courted by the early predacious shadows and sounds which take their turn leading the tempting ears. It is an excellent start to the album, the vocals of Ind as alluring and potent as ever whilst musically the song radiates attitude and seduction.

Things only grow in strength and contagion with the following pair of A Little Too Obsessed and Something Really Bad. The first of the two immediately has attention and appetite GrenouerUnwantedTodayenslaved, bounding in with a heavy stride and an addiction forging groove. It is a hook lingering even in the mellower twists of the song, just waiting to unleash its swagger and tenacious tempting, and always with increasing effect. Embracing essences of groove and nu metal as eagerly as the swing which infests song and listener, the track is modern metal with a nod to a diversity of styles and time, and quite brilliant. It also has a great, almost muggy air to its presence, and a bedlamic edge to its invention which shows its magnetism again in its successor, though maybe not as openly. This is another song which bewitches from its first sonic and vocal caress, and another unafraid to merge abrasing snarls of sound and grouchy basslines into a colourful and fascinating tapestry.

That dark bass toning and attitude also opens up On A Rainy Day next but in the arms of an electronic wrapping and melodic caress; voice, guitar, and keys a seducing contrast to the track’s equally flavoursome dark side. Their union is soaked in an increasing tempestuous air and intensity, one never overpowering what lies within but certainly and enjoyably giving it all a stormy and imposing landscape to colour. It is a similar blend of textures which lights up the rock/pop virulence of Blossoms In The Dust, a riveting croon of a song built on rising crescendos of sound and emotional energies. There is no escaping the mesmeric and creative romance of the song though it is soon eclipsed by the outstanding I Can’t Stand It. Everything about the song gets under the skin. From another bestial bass sound and accompanying stabbing beats to spicy melodies and soaring vocals, but especially in the unpredictable imagination and ingenuity which infects especially the latter two of aspects, the song is a compelling fascination and impossibly infectious.

   Daily Miracles is another primarily instrumental flight through evocative scenery, similar to how the album began and feeding thoughts further before Going To Stay immerses ears in its own individual melodic and emotional emprise of dark and light textures embroiled in a weave of electro rock spicing and ravenous Meshuggah like voracity. Its melodic side reminds of UAE Absolace but, as all tracks, the resulting entwining of flavours only results in an encounter with the familiarity of Grenouer alone.

Album and pleasures only continue to grow and excite as the fiercely enticing Point Of No Return unveils an invigorating maze of melodic and nu-metal equipped with the alternative flair of a Linkin Park, the inventive antagonism of a Mudvayne, and the intensive roar of a Prong. Escape from its claws is impossible as another peak is set in course of the release whilst the next up gentle balladry of Artificial Tears brings a moment to take a breath but not a slip of attentive focus on Unwanted Today. It is fair to say that it did not impact as powerfully as other songs on personal tastes, but reveals yet another side to the songwriting and charm of band sound to further feed a greedy appetite.

The same applies to Don’t Let Them Get You Down in many ways, the song missing a spark found in its predecessors but still adding its own thick slice of modern metal before the closing Clearway provides a short and delicious volatile come seductive proposal for ears and thoughts to sink within. A fine end to a great release, the track sums up Unwanted Today perfectly with its heavy and light, raw and elegant unions; creating another hypnotic adventure.

There are moments where some songs maybe have too similar a surface to others which without a deliberate concentration sees them losing some of their clear identity, but alone all show modern metal with its strongest diversity and imagination whilst together they ensure Unwanted Today is a seriously enjoyable encounter. Grenouer is knocking even harder on the fullest recognition of the metal scene now, how long they can refuse entry we will see.

Unwanted Today is available from March 20th via Mausoleum Records

https://www.facebook.com/grenouer   http://www.grenouer.com/

RingMaster 20/03/2015

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://reputationradio.yooco.org/

Them County Bastardz – Sick Daze

TCB Press Photo

Sick Daze is an album which reminds us that just maybe we all can slip into the mistake of taking our metal and heavy rock too seriously and that dirty rock ‘n’ roll which is just out to have brawling fun, is as potent and enjoyable as any technically and inventively driven proposition. That is not to say that the new album from Canadian stompers Them County Bastardz is lacking skill and open enterprise, but the seven track romp is all about the heavy riot and thumping devilment of old school metal crossed with voracious country bred rock ‘n’ roll.

Hailing out of Leamington in Ontario, Them County Bastardz rouses up the energies and emotions with a sound taking the southern ferocity of a Pantera and Black Label Society and the grooved predation and attitude of a Bloodsimple and Crowbar, and adding it to the roars of a Hellyeah and Volbeat. It is a brew which does not hold many surprises but relentlessly hits the sweet spot if those kinds of flavours ignite the appetite. It is a head-banger’s heaven with all the spicy grooves and toxic attitude you could wish in a mercilessly bruising and contagious encounter. Sick Daze will probably not top many best of lists come December but in favourites line-ups expect the album to be a persistent regular.

Things are instantly careering into riotous behaviour as opening Drive By spins its sonic wheels and unleashes its unbridled energy in a wall of thumping beats from drummer Jim Kay and the grouchy riffery of guitarists Brien Alexander and Mike Rennie. The song hits its intimidating stride within seconds, the dusty tones of vocalist Andrew Watson stirring up air and mischief as bassist Tyler Wickham adds darker predation to the anthemic belligerence. Neck muscles and voice are just as swiftly enlisted as the track continues to raise controlled but insatiable hell, sirens swarming in the background as band and song begin the album’s mayhem.TCB Cover - Sick Daze

The great start is straight away eclipsed by the excellent In The Country. Opening with police despatch checking out the identity of the band which leads to a panicked alert, the track simultaneously builds up its rhythmic and sonic defiance, an impending attitude led by the thick vocals of Watson who in turn is backed the band’s equally infectious calls. Its full gait and assault still has a somewhat restrained aggression but is merciless in its stalking of ears and inciting of pleasure, especially with things like cow bell mischief adding to spicy blazes of guitar to further ignite the addictively cantankerous persuasion of the song.

Buzz Kill keeps body and emotions locked and loaded on the album’s weighty temptation; the aggressor providing a rowdy but again controlled stroll with abrasing riffs and vocal attitude speared by a groove which is as virulent as it is predatory. Littered with the scorching scythes of Alexander’s guitar, the track is another formidable antagonist upon Sick Daze but matched and surpassed by the bestial treat Metal For Mark which follows after the skit intro of It’s Not Metal which lies between the two tracks. Volatile and viciously captivating, the ravenous Metal For Mark slips into its fury the raw infectiousness of Rob Zombie with the corrosive essences of Prong. Each spicing up the bootleg brewed rock ‘n’ roll snarling from the Canadian rednecks southern ‘breeding’, with extra irresistible tang.

The best track on the album leaves the closing pair of The Bastard and Rise Up some height to match and truthfully they miss its plateau but with a melodically catchy and anthemic magnetism to the first of the two and the final song offering a grizzly growl of southern rock, satisfaction and enjoyment are overflowing in response to their brawly hell-raising.

Sick Daze is rugged rock/metal which relishes a musical and physical quarrel, and only has the appetite to kick up a storm and lead the listener into salacious devilry. Ok it might not be setting down new adventures as such but there is a time to be reminded what rock ‘n’ roll is all about, and this year’s comes with Them County Bastardz.

Sick Daze is available now via Smokehouse Records digitally and on CD @ http://themcountybastardz.bandcamp.com/releases

http://www.themcountybastardz.com/   https://www.facebook.com/ThemCountyBastardz

RingMaster 26/02/2015

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://reputationradio.yooco.org/

 

Golers – In ‘n’ Outlaws

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Originally out as a limited edition CD in 2013, In ‘n’ Outlaws is now digitally poised to pounce on the world and a tremendous assault it is too. The fourth album from Canadian punk metallers Golers, the release is a furious and ridiculously contagious slab of crossover ferocity throwing thrash, hardcore, and crust punk voracity into one bruising and belligerent treat. Every mention of the Vancouver quartet seems to draw comparisons to Slayer and DRI, and it is hard to be any different here, though there are plenty of other extreme provocateurs hinting in the spicing of the ultimately fresh fourteen track brawl.

Golers first uncaged their belligerent and sonic fury on ears in 1998, forming after the end of the band they were all playing in, Subversion. The following year saw debut album South Mountain Style uncaged, it establishing the core Golers sound which has snarled and rampaged ever since. 2nd Generation followed in 2004, offering a honed and more impacting flavouring which again was intensified and broadened a touch more with Backwoods Messages five years later. Sparking the keenest attention on the band yet, its well-received arrival was more than emulated by the appearance of In ‘n’ Outlaws with easy to expect greater success coming with its digital unveiling. Recorded with producer/engineer/manager Rob Shallcross (Gene Hoglan, Strapping Young Lad, West Of Hell), the album commandingly and tenaciously shows why Golers has been so greedily devoured on records an live across North America and Europe alike, a presence taking in shows and tours with bands such as Toxic Holocaust, Kreator, The Accused, Napalm Death, Suicidal Tendencies, Dayglo Abortions, Destruction, Ghoul, and Prong. The ultimate step of recognition has yet to be breached though; something In ‘n’ Outlaws definitely has the potential to trigger given the opportunity.

The album’s title track roars in ears first, riffs and rhythms an instant bombardment, gripping attention and an early appetite with force. The great blend of vocals led by Walter ‘Chainsaw Charlie’ Mason, straight away ignite an already contagious offering whilst the sonic craft of Derek ‘Henry the 1st‘ Rockall squeals with appeal against the caustic scrub of riffery from Mason. In 'n' Outlaws_fullCatching the anthemic essences of thrash and punk in one almighty invitation, it is a thrilling start potently backed straight away by the even more hostile Lemon Eyed Devil and the following irritability of Angle Disruption. The first of the two is sheer primal virulence, vocals and grooves a spiteful bait against the fiercely provocative muscles of Jason ‘Cranswick’ Mosdell’s swings and Stuart ’Jonny Goler’ Carruthers predatory bass lines. Its punk rabidity is matched by that of its successor, a song with a bee in its bonnet and malevolence in its breath. Again though, every hook and rhythmic swipe seems to have a devious contagion matched by grooves and riffs, an enslavement of ears and imagination upon which the vocal squalls impressively vent.

Behind the Sun embraces a heavy metal spicing in its corrosive turbulence of sound and aggression next, the track as addictive as those before but finding a rawer, nastier nature to seduce and scar simultaneously. It is a bracing and abrasive quality which is just as vocal in Inbred Militia and soon after Kamikaze. Both tracks brawl with the senses and ignite emotions, the first blessed with a delicious crunchy growling bassline amidst a tempest of guitar and vocal inhospitality. It is pure addiction; the bands thrash intent the raging force of the compelling intrusion. The latter of the pair savages with every syllable and note expelled but again has a catchy enticement to its grooves which leave ears basking.

It is fair to say that there is no weak moment across the whole of In ‘n’ Outlaws; some songs might have a surface similarity at times but each reveals its own distinct character in time, as proven by the sonically inflamed Paradise Entrails, with its bewitching niggling and repetitive grooving, and the vicious When Shit Goes Down. This track scowls and abuses with every rhythmic flex and vocal glare, it’s brief but inescapable ire undiluted intimidation with, as in the previous track, a melodic toxicity to share.

The more composed and melodically fuelled Scratch steps forward next, it’s sonic enterprise a riveting tonic which as you might rightly assume, is soon smothered by an unfriendly vocal confrontation still impressing in its multi prong attack, and a more classic metal coloured voracity. It is another slight twist in the album and nature of songs, one turned a few degrees more in the hellacious storm of Quickshit McGraw with its exhausting intensity and melody induced trespass of the senses, and again in the rabid punk flirtation of Country Blumpkin, this another heady peak in the album.

The album ends as welcomingly riotously and adversarial as it began, Alcoholics Unanimous coming first and bellowing with rancor and rhythmic violence; a malice tempered again by irresistible and unrelenting grooves. It is a tremendous onslaught from the start but finds a new ground of addictiveness with its slip into a punk bred anthem towards the end. The Path is equally as incendiary and persuasive with its concussive charge and vocal causticity, whilst the closing Riff Cult / Relations just stands before ears and growls them out in sound, vocals, and attitude to provide a mouth-watering, energy sapping end to a thoroughly invigorating and rigorously enjoyable album.

Golers will be a secret to a great many no more, new hungry appetites sparked once In ‘n’ Outlaws hits the webby place. The album might not be quite announced as the very best thrash/punk metal offering in history but it is destined to be one of the favourites.

In ‘n’ Outlaws is digitally available from February 6th via Bandcamp. Check https://www.facebook.com/pages/The-Golers-Inbred-Militia-/103231376426551 for details.

RingMaster 05/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

Mongrel – Evolution

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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

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