Worselder – Paradigms Lost

As French metal continues to prove itself a hot bed for adventurous new bands and voraciously tempting sounds, quintet Worselder add their stock to the brew with new album Paradigms Lost. A web of flavours and styles fused into ear pleasing, imagination catching encounters, the ten track release is a quick and easy to devour proposition revelling in additional time offered to blossom into something even more impressive.

Hailing from the foothills of the Pyrénées mountains, Worselder emerged in 2008. Quickly they tempted local and in turn national attention with a sound drawing on each individual member’s influences and experiences in previous outfits alongside nineties inspired thrash and power metal; an instantly rich mix only blossoming in depth and adventure across the years and releases. Debut album Where we come from was released in 2010 to strong responses though it was the MMXIV EP four years later which especially sparked critical acclaim and led to the band sharing stages with the likes of Firewind, Dagoba, Black Bomb A, and Huntress among many. Recorded across 2016 with Elise Aranguren and mixed and mastered by Bruno Varea (Dagoba, Satyricon, Lenny Kravitz), Paradigms Lost sees the Worselder sound and invention at a new level of maturity and imagination. It is a release which as suggested makes a potent impact straight away but shows greater strength upon subsequent listens as its layers and less open complexities are increasingly revealed.

Infighting gets things going, the opener luring ears with a brooding bassline before rapacious riffs and bone rattling rhythms courted by toxic grooves erupt. Equally rapacious vocals from Guillaume Granier and the band soon join the surge before things settle down a touch with the vocalist quickly showing his potent range and dexterity. There is a whiff of industrial metal to the track initially, Society 1 coming to mind as the track jabs with spiky discontent, but soon its melodic and grooved instincts are entangling and stretching its thrash fuelled charge.

It is a great start hinting at the wealth of flavours ready to embrace ears across Paradigms Lost and its next up title track. From the crackle of fire and portentous rhythms within a similar atmosphere, the song strides forth with melodic vocals and harmonies lying keenly on more rapacious and aggressive sounds. The guitars of Yoric Oliveras and Jérémie Delattre cast another instinctive incitement, a mix of predacious trespass and sonic imagination to be hooked on whilst the scything beats of drummer Michel Marcq rousingly pierce the heavy prowl of Yannick Fernandez’s bass. The track’s twists and turns are as fluid as the array of sounds woven together within the excellent proposal but carry an unpredictability which has the imagination firmly enthralled within the first listen.

The instinctive rock ‘n’ roll prowess of next up Seeds of Rebellion has ears won just as quickly; the similarly striking and irresistible song proceeding to instil that core with anthemic dexterity and spicy grooves. All is delivered with lust but control amidst expectations spoiling imagination loaded with a bold unpredictability before Idols unveils its classic/heavy metal attributes within an aggressively tenacious air. Though the track does not quite ignite personal tastes as forcibly as its formidable predecessors, it only grows and pleases more and more with every listen.

Through the melodically calmer waters of The Sickening and the old school spiced Severed, the album has total attention. The first is a tantalising mix of warm melodic temptation and more bullish volatility as vocal and lyrical insight explores ears and thoughts. At times sultry and exotic, in other moments a more rapacious challenge, the track captivates from start to finish, giving neck muscles and hips a workout with its emerging thrash inspired grooving. Its successor similarly casts a net of ear entwining grooves this time fuelled and coloured by that power/classic metal essence with Granier’s croons and roars on melodic fire.

My Consuming Grief has a darker edge and deceitful volatility to its heart; a shadowy emotive power skirting and courting the drama and adventure of the melodic power metal seeded exploits. It too has ears and imagination swiftly gripped before Home of the Grave dances on the senses with its opening melodic flirtation. It is a glorious enticement only increasing its invitation as darker heavier hues from guitar and rhythms join in. Managing to become more primal and charming with each passing minute, the track provides another addictive highlight to the release.

Worselder toy with the imagination through The Haven next, a song exploring dark hues more akin to the likes of Dommin and Rise To Remain though its instinctive classic metal attributes shape the excellent encounter before the album closes with the shadow clouded, atmospherically apocalyptic Land of Plenty. In its imposing darkness there is hope and elegant melodies bring that light as the song rises from its solemn beginnings to challenge and inflame the senses. More of a slow burner than other tracks within Paradigms Lost, it almost festers in ears and imagination as it makes a potent impact and striking moment to eagerly point out.

Inspirations to the band apparently include the likes of Coroner, Testament, and Pantera; a trio which across the whole of an album but especially in the final song alone you can appreciate in a release which simply draws attention back time and time again as we can attest to. Paradigms Lost has all the qualities and impressiveness to push Worselder into global attention, now it is up to the world to embrace them.

Paradigms Lost is available now through Sliptrick Records on Amazon and other stores.

http://www.worselder.com/    https://www.facebook.com/worselder/    http://worselder.bandcamp.com/

Pete RingMaster 20/06/2017

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Road To Horizon – Chapters EP


    UK melodic post-hardcore unit Road To Horizon is a band on the march if the evidence of their Chapters EP is a portent of things to come for the West Yorkshire quintet. Though a release probably still seeking definition in its own identity, the six track release is a highly accomplished and satisfying encounter from an equally impressive promising band.

Road To Horizon formed in 2008 or 09, depending on which bio you read, and has run the course of obstacles which confront most bands to emerge stronger and determined with the sound to back it up. Having toured with the likes of Rise To Remain, Funeral For A Friend, Attack! Attack, and Hildamay the band has built up a loyal and growing following certainly helped by their appearance on an episode of BBC 3 show Don’t Tell The Bride. As Chapters shows the band has an intensity and creative invention which fuels a keen anticipation for their future as well as a strong appetite for their sounds right now.

The release opens with Through Ashes, a piano introduced powerhouse of a track which immediate goes from mild seduction intorth-chapters-ep-cover a fury of muscular passionate embraces. The melodic flames which burn from within its energetic might forged by the guitars of Danny Kingsbury and Benji Wilson instantly grip with impressive persuasion whilst the vocals of Ben Flockton and his subsequent union with those of Kingsbury and bassist Oli Parkinson well into the track, show a strength and thoughtful delivery that is as potent as the emotive intensity brewed by the music. It is a striking and immense start framed by the uncompromising yet respectful rhythms of Parkinson and drummer Simon Gordon, a track which takes mere moments to show why there is a fuss over the band brewing.

The following Caught Red Handed also makes a gentle entrance before stretching its sonic sinews and rhythmic strength into a formidable proposition. Its gait though is reserved for the main, even with the provocative beats and squalling scowling vocals bringing up the rear to the emotive lead of Flockton. The track lacks the contagion and startling presence of its predecessor but nevertheless instils a definite sense of something brewing within the imagination of the band which will emerge to greater heights, especially through its rich and firm melodic caress.

In Your Bed gets the EP back onto a higher plateau, the slightly abrasive opening riffs stirring up the senses as the sonic and melodic elements step forward to take their expressive place. The song does not offer anything particularly new but mercilessly ignites a hunger for the infectious grinding groove of the track and the intimidating metallic prowl of the bass. The song switches from intense emotion led vocals and equally embracing sounds to a predatory and inciting stance throughout, the band adept in both and their seamless union with Parkinson and his four string raptor having their finest moment on the release. The band is tagged as melodic post-hardcore as mentioned but this is rock music with an intimidating and caring presence which sets bands apart.

Both Open Your Eyes and This Is The End leave a deep impression, the first driven by a thumping heartbeat of a gait and anthemic vocal lures, the soaring clean delivery of Flockton a vivid and full temptation shadowed by the great growling brawling alongside him. It is another exceptional track on Chapters and a further example why it is impossible not to be excited by the band. The second of the pair fails to spark the same ardour found elsewhere though there is not much wrong with the song except a lack of an identity it can call its own. Musically the track is rife with craft and its skilful interpretation just not a fire starter.

The EP closes on a real and great surprise with a cover of the Rita Ora track R.I.P. Releasing a mental groan upon approaching Chapters as maybe many will before hearing it, doubt is soon dismissed by a rousing and thrilling beast of a song, the metallic makeover turning the track into a deliciously infectious and ear riling treat. It is impossible not to be joining in the chorus and raising an emotive fist to this new instinctive version. It is an added extra gem well worth its potent place.

Though at times Chapters finds a lack of originality, for the main it is an invigorating and inventive encounter which suggests the wholly unique voice of the band is not that far away. Road To Horizon should be watched very closely.



RingMaster 10/04/2013

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Horse In Transit: If I Were A God EP


    It is funny how band names and titles can give the wrong impression. It is hard to say exactly the expectations musically bred by the name of UK band Horse In Transit but it certainly was not of the storm of back breaking flesh grazing hardcore which assaulted the ears with imagination and skilled violence from within their new release. The If I Were A God EP is a stirring slab of aggressive rock n roll fired with the antagonistic passion of punk, the barbed intensity of extreme metal, and the anthemic melodic fire of hard rock. It is bruising and continually surprising riot of heart borne noise which grows on the passions with each and everything confrontation.

The initial encounter with the EP was one of intrigue and the need to know more about its instigators but a few full blooded face to face encounters with the six track piece of brutality ensured its persuasion was absolute and the appreciation for its thrilling storm full. The Scarborough quintet drew strong responses to its 2012 demo Unobtainable Superhuman Dreams and though we missed out on it at the time if it was half as good as If I Were A God, it is not a shock the band earned the acclaim placed upon them. Their first release for independent UK label Mercurial Records who they signed with last year, the Dick Beetham of 360 Mastering (Sikth, Funeral for a Friend, Enter Shikari, Rise to Remain ) produced release spoils the ear with a varied and unrelenting brawl. Each track has its own identity within the maelstrom of fury the band retain as a constant and each song in varying degrees ignites a forceful rapture for their compelling invention.

The excellent Hollow makes the first engagement and takes no time in turning the release into one with an instant addictive pull. 391197660-1The reserved start grows in stature with a cage of compelling rhythms and a stoner riff which just lights the touch paper to pleasure. It is an engrossing start which opens up into an intense squall of coarse vocals, sonic fires, and rhythmic barbarity. It is a brief violation but one which never relinquishes its hold as it passes the already bruised senses onto Chicken Run. The towering presence of the second track stands large from its very first destructive note whilst the intensity of the vocals and overall sonic passion cascades over the listener with urgent and debilitating ease. Into its stride the scathing harsh vocal ambush of David Mitten evolves into an outstanding clean presentation backed with raucous anthemic power by the band, with the music also tempering its storm as the guitars of Adam Bulpitt and Chris McGreevy unveil some delicious melodic flames alongside the rhythmic barrage from drummer Niall Thomas which finally shows some mercy. It is a powerful and satisfying anger of sound which increases the need to hear much more.

The vibrant bass of John White gives a shadowed depth to the following Lucky Strike, his pulsating notes snarling from within the abrasive breath of the track. With a heavy metallic hunger and ravenous gait to its sprawling energy, the song towers over the senses with an intense spite and uncompromising stance. It is a furnace of hardcore aggression veined with synapse slicing metal destruction and grooved sonic seductive. At this point in the release the song stands to grab best track honours but is soon barged out of the way by the outstanding pair of sonic brilliance that are Two and I Am.

The first of the pair is short and just irresistible. It is a tempest of sonic fretting and rampant insatiable grooves smothered in vocal anger and aural malevolence. The tight manipulative spearing of noise throughout ignites a primal greed whilst the hellacious overbearing rhythms turn limbs into a defenceless puppet to its voracious rampage. The song is one of those which once heard the only outcome is to be smitten with its exacting which also for different reasons can be applied to I Am. The track is a ‘lighter’ aggressor with its feisty rock persuasion under the again pleasingly damaging vocal treachery and the mesmeric deep throated teasing mid-way, a sensational accomplice for the heart whilst the melodic charm of the guitar solo is delicious icing on the cake.

Completed by the absorbing metal/ rock n roll creativity of Survival Plan, the EP is an immense adversary sparking the deepest satisfaction and ardour. Arguably comparable in sound to Every Time I Die, Periphery, Lamb of God, and Gallows, the unique Horse In Transit is a band destined to great things and their If I Were A God EP the next stunning step in their rise.


RingMaster 28/01/2013

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Kill The Conversation: Farewell For The Last Time

Already before its release the new EP from UK metalers Kill The Conversation seems to be splitting opinions remarkably, some loving it and others finding a loathing usually reserved for young Bieber. Farewell For The Last Time is a release which will either work for you or not. It admittedly has its limitations and unfulfilled potential but still is an impressively enjoyable slab of sonic brutality.

Kill The Conversation is obviously a band unafraid to try things and though it does not always come off it is refreshing. Though crossing a few genres, their sound is metalcore based and in a category which has become quite static in its invention, a band at least trying to be unique is better than one just offering another carbon copy assault. The five tracks on the EP are a concussive confrontation which leave a deep scarring behind them, at times painful and in others abusive but always intriguing and unpredictable.

Formed in 2009, the Dorchester quintet has already grabbed opportunities to make an impact through the sharing of stages with bands such as Sepultura, Rise To Remain, Malefice, and Revoker. Their debut EP Figure Of Speech also drew the attention of people but with Farewell For The Last Time it is accurate to say the band will not go unnoticed. Comparisons to the likes of August Burns Red, Bring Me The Horizon, The Devil Wears Prada, and Parkway Drive have been ringing in their ears as people try to find a tag but though the band echo of a few they create ideas like no one.

The EP starts with a melodic but agitated atmosphere around a sample from the Churchill speech at the declaration of war, though Fold soon erupts into a blistering surge of coarse riffs and an explosion of abrasive guttural vocals. Once into its stride, the guitars of Liam Garry and Luke Toomer offer up an acidic clinging groove and flesh wilting strikes before the heavy artillery of the band takes over with heavier impactful riffs, crippling rhythms and vicious vocals from Jack. The song is arguably quite straightforward and possibly not the most adventurous but still a powerful blood pumping exercise in towering metal.

The following Shattered Shell immediately comes at the ear at full throttle, its badgering riffs and malicious vocals a scurrying and predatory playmate for the senses. The track soon mixes things up with pace twists and rhythmic contortions from drummer Brad Birchall. As the song evolves it takes a break, putting the intensity on a leash for a breather whilst stabbing riffs and beats break the air. The sound at this point is clean but festering an anger which is soon expelled as the track returns to its malevolent ways. The climax feels like the song is standing over and chewing ones carcass amidst triumphant and gloating pig squeals from England. The track is a stirring and provocative brute which labours a little against the opener but opens an appealing well of invention from within the band, something the following song continues.

No More Fish In The Sea is simply chaotic magnificence, a sprawling wave of imagination. It opens with riffs rifling the ear and rhythms holding guard over the intrusion. Sonic manipulations litter the air to ignite deeper interest whilst again England spews his own style of vehemence. His delivery though not especially diverse, is soaked in passion and mischief adding fluctuating character to proceedings. The band throws chugging riffs and a melodic scorching across the senses as it works into the song and though again it is maybe not high on originality one eagerly basks in the towering combat being waged upon the ear. A break into a raw and hollow peace which leads into a post hardcore attack vocally and musically, allows the excellent bass work of Laurie Thomas the clarity it deserves but is often missing elsewhere. Returning to a metalcore climax the track is a gem with only the switch into the unexpected aside lacking not as successful as it could have been. The returning banshee shrills are good too though hopefully England will not overplay them in the future to diminish their strength.

The remaining two songs keep things running on a high. Blakes Demise is a bruising encounter which tests the resolve but counters its vindictive nastiness with cutting addictive riffs, an insatiable groove, and infectious ear candy melodics It is a good song surpassed by City In Ruin. Starting with another speech sample the track spears its air with fiery sonic bursts from the guitars before exploding into a riotous feast of energy and melodic enterprise which seemingly teeters on folk metal. The track is excellent with more twists and turns than a slinky on the stairs though again it is unable to bring fluidity to the transition between the contrasting sounds talked of and the charged metal onslaught which closes the song.

Farewell For The Last Time is an impressive release which holds great promise for Kill The Conversation. For sure the band is not the finished article yet and probably are destined to always rub some up the wrong way but if they carry on like this they will find and give formidable riches.


RingMaster 29/08/2012

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Dead Label – Sense Of Slaughter

Sense Of Slaughter from Irish metal band Dead Label is a release that flays the ear and twists the senses into taut and manipulated victims by the blistering sounds and songs on offer. The debut album from the trio is an impressive release and though it indicates the band has much more yet to come, for an introduction and start it is a strong, steady and satisfying release.

Part grindcore, part metal core and all metal, the album is full of contempt rather than venomous, fierce as opposed to being vicious and incessantly vindictive than brutal but still offers an intensity and uncompromising energy that is impossible to deny. From Celbridge in Ireland, the threesome of Dan O’ Grady (bass and vocals), Danny Hall (guitar), and Claire Percival (drums) made a mark almost from the off when forming in 2008. Within a year they won a nationwide battle of the bands event and followed up in 2010 with a debut EP, all placing them as a band to watch closely. Now with Sense Of Slaughter released via Rising Records February 13th, one can expect further enthused interest and a rapidly swelling fan base.

The band’s influences are cited as the likes of Machine Head, Lamb of God, and Pantera and many have compared them to bands like Bring Me The Horizon and Rise To Remain, all these spices can be found within the Dead Label sound. The one band that they also reminded of was UK metal band October File, scorched grooves and militant riffs to the fore both bands have the same relentless intent and drive. They also share the one thing that works against them to some extent, a forceful vocal that lacks diversity or variation. O’Grady is a fine vocalist and his delivery as caustic as the sounds rippling behind but the similarity to his attack and across the tracks for many will give a challenge to their focus and drop a veil over some of the striking and creative play the band dazzle with. It has to be said though that with the deeply agreeable riffs and grooves the band conjure up the album is at times irresistible and at worse thoroughly intriguing.

After the opening instrumental intro ‘Dead And Gone’ the album explodes with the impressive title track, the guitar of Hall flying around the ear like a malicious wasp and the rhythms of Percival battering with merciless disdain. O’Grady spews his coarse vocals to singe the ear as the grinding riffs wrap tightly around the senses. A strong start soon left in the shade by the stunning track ‘Reign’. Bass and drums drill constantly showing no wish to resist from their incessant tenderising of the ear. There is a Static-X feel to the track, the groove of the song harsh, metallic and permeating, to vein a song that is deeply enjoyable.

The album rattles along with a highly energetic and formidable intensity throughout, each song of a high consistency even if at times the mentioned similarity does distract from some of the variation within tracks. The flavoursome grove of the excellent ‘Dawn Of A New Age’, the ear splitting nastiness of ‘Self Immolation’, and ‘Assume Nothing’ along with ‘Reign’ are the stand out tracks though as mentioned all the songs offer nothing less than good wholesome and most of all enjoyable sounds. ‘Assume Nothing’ teases with belligerent riffs, machine gun like rhythms and a wanton groove that seduces and strips the senses equally. These songs give more than enough evidence to show Dead Label are a force in the making, already a very good and creative band, the future should see them really explore their sound to take it and them to higher and greater things.

For any limitations Sense Of Slaughter might have, and to be honest they are few, the album is nothing less than satisfying and impressively enjoyable, and the sure host of many and constant visits. Dead Label have taken another big step in their journey towards their own distinct heights. Watch this space as this trio is destined to be a band making deep and distinct marks on metal.

RingMaster 01/02/2012

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