This Burning City – Blinded

TBC_RingMaster Review

With the release of their storming single Ignorance last year, we settled down to chat with its creators This Burning City to learn more about the band and their attention grabbing sound. At that time the Canadian alternative hardcore quintet were working on their debut EP, declaring that its “sound is going to be huge.” Recently the Blinded EP was unleashed and fair to say the band was not misguided in their prediction. The five track fury is a gripping roar of hardcore lock ‘n’ loaded with an array of punk and metal essences entwined with scorching melodic enterprise. The promise drenching their previous single is potently realised in the release yet at the same time it only opens up new waves of potential to be excited and hungry for ahead.

From the small town of Gananoque in Ontario, This Burning City formed in 2012, school friends coming together to make some noise. A few line-up changes was followed by a honing of the band’s direction and sound, first single Consummation in the September of 2013 the result. With inspirations including Ritual, Dead And Divine, Stray From The Path, The Chariot, Prophets, and The Color Morale adding sparks to the band’s quickly persuasive sound, second single Ignorance last November, awoke stronger and broader attention, and indeed strong anticipation in a great many for the band’s first EP, and as a rousing and volatile tempest of craft and sound, Blinded more than lives up to expectations.

This Burning City - Blinded_RingMaster Reviewcover  Wasted Time opens up the encounter, prowling riffs enticing ears first before the band, led by the impassioned vocal squall of Steven Harnden, creatively gangs up on the senses. Already the soon to be confirmed variety of the frontman’s delivery shows its strength, as too the band’s sound which perpetually evolves with elements of groove metal, post hardcore, and metalcore adding to an enflamed punk ferocity within the song. It is a tastily intrusive stomp which flows straight into the even more uncompromising predation of Feed The Machine. Featuring fellow Ontarian artist Todd Barriage of Borland Studio, who also mixed and mastered the EP, the track explores a Rage Against The Machine like stalking of air and listener. With the heady beats of Jarrett Montgomery courted by the bestial lures of Nick Deslandes’s bass, the song is as exhaustive as it is fiercely contagious, bellowing and inciting with unrelenting efficiency and addictiveness whilst seemingly confident in the knowledge it will get people to their feet with fists clenched.

A spiral web of guitar enterprise from Mitchell Ferguson and Jacob Harnden quickly entangles ears as In Your Head steps forward next. In no time the song is an addictive rhythmic and energetic shuffle carrying an unshakeable infection within its mercilessly bruising overall tempest of intensity and sound. The carnivorous encounter is sonic rabidity superbly sculpted and coaxed into greater antagonism by the skills of the band yet at times as catchy as any slice of rock ‘n’ roll around today, with the continuing to impress depth of Steven’s vocals the extra spice.

Track by track Blinded just gets heavier and more uncomfortably enjoyable, The Victim the next creative furor to stir up the emotions and appetite. Once more within raw hostility and great unpredictable imagination, weaves of melodic calm and seducing emerge, making full use of their moment in the storm before stepping back into the metalcore raging equally thrilling ears.

The EP is brought to a vicious close by State Of The World, another track, without pulling punches, lyrically and musically taking an individual look at a theme lured within the landscape of politics, world events, people, and injustices. Without being the most unique song on the release, it hauls thoughts and emotions into an impassioned heart and sonic turbulence with striking prowess to potently complete a thoroughly impressive release.

Last single Ignorance certainly whetted the appetite for This Burning City; sparking keen intrigue and excitement for their next move. That step is Blinded, a release that roars that this is a band ready to step into richer and broader spotlights with the hard to argue suggestion of bigger and bolder things still to come.

The Blinded EP is out now as a name your price download @ http://thisburningcity.bandcamp.com/

https://twitter.com/tbcbandofficial     https://www.facebook.com/ThisBurningCity

Check out our interview with This Burning City @ https://ringmasterreviewintroduces.wordpress.com/2014/11/14/roaring-flames-introducing-this-burning-city/

Pete RingMaster 21/10/2105

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Roaring flames: Introducing This Burning City

This Burning City

One song does not make a band but it certainly is enough to pay close and eager attention upon one and so it is with Ignorance the debut single from Canadian hardcore rockers This Burning City. The teaser for an upcoming EP, the track is visceral and sonically compelling introduction with a vicious contagion to match. Not wanting to wait until the upcoming EP to learn more, we grabbed the chance to fire off a few questions at the band to discover their background, influences, and more….

Hi guys and thanks for talking with us.

Can we start by asking about the band and its background?

Hey there RingMaster. Thanks a lot for opportunity to chat. This Burning City is a hardcore band from the small town of Gananoque, Ontario. We all knew each other from school and came up with the idea of getting together and making noises. Nothing serious but as time went by we loved what we did and This Burning City formed. We’ve been together for roughly 3 years now, but have jammed together for longer.

You have had a few changes in personnel since forming, the norm for plenty of bands but how has that impacted on your hardcore fuelled sound along the way?

No major changes, but a few bumps in the road really. I think in the beginning we didn’t really have any direction or idea of what we wanted. We looked up to bands and said “We want to be THAT” and wrote what we could. After the line-up changes, I think everyone was finally on the same page on what we wanted and we finally could start writing the music that we really wanted to put out. So to answer your question I’d say yes, it has influenced our hardcore sound, but in a good way.

Who would you list as the biggest influences on the band’s sound and you as individual musicians?

It’s extremely safe to say that our biggest influences as a band are Ritual (Ex. Dead And Divine), Stray From The Path, and The Chariot. Other than these three, we all really take influence from Prophets, Holly Springs Disaster, Of Temples, and The Color Morale. You can hear most of these bands in our music, and the influence is pretty clear and direct.

Tell us about the single Ignorance which was released earlier this year, is it a thick example of your sound generally for newcomers to get an idea of what This Burning City is all about?

Ignorance was selected as our single to lead into the EP that we have in the works. When writing music for the EP, we made this song and absolutely HAD to put it out. It was designed to give people a taste of what we had to come, the new direction we were going in, and keep people waiting for the EP. It was recorded in a small basement by Jordan Bulhoes of Suns Of Static and it was mixed and mastered by Jordan Valeriote who has worked on some really huge bands such as Silverstein, Neck Deep, Structures and many others. It’s a very good example of what’s to come, but since writing the single, we’ve written some truly outstanding music that will blow away anyone who enjoys the single.

What about the EP, any info you can share?

We just finished some gruelling days in the studio with Zane of North Of Princess studio to put together a really, really amazing EP. Right now we’re waiting for some early mixes and then it’s off to become truly magical.

Can you give us a spoiler as to its sound and direction?

All I can say at this time is that the sound is going to be huge, the melodies are going to be magical, and to those who have heard us before, it is going to be unlike anything we’ve ever released. Honestly, we all couldn’t be more excited.

You seem to be getting a potent reputation for your live presence also and have played with a horde of bands including the likes of Horizons, Atlas, Fairview, End Of Crisis, and With Blood Drenched Hands. On stage is where the band is most at home?

The stage is definitely our home. When we entered the studio, we looked like deer in the headlights. We didn’t know what to do. But the moment we need to hit the stage, we’re like a well-oiled machine. It’s the place where we let loose, connect with the people we play with, and try our hardest to create a memorable experience. It’s all energy and smiles when we’re up there.

You have a show coming up with He Is Legend and Maylene & The Sons Of Disaster as well as others. How are feelings as it looms closer and this is one of your biggest shows to date?

Well first and foremost we are excited to be sharing the stage with such amazing bands. But at the same time, we are a bit nervous. Kingston, Ontario has the bad tendency to not give these bands the attention they really deserve. I hope the locals will come out and support them. I know we’ll be a bit nervous to open, but like every time, we’ll get over it and truly kick the shit out of the performance.

What else has the band in store for the rest of the year leading into next?

Lots of big plans! Once the EP is out, we’re going to do our best to get it into the hands of people we don’t know and get the name out. Touring is a definite possibility. And of course, we’re always looking ahead to the next big step: our album. The ball is always rolling with us.

Thanks again for sharing your time, anything you wish to shout out to finish off with?

Thank you again for the questions! All I have to say is we are This Burning City! Check us out at www.facebook.com/ThisBurningCity or go to our website at www.ThisBurningCity.com. Check us out at a show near you and listen to the newest single, Ignorance.

Pete RingMaster

The RingMaster Review 14/11/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

Rubella Ballet – Planet Punk

RB

It is probably fair to say that most punks know the history of, impact, and importance to the genre UK’s Rubella Ballet has made since forming at a Crass gig in 1979. Built around the nucleus of Sid Truelove and Zillah Minx the band brought intensive colour musically and visually to an anarcho/gothic punk scene. Their subsequent course saw the band perform two John Peel sessions and release from the first dramatic Ballet Bag cassette only unleashing of 1981, a trio of albums, and a mass of singles and 12” encounters as well as numerous collections. Live the band toured and supported the likes of Crass, Death Cult, and the Poison Girls amongst a great many whilst helping upcoming bands such as Ritual, Sex Gang Children, Ausgang, and Skeletal Family. As said most know the background to Rubella Ballet and their presence, the band summed up recently as, “They were the band who bridged the gaps between The Sex Pistols, X Ray Spex, and Crass.”

That is history though, important but belongs to the past. What is relevant to the now is the release of their new album Planet Punk, the first release of new material since 1986’s album If, an album declared by the majority as their finest moment. That was until the uncaging of Planet Punk, a quite extraordinary and fascinating provocation which sits boldly on the frontline of the pinnacle of punk releases in recent years. A release which provokes thought, passions, and feet like an ingenious puppeteer; a sonic devil which sits on the shoulder inciting and teasing until it has wormed under the skin and is riding the psyche in an irrepressibly diverse punk rodeo. Sid Truelove and Zillah Minx have conjured one of the most riveting and invigorating rebellions to sit alongside the likes of the recent Steve Ignorant with Paranoid Visions album When…? and the new Waging War full-length from The Duel as important propositions within punk rock.

From the opening title track the London band and release strikes at the heart of world and social wrongs, the like of banks, the illuminate, RB coverand the Hillsborough Stadium disaster amongst many things under a spotlight in the fifteen track creative tempest. The songs never preach and shove opinions down the throat though, just inform, inspire, and give their own premise. The first song instantly takes the listener and imagination back to the band’s early days, its old school stomp and breath a pervading suasion entwined with middle finger bred grooves and combative vocals which have a modern day eyeballing maturity. With sharp hooks and fiery dynamics, the song is a glorious spark to set Planet Punk off, its title track an instant trigger to the agonist dormant in us all.

The excellent start is swiftly matched and pushed to a new plateau by both All Potential Terrorists and Run Run. The first, spawned by 9/11, thrusts angry riffs and rapacious rhythms at the ear as the magnetic tones of Minx ripple with intensity and antagonism. Clad in contagious resourceful sounds, the track rampages irresistibly but then twists the scenery into a delicious darker incitement as Truelove adds his vocal suasion into a mix now coursing with warnings and sirens as well as startling enterprise. It is hard uncompromising rock ‘n’ roll at its best, guitars flaming with a reserved yet bright flame within the imposing scenario. Its successor stalks and prowls around its victims, the banks. Again samples as in the previous pair colour the landscape, their information courted by throaty basslines and predatory riffs which Minx manipulates further with her vocal confrontations. There is a raw air to the song; every aspect ablaze with a caustic glaze which only adds to the narrative whilst within the unrelenting menace the essences of bands like Fatal Microbes and The Molesters only enhances the pleasure.

The album continues to get stronger and more dramatically thrilling as each track infests senses and imagination, the next up Killuminati climbing another step with its voracious heavily weighted riffs which ooze ravenous hunger. The rhythms are just as full of rabidity but as ears succumb to their pressure the band suddenly explodes with a kaleidoscope of invention and ingenuity, the imposing Truelove vocal lead joined by soaring flumes of Minx’s symphonic seduction. At its core the track is an antagonistic brawl but with all the riveting twists of invention now at play equally soaked in the predation which drives the song from the start, the encounter is one of those moments you can only use the word classic for.

The bewitching Pandora’s Box has its designs on that mantel too, and achieves it with a sirenesque portentous hymn. It is a song which seduces and slowly swarms all over senses and passions, a mix of Siouxsie and The Banshees and The Duel, but as in all cases any references are just a hint to the startling originality. The album’s greatest offering, the track is as sinister and compelling as the science it is prowling, Minx at her glorious whilst the songwriting and invention of the band could be best described in literary terms as Frankenstein meets Something Wicked This Way Comes.

Both the equally chilling and ominously glazed Anonymous and the insatiable Hellbilly Heroin fire up body and emotions next, the first a captivating slice of bleak cyber punk and its successor, a track seemingly looking at Truelove’s own health problems and issues with drugs, their effect and ownership, is a honest and uncomplicated punk rock roar which pulls no punches. Both songs without matching the previous tracks, a level always going to be hard to maintain, easily ignite another wave of hunger in the appetite for the album which Bio Hazard instantly reinforces with its accusing web of sonic enterprise aligned to the temptress tones of Minx, its bait and lyrical canvas enthralling.

Through the absorbing stark infectious lure of Silver Or Lead, a song with aspects of calling All Astronauts to its presence, and the heavy rock smog of Wonderful Life, the album continues to find new impressive ways to light the passions, the second of the pair an incitement thick in intensity and robustly smothering sound which is speared and lit with the oppression tempering croon of Minx. It is a mouthwatering intimidating mix which is equalled in success by the coarse pop punk vivacity of You’ll Be Sorry and then the crunchy charred sound of Sedition. Both tracks in their unique ways embroil sounds of the late seventies and modern multi-flavoured punk into an irresistible uncompromising proposition. It is fair to say that the album is not as strong in its latter stages as its blisteringly inventive start, the songs at this point, more direct and straightforward then strikingly dramatic but still wholly addictive.

The final trio of songs are a mixed bag starting off with the outstanding Victory For The Victims. The imposing heavy bass within seconds flicks the switch to return the imagination to the heights which opened the album, quickly contradicting our just mentioned thought at that point. It is a minimalistic song in many ways looking at Hillsborough, but stunningly effective as it enslaves and invigorates thoughts and emotions. Its triumph is then matched by the brilliant Vampire Wedding, a dark gothic waltz equipped with Sister Of Mercy like rhythmic seduction and Sunglasses After Dark shadows which is then transformed further with bloodlusting angelic charm and vocal imagination.

The album concludes with Starship Transporter, a spatial flight of acidic colour and celestial sonic weaves narrated by Minx. It is a decent enough song but fails to come anywhere near the other tracks on the album though admittedly it still makes a provocative and skilfully sculpted end to an exceptionally tantalising and thrilling release. There may be a vast amount of time between new material but Rubella Ballet has not been resting on laurels instead designing and honing an evolution of presence and sound which in so many ways sets a new template for punk bands and fans to been inspired by. Planet Punk is the band’s best release with ease and a definite album of the year contender.

Planet Punk is available via Overground Records on all formats now!

https://www.facebook.com/rubellaballet

9.5/10

RingMaster 26/05/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Ritual – The Resurrection

After a twelve year wait US black metalers Ritual has returned with a new impressive album in The Resurrection, a release that despite a long hiatus shows the band has moved with the times and changes within the genre to bring something that though not necessarily innovative is fresh and more absorbing than the majority of black metal offerings this year. Though not flawless and from early reviews elsewhere fostering a mixed reaction, The Resurrection for us is an impressive and thoroughly engaging album that offers a less intense but more incisive and warm melodic flow of sounds. To some it might seem lightweight but without the venom and spite that most genre releases still feel obliged to carry and its clear openness allowing guitars and bass to express with a defined clarity the release is a vibrant and intriguing pleasure.

Formed in 1993 Ritual was one of the prominent and more influential purveyors of early US black metal, their three albums The Summoning (1995), Demonic Winter Metal (1997), and Soldiers Under Satan’s Command (1998), all making a distinct mark in the ears and upcoming band’s creative thinking, though it is fair to say without making a ripple in the immense wave of European black metal.  Then the band split and the years passed until Ian Fleming resurrected the band as a one man project, writing songs that would become The Resurrection.

Released via Funeral Rain Records, it is easy to see why some find the album underwhelming as it has very little malevolence, bitter nastiness and evil intent that is expected with black metal. The melodies and creative play is warm against cold themes within the songs and at no point even in the great closing instrumental of ‘March Of The Damned’ with its almost celebratory parade of the aftermath of life and lost souls, does the album step beyond the melancholic into total despair or hopelessness. Personally this brings a fresh and engaging element that is pleasing and a welcome change at not having to fight various aspects of a song and its creativity to find its heart and soul.

Just as it ends the album starts with an instrumental in ‘A Funeral For My Heart’, a piece that is poetically emotive from touching expressive guitars that with a slow dawning open up the senses to its well written passage. As it emerges throughout the album on most songs, nothing is complicated or overdone, its simplistic creativeness allowing the emotion to flow easily. This opens the way for the title track with similarly flowing guitars leading in the rasping caustic vocals. The malice within the album primarily comes from Fleming’s delivery and intent allowing the music to bring the light and uplifting elements that win out on all tracks. This is not to say The Resurrection is an ‘indie’ version of black metal but it is wonderfully accessible and more eager to share then to consume and violate like most equivalent albums.

Each track offers something different with a varied creativity and delivery. ‘Executioner Of The Elder Gods’ is an excellent excited stomp with scything guitars and rampant basslines and the best track on the release, closely followed by the chest beating declarations of ‘This Means War’, its anthemic shouting and powerful energy the hardest and unleashing the most anger to burst forth from within The Resurrection. The threatening ‘Nightmare’ and ‘Temples Of Baphomet’s Sons’ also whittle away at the senses with some display of vehemence especially vocally but again musically and especially from the bouncy basslines there is always that rope of hope and safety to cling to.

As mentioned earlier the album is not without a few ‘negatives’ as in the vocals of Fleming lacking real diversity across the release and though he is strong enough it leaves the music the task to ensure ones focus. Also there were moments calling out for more progressive guitars sounds and intricacies to send some surprising tingles through the ear. Saying that though The Resurrection is a great album and one of the most pleasing and appetising black metal releases this year with its turn towards the light rather than joining the rest in the black shadows and should be given full attention.

RingMaster 14/12/2011

MyFreeCopyright.com Registered & Protected

Photobucket

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.

The Black Dahlia Murder – Ritual

The 2009 release of Deflorate from Detroit’s The Black Dahlia Murder, laid waste to the opposition at the time and set a bench mark for all melodic death metal bands to try and emulate. It also set a definite marker for the quintet’s follow-up to match up against as it set up the unavoidable prospect of comparisons to its high quality for its follow-up release. Released via Metal Blade Records, the new album Ritual has not only matched up but in many ways has taken things further and again set new levels for others to look at in awe.

From the opening haunting orchestral quiet that leads ‘A Shrine To Madness’ into a focused sense of organised chaotic intensity, a direct purposeful energy permeates throughout Ritual. Vocalist Trevor Strnad states that the album is “the most focused Black Dahlia Murder strike of all time.” and it is impossible to disagree. He also added with regards to the content of the album that “every song that got brought forth was exciting and more three-dimensional, more twists and turns, more surprises. There’s more ups and downs and taking people on a journey this time.

Whereas the opening track is strong without setting fires alight its successor ‘Moonlight Equilibrium’ declares the validity of his words. The song snarls like a rabid wolf, biting hard and refusing to let go as it pulls the flesh away, the vocals of Strnad screech and growl as they seek the deepest corner in the listener all the while supported strongly by the darker vocal tones of Brian Eschbach. The guitars of Eschbach and newest member Ryan Knight create their own world of glorious sound, their ingenuity and inspired play a joy that shines through the onslaught. The addition of Knight seems to have given the band’s music a boost in some way, whereas before it was still all about intensity coated in creative and satisfying melodies now there is a new kick to it, a fresh vibrancy that flows without losing any of their senses squeezing power. In reference to his fellow guitarist, Eschbach said “The last two albums I wrote most of the music, and this one it’s almost a 50-50 effort between me and (Knight). He lifted what we were doing on the last album so much from what we’ve done before, his different techniques and stylings that he knows how to wield. It’s really exciting for us to have that be part of the band now.” Strnad also added that Knight “is an educated musician, and he’s brought that kind of aspect into the band, too. We came to him having higher expectations, and he’s exceeded all of those.”  

Throughout Ritual the tracks stir up the senses, the creative ideas and their realisation is at times welcomingly surprising but always awarding. Tracks like the imposing ‘Carbonized In Cruciform’ with crushing drums from Shannon Lucas, the swift attack of the brilliantly disturbing ‘Den Of The Picquerist’ complete with wailing woman, and ‘Malenchantments Of The Necrosphere’ where the bass of Ryan Williams brings a deep resonating tone, show a band at its full height though one sense there is plenty more to come from the band ahead. If there is one niggle about the album it is that the bass of Williams is often lost in the colossal sound and only intent searching within a song reveals the talent the man has.

There is not one moment on Ritual that does not keep up the highly impressive standard but the track that really shines above all is the closing ‘Blood In The Ink’. Fusing classical elements into their black metal artillery the result is an immense and wonderfully gratifying piece of music. There is a sparkling beauty that holds its own against the power and is maybe an indication of the emergence of a new detour in their sound, one that hopefully they will explore more in future releases.

The Black Dahlia Murder have always set the trend and heights to which other bands aspire to, with Ritual they have concreted that standing and moved the bar up yet again.

http://www.myspace.com/blackdahliamurder

http://www.facebook.com/theblackdahliamurderofficial

http://www.youtube.com/blackdahliamurdertv

Pete RingMaster 06/07/2011

MyFreeCopyright.com Registered & Protected

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.

Photobucket