Dendera – Pillars Of Creation

Album line-up

Album line-up

UK metallers Dendera whipped up plenty of eager attention and acclaim with their debut album The Killing Floor two years ago and now with its successor Pillars Of Creation poised to ignite ears and appetites with its own unique character, it is easy to expect the Portsmouth band doing the same again with greater success. Embracing a fresh roar of modern rock and invention with their heavy/classic metal breeding in their new offering, Dendera has honed a more distinct sound to themselves, not one to reinvent genres but undoubtedly one to really set the band apart from the tide of likeminded bands.

Since releasing their first encounter, the We Must Fight EP in 2011, it is fair to say the band has had the attention of fans and media alike, a ready to praise spotlight elevated by the release of The Killing Floor in 2013. Live too the band has earned a potent reputation and stature, touring and sharing stages with the likes of Saxon, UFO, Fozzy, Skindred, Firewind, Alestorm, Unearth, The Sword, Orange Goblin, Grand Magus, Ill Nino, POD, Soulfly, Kobra and the Lotus and….well the list goes on. Now the quintet of vocalist Ashley Edison, guitarists Stephen Main and Tony Fuller (the latter having left the band after the album’s recording to be replaced by David Stanton), bassist Bradley Edison, and drummer Andy Finch return with a seriously mighty slab of metal and with ease the band’s finest moment yet.

Dendera cover_Reputation Radio/RingMaster Review     Pillars Of Creation opens with Claim Our Throne and quickly has intrigue and imagination awake with the track’s opening melodic suggestiveness. Its entrance sets the scene, casting a rich and welcoming landscape yet one with an initial melancholic air which as its depths and scenery builds and expands, evolves into a more intimidating presence. Eventually riffs and rhythms build imposing walls whilst hooks and grooves colour the increasingly compelling emergence of the track with inescapable temptation. In full stride the song roars with the impressive vocals of Edison leading the way as guitars and bass lay down magnetic bait through riffs and enterprise. The old school essences of bands like Iron Maiden and Saxon, which heavily coloured the band’s first album, are still clear hues in song and album but more spices now in a bolder and more creatively individual proposal from Dendera. It is not ground-breaking stuff as mentioned but the band has cultured something rich in variety and resourceful in exploration, and as shown by the starter and reinforced by subsequent songs, created a sound which will send fans into bliss whilst offering plenty for those who maybe do not have an appetite for a classic form of metal to have eager interest in.

The impressive start is matched by Bloodlust, the song straight away living up to its name and exploding with a far more raw and predatory presence than that of the previous song. Thrash spiced riffs are rampaging through ears from its first breath, they and rhythms whipped up by the confrontational vocals. It is a tenacious and grouchy encounter which mellows out for its melodically fiery chorus, but is soon back stirring up air and blood with the same insatiable surges of intensity and sound which it first erupted with. Its blend of contrasts is a fluid and alluring invitation, a persuasion emulated again in the stormy nature of In High Tide. A cantankerous tempest of rock ‘n’ roll, the track aligns sonic croons with bestial snarls and rugged hostility, their fluid passage making for a fascinating and increasingly anthemic incitement on ears and emotions.

Already across three songs, Dendera has infused elements from groove and melodic thrash to varied heavy rock, an involvement never diminishing just evolving and changing across every song starting with the stalking of senses that is Disillusioned. Another song reeking attitude and carrying an almost primal swagger, it prowls ears with an intimidating air driven by the ever impressive and masterful rhythmic webs of Finch. Groove wise there is a definite Pantera edge and swing to the track’s core lure, one in many ways copied in the excellent vocal persuasion of Edison and potently backed by the band’s roars and the guitar endeavours of Main and Fuller, especially with a seriously tasty and incendiary solo.

The Daylight Ending is a sweat and spit encounter, rhythms and the delicious bass bait of Bradley Edison a barbarous proposal matched by riffs whilst guitars and vocals carry an aggressive

new line-up

new line-up

nature to their provocative and inventive craft. The song is a gallop for the main, a relentless foraging of body and imagination leaving an even hungrier appetite which The Chosen One feeds with its dark and heavy trespass of the senses. The song does not quite grip as other tracks, missing an indefinable spark to ignite personal tastes but there is no denying or not enjoying its invention and adventure, especially it’s contagious and at times brutal gait.

The explosive sonic flames and melodic passion fuelling Unholy sparks a lick of lips within a few explosive moments next, riffs and grooves almost swarming over the senses and into the passions as bass and vocals virtually prowl with their own inescapable persuasion. The beats of Finch are a bully but a welcome protagonist as again he sculpts an addictive frame and engine room for a song.

Pillars Of Creation is brought to a close by Edge Of Tomorrow, a fire of aggression and passion within a sonically tempestuous soundscape. It fiercely pleases on first touch but, as the album, just impresses and draws keener lustful reactions with every listen. The release is a must for all classic and heavy metal fans but such the new adventure and variety the band has woven into their songwriting and sound, there is much for all metallers including, us among them, those without an instinctive taste for old school roars. In fact it very likely will, as here, emerge as a favourite of the year for fans and newcomers alike.

Pillars Of Creation is available via Metalbox Recordings from June 22nd @ http://www.denderauk.bigcartel.com/

http://www.dendera.co.uk/   https://www.facebook.com/DenderaUK

RingMaster 22/06/2015

Copyright RingMaster: MyFreeCopyright

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DIE NO MORE unleash their ‘Elected Evil’, on 3rd November via Rocksector Records‏

Die No More Online Promo Shot
ASCENDING BRIT METAL CREW DIE NO MORE RELEASE DEBUT ALBUM

UK metallers ‘DIE NO MORE’ have just signed to Rocksector Records and they unleash their debut album ‘Elected Evil’ worldwide on Monday 3rd November, through all good stores.

Bursting out of Penrith, Cumbria, UK newcomers Die No More merge together a formidable sound which lifts from the Bay Area Thrash metal scene and fuses elements of such intensity they call to mind legendary British bands such as Iron Maiden, Judas Priest and Saxon. Born in 2011 and consisting of four friends who had, and still have, the same passion for creating modern metal that also acknowledges classic influences, Die No More’s sound is heavy, yet melodic, and it grabs a hold of you with its jack hammer guitar riffs and frenetic solos. While reminiscent of the greats, they bring a fresh and hugely enjoyable slab of Thrash Metal to a young audience.

The band’s rise has been progressive and certainly productive. Last September they unleashed their debut EP ‘Blueprint’ which secured wide praise throughout the metal underground. The record also gained the attention of Rocksector Records who swiftly signed the band to their roster. The quartet continued to successfully hit the live circuit before heading back into Axis Studios to work again with revered producer Matt Elllis (Black Spiders, Absolva and Massive Wagons) for their soon to be released debut album ‘Elected Evil’. Yet again, the band have pulled it out of the bag. The album is rammed with eight beefy metal cuts, from their new single ‘Dark World’, which hammers at your eardrums with true grit and conviction, to the dynamic and driving ‘Absentia’. ‘One In The Chamber’ further showcases the foursome’s craft and guile. Now with European dates and a UK tour confirmed to support the album, the band are destined to break the UK metal scene.

– DIE NO MORE RELEASE ‘ELECTED EVIL’ WORLDWIDE ON MONDAY 3rd NOVEMBER
THROUGH ROCKSECTOR RECORDS / CODE 7 MUSIC AND ALL DIGITAL STORES –

www.facebook.com/DieNoMore

Imicus -The Libertine

Imicus Online Promo Shot

They may have left us all hanging after their impressive first chapter and debut album, but after a two year hiatus UK melodic metallers Imicus return with a new line-up and single soaked in the same invigorating qualities and invention as before. The Libertine is a striking comeback, two tracks reminding us of how the Luton hailing band gripped attention and emotions first time around whilst providing a new expanse and depth to their fascinating and provocative sound.

Before the original line-up disbanded in 2012, Imicus was stirring up keen praise and eager support straight away from their first single Visceral, which was released on Transcend Records in 2009. Eagerly swooped on by radio and its video by the likes of Kerrang! and Scuzz TV, the song’s success was surpassed by debut album Animal Factory the following year. Alongside this success, Imicus equally drew strong responses with their live performances which across the years has seen them share stages with the likes of AC/DC, Bullet For My Valentine, 30 Seconds to Mars, Rage against The Machine, The Stone Temple Pilots, and Aerosmith as well as make successful appearances at festivals like Download, Hellfire, Hammerfest, and The Bulldog Bash where they played with such bands as Breed 77, Sepultura, Opeth, Skindred, Saxon , Motorhead, Status Quo, The Damned, and many more.

Last year saw the end to the break which followed for the band, when co-founder and vocalist Miller decided to take the band out of storage with a new line-up and intent in sound and invention. The Libertine is the first offering from the PromoImageband’s second chapter, and recorded with Russ Russell the single is a gripping incitement swiftly revealing evolution in songwriting and imagination of the band.

The Libertine swiftly encloses ears in thick layers of rugged riffs and sonic enterprise punctuated by punchy beats. It is a captivating web given further strength by the vocals of Miller and the hazy atmosphere sculpted by the skilled melodic designs cast by guitarists Matt Turnbull and Al Hutton. Expulsions of muscular attitude and intensity equally add to the compelling encounter whilst Miller sets brawling roars alongside his flowing melodic delivery and the rhythms of bassist Bradley Beech and drummer Antony Cardinal bring a predatory breath through their attack. Technically as enthralling as it is creatively melodic, the song is a rich blend of explosive textures and bracing atmospheric tension, and a mighty return from the band.

Its companion track is Medusa, a song bred from the same melodic and inventively tenacious template as its predecessor whilst uncovering even stronger evocative potency to its depths against sinews seemingly finding seeds in the likes of Stone Sour and Killswitch Engage. There is a definite feel of Johnny Wore Black to the track’s emotive hues and insightful expression whilst elegant melodies and direct passion feverishly drive its imaginative persuasion.

Both tracks combine for an imposingly pleasing and impressive comeback for Imicus, and the breeding of real anticipation for the band’s new album scheduled for next year. The band may have been away but it did not stop its potency and potential growing, as well as expanding with the influx of new creative blood.

The Libertine is released worldwide on CD and digitally September 26th from all major digital outlets as well as @ http://imicus.bigcartel.com/

http://imicusband.com

RingMaster 21/09/2014

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Toranaga: Righteous Retribution

Toranaga Online Promo Shot

Twenty three years after their debut album, UK thrashers Toranaga have returned from a long absence with a new album and what a thunderous storm of a release it is. Many bands return after a long time away and struggle to find that essence which lit up their initial presence or to write tracks which have the same intensity and potency which marked them in the first place. There is no fear with this Yorkshire quintet as Righteous Retribution goes straight for the jugular chewing up the listener with slabs of muscular threat as aggressive and lethal as anything the band has carved before.

Formed in 1988 by bassist Andy Burton, vocalist Mark Duffy, drummer Steve Todd, and guitarist Andy Mitchell, Toranaga made an immediate impression with their debut album Bastard Ballads, the Peaceville Records released provocateur earning strong responses and leading to the band extensively gigging across the UK. It also drew in strong radio play with the likes of Tommy Vance on the BBC Rock Show and sparked an invitation to open up for Manowar on their UK tour. Snapped up soon after by Chrysalis Records, the band released second album God’s Gift in the spring of 1990 which was covered in even greater acclaim.  Tours and shows with the likes of Sabbat, Venom, Saxon, Metal Church, Uriah Heep and Annihilator followed as the stature of the band rose, though sadly their record label was one which did not offer the support the band needed to progress and develop which led to their departure from it the following year. From here internal conflict made its presence known within Toranaga and not long after the band called it a day.

Then in 2010 though Burton got in touch with Todd and Duffy about writing new songs together as Toranaga. With positive feedback theToranaga Cover Artwork trio came together and set about searching for a guitarist to replace Mitchell who had emigrated to Australia in 2006. With a line-up completed by Shane Haigh and John Rodgers the band set forth into a studio to record Righteous Retribution with Mik Crone. Eighteen months in creation, Righteous Retribution makes up for those absent years of the band with an instant forearm smash between the eyes with the first full storm after the opening introduction Portam AD Infernum. As it ravages the senses it is as if the band has never been away but equally sets them up as a new and still refreshing weapon for thrash/heavy metal. The self-released tempest moves through the evocative introduction seemingly eager to unleash its sinews which within seconds of the following Traitors Gate it does and in rapacious style. Riffs are helping themselves to submission with their voracious and heavy provocation whilst the rhythms of Todd punch and jab like a heavyweight moving swiftly with rapid rabidity. Duffy maybe surprisingly, soon shows he has not lost any of his strength and animosity, his vocal attack welcoming and grizzled, infectious and gnarly. The track has a definite Metallica/Exodus like breath which arguably was expected but equally the track stomps across the passions with a hunger and contagion which is pure Toranaga.

The outstanding start is instantly backed up by the scintillating Cynical Eyes, the song another savage but anthemic lure which commands feet, voice, and emotions. Jagged riffs and the perpetually predacious basslines frame the snarling vocal squalls whilst a carnivorous emerging waspish groove wraps teasingly around the rhythmic veining. Thrash at its most compulsive and vengeful, the track is a massive highlight of not only the album but the year, certainly in its chosen breed of genre. Both songs are so potent and dynamic that it leaves the remaining songs almost too much to emulate but boy do they do their very best.

Both The Ultimate Act Of Betrayal and I Must Destroy reap the rewards of a rigorous hunger spawned by their predecessors, the first springing from a slow and evocative intro to launch a tirade of twisted riffs and exhausting rhythms ridden by the continuing to impress vocals of Duffy and band, whilst the second grows from a crawling start into a stalking of the ear with predatory riffs guided by an incendiary groove sculpting a trap for the passions which is sprung by excellent breaks and sonic stabs as well as the scorching guitar enterprise. The pair reinforces the epic start with craft and guile, whilst the following Return Of The Gods with its almost stoner like tease and acidic grooves lays down another rung on the climb to ardour being built by the album.

As well as unleashing riveting heart capturing sounds Toranaga ensure diversity and imagination is present in strength too, The Beginning Of The End igniting yet another blaze of invention and variety with a groove metal hue to its classic metal suggestiveness as it wraps melodic and expressive weaves of hot guitar intrigue around the again crisply commanding rhythms and vocals. Adrenaline rushes through the veins of Prove Me Wrong like boiling blood next, its life force thrusting the song into a high octane fuelled temptation with rich heavy metal antagonism whilst the seductive Judas Priest whispering Something Evil and the primal almost bestial Battle Cry with excellent guttural growls adding their black menace to the barbarous confrontation, only cement the large spread of sound and ideas upon the album.

Finished by the magnetic Rise From The Flames and the outstanding I Play God with its persistent grinding probing and deliberately intensive intimidation, Righteous Retribution is a masterful and thoroughly thrilling encounter. Easily one of our favourite releases this year, Toranaga show that they have not only returned as strong as before but have found something extra to give current bands  a real run for their money.

http://www.facebook.com/ToranagaUK

http://www.toranagauk.com/

9/10

RingMaster 31/08/2013

Copyright RingMaster: MyFreeCopyright

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BRIT METAL MANIACS TORANAGA RETURN TO RELEASE BRAND NEW ALBUM!

Toranaga Online Promo Shot
High Rated Yorkshire riff-slingers ‘Toranaga’ are back with their ferocious new full length album ‘Righteous Retribution’ available through all digital outlets on Monday 2nd September. Look out for tour dates, soon to be announced!
 
‘Toranaga’ were originally formed back in 1988 by Andy Burton (bass), Steve Todd (drums), Mark Duffy (vocals), and Andy Mitchell on guitar. The four piece released their debut album “Bastard Ballads” through independent label Peaceville Records and widespread national reviews and extensive gigging soon followed. The band then played a session for the legendary Tommy Vance on BBC Rock Show, and were invited to open for metal giants Manowar on their UK tour. Soon after Toranaga were snapped up by Chrysalis Records.

The band released their major label debut album ‘God’s Gift’ in the spring of 1990, and again notched up critical acclaim and video airplay with MTV Headbangers Ball and Raw Magazine’s Heavy Metal Channel. Extensive touring throughout the UK and Europe soon followed with the likes of Sabbat, Venom, Saxon, Manowar, Metal Church, Uriah Heep and Annihilator. Regrettably though, the band were not given the chance to develop and grow with Chrysalis, so they parted company at the end of 1991. Internal conflict within the band followed and Andy Burton and Mark Duffy decided to leave the camp and Toranaga disbanded.

However in 2010, Andy Burton decided to pick up the bass again and contacted founding member Steve Todd and Mark Duffy about playing some of the old Toranaga songs, as well as writing and recording new material. With original guitarist Andy Mitchell emigrating to Australia, the band widely auditioned for new guitarists. Shane Haigh and John Rodgers stepped into the fold and have more than filled the void. The chemistry, drive, ambition and friendship is now fully back within the band.

With a renewed vigour and focus, Toranaga marched into the studio to record with Mik Crone at the helm. After eighteen months in the making, the band completed their brand new album, entitled ‘Righteous Retribution’. Twelve songs of colossal heavy metal brilliance flaunting whiplash guitar riffs, commanding vocal lines, and a ballsy rhythm section fill every crevice of the record. The album hits you full force and instantly hammers out frantic drumming and hi-octane powerful riffs to maximum effect. From the mighty ‘Cynical Eyes’ (which is set to be the band’s new video single) to the stomping bite of ‘Prove Me Wrong’ and the engrossing ‘I Play God’, it’s evident that time has only sharpened the band’s creative powers, as they have produced a blistering slice of metal. Now, with no major label to hinder their spark, Toranaga will rise!
Toranaga Cover Artwork

Mystery Blue: Conquer The World

MysteryBlueBand

Classic metal has never found an easy welcome with personal tastes here but if it consistently sounded as irresistibly fun as the new album from French power metallers Mystery Blue does the genre would have received open arms far more often. Conquer The World, the new and seventh album from the Strasbourg quartet, is quite delicious. It cannot be claimed it is transforming the heart of classic metal/rock or even directing the genre to new avenues nor offering anything particularly new, but it does leave a deepest of satisfaction and pleasure seldom found in the majority of similarly soaked releases anywhere. It is just a great energising enjoyment which has the heart racing and fist pumping, simply rock n roll at its stirring invigorating best.

Mystery Blue was founded in 1982 by guitarist Frenzy Philippon and found a strong recognition within the hard rock/metal sound of the time. Their self-titled debut album of 1984 and its successor Circle Of Shame two years later found good success and acclaim as did gigs alongside the likes of Motörhead, Def Leppard, Saxon, Vengeance, H-Bomb, and Satan Jokers, but it was followed by the splitting of the band. 1996 saw Philippon resurrect the band with vocalist Nathalie Geyer, bassist Dany Ohlmann, and drummer Vince Koehler completing the new line-up. The album Spirit Of Your Song came out to a good response, with the successive releases Metal Slaves, Claws Of Steel, and Hell & Fury marking the band with ever increasing acclaim and recognition. A couple of bassist changes led to Matt Gabnai joining the band in 2011 and the foursome entering the studio to record Conquer The World with Uwe Lulis (ex-Grave Digger, Rebellion). Since returning Mystery Blue has gone on to share stages with bands like Paragon, Rebellion, Wolf, Adx, No Return and more as well as impressively gracing many festivals, and alongside their albums especially the new one released  via Road Show Productions, has found a place to the fore of current classic/power metal.

The title track bursts into life after an initial barrage of inciting drums which then fades away making one wonder why and their mystery_blue_conquer_the_world_highpurpose though all is forgotten as soon as the song itself emerges powerfully from the rhythmic mists. It opens with a charged and heavy grind of riffs and the enthralling vocals of Geyer. She has a classic delivery which sweeps over the ear like a mix of Doro and Toyah, and once a handle is found with it is a great aspect amongst so many on the album. The song itself is a ‘traditional’ sounding track which does everything right without pushing its limits for an easily accessible and pleasing start to the album.

Things leap another level with the following Innocent Crime and Running With The Pack. The first song matches the opener in energy and irresistible washes of catchy hooks and enthusiastically driven riffs whilst bringing a more complex structure to the songwriting. It ebbs and flows seamlessly whilst all the time creating a pulse racing energy to envelope and reward the listener whilst the second is a different chunkier and sinewy encounter. The bass growls with deeper resonance whilst the rhythms slap harder with more malice behind the enterprising guitar play. With additional vocals from Andreas Babuschkin of Paragon finding a great unity with those of Geyer, the song is a thrilling and contagious instigator to heart, voice, and limb, and one of the biggest highlights.

It is closely matched by the likes of the excellent Evil Spell where Geyer at times wonderfully wrings notes from her throat alongside her great melodic castings, the thrashy Cruel Obsession with its crushing almost psychotic breath, and Road Of Despair. The last song is a thunderous runaway colossus of bloodletting riffs and bone cracking rhythms cored with a ravenous bass conjuration and infectious vocal squalls. It is a magnificent track stealing top honours amongst many impressive rivals.

The album does lose its grip a little with Ticket To Hell and the power ballad Keep On Dreaming due to personal preferences in regard to their classic metal intent, but even then it is still hard to pull away from their company. Conquer The World is an outstanding album which thrills and raises the heart rate from start to finish with mischievous imagination and irrepressible passion. It is a must check out for not only classic rock and metal fans but for all those with an ear for crusading unbridled fun.

www.mysteryblue.com

RingMaster 02/01/2013

Copyright RingMaster: MyFreeCopyright

 

Monument: Rock The Night EP

Heavy metal especially the old school classic kind and The RR has never really seen eye to eye, the likes of Iron Maiden, Def Leppard, and Saxon igniting more discontent than pleasure. It is personal taste of course and as open to all as we are it is makes it rare for the genre to offer something up for us to find appetizing. One of those rarities comes in the shape of the Rock The Night EP from British classic heavy metal rockers Monument, a little treat which without any chance of making our end of year best of lists left more than a pleasing impression and satisfaction behind it.

Formed by vocalist Peter Ellis (ex- White Wizzard, The More I See), the London based quintet do not hide their influences and inspirations, combining all into a riotous and compulsive sound of their own. Their new release does not break into new avenues or rip up the rule book but simply brings the feistiest heavy metal party you can wish for right to your door. Completed by guitarists Lewis Stephens and David del Cid, bassist Jim Ramses, and Matt C on drums, the band seem intent on giving a new life and freshness to the near corpse like state of NWOBHM, something which would normally give nothing but chills this way but Rock The Night EP actually manages to make it almost seem an appealing prospect.

The title track erupts in the ear with an immediate intent to excite and fire up the senses, soaring screams and raging riffs instantly taking over the ear. The song is an insatiable charge of energy and metal passion which leaves no pore or synapse devoid of melodic enterprise and charging intensity. The guitars reign on the track leaving one glowing from their fiery display of forceful riffs and enticing invention whilst the solos leave one drooling, which maybe is not surprising as the song features a guest spot from Judas Priest guitarist Richie Faulkner. The vocals are as expected from Ellis, expansive and highly charged with strong group harmonies adding their enthusiast companionship. Arguably the song offers nothing new except fully energising sounds which have not been this enthusiastic in the genre in a long time, then again not being fans we may have missed plenty of similar moments?

Whereas the opener leaves only hi octane energy and enthusiasm in its wake the following Carry On is a more expected composition. It is hard to call it predictable as again the guitars and vocals are nothing less than impressive whilst the rhythms of Matt C take instant charge of the ear with their powerful and commanding tight grip, but it fails to excite quite as openly. With surging riffs and plenty of chugging ready to link the scorching melodic play, the song is enjoyable without stoking too many fires something which cannot be said about Midnight Queen.

Best song on the EP, the track is addictive from first note to last, the Ozzie like vocals playing well amongst the brew of sinister melodic enterprise and menacing sprawling energy. From the vocal and additional harmonies through to the expressive guitar work the song captivates but it is the bass of Ramses which steals the thunder. Steely with the hunger of a predator it brings a dark shadow and breath all of its own, surely a pact with the devil at play which spoils over in the following Fatal Attack. There is a plethora of good things on the release but his presence is the highlight.

As said the bass continues to ignite greater heights on Fatal Attack, it is as if Ramses has been unleashed and he is making every moment count but the song as a whole is nothing less than thoroughly pleasing. It has a snarl and bite which is distinct from the other songs on the release to make it alongside its predecessor and the title track. One of the strongest moments on Rock The Night.

The closing Blood Red Sky continues the strong and gratifying pleasure surprisingly incited from the release and though it slips a little against the previous duo of songs still holds the imagination and ear with ease.

     Monument with the Rock The Night EP laid waste to expectations to replace them with surprised pleasure. If this is the new state of heavy metal maybe there is a home here for it after all.

Facebook – www.facebook.com/monumentuk

RingMaster 16/08/2012

Copyright RingMaster: MyFreeCopyright

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