Kinasis – Pariah

Though formed in 2010, UK metallers Kinasis maybe a proposition, like for us, which has escaped your close attention up till now. That is surely going to change with the release of their new EP, a ferociously striking and aggressive incitement loaded with hungry unpredictability and a technical prowess which simply inflames the fascination and pleasure. The four track insurgency is Pariah, a proposition which embraces an array of metal bred flavours in a cauldron of ravenous imagination and rabid dexterity.

Since emerging seven years ago and drawing strongly favourable responses with a debut demo the same year, Kinasis has grown into the British metal scene with increasing individuality and potency. Recent years their reputation earning live presence has seen the Bridgwater quintet shares stages with the likes of Sepultura, Malefice, Flayed Disciple, Sworn Amongst, Abadden, and Tacoma Narrows Bridge Disaster among many as well as venture into Italy alongside S.H.I.N.E. The release of Pariah feels like and should be the moment when Kinasis step from the shadows and stamps their creative authority and individual sound upon the extreme metal landscape.

Produced by Justin Hill (ex-Sikth) and wrapped in the artwork of Andy Pilkington of Very Metal Art, Pariah instantly goes for the jugular with opener Red Earth. Riffs surge through ears with a rapacious nagging whilst rhythms purge their animosity straight onto the senses. With every passing second the intensity rises but with a virulence and infectiousness which has the body bouncing to the ferociousness. A Korn-esque essence emerges as clean vocals invite nu-metal nuances, an industrial dexterity reminding of Static-X joining in as the track fluidly twists and turns through its inventive drama further embracing melodic and atmospheric suggestiveness. It is sheer magnetism, the track a mighty persuasion and alone the declaration of the coming of age of a new force to take notice of.

The following Black Dog creeps up and prowls the listener with predacious riffs and stabbing beats, then once sizing things up vocally and musically plundering the imagination with vocal tenacity embracing both raw and clean throated enterprise as death and technical metal tendencies dance which each other in barbarous intent.  As nu and groove metal elements get involved, things only become more precise rather than muddled, Kinasis showing their adeptness at weaving diverse and seriously enticing trespasses. For personal tastes the track never quite lives up to its three companions but certainly leaves no element of dissatisfaction in its wake.

Kindred similarly stalks ears if with a less obvious enmity as melodic strands entwine its initial proposal. Even stronger Korn like essences emerge to pleasing effect across the song and around a death/grindcore merging which has hints of Cryptopsy in its own infectious savagery. Clean vocals interchange with barbarous expulsions to further enhance the adventure, the band musically as bold and expert in switching through a kaleidoscope of styles and flavours without disturbing the song’s carnal nature and heart.

The release concludes with Incipient, an instant maelstrom of voice and sound colliding nu-and industrial metal psychosis with the harsher antagonism of variety woven extreme metal  before luring in just as appetising melodic and groove metal imagination. It is seriously arousing stuff, the type of sonic manna addiction is spawned from right here. As throughout Pariah, every twist brings a fresh incitement to chew over but mere seconds to consume before the next steals attention and increasing ardour.

It is the final throe of a quite simply stunning encounter from a band which will surely now get the attention their craft and imagination deserves. There have been a few bands coming to the fore as the British metal scene heads into new horizons and Kinasis have just made it known their intent to be there on the frontline.

Pariah is released September 29th and will be digitally available at most online stores with physical copies sold through http://kinasis.bigcartel.com/ and at shows.

https://www.facebook.com/Kinasis

Pete RingMaster 26/09/2017

Copyright RingMaster: MyFreeCopyright

Furyborn – Dawn Of Leviathan

Since emerging in 2010, UK outfit Furyborn seem to make a potent statement with every move they make within the British metal scene. From their live debut in 2011, they have earned support and a reputation which has only gathered momentum and is sure to again with the release of their debut album, Dawn Of Leviathan. It is a ferociously imposing and compelling affair that arouses the same senses it trespasses with the band’s increasingly distinct and adventurous style of melodic death metal.

That live side of the Poole hailing quintet has seen them become one of the most potent forces across the South of England, win the regional Metal 2 The Masses competition and play Bloodstock Open Air for only their seventh live outing. Since then they have shared stages with the likes of Napalm Death, Threat Signal, Mors Principium Est, Sylosis, The Agonist, Malefice, The Defiled, Evile, (Hed) P.E. and Ted Maul as well as release their first acclaimed EP, The Reaping Of Our Days released in 2012 through Bored Stiff Records. Fair to say the band has been nagging at national and broader attention since day one, increasingly growing both which the highly anticipated Dawn Of Leviathan can only escalate.

The album quickly shows a new strength in intensity, craft, and imagination within Furyborn; a growth in all aspects infused into a maturity which is maybe unexpected within a first full-length, even from a band in its seventh year. Dawn of Leviathan opens with the atmospheric trespass of Second Sun, a brief harass of raw sonic dissonance which leads into the album’s title track where instantly a barrage of intrusive beats from drummer Tim Coulson and ravenous riffs from rhythm guitarist Rob Walker devour ears. Just as forceful are the raw throated roars of vocalist Jut Tabor who quickly seizes attention with his grudging tones, their causticity leading to a great flame of clean endeavour; the frontman, as the sounds around him showing a new dexterity and range which only impresses. It takes little time for band and song to reveal a new lofty plateau to that of the first EP, the melodic suggestiveness of lead guitarist Nick Richardson alone a striking new adventure equipped with the broader imagination and uniqueness that flows through the veins of the track.

The Reckoning follows with the same striking creative tenacity and character, the track a tirade of biting rhythms and corrosive riffs leading the listener into a web of melodic and cleanly delivered temptation. Within the burly, ravenous tempest of bitter sonic and vocal inhospitality, it makes for a compelling mix which only intensifies its lures as the song evolves and broadens its inventive landscape before Exult in Extinction uncages its own rabid assault again led by the uncompromising swings of Coulson. Stalking the senses, the bass of Timmy Hodgson is predatory if sometimes overwhelmed by the storm of riffs and beats while again Richardson veins the cauldron of sound with tendrils of skilful melodic lava. Contrasts flare and meet within the encounter, each colluding with and countering the other in a twisting tempest matched by vocal resourcefulness across the band.

The industrial opening of A Fault in Our Design brings a bold hint of Fear Factory like hues before the track turns to stalking and intimidating the senses. There is a swing to its core presence with breeds the infectiousness soon seeping into every element, the result a blistering yet controlled incitement as predatory as it is melodically tenacious while Life Begins uncages its own mercurial invasion of sound and emotion. Though swiftly persuasive and increasingly compelling, the song does not quite reach the inventive and  gripping heights of its predecessors for these ears though individual flair is as open as the track’s animosity and melodic assurance.

The raw rabidity of I Am Heresy has the imagination and appetite magnetically hooked again straight after with its ravenous and invitingly inhospitable assault of the senses while Deep Rising provides an enthralling lure of Tabor’s striking clean side courted by a laid back but fully suggestive climate of electronically led sound. With the irresistible carnivorous tone of Hodgson’s bass to the fore, the track is superb, another stirring magnet within the release adding further aspects to the bold adventure and evolving imagination of Furyborn.

The album concludes with firstly the varied metal symphony of Wraith, an array of flavours swarming with each other before a writhing death metal causticity bursts from within their midst, and finally with the symphonically laced As We Burn. The closer revels in all the new attributes of the band’s sound and writing, its proposal as invasively seductive as it is rancorous and transfixing. Again Fear Factory-esque hues entice as more Sepultura/Gojira like elements challenge, each woven into the individual character of Furyborn’s own sound. One of its major highlights, the song ensures that Dawn of Leviathan ends on a fascinating high.

Throughout, the album tightly holds attention and fiercely pleases, increasingly so with every subsequent listen. The fact that you still feel we are listening in on one step in a journey still to unfold only adds to the impressive nature of a release which is as much about potential as it is ear exciting craft and adventure.

Dawn of Leviathan is out now through most online stores and @ http://furyborn.bigcartel.com/

https://www.facebook.com/furyborn/

Pete RingMaster 11/07/2017

Copyright RingMaster: MyFreeCopyright

Moth’s Circle Flight – My Entropy

mcf_RingMasterReview

They may have a name which intrigues and lures a look, but it is their sound which ensures Moth’s Circle Flight really grabs attention, especially upon latest album My Entropy. Merging fiery groove metal with the hellacious predation of various extreme metal flavours, the Italian metallers show themselves a formidable and aggressively magnetic proposal. Their music is a rousing incitement which warrants attention and now with My Entropy to the fore, it demands it.

Hailing from Parma, Moth’s Circle Flight began in 2003 though it is probably fair to say that the band hit its stride and now firmly established potency when the line-up of vocalists Gabriele “Gabbo” Rosi and Simone “Pancio” Panciroli, rhythm guitarist Francesco “Baldo” Baldi, and lead guitarist Luca “Pellach” Alzapiedi linked up with bassist “Giupy” and drummer “Simo” around 2012. Since forming though, the band has certainly been a potent live proposition and have played with the likes of Sepultura, Extrema, Exilia, and Goddass over time while releasing an early EP before their well-received debut album Born to Burn in 2009. Recently with bassist Marco “Satir” Reggiani and drummer Fabio “Bersa” Bersani making up the rhythm section, Moth’s Circle Flight released My Entropy, a ravenous assault which sees the band hit a new plateau which could and should put the band on the global metal map.

It erupts into life with Man On The Peak, a distant sonic wind bringing the track towards ears as antagonistic vocals roar. Upon arrival it uncages a host of ear entwining grooves which alone ignite the appetite such their irresistible bait backed by thumping rhythms and the already impressing and enjoyable dual vocal assault. The song relaxes a little as it slips into its accomplished stride, jabbing and confronting the senses with an array of spiky twists and subsequently barbarous turns.   It is a fiercely rousing start to the album, like a seductive fury built on the animosity of Sepultura, the ire of DevilDriver, and the swing of Five Finger Death Punch.

Art_RingMasterReviewThings only get more compelling and furious with the following Ends Of A Shadow, its initial riffs a thickly alluring bait of invasive resonance. Swiftly southern hues seep from the track’s rabid pores too, a Pantera/Down like flavouring spicing up an already greedy appetite for the encounter. The great mix of vocal delivery from Gabbo and Pancio is a magnetic pull on its own; their tones embracing every shade of clean, guttural, and psychotic even occasionally encroaching on a Burton C. Bell toning. There is a touch of Fear Factory to the music at times too within, with both guitarists weaving a masterful challenge and seduction, a more melodic/nu metal-esque hue.

Raise Your Head rouses ears and emotions next; its body a bruising turbulence of craft and sonic dispute bound in melodic tempting. Again the pair of vocalists capture the imagination, backed as resourcefully in voice by the band and their musical web of unpredictability and multi-flavoured invention. The track is another simply whipping up more greed for the band’s proposal and quickly matched in success by the outstanding Late Promises and its tide of carnivorous riffs and rhythms. Bass groans and sonic whines accentuate the fiery character and intent of the song, though again, it all comes perfectly tempered by melodic and harmonic vocal imagination as well as some great off-kilter twists and turns.

The embrace of melody and clean vocal charm opening up An Old Chant takes mere seconds to seduce and impress before its brutality and creative trespass is unleashed to harry and prey upon the senses. As its predecessor, the track is glorious, a busily resourceful and adventurous invasion built on the keenest grooves and sonic scythes aligned to another great drama of voice and sound. It is a web of persuasion soon emulated in its individual way by Write My Name. The song is almost carnal in its inventive assault and irresistible, though it does lose its potency just a touch when it slips into more melodic passages throughout its otherwise gripping prowl. Managing to weave in some hardcore, blues, and glam metal too, the track still feeds a by now seriously hungry want for more, a need equally satisfied by both With Love, With Flames and Bursting Into Existence. The first of the pair is a relentless fusion of diverse flavours and styles, all honed into a bullish involvement and enslavement of ears and emotions whilst its successor is another instinctive predator. Its thrash and death metal scented infestation of ears is inescapable slavery whilst the net of melodic and sonic mystique which colours the songs’ scenery at times, is the inviting lead to some more richly satisfying vocal and guitar crafted enterprise.

My Entropy closes as powerfully and dynamically as it began; Madball making the first voracious assault to whip up spirit and energies, with plenty of that already established unpredictable imagination involved, before Ray Of Ira brings things to a volcanic fusion of nu, alternative, and death metal with the band’s instinctive groove sculpted emprise of sound.

Though there is plenty about My Entropy which is somewhat familiar, everything is either boldly fresh or twisted into an adventure distinct to Moth’s Circle Flight; a band as suggested earlier, worthy of the closest attention.

My Entropy is out now via Logic(il)Logic Records via most online stores.

https://www.facebook.com/Mothscircleflight/

Pete RingMaster 04/05/2016

Copyright RingMaster: MyFreeCopyright

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

Dominance – XX: The Rising Vengeance

Dominance_RingMasterReview

With two already keenly praised albums under their belts, Italian death metallers Dominance are poised to release third full-length XX: The Rising Vengeance and make their biggest impact yet. Uncaging ten ravenous slices of creative animosity and enterprise; the album is an ear grabbing declaration of a band finding a new striking plateau as its sound in many ways comes of inventive age. XX: The Rising Vengeance is not a ground breaking proposal it is probably fair to say yet each track within its creative animus offers something fiercely fresh and imaginatively compelling.

Hailing from Rolo in the Province of Reggio Emilia, Dominance emerged in the early nineties swiftly making a local impact which stretched as their live presence explored the Italian metal scene and the band released debut album Ancient Splendour in 1999. It was another ten years before its successor Echoes of Human Decay was unveiled, the 2009 encounter soon drawing acclaim across the Italian and European metal press.  With a new line-up in place, Dominance are now looking to whip up an even bigger storm with XX: The Rising Vengeance, with a potent degree of success easy to envisage.

XX opens up the release, its instrumental invitation a swiftly magnetic affair as mystique hued guitars tempt and seduce the imagination. Their exotic spices are soon joined by a portentous wall of building sonic intrigue, a merger which blossoms and evolves further as the song casts a melodically suggestive portrait of emotion and imagination. The track eventually leads ears and thoughts straight into the waiting jaws of Journey to a New Life. Within its first breath, as guitars strike and beats batter, the raw throated tones of Massimiliano Marri scowl and trespass the senses; initial seconds where the song already has ears and thoughts gripped. The cosmopolitan hue of the opener also lines its successor’s melodies while rhythms prowl as grooves enjoyably wind around ears and song.

It is a mighty insurgence into ears matched by that of This Is War, another caging of the psyche by rabid riffs and acidic grooves as the swinging beats of Davide Tognoni hungrily descend on the senses. Every note has a certain animosity yet persuasive edge to it, adding to the building intensity and the brewing inventive collage of sound led by the imagination cast by guitarists Gabriel Cavazzini and Luca Alzapiedi. A predator from start to finish, the excellent confrontation is replaced by the equally challenging and pleasing Into the Fog. Once more an individual web of grooves and riffs surrounds bruising rhythms and caustic vocals, the bass of Saverio Rossi a stalking presence in the midst of it all. As in its predecessors, a great mix of attacks in the vocals also emerges to further flavour song and narrative.

art_RingMasterReviewTwisted lives up to its name next ; its body of sound and invention bordering on the deranged and incessantly vicious to whip up a new greed in an already established appetite for the album, while Dear Next Victim dances on the ear initially with flirtatious tendrils of guitar and spicy hooks. That early coaxing only intensifies as the song erupts into a more volcanic proposal though and also when it explores a less intensive adventure of groove metal ingenuity. There is a touch of Down meets Sepultura to the song in certain moments, a compelling and thrilling twist which is matched in imagination throughout by a series of bold twists and dramatically imaginative turns. The track is superb, taking best on album honours with ease.

The savaging of ears by Breathless is no less an exhilarating and galvanic offering, riffs and rhythms uniting in a hellacious assault with a riveting maze of melodic dexterity from Cavazzini involved whilst Just a Reflection is a festival of engaging enterprise  which just gets more volatile and rancorous with each passing invasive minute. Though neither quite matchup to some of the earlier triumphs, each fascinates with their eventful designs whilst exciting ears with their imagination driven prowess, certain success found in the senses badgering, ear nagging tempest of Time to Pay. Again, it feels like ears and being stalked by a hungrily bestial protagonist for a challenging and rousing incitement to become seriously involved in.

Completed by Rise Again, a more classic and heavy metal embracing ferocity, XX: The Rising Vengeance is the wake-up call to the sound and growing creative force of Dominance. It is maybe not a release to turn the European metal scene on its head but easy to expect it help make the Italians a far wider known and devoured proposition. More importantly it leaves thick pleasure in its turbulent wake, that alone more than enough to warrant checking band and album out.

XX: The Rising Vengeance will be released worldwide by Sliptrick Records 0n 8th July across all digital stores and many physical shops.

http://www.dominancemetal.com   https://www.facebook.com/DominanceMetalBand   https://twitter.com/DominanceMetal

Pete RingMaster 04/05/2016

Copyright RingMaster: MyFreeCopyright

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

Lody Kong – Dreams and Visions

Photo-Joey Nugent

Photo-Joey Nugent

Let us get the most publicised aspect about Lody Kong out of the way first. The Arizona based band is the creation of Zyon and Igor Cavalera, the sons of Sepultura/Soulfly/Cavalera Conspiracy famed Max Cavalera and brother of Incite frontman Richie Cavalera.

Now to the important bit; the release of the band’s blistering and increasingly impressing debut album Dreams and Visions. It is a ten track infestation of the senses as debilitating as it is invigorating as it uncages ravenous tempests forged in sludge thick, raw metal toned raging infused with punk belligerence and fuelled by post and hardcore causticity. Band and album challenges ears and incite the imagination at every turn with an array of invasive textures and flavours uniting in rabid exploits which generalising as psychotic punk ‘n’ roll would not be to deceptive.

Formed in 2011, the Phoenix hailing Lody Kong soon made a potent mark the following year with debut EP, No Rules. It was an introduction to the quartet of guitarist John Bauer, bassist Shanks, vocalist/guitarist Igor, and drummer Zyon reinforced and more by the band’s part in the 2013 US/Canada/European Maximum Cavalera tour and more recently last year’s Cavalera Conspiracy US tour. Now it is the turn of their eagerly awaited debut album to stoke up broad attention and for the major reasons of sound and fierce invention rather than band personnel.

The album opens with the outstanding Chillin’, Killin’; a venomous assault of a track offering searing bait from its first breath. That sonic intrusion soon erupts into an antagonistic rumble of raw riffs and hostile rhythms urged on by the emotive scowls of Igor. Piercing repetitive grooves only add to the compelling and exhaustive incitement, shifts in the predatory state of the track’s gait and character increasing its irresistible lure with a full throttle thrash kissed charge simply icing on the scintillating cake.

art_RingMasterReviewThe album’s title track keeps the grip on pleasure and appetite just as tight, its bruising weight and cantankerous intensity carrying an air of Pigs and Discharge to its irritable storm. It too is a song which twists through a host of inventive changes and detours, leaving a lingering psyche infesting dark presence and tempting which carries on into the likes of the emotively and sonically cancerous Kreative Center and the stalking animus of Pig In The Pen. The first of the two chews the senses with its nagging riffs whilst hooks and wiry grooves vein the scything swings of Zyon which cross another bestially toned bass trespass by Shanks. It is an unrelenting pressure of sound matched in its individual way by its successor whose initial doomy prowl soon expands into tar like sludge voracity interspersed with frenzied canters of energetic animosity.

Both tracks are spiteful punk rock with the virulence of numerous styles involved, much like the body of the bad-blooded Rumsfield where again band and sound enjoyably crush the senses with their creative and emotive jaundice. As across the album, there are moments of familiar hues and textures running headlong into ears yet each and every time their appearance is woven into something fresh, inventively damaging, and individual to Lody Kong.

Smashed and Blasted is proof as it presents its own hellacious and intensely imposing proposal next. The track is arguably the heaviest and most merciless on the release yet one with a host of imaginative hooks and sonic enterprise which hints as much at post punk and noise rock as it embraces extreme metal and post hardcore ferocity. Its thick enticement is followed and eclipsed by the predacious crawl of Some Pulp. There is liveliness to the song’s attack though it clambers over the senses rather than charges them, vocals and citric grooves the lead bait in its animalistic stalking with again numerous unexpected and incendiary twists.

Through the excellent old school punk/grunge feud of The Dangerous Quest and the dirty and schizophrenic Pistols-esque rock ‘n’ roll of Topaz, the album adds more aspects to its increasingly adventurous character. There are no major deviations from the heart of the songs before, but each explores another inventive hue and discord nurtured variation which continues with the closing sludge ’n’ roll consumption of the senses cast by Venomous Kool-Aid. It is a suffocating weave of thrash and doom metal with classic and hard rock strands, the guitars of John and Igor almost flirting with their bitterness laced craft around the latter’s rasping tones.

Though for personal tastes the loftiest highlights are found in the first two thirds of the album, Dreams and Visions is an unrelenting rousing of body and spirit, and indeed the debilitating devourer of both, which simply leaves a want for more from start to finish.

Dreams and Visions is out now via Mascot Label Group @ http://www.mascotlabelgroup.com/lody-kong-dreams-and-visions-cd.html

https://www.facebook.com/lodykong7   https://twitter.com/lodykong

Pete RingMaster 30/03/2016

Copyright RingMaster: MyFreeCopyright

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Thunderous Proposals: Exploring Endrah With Vocalist Relentless.

Endrah_RingMaster Review

We all know that there have been some mighty and fiercely inspiring bands which have emerged out of the Brazilian metal over past decades but its underground scene is no lightweight either. It is a seriously thriving landscape bubbling with an array of impressive bands across the whole array of metal based styles. One such proposition is Sao Paulo Deathrashcore quartet ENDRAH, a band which formed in 2002. Since then they have become one of the major roars with the Brazilian underground, one increasingly nudging thicker and broader attention. Just becoming aware of them ourselves now, we seized on the chance to learn more about Endrah and future plans with vocalist Ryan Raes (Relentless).

Hello and many thanks for sparring your time to talk with us.

Can you first give us some background to how it all started and when you got involved?

ENDRAH is based out of Sao Paulo, Brazil. The band was formed by several Brazilian pro musicians and American Billy Graziadei of BIOHAZARD fame. My name is Relentless and I am the vocalist since 2005. I travel to Brazil for tours yearly, and we meet up at other locations around the world to tour.

I first heard of the band Endrah on a Blabbermouth.net post saying Project of Biohazard member looking for new vocalist. I checked it out and was blown away by the raw heavy sound. The band formed when several Brazilian members were playing together and Billy Graziadei married a Brazilian lady and they all got to jamming; things became Endrah eventually.

Have you been or are involved in other bands outside of Endrah?

Yes, I have been in California based metal band, VENGINCE for 21 years now. The band started in school, and we still play to this day. The band is more melodic than Endrah though still tough and heavy.

What inspired the name Endrah?

Endrah is a sort of twist of The Hindu God Indra and a person’s name from what I gather. I was not in the band or present during that time of the name process but each guy references Indra when asked.

endrah2_RingMaster ReviewSince the early days, how would you say the band’s sound has evolved?

Our sound has become less desperate than the beginning, but Endrah is a very heavy and technical. We still bring our trademark sound to the new songs being recorded today and I think we have grown as musicians and song writers and still have a lot to show people.

Has it been more of an organic evolution of sound or has the band deliberately tried to bring in new things?

The bands recordings have become more polished, but I know we are letting it happen and not forcing anything. The band is not “commercially viable” to most people and we have spent most of our time in the underground hardcore and metal scenes.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

Life is a journey and we have learned a lot while walking down these dirty streets. We have similar goals as humans and musicians even though we are living a half a world away most of the time. Endrah is very good at we do and we deserve good things to happen. We have had all sorts of behind the scenes adversity to overcome already.

What things drive the voice of the band in its early days and now?

The band has a strong political and social voice, along with very thought provoking lyrics that deal with revenge.

So this is the main inspiration to the lyrical side of your songs?

I always write song idea notes whenever something comes up. Watching the news, and reading American Free Press Newspaper will get enough and then visits to Brazil’s poverty stricken areas inspires social change and awareness.

Is there a process to the songwriting which generally guides the writing of songs?endrah art_RingMaster Review

Covero the guitarist writes the riffs and then the bassist, Adriano, and drummer, Bruno add their parts and they tweak the song arrangements until it all flows good. Then they send to me videos of the rehearsals and demos to guide me for the lyrics and vocal mapping process which I do in my home studio in California. After that, the guys record their parts in Brazil, I do my vocals in the USA and then we mix and master somewhere. It’s all thanks to the internet that Endrah can truly thrive and communicate properly for a band.

Please give us some background to your latest release.

We are recording now for a May 2016 Release. The latest is a single titled Cadaver Na Barragem available online, and we did that for a Brazilian Compilation album. It rips! Give it a spin.

Can you give us some insight to the premise behind it?

This song is about our buddy Felipe who was stand up boarding on a reservoir in Brazil and he saw a bag floating on the water with tons of insects all over it. The smell apparently was horrific. He opened the bag and inside was a dead woman chopped in pieces. We wrote a song about what may have happened to her. It’s brutal!

You mentioned the writing process and with band members being so far apart presumably songs are pretty much finished going into the recording itself?

We try to be close as possible when entering the studio. We don’t have the luxury to pussy-foot around and waste money like the biggest bands do.

Tell us about the live side to the band, presumably the favourite aspect of the band?

I am all about the live show. I thrive when it is live. I prefer touring over studio work. Endrah makes people go crazy and our crowds are wild and violent. It is a total pleasure to perform for our fans. You got to see an Endrah show yourself. Check us out!!

It is not easy for any new band to make an impact nationally let alone further afield. How has Endrah found it and are there the opportunities to make a mark if the determination is there?

Yes. In fact I think there are more “pro” Brazilian bands now than ever before in the metal genre. They have a couple dozen amazing heavy bands that are well known on social media and draw good [support]. Endrah knows most of them personally, including members of the biggest Brazilian heavy bands like Sepultura, Krisiun, Angra, etc.

How has the internet and social media impacted on the band to date? Do you see it as something destined to be a negative or a positive as a band grows and hopefully gets increasing success?

The fact that Facebook charges bands money to post to all our fans is total bullshit! They can make money in other ways, but now that they are a public company, they got to pull in more money every quarter. So, I see bands like our friends Biohazard who are only getting 10% of their audience reach when they post and it is apparently about 10% for any level band over 1,000 likes. So you have got to pay hundreds just to have your fans that follow you to all see the post. It’s some shit.

Endrah had to change our profile page when we switched record labels and we restarted the likes count, so it is not nearly as high as it should be, and it is difficult to grow the social media numbers when the companies want more and more money for artists who already have 90% of their music listeners illegally downloading the music to boot. That only leaves us with a few limited means of income and yet we are artists so we are not going away.

Once again Sir, thank you for sharing time with us; anything you would like to add?

Please check out ENDRAH and give us a like, drop us a comment, and share our pages. Also of course, please come to see us when we tour through your city next!!

Check out the band and their music further @ https://www.facebook.com/endrah/http://endrah.com/

Pete RingMaster

The RingMaster Review 10/02/2016

Copyright RingMaster: MyFreeCopyright

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Third Sovereign – Perversion Swallowing Sanity

3rdS_RingMaster Review

The Asian metal scene is still a relatively untapped and certainly unrecognised landscape in the awareness of the majority on the outside, this despite the impressive bands and releases springing from it over the years. Through the fine efforts and passions of bands and labels/PR companies like Transcending Obscurity, a few things deservedly escape the shadows to earn strong attention and draw new ears and appetite to the region’s mighty underground scene. One such offering is the striking new album, Perversion Swallowing Sanity, from Indian death metallers Third Sovereign. It is an explosive thrash fuelled incitement bred from old school seeds of death metal blossomed into something as intensely fresh as it is enjoyably nostalgic, and another example of the potency within India’s metal scene as Third Sovereign back up to the legendary status they carry in their homeland and surrounding areas.

Formed in 2003 by a trio of musicians from Aizawl, the capital of the state of Mizoram, after they moved to Delhi “in order to expand their horizons”, Third Sovereign quickly earned a reputation for their bold and pungent take on death metal. Inspiration to their sound comes from the time bands such as Sepultura, Monstrosity, Cannibal Corpse, and Vader were the prime death metal driven scourges on the senses. 2006 saw the release of debut EP Horrified Visions with their acclaimed first album, Destined To Suffer uncaged the following year, as its predecessor upon Demonstealer Records. The Deprived Serenity EP continued the attention capturing success of the album with its release in 2008, whilst the single Sarcophaga was nominated in the Best Metal Song category at the Rolling Stones Metal Awards a year later. Leaping on to the now and the band is ready to unveil second album Perversion Swallowing Sanity, a release sure to ignite the most potent range of acclaim and spotlights on the band yet.

art_RingMaster ReviewAizawl based again, Third Sovereign intrigue the imagination with opening introduction Sakei Ai Hla, voices in threat or calling, hard to know, leading the listener towards and into the brewing tempest of Grave of Humanity and an irritable climate of intimidating riffs and towering intensity. A few moments more and the track is rampaging with thick spicy grooves entwining thumping rhythms and rabid riffs. As vocalist Vedant prowls proceedings with his grizzly guttural tones, thrash bred fuel flows to incite and power the increasingly gripping provocation masterly coloured by guitarist Benjamin and given compelling bulk by bassist Jonah within Reuben’s skeletal rhythmic frame.

Demonic and fiercely enticing, the excellent opener makes way for the incessant violation and nagging persuasion of Sarcophaga; the track a tempestuous onslaught as bestial as it is creatively endearing. Spiralling grooves and sonic imagination light the smothering weight of heavy riffs and brutal rhythms, their union a vicious contagion unafraid to spew toxically bracing tendrils of melodic enterprise.

Both Living This Hate and Slaughtered Mankind descend on the senses with nostril flared and muscles merciless; the first a barbarous consumption of ears littered with psyche gripping hooks and fiery grooves carrying as much venom as the bruising menacing around them. Addiction is as swift as an appetite for the quartet’s intrusive rabidity of sound and ideation, its successor showing this an achievement working across the board of Perversion Swallowing Sanity with its fierce animus of sound and hungry intensity.

From the waspish and predatory trespass of Devolution of Mortality and the more controlled predation guided prowl of Spawned with Guilt, band and album squeeze their grip on ears and thoughts tighter. Through their own individually truculent designs, the pair find a mutual savage beauty and character to threaten and enthral, theirs a murderous seduction emulated in the skilfully sculpted and emotionally untamed Holocaust of Preaching. The track is outstanding with its grooves, as in its predecessors, essential lures backed by the nimble and scorching prowess of the guitar and the merciless uncompromising tempting of rhythms and vocals.

There is no denying that Third Sovereign songs are as anthemic as they are vehemently hellacious; captivating incitements as ready to tear out your soul as incite an uprising. The insidiously hued Dark Black is crawling pervasive proof, working its way under the skin to ignite the passions into a greedy lusting for more before the military seeded rhythmic emergence of Burnt Epitome draws the listener into one final invigorating storm of raw malice and virulent death metal tenacity.

It is an immense end to an outstanding release from a band deserving the fullest attention. Third Sovereign is prime example of the depth within Indian metal alone; one of the leading forces we all need in our metal lives.

Perversion Swallowing Sanity is released January 15th via Transcending Obscurity India @ https://transcendingobscurityindia.bandcamp.com/album/perversion-swallowing-sanity-death-metal or http://tometal.com/

https://www.facebook.com/ThirdSovereign

Pete RingMaster 15/01/2016

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