Inward Of Eden – Mind Control EP

Inward Of Eden is one of those bands which let their music do the talking rather than make big claims with things like their biography and there is no doubt that their latest EP, Mind Control is a strong and persuasive statement.  Offering four tracks of alternative/hard rock with a healthy lining of blues, the release grabs ears and attention with ease offering up just why the band is beginning to make a strong impression on the US music scene.

Formed in the first weeks of 2014, Inward Of Eden hail from Knoxville, Tennessee and consist of Shawn Siler, Dusty Owen, Chris Gaumond, Bill Goodman, and Donnie Hall. That same year saw the band record debut album Moments to Memories with Mike Dearing and Grammy nominated producer Travis Wyrick (10 years, POD, Pillar). Its well-received release helped the band to subsequently share stages with the likes of Trapt, 10 Years, Sevendust, Hot Action Cop, and The Veer Union.  Now it is Mind Control persuading new ears to attention as the band stir up national attention and more.

The first single from the release, Slow Burn gets things going quickly wrapping ears in spicy blues kissed grooves. Its gait lives up to its name, skirting the listener as strong vocals and prowling rhythms court the continuing flames of guitar. With potent weight to the swinging beats and a gnarly edge to the bass, both skilfully tempering the warm heat of the increasingly impressing vocals and the lava-esque touch of riffs, it is magnetic stuff, never really breaking from its raw smoulder but carrying a hint of volatility as seductive as those heated grooves and every other texture within the striking starter.

The country rock scent of the first track is a richer hue in its successor, the blues flavouring of Devil spicing up the Seether-esque nature of the song further while keys hazily radiate within another infectious encounter. The song takes a little longer to blossom compared to the first but persistently captivates with its familiar yet fresh character before making way for the EP’s title track.

Mind Control instantly seizes ears as vocals make a plaintive cry, sparking another bout of wiry grooves and volcanic melodies. Senses rapping beats add to the swift drama grabbing the imagination, it all colluding in a web of intrigue and commanding persuasion. It is a stomp of a track with a confident swagger which easily hooks limbs and imagination like a puppeteer with devilment in its veins.

New single Ghost of Amelie completes the EP, the song offering its own theatre of sound and craft in a sultry embrace of slow moving but rapacious energy and enterprise. Like the second song, it takes its time to bloom but certainly does so as intoxicating blues liquor soaks the rousing mix of anthemic rhythms and vocal incitement.

It is a fine end to a similarly impressing and richly enjoyable encounter. Inward Of Eden does not have a truly unique sound yet but without doubt it is a wholly fresh and highly appetising one fuelling a release which just demands attention.

The Mind Control EP will be released shortly with the single Ghost of Amelie available now.

http://www.inwardofeden.com/    https://www.facebook.com/InwardofEden/    https://twitter.com/InwardOfEden

Pete RingMaster 19/04/2017

Copyright RingMaster: MyFreeCopyright

Twenty Second Dimension – Self-Titled EP

Twenty-Second Dimension

Twenty Second Dimension is a trio from Columbus, Ohio who have just released their self-titled debut EP, a release quickly grabbing attention. It offers five magnetic portions of the band’s melodic rock, a quintet of songs which bring a swift involvement of ears and feet. Theirs is a sound which nestles easily within a style many others are making successful use of too and in that respect it is not the most unique proposal you may come across with few big surprises involved yet there is no questioning the accomplished body and character of the tracks or the enjoyment each provides.

The band is made up of Eliot Hosenfeld (vocals and bass), Matthew Bowden (guitar and vocals, and Jeremiah Ross (drums), a threesome with CVs which include the sharing of stages with the likes of Limp Bizkit, Rob Zombie, Papa Roach, Sevendust, Theory of a Deadman, Incubus, Shinedown, Marilyn Manson, Five Finger Death Punch, Halestorm, Volbeat and many more before Twenty Second Dimension. It is a background easy to suggest has helped hone the skills and invention of individual members and the band as a whole; the growing of a craft which certainly makes their first release something to find strong rewards in.

Twenty-Second Dimension_RingMasterReviewReleased through Pavement Entertainment, the EP opens up with Afterlife. Making a low key entrance it soon hits a catchy stroll with simmering keys surrounding a great blend of vocals and am equally inviting and throaty bassline. Guitars add their own specific tempting to the swiftly infectious encounter too, especially as the tenacious chorus erupts, though it is the blend of Hosenfeld and Bowden’s vocal harmonies which grab biggest attention. Continuing to unveil inventive twists and turns through the stylish hooks and riffs of guitar, the track provides a potent start, one soon backed with similar potency by the feisty croon of Without You. Whereas there was a more unpredictable edge to its predecessor, the second track shares a more rounded melodic rock persuasion with again vocals and harmonies commanding as melodies take their share of the imagination involved.

An infectious character and tenacity fuels Dreamless next, the track a vibrantly strolling slice of rock ‘n’ roll springing catchy hooks and riffs like confetti around the throbbing bassline cast by Hosenfeld and the magnetically jabbing beats of Ross. As suggested earlier, big surprises are rare but with the track easily whipping up physical and vocal involvement, there is little more to want from the excellent encounter.

Blindside steps up next, its initial guitar enterprise carrying a slight blues tone and subsequent melodies a classic rock feel before the track slips into a prowling gait with dark intimidating shadows. That in turn is followed by a flaming roar of evocative melody and harmony before the sequence is repeated to increasing effect.  That earlier unpredictability is in full swing here too, the song subsequently taking best track honours before Good Enough fires up its imagination to bring the EP to an impressive close. It too takes unexpected turns with a seamless flow, feistily seducing ears and great satisfaction with each breath and lure of invention.

The Twenty Second Dimension EP is a thoroughly enjoyable and striking introduction to the band and a great base for them to search out greater originality from. Such the quality and rousing success of its contents though, another offering from Twenty Second Dimension like this would certainly go down very nicely too.

The Twenty Second Dimension EP is out now via Pavement Entertainment.

https://www.facebook.com/twentyseconddimension   https://twitter.com/22ndDimension   https://instagram.com/twenty.second.dimension/

Pete RingMaster 16/05/2016

Copyright RingMaster: MyFreeCopyright

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

American Fangs – Dirty Legs

American_Fangs_RingMaster Review

As much as we, like so many, are always looking for something uniquely new and ground-breaking to fascinate and ignite the passions, there are undeniably times a masterful fusion of existing designs and textures in one irresistible slab of full on rock ‘n’ roll is just as thrilling. Dirty Legs from US rockers American Fangs is such a riotous treat, an embrace of established and recognisable essences honed with new hooks and inescapable virulence then immersed in high octane energy and dirty intent. The result, one of the most scintillating and ferociously outstanding stomps unleashed this year from a band set to replicate home success and surely stir up hungry appetites around the world.

Hailing from Houston and formed in 2008, the American Fangs sound is described as a blend of post hardcore and alternative rock/metal, flavours certainly erupting within the band’s songs but equally tracks are punk, hard rock, and as uncompromisingly contagious as any form of pop rock. Band and sound swiftly drew attention as a live presence in the US and the UK, American Fangs touring with the likes of Deftones, Papa Roach, Four Year Strong, Sevendust, Hollywood Undead, and Chevelle over the years and making highly praised appearances at festivals such as SXSW, Rock on the Range, Carolina Rebellion, Rocklahoma, Festapalooza Shreveport, and Ship Rocked. Backed by their acclaimed self-titled debut album and their first EP, the quintet has become a greedily followed prospect, if not quite to the same level in Europe as in the US, though Dirty Legs will surely change that with, to follow up a potent performance at this year’s Download, its worldwide uncaging.

Opener Slavery Wedding swiftly sets the tones for the album, its immediate swipes of hefty rhythms and caustic riffs an attention grabbing eruption driven by the dirty scowl of Gabriel Cavazos’ vocals. There is no hiding place as the beats of drummer Micah Miller seem to intensify their assault with every punch and the guitars of Kenyon Puntenney and Chris Goodwin turn more toxic with every riff, chord, and eventually a blaze of seriously seductive grooves. Like a mix of Every Time I Die and Cancer Bats in league with UK band Bite The Shark, the track is primal rock ‘n’ roll turned into an anthemic riot refusing to take no for an answer.

Dirty Leg_front.eps_RingMaster Review     The outstanding start is instantly matched and surpassed by Death of Me, a scuzzy epidemic of insatiable hooks and rhythms within a bruising sonic infection. Cavazos again leads the incendiary confrontation with an ear gripping delivery which is soaked in attitude and enterprise and backed by the equally potent tones of bassist Kyle Shimek. The latter’s string sculpting is just as imaginative and enticing too, offering a grouchy lure throughout but especially exploiting the passages of ‘relaxation’ to unveil the most predatory funk lines you will ever come across. As its predecessor, the song is high on adrenaline and ferocity, taking no prisoners lyrically and in its voracious presence.

Counting Wolves has an even rawer texture and air to its quickly pleasing roar, the song merging the passion and hookery of a Billy Talent with the agitated emotions and fury of a NOFX, then twisting it into American Fang’s own demandingly catchy revelry. Once more band and album is drawing full submission from body and thoughts, though fair to say the excellent song still pales against the might of Say What!, carnivorous rock pop at its best. Everything about the track is ravenously addictive and anthemic, body and soul whilst being tenderised by punishing rhythms inescapably entangled in wiry riffs, clanging hooks, and a blazing vocal roar.

Shimek’s bass begins unveiling new bestial, primeval tones in Leukoplakia next, its dark lure aligning with stalking grooves and barbarous beats as vocals crawl menacingly over the senses. Despite all that intimidation, there is again pure virulent alchemy at work which only incites the listener to dance whilst snarling at the world with the song. If rebellion needs a soundtrack this is it. The breath-taking incitement eventually seeps into the following Black Eyed, though the body is not given any time off here either, the song a kinetic jungle of pungent rhythms courted by spicy and inventive twists within an alternative rock/punk stomp.

Few albums hit an early peak and keep it going across their length without even slight dips but Dirty Legs does, in fact it just gets stronger and more tenacious as it goes as if it is feeding off the reactions and energy of the listener. Bukkake Summer proves the point, a slice of rock ‘n’ roll which takes the rowdy exploits of the previous track and sculpts them into its own punk ‘n’ roll harvest of nagging riffs, growling contagion, and mischievously rousing vocals, all punctuated by sinew loaded rhythms. Imagine a mix of The Ramones, Turbonegro, and The Senton Bombs and you have a hint to another delicious brawl on the album.

Both Brazlian Axe and We Stand Apart keep the thrills and creative spills coming, the first a raunchy blaze of rock ‘n’ roll with tangy hues to guitars and vocals creating around a resonating rhythmic spine whilst its successor is another proposal lock ‘n’ loaded with barbed hooks and intoxicating guitar resourcefulness. With vocals as much a cheerleader to the imagination and virulence of the song as they are a feverish protagonist to the combative strength of the lyrics, the encounter steals top dog honours on Dirty Legs, though only by a shade such the might of all.

Both tracks inflame ears and emotions whilst keeping the album burning creatively and aggressively, each only inspiring thoughts and appetite to crave more before being fed by closing track You’ve Got Future Written All Over Your Future. It is a heavyweight turbo-charged rampage which pretty much sums up the might and inventive craft of the album. As throughout the whole release, there is plenty to recognise and offer possible comparisons to, yet American Fangs simply use all flavours and seeds for their own devilish intent to riveting and incendiary effect.

Quite simply Dirty Legs is rock ‘n’ roll baby and it does not get much better than this!

Dirty Legs is available from July 4th via Best Before Records @ https://www.bestbeforerecords.com/Shop/DownloadDetails?rid=BBR_RE_24 and http://www.amazon.co.uk/Dirty-Legs-Explicit-American-Fangs/dp/B00XUVZ7YA

https://www.facebook.com/americanfangs http://www.americanfangs.net

RingMaster 04/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

A.D.D. – Core

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It may be labelled as hard rock, but the roar of sound which escapes the craft and imagination of Chicago band A.D.D. is just as much metal and punk, and very often more so. It is a fiery and aggressive mix which makes the band’s second album Core, one of the most enjoyable slabs of voracious rock ‘n’ roll to be heard this year and most likely moving forward. It is a release which does not dramatically startle yet leaves ears and emotions seriously gripped and hungry. It is not an obvious classic encounter either yet can stand toe to toe with those which might be offered such label in creative tenacity and sheer pleasure. However you see and hear it though, Core is an encounter which does what all great rock albums do, leaves the listener breathless, adrenaline soaked, and highly excited.

Though still a young band A.D.D. (Analog Digital Disorder) are no strangers to attention and increasing acclaim. Their first album was been an eagerly devoured and purchased introduction on CD and download whilst live the quartet has only impressed and built a potent stature through shows with the likes of Korn, Chevelle, Halestorm, Sevendust, Alterbridge, and Buckcherry amongst many. Equally they have played and left events like Throttlefest, Summerfest, and WIIL Rockfest with success and praise soaking their wake. Now the band is ready to breach the broadest spotlights with Core, and such the impact on personal ears it is hard to see them losing any momentum in their ascent, indeed only accelerating it. Mixed by Tadpole (Disturbed, 3 Doors Down, Staind) and mastered by Grammy Award winner Trevor Sadler, the Pavement Entertainment released album hits the sweet spot straight away and never relinquishes its ultimate grip again.

I Regret sets things off in immense style, the track an instantly robust punch of rhythms and an aggressive snarl of riffs bound in spicy sonic tempting. There is grouchiness to its attitude, epitomised by the throaty growl of bass, and an instantly matching snarl to the voice and delivery of Matilda Moon (Margaret Young). Her vocals roar and soar with emotion and aggression across the song, simultaneously offering a warm and melodic vitriol which reminds of punk metallers Mongrel and their front lady Jessica Sierra, and indeed the song has a feel of their US compatriots but in openly individual ways. It is a mouth-watering opening to Core, melodies and harmonies as ripe and pungent as the more hostile elements of the outstanding encounter.

Print     The following Not My Way comes with a more even tempered but no less compelling presence. Moon and guitar embrace ears initially with expressive restraint before the track erupts with predatory riffs and heavy jabbing beats in a furious and highly flavoursome weave of sound. Part confrontation but more magnetic croon, the song captivates and tantalises with evolving adventure. The guitars of Dave Adams and Jeremy Sparta alone absorb an eager appetite but aligned to the pungent rhythms and Moon’s increasingly impressive tones, it is a mouth-watering trap for the imagination and passions.

Hear Me Now steps up next with muscles openly flexing in every swiping beat from Jason Delismon as aggression wraps every snarled syllable from Moon. Though it has a fuller melodic rock canvas to its thick bellow, there is still that metallic intensity and punkish roar at large, the track all the better for it, and something missing from Was My Life next. It should be noted not everyone will feel the same about the song, but for personal tastes it is one of two times where the album goes astray. Led by the vocals of Sparta, who right away we emphasize has an impressive voice and embraces the soft/hard rock balladry of the song with skill and inventive colour, the track simply breaks the flow and charge of the album with its soft hearted endeavour. It is a potent showing of another side to the band’s sound and songwriting but feels out of place in the surge of the release. It is a personal thing though and as the saying sort of goes, “it’s not them it’s me”.

Attention and emotions are flying and rigorously enthused again with the voracious Damn Thing, a rhythmic trap of a song with bracing and soaring melodies aligned to matching harmonies. Crossing a volatile landscape of ideation and aggressive sound, the guitars and Moon simply enthral across the song’s lively length. Their passion and invention helps build an anthemic incitement which is imposing and rewarding from start to finish whilst the closing snarl of the song just sends shivers and tingles down the spine, a reaction swiftly soothed by the melodic charm and warm caress of So The Pain. Vocally and lyrically emotive, and soaked in an angst lit aural embrace, the track blossoms a provocative web which brings whispers of one of the band’s influences, Heart, as well as more classic rock imagination through the guitars. The fade-out is disappointing but the song a fascinating and exciting encounter showing even more of the depths to A.D.D.

Nightmare is next and also explores a broader and calmer weave of melodic rock but comes littered with dramatic and inventive twists from guitars and vocals around a carnivorous spine of bass and drums, whilst its successor Nothing Left, sees the band turning back to the more recognisable hard and classic rock recipe but with a fiery and thrilling intent to its melody rich power ballad canvas. It also has a tempestuous air and agitated nature in riffs and rhythms which makes for an unpredictable and highly enjoyable proposal.

So Much is seeded from that classic bed of inspiration also but this time as with Was My Life, lies like a cuckoo in the cradle of the album despite also being a skilfully and impressively sculpted proposition. As the earlier song, others will devour it with greed and rightfully so, but for our tastes it finds barren ground and a want to dive into album closer Black to keep the exhilarating growl and tempest of Core in top gear. The closing song is a beast of a track, from vocals to riffs and rhythms to sonic toxicity, a predator of ears and emotions unafraid to add tangy spicily coated melodies and harmonies to its seduction. As it started, Core goes out on a pinnacle, finishing off nothing but lofty peaks to be honest, despite a couple of aberrations in our likes.

A.D.D. is a band poised to leap into the big time, if not with Core certainly sometime ahead, and with seriously thrilling albums like this already fuelling their rise, it would be stupid for anyone to wait.

Core is available now via Pavement Entertainment on CD @ http://official-a-d-d-store.myshopify.com/collections/frontpage/products/a-d-d-core-cd and digitally on most online stores.

A.D.D. has upcoming live shows at…

Fri. Mar. 27th – Mojoes – Joliet, IL – HEADLINE CD Release show

Sat. Apr. 4th – Crazy Coyote – Burlington, IA

Sat. Apr. 11th – Freakster’s Roadhouse – HEADLINE – Pontiac, IL

Thu. April 16th – Nevin’s – HEADLINE – Plainfield, IL

Fri. Apr. 24th – On the Rox w/ Wayland – Jacksonville, IL

Thu. May 7th – Mojoes w/ Black Stone Cherry – Joliet, IL

Sun. May 10th – High Noon Saloon w/ Y&T – Madison, WI

Sat. June 5th – Metal Grill – Milwaukee, WI

Fri. July 17th – Rockfest – Cadott, WI

https://www.facebook.com/Analog.Digital.Disorder

RingMaster 25/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Subjektive: Self Titled

Subjektive

If you are aware of Australian rock band Subjektive through their excellent My Perception EP of 2010, then you will have a good idea of what to expect from their debut self-titled album which has just been unleashed upon the world, though saying that you will still be blown over by the force of the storm which drives the excellently crafted songs through the ear. If you are new to the Melbourne trio then you are without doubt in for one muscular treat. Fusing the finest sinews and invention of rock to the strongest aggressive intensity and spite within metal, Subjektive creates a sound which leaves the listener bruised, battered and very satisfied.

The band was formed in 2008 by vocalist/bassist/guitarist and songwriter Aaron ‘AzCORE’ Stevenson, a musician who after playing in many successful and respected band wanted to create his own self termed rock driven metal, bringing the melodic textures and bone crushing might of both genres in a fluid and expressive bulldozer of a sound. The line-up was completed by the addition of drummer Luke ‘MasTemA’ Beltramello in 2009 and guitarist Joel ‘Chamber’ Moriss the following year with the band soon laying waste to audiences with their immense live performances and the release of My Perception. The threesome was soon drawing a rapidly growing legion of loyal fans not only in their homeland but around the world as well as receiving with radio play across the globe on the likes of The Bone Orchard. Their new album shows the band has evolved further since the EP, their sound still a merciless rage against the senses but with a further maturity to its textures and acutely crafted facets. The album is like a brawl between the likes of Machine Head, Mudvayne, Devildriver, Sevendust and Bloodsimple, an excellent fusion of sounds which caresses, charms, and lights up the passions with melodic excellence whilst unrelentingly turning the senses into a grateful staggering victim of explosive rhythms, destructive riffs, and combative intensity.

The release opens on insidious whispers as Veins emerges from the chilled mists. Soon tight highly charged riffs crowd the ear 111458whilst the bass prowls within their scorching touch and the drums cages the whole affair. It is not the most aggressive track on the album it emerges but with the continually licking serpentine sonics and ear lashing growls of Stevenson it is an intimidating pleasure. Into its stride the track herds thoughts and emotions into a blissful place whilst snapping the senses into satisfied slithers of primal engagement.

It is a great start soon slapped into its place by the rampaging R.D.M., a track which stomps on the wounds already incurred with heavy booted riffs and leaden rhythms. Throughout the tempest an infectious groove ignites an additional heated pleasure whilst the fiery solo is a delicious topping to an excellent song. The established quality is unrelenting through the likes of Too Far Gone with its stirring and rampant blaze of rock melodic warmth and corrosive metal abrasiveness, the blistering and intense Mental, and the expressive chewing of the ear masquerading as Watch This Space, all crushing riots of towering energy and attitude with honed weaves of melodic grandeur and imagination pouring from their formidable stances.

Further highlights come with the ever impressive Coward, a track which featured on their earlier EP, as do another pair on the album, and still stands as a classic and fully pleasing confrontation matched by the sensational Split From One Source. The first is a powder keg of adrenaline and anger thrust through the ear with crippling rhythms and unbridled creative energy whilst the second is a track which opens and closes on a wonderful emotive wash of just vocals and guitar within a chilling atmosphere. In between the song is a glorious journey of emotion, passion, and enterprise moving through multiple layers of intensity and sound whilst combining the warmth of melodic rock to the malevolence of extreme metal seamlessly and majestically. It is a song with a completely unique presence to the others showing the depths of the songwriting, imagination, and skill of the band. If you had to muster a slight criticism of the album it would be a similarity between some of the tracks in their breath but certainly not here.

Finishing on another sonic and merciless maelstrom in Shattered (Wasted), the album is an outstanding release which will ignite fires in rock and metal fans alike. Subjektive take no prisoners but they treat you right at the same time with one of the finest albums of 2012.

http://www.subjektive.com

RingMaster 20/12/2012

Copyright RingMaster: MyFreeCopyright

October Rage: Outrage

A sturdy and fiery merger of riotous rock n roll and sizzling melodic rock, Outrage from Australian band October Rage is an album which either when rampaging with eager energy or is enveloping the ear with fine melodic craft, makes for a thoroughly enjoyable and invigorating experience. The band and release sits easily amongst the likes of Saliva, Shinedown, Hinder, and Nonpoint. It may not stand out as anything ground breaking but has a freshness and spark arguably lacking in the recent releases of those other bands. If you are looking for an adrenaline driven yet thoughtful and warmly enterprising time than Outrage is a rewarding treat to party with.

From New South Wales, October Rage began in 2008 with brothers Nick (vocals/guitar) and William Roberts (bass). After a long search which took them to looking as far as America, the band was completed with the addition of Rory Bratby (drums) and Tim Ciantar (guitar), two musicians they had been to school with though in different years. Now complete the quartet built a strong local fan base which their debut single of the following year, Silver Line, took to a wider recognition. Recorded with world renowned producer Adrian Hannan, the release marked the beginning of a definite rise for the band. They soon followed this with a performance in front of a 50,000 strong audience in Sydney supporting Bon Jovi, an opportunity brought from winning a radio station contest. The latter part of 2011 saw the band entering the studio with again Hannan, to record Outrage. Since its completion the foursome has toured the US supporting both Steel Panther and Sevendust as well as undergoing a line-up change with guitarist Josh Gilbert and drummer Alan Toka replacing the departed Ciantar and Bratby. As the album stretches around the globe the band is pulling in more and more devoted followers, which with the infectious and strong sounds it offers is no real surprise.

From a relatively unadventurous opening intro instrumental in Lords Of Wyrd, the album sets to work on the passions with the rampant Set You Free. Within seconds it has ears pricked and senses open to charged riffs and thumping rhythms. With strong vocals from Nick and an anthemic gait to its chorus, the track is a familiar but enterprising encounter to fire up keen enthusiasm. As mentioned earlier about the whole release, there is nothing strikingly new going on but as limbs and the sparked unbridled eagerness to get involved with the song shows, there are plenty of energised reactions to its strident sounds spawn.

Moving into the equally robust and energetic Wayside, the release has a full captivation ensured. Like its predecessor the track is a thumping engagement which just leaves one breathless and invigorated, the great guitar craft and raging intensity tempered with scorching melodic invention, a fuse to deeper pleasure. It is from this point that Outrage unveils its varied and impressive strengths. Songs like the next up Silver Line with its mellower pace and less urgent caresses and its successor Rain, expand the scope of songwriting across the release. The second of these two is a simmering heat with sonic explosive outpourings of tremendous vocals and equally dynamic guitar invention. With a snapping bass and jabbing drum smacks to add steel to the song, it is a contagious companion to rile up the heart.

From the more than decent radio friendly sounds of Home and the seductive tones of Supernova, its rock inspiration seemingly drifting in from the expressive rock of bands like Nickleback, the album moves from a gentler yet potent breath to a more sinewy attack with songs like the bluesy Eastern Road and the snarling Metallica like Two-Sided Blade. Whilst neither song finds the riot of the earlier songs on the album, they offer a bite and muscular intensity for another shift in the diversity of the release.

With two passion soaked slow songs, Into the Night and Under The Wind, sandwiching a grungy tinder box of a slow burner in Reign of Fire for a closing trio of strong emotive ballads, the album leaves thoughts and emotions on a high if calm plateau. It is a fine end to what is an impressive album. With more careering slabs of rock n roll like Wayside, Outrage would have challenged personal end of year lists but without doubt October Rage has delivered one of the more gratifying and energising releases these past months. Make a note of the name as the Australians will be making big waves ahead in rock music ahead.

http://www.octoberrage.com

RingMaster 14/11/2012

Copyright RingMaster: MyFreeCopyright