Dead Cross- Self Titled

Pic SAWA

As the world seemingly surges rather than drifts into bedlam it is maybe not surprising that a sound is rising to echo it’s chaotic and discord fuelled order. It resonates from the creative union within Dead Cross, a project said to have emerged “out of a series of impractical schemes, fallen-through plans, and last-minute musical experimentation.” Featuring the combined acclaimed talent and creative ingenuity of Dave Lombardo (ex-Slayer, Suicidal Tendencies, Misfits), Mike Patton (Faith No More, Tomahawk, Mr. Bungle, Fantômas….), Justin Pearson (The Locust, Retox), and Michael Crain (Retox, Festival of Dead Deer), Dead Cross has just released their self-titled debut album; a deviously manipulative and skilfully conjured tempest of noise and intent, simply manic manna for the senses and imagination.

There really is no need to provide background to the members of Dead Cross, each individually and within a mass of bands having set down incitements and inspirations so many have fed upon and blossomed their own ventures with. So it is straight to the first breath of the foursome’s first release we go and the initial sonic mist of Seizure and Desist. From its midst surging raw riffs and rampaging rhythms burst, their assault soon joined by the distinctive and ever rapaciously mercurial vocals of Patton. Just as recognisable are the dynamically imaginative and textile swings of Lombardo; his anthemically biting incitement entangled in the sonic rapacity of Crain and the grumbling bestial tones of Pearson’s bass. A senses crumbling assault of hardcore, he track is as multi-flavoured as it is uncompromisingly furious and a hint of the developing web of noise and varied rock ‘n’ roll infesting the punk heart of the release.

The following Idiopathic even further harries and bullies the senses, its rhythms fuelling a barbarous catchiness which spreads to the united vocal attack and raw tone and causticity of the outstanding track. Unpredictability is as rampant as animosity, mischievous craft and fun equally as bold within the senses ravishing, body inciting maelstrom. Every passing second brings a fresh breath of bold and devilish adventure, the track a dancing predator by the time it makes way for the waspish nagging and unrelenting beating of Obedience School. It is glorious stuff, barbarous and harmonically bewitching leaving a tapestry of punk, alternative metal, and gothic rock suggestion.

Shillelagh is simply punk rock yet hardcore unafraid to embrace the spices of other pungent flavours to its infectious animus; the result a venomous contagion which has the body bouncing and appetite drooling before the imagination is enslaved all over again by a riveting cover of the Bauhaus classic Bela Lugosi’s Dead. Infesting it with the kind of energy and boisterousness felt at the Batcave venue back in the day, Dead Cross ensure the shadows and haunting atmosphere of the original are still an invasive temptation; Crain casting veins of melodic acidity which alone beguiles the senses.

The caustic invasion of Divine Filth hits the spot dead centre right after too, Patton and co vocally swinging from imagination’s rafters as the music around them throws itself around like an imaginatively manic dervish, again every passing second bringing new twists and expectations destroying adventure. Grave Slave is equally as tenacious in tone and intent, the Suicidal Tendencies exploits of Lombardo seemingly inspiring the whole of Dead Cross as they funk out with raw intensity and rancorous resourcefulness whilst equally embracing a Melvins meets early Therapy? like friction. It is a highly addictive proposal within an album similarly growing drug like in its temptation.

The persistent creative harassment of The Future Has Been Cancelled matches the lure and entrapment of its predecessor with its own individual and increasingly ravenous quicksand of sound and invention, at one point sinking into a quagmire of heavy seduction before bursting out with its instinctive rabid virulence of energy and sound to head towards the waiting heavy set jaws of Gag Reflex. It too meanders and dashes through a landscape of evolving gaits and twisted manhandling of the listener; each turn increasing its magnetism and our subservience to its manipulation.

The industrially lined shadows of Church of the Motherfuckers brings the album to a mighty conclusion, the track lumbering along with a primal swagger as resonating beauty glistens in its atmosphere. On the ground irritability guides the tempestuous exploits of the track, its climate remaining relatively clam but around a volatile heart which beats with combustibility. Through it all Lombardo springs a rhythmic trap which enslaves body and spirit, his creative mastery the last word in persuasion as the album comes to a thrilling close.

The tag super-group is bound to accompany many references to Dead Cross but ignore them. The band is a real and potent new force in its own right, yes embracing the previous experiences and exploits of its creators but offering something very different and exciting to rival and outshine most hardcore/punk noise exploits around them.

The Dead Cross album is out now via Ipecac Recordings through most stores.

https://www.facebook.com/deadcrossofficial/

Pete RingMaster 08/08/2017

Copyright RingMaster: MyFreeCopyright

Triverse Massacre – Hades

Taking the listener by the throat down the five rivers encircling its underworld, Hades is the new EP from British metallers Triverse Massacre and the hellacious outpouring of the potential first bred in their previous releases. Back in 2014, the With Bared Teeth And Truths EP suggested that the band had the wares to make a potent impact on the British metal scene; Hades is that mighty trespass but one still hinting of greater things yet to come.

Bursting from the depths of Carlisle in 2010, Triverse Massacre quickly stirred up local support and in turn within the metal underground crowd with the release of debut EP In The Jaws Of Deceit. It was a growing reputation equally fuelled by their ferocious live presence which has gone on to see the band earn strong praise and share stages since with the likes of Skindred, Raging Speedhorn, Aliases, The Sun Explodes, The Colour Line, Reign Of Fury, and Anihilated and play Bloodstock Open Air last year alongside Slayer, Behemoth, Mastodon, and Gojira. With Bared Teeth and Truths provoked more concentrated attention and awareness of the band and their ravenous fusion of death, groove, and thrash metal; an incendiary mix now truly igniting within Hades.

The release opens up with Cocytus, an instrumental of imposing grandeur and looming shadows creating the climate you would expect surrounding the domain and god of the underworld. Guitars eventually encroach on the deceitful grace of the air creating a link to waiting venomous jaws as the track flows into the predacious animosity and corrosive depths of Styx. As the guitars of James Graham and Chris Kelsall gnaw and taunt the senses with riffs and grooves, vocalist Liam Stark descends and invades with his raw and potent mix of attacks, the frontman as the sound around him openly showing a growth in snarl and dexterity since that last EP. The guitars continue to weave a web of creative deceit, lures of infectious and seductive design woven to violate while the biting beats of Mike Collins and the tenebrific lines of bassist Jason McEwan have nothing in mind except merciless trespass.

It is a mighty and increasingly gripping track still slightly outshone though by next up Acheron. With grooves swinging from its first breath and contagious irritability coating every note and raw throated expulsion, the track unleashes the most virulent strain of toxic rock ‘n’ roll. The band’s sound has fully escaped any confines of extreme metal tagging, the third track epitomising its adventure and maturity and especially its rudely addictive quality forcing full submission to its rancor.

Lethe is simply bestial; a vicious harrying of the senses. Every element of its twisted body and intent is delicious harassment, grooves swarming through ears as rhythms advance with horde like barbarity. Within the tempest though, as across all tracks, there is a melodic prowess which accentuates rather than tempers the pernicious infestation but equally spotlights the instinctive craft breeding the envenomed imagination and onslaught on offer.

The EP closes with Phelegethon, arguably the biggest intrusive nagging of the senses of them all and quite possibly our favourite though that honour is consistently shared with its two predecessors. It is a stirring end though with the guitars a viperish incursion and rhythms a bold and numbing incitement as Stark crawls and lurches over the senses and psyche with vocal glands spilling malevolence in varying shades.

With Hades, Triverse Massacre has presented itself to the main table of extreme metal but as the EP thrills you still get the sense that the band is nowhere close to depleting its creative depths. That suggests very potent horizons for the quintet and for our beleaguered ears alongside them.

The Hades EP is released May 26th @ https://triversemassacre.bandcamp.com/ or http://triversemassacre.bigcartel.com/

http://www.triversemassacre.com/    https://www.facebook.com/TriverseMassacre%20/    https://twitter.com/TriverseM

Pete RingMaster 25/05/2017

Copyright RingMaster: MyFreeCopyright

Freakings -Toxic End

Proud in their old school thrash instincts and inspirations, Swiss metallers Freakings continue their prowess at unleashing imposingly tenacious and compelling thrash furies with their new album. Their third full-length, Toxic End is a tempest of openly familiar and rousing textures, a proposal bold in its recognisable breeding. This though does not make for something lacking a fresh and compelling character, in fact within Freakings finest offering yet, it all goes to offer one mouth-watering, energy sapping, and fiercely enjoyable assault.

Formed in 2008, the Basel hailing trio of vocalist/guitarist Jonathan Brutschin alongside the brothers Toby Straumann on bass and drummer Simon, Freakings nudged broader attention from their already local success with 2011 debut album No Way Out. In turn, its successor Gladiator only brought new hungry ears and richer praise the way of the band three years later. Toxic End will simply inspire another wave of support and acclaim, its raw virulence and old school seeding raw magnetism.

Opener Hell On Earth courts ears and instincts for voracious metal within seconds, riffs and rhythms a hellacious onslaught breeding carnally catchy tendencies in the respective grooves and swinging antics which follow as vocals, singular and united roar. There is no escaping Slayer/Exodus bred influences or the severely infectious surge running through the song’s core, lures helping forge a thrilling start to the album quickly supported by the snarling assault of Future Vision. Rawer in air, arguably even more imposing in nature than its predecessor, the song brawls with the senses whilst uncaging its own venomously enslaving sonic bait. As the first and many of those to follow, it is hard to say there are major surprises involved yet the track just grabs ears and thickly satisfies with forceful ease.

Violent Disaster is a matching success, its antagonistic rhythmic trespass bone snapping and waspish grooves addictive as Brutschin’s vocals brawl with the listener. It is a torrent of wiry riffs, bass predation, and scything beats blended with undisguised belligerence and anthemic instincts; every element leaving thick marks on its victims before TxWxNxD sets loose its brutal rock ‘n’ roll. Though offering a few strains seemingly reaped from tracks before it, the song is a thrash anthem to lose inhibitions and swiftly pledge allegiance to, especially once it hits it’s ridiculously infectious swinging stride.

The album’s title track follows, rampaging with ill-intent devouring all before with hostile rhythmic rapacity and the cyclonic dexterity of Brutschin’s guitar. Simultaneously corrosive and catchy, it is an infestation of ears and spirit accentuated further by the ravenous rabidity and predatory charge of Friendly Fire, its body entwined in toxic enterprise flaming out of the guitar. As much as it is an infernal roar, the song has the hips grooving with its seductive swing, a dual invasive tempting impossible to evade.

Through the caustic sonic tirade and rhythmic pillaging of Brain Dead and the vehement siege of the senses that is Price Of Freedom, with its own crippling volley of incendiary beats, band and album savage and bludgeon leaving nothing less than major pleasure behind.  Wave Of Pain straight after is similarly satisfying, its barbarous nature and air a close match to the song before but soon unfurling an individual web of melodic enticement and sonic ire.

The album finishes with arguably its fiercest offerings, and in the case of first up Beer Attack, its most breath-taking raid. Never relenting in its acrimonious blunt trauma causing incitement, the track leaves the senses reeling, prime meat for the final vindictive menacing of No More Excuses which also punishes as it thrills; the body broken and elated in its wake.

Toxic End makes it very easy to find real pleasure in its storm. Certainly there is an element of similarity between some tracks or definitely specific elements making up their tempests but little to deter a lust loaded appetite growing with each and every listen. There is something particular about old school thrash which never relinquishes its potency and Freakings exploits it to the full.

Toxic End is out now digitally as well as on CD and vinyl.

http://www.freakings.ch    https://www.facebook.com/freakings

Pete RingMaster 14/03/2017

Copyright RingMaster: MyFreeCopyright

Primal Age – A Silent Wound

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Four years after their 3 way split with Mostomalta and Cherish on Deadlight Entertainment, French outfit Primal Age return with a new EP again through the Foix based label. A Silent Wound is a caustic roar of the band’s hardcore infested metal giving evidence that the time between releases has been spent bringing a fresh air and touch as well as malice to their invasive sound.

Given in tribute to Mika “Bleu” Adjennian who passed away last summer, the manager at Customcore Records who remained a close friend after the label released the band’s album A Hell Romance in 2007, A Silent Wound opens up with The Whistleblowers VS World Health Organization. From the first rally of drum enticement, the track explodes into a furious surge of riffs and bone rapping beats, their animosity echoed in vocal growls and the raging heart of the song itself. The incessant pressure and assault of the track is a viciously compelling infection, the senses blasted emotionally and physically as the band pull no punches with their scathing political/social outpouring. Fusing thrash and classic metal elements with raw punk ferocity, the track is an exhausting, almost crippling onslaught and quite exhilarating.

ep-cover_RingMasterReviewThe EP’s title track steps forward next, its charge less vicious energy wise but a still as imposing and predatory trespass of the senses as its predecessor. Featuring Felipe Chehuan from Brazil metalcore outfit Confronto, the tempest careers across the senses like a violent tango, hardcore animosity and rigour surrounding metal bred grooves and riffs. Already appetite for the encounter is becoming greedy and only urged on by the almost tribalistic, certainly rhythmically, Counterfeiters of the Science. With thrash bred riffs and wiry grooves entangling rampant rhythms and listener alike, things are swiftly and uncompromisingly catchy and increasingly antagonistic. Another buffeting of the senses ensues, one hungrily welcomed especially as the song twists and turns through a web of swinging beats, grumbling basslines, and vocal incitement as the rousing defiant soaked encounter challenges the opener for best track honours.

The EP is completed by To Jeff, a tribute to Slayer guitarist Jeff Hanneman featuring a medley of the thrasher’s songs. Primal Age are aided by guests in vocalists Julien Truchan of Benighted and Hiroyuki ‘Koba’ Kobayashi from Loyal To The Grave and offer a fine homage to the man and pleasure for the ears.

What comes next from Primal Age metal and hardcore fans will eagerly await especially as A Silent Wound suggests it will be something to savour as itself is.

A Silent Wound is out March 3rd through Deadlight Entertainment @ https://deadlight.bandcamp.com/album/a-silent-wound

https://www.facebook.com/PRIMALAGE/

Pete RingMaster 03/03/2017

Copyright RingMaster: MyFreeCopyright

Contemplating Leaving Eden

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It is quite simple. Leaving Eden is a band which demands attention with a sound and creative flair that persistently captures the imagination drawing an ever growing following simultaneously. Their ear catching and thought provoking music has help lead the band to sharing stages with hundreds of the biggest national bands in the world and tours across numerous countries. We managed to grab some time with Eric from the band to learn more about Leaving Eden and what makes them tick…

Hello and thanks for taking time out to talk with us.

Can you first introduce the band?

Hi, great chatting with you also.

Eve: Lead Vocals

Ryan: Manning Drums

Johhny V: Bass

I’m Eric Gynan: Guitarist, vocals, Keys.

Have you been involved in other bands before? If so has that had any impact on what you are doing now?

Yes we’ve all been in various bands along the way and learning from the past always gives you a jump on the future.

What inspired the band name?

Leaving Eden came to be simply that this planet is like the Garden of Eden right, with all of its corruption; wouldn’t it be nice to take off and go somewhere else to visit? Lol.

Was there any specific idea behind the forming of the band and also in what you wanted it to offer and does that intent still drive the band or has it evolved over time?

Definitely we have evolved. I think you have to in order to change with the times so long as it’s better. It’s important though to maintain your individuality. For us we set out to be different. Quick story here, we went to this huge studio once where bands like Seven Dust, The Rolling Stones and Boston recorded. The person there brought out a white board in the conference room and drew a box. They said you are here, pointing outside the box and you need to be here, pointing inside the box. I immediately said wait, are you telling us we need to be in that box?  They said well yes I guess I am. I said thank you very much and got up and walked out. I get it, if you wanna ride a wave and be like everyone else on that moment of time, they can easily slip you into a genre. For us though it’s hard to just slip us in to any particular genre. We won the best Hardcore act in New England and I thought that was funny because they couldn’t find the appropriate Genre for us. We stay true no matter what the times may change to our roots, Rock Music.

Since your early days, how would you say your sound has evolved and has that been an organic movement or you guys deliberately heading in certain directions?

I think being a recording artist, endlessly recording and working with some incredible recording engineers like Johnny K (Disturbed, Pop Evil) you learn what it really takes. When they say they will go through your music with a fine tooth comb, they mean that literally that down to the 64th beat your music will be scrutinized for perfection. Ya know good bad or indifferent, when you listen to the radio, you may not like the band you’re listening to but aside from that, you will NEVER hear something that’s not polished. It’s gotta be perfect or you’ll never make it to the radio. With this on mind, you take this knowledge of being tight to the live performance and it makes all the difference in the world. This is why some bands may record a great album but when you see them live, it’s just not the same. We try and stay true to our recordings.  We also evolve in that area after the recording we may change it up live where we may think we’ve built upon that foundation.

art_RingMasterReviewPresumably 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?

I think all of us are inspired by what we like as far as taste in other bands music. For us what greatly inspires us is that organic sound that manifests itself in a way that is kind of like connecting the dots. We feel that Leaving Eden learns from the past, encompasses the present and forges the future. Any band that has been in the gutters not in the limelight, they’re the ones whom always forged the future. This is why we named our last album Pinnacle…Because it’s at that pinnacle where trends will be forged.

Is there a particular process to the band’s songwriting?

Sure. For me I connect with the Universe in a way that opens my mind to listening. I use my fingers as kind of line antennas to pick up the frequencies, as strange as that sounds, if you listen, you can hear the music that lyrics, melodies and harmonies completely produced. Just gotta transfer that info to the recording. Then the rest of the band puts their stamp on it and presto, there’s a new song. I’ve even felt the influence of dead poets coming through. Sometimes I feel like I really can’t even take credit for the songs as they’ve come from somewhere else. It’s a deep meditative state of mind that brings these ideas into fruition.

Where do you, more often than not, draw the inspirations to the lyrical side of your songs?

Great question… Our songs speak from experience, life’s experiences…Sometimes good but mostly bad lol. Bad in the way of getting screwed, for instance our song Tied and Bound comes from the frustration of the music industry; “We’ve been screwed overcharged underpaid and abused, exploited avoided and falsely accused, we’ve been cut down let down fucked around tied and bound, but nothing can take the music away”

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

Pinnacle released by Rock Avenue Records USA, was completely written before we got to the studio. We like to do pre-production first, be prepared so to speak, so that we aren’t wasting valuable time and money. Pinnacle is really an eclectic array of song themes and music. We tried to keep it again organic so you won’t hear all these extra vocal harmonies for instance that we could never do live. Yes there is harmony, but it can be done live.

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

That is where one should shine right?  I feel it is our live sound which is one of our trade marks. It’s so hard in the studio to capture that live performance primarily because it’s a one sided energy exchange. When you have a crowd, that’s where the sharing of the energy happens, therefore it really helps to put you on top of your game. You can’t see the band for instance when listening to an album, so that performance is so necessary.  Can the band reproduce that sound live? With Eve in front, she is clearly universal and really takes control of the room or festival, really just connecting with the crowd.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?14195978_1274693589207580_3294288122701219788_o

Correct. We’ve been fortunate, lucky, graced, whatever you’d like to call it. Our motto has always been that we will play anywhere, anytime, any way we can so long as we can. This philosophy has led us to share the stage with some of the biggest bands in the world with;  Lacuna Coil, In This Moment, Black Sabbath (Heaven & Hell), Ronnie James Dio,  Rob Zombie, 5 Finger DeathPunch, Disturbed, Marylyn Manson, Alice Cooper, Lynyrd Skynyrd, ZZTop, Puddle of Mudd, Korn, Killswitch Engage, BuckCherry (Jefferson Starship, Big Brother and The Holding Company, Country Joe, 10 Years After, 40th Anniversary Woodstock) Shinedown, Dropkick Murphy’s,  Alice in Chains, Papa Roach, Bret Micheals, Halestorm, Theory of a Deadman, Avenged Sevenfold, Seether, Hell Yeah, Trapt, Dope, Soil, Fuel,  Queensryche, Saving Abel, Hinder, Damage Plan, 7Dust, Sebastian Bach, SoulFly, Days of the New, NonPoint, DrowningPool, The Misfits, The Butcher Babies, Collective Soul, MushroomHead, Mudvayne, Chevelle, Godsmack, Powerman 5000, 10Years, Taproot, Gin Blossoms, Michael Schenker (UFO, MSG & The Scorpions) Herman Rarebell (The Scorpions), Nicko McBrain (Iron Maiden), Kittie, One eyed doll, Uncle Kracker, Tremonti (Creed/Alterbridge) Lamb of god, Slayer, Stone Sour, Motorhead, Blackstone Cherry, HOOKERS & BLOW Featuring GUNS N’ ROSES, QUIET RIOT, W.A.S.P. Members, Steven Tyler, Ted Nugent, Lita Ford, LA Guns, Trixter, Warrant, Apocalyptic Review (featuring members of Godsmack) and many more..  This has led us to Winning The New England Music Awards & The Pulse Magazine Worcester MA Music Awards and Touring The USA, UK & Canada. If we didn’t get out there we would have never found these opportunities. There’s usually someone there that can help move you forward.

Are there the opportunities to make a mark if the drive is there for new bands?

Absolutely…In fact I believe bands who haven’t “made it” have more of an opportunity. Let’s take a band that has made it whether it was one song or many. As time passes, for whatever reason, they stopped making hits. It’s very rare for them to have another hit song or even get on the radio. It’s very strange but true. As a new artist you have more of a chance because again you’re at the pinnacle forging ahead.

How has the internet and social media impacted on the band to date?

I find this very interesting. In a moment you can be heard all over the world. It’s absolutely amazing. Back in the day I feel bad for the artists before the internet that never had that chance. Shit, back then you couldn’t even stay connected with different states via phone. It was too expensive to make a phone call so you were quite limited as far as how far you could reach. Now, our music is flying through the airways, our unreleased song Out of the ashes says; digging deeper underground faster than the speed of sound

I can see the light of day, darkness fades away”. This just says as a band that’s not superstars, they are basically underground in the gutters spreading like swill in the harbor of slime lol. God some of the venues we’ve played have been the scum of the earth. Shit when we went to UK, there was a dirt floor. But in order to really appreciate where you may end up you’ve got to crawl through the slime in the gutters. If I for instance just started a band, had lots of money, related to someone big in the industry, getting signed immediately and becoming famous overnight, how then could I appreciate where I came from? When you come from the bottom of the barrel and make your way to the top, you never forget where you came from.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers

This was fun. Please excuse my unorthodox replies here and appreciate your time. Leaving Eden will be touring the USA, Canada and Europe. Hopefully South America as well, where our management/touring Co. Alpha Omega/Darkside Entertainment has offices in Europe, USA and South America we feel honored to be part of the family there. We hope to see all of you soon!! For all Leaving Eden Info go to http://www.leavingeden.com

And see us on Facebook Leaving Eden and Peace and Harmony to all!!  I say harmony because this planet, the universe, everything in it works in perfect harmony accept one species, Humans. WTF is that about right? Let’s make it happen.

https://www.facebook.com/bandleavingeden

Pete RingMaster

The Ringmaster Review 01/12/2016

Copyright RingMaster: MyFreeCopyright

Suicidal Tendencies – World Gone Mad

 

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Many elements make up the success of legendary punk/thrashers Suicidal Tendencies, an array of qualities which has gripped and thrilled across three and a half decades and eleven previous studio albums. One potent trait is, within a sound which roars Suicidal Tendencies from its first breath, unpredictability; an essence which in varying degrees has made all of the band’s offerings memorable and easy to devour. New proposal World Gone Mad is no exception; a seriously rousing and thunderous affair of crossover ferocity inescapably Suicidal Tendencies which twists through new adventures while flirting with the imagination.

The successor to the well-received 13 of three years ago, World Gone Mad is a tempest of infectiously aggressive and creatively imaginative escapades equally drawing on the kind of punk fuelled exploits which marked out the band from its early days as one of metal and punks most vital propositions.  The new album also sees the band’s newest line-up in place with founder and vocalist Mike Muir and guitarist Dean Pleasants (ex-Infectious Grooves) linking up with guitarist Jeff Pogan, bassist Ra Diaz, and master drummer Dave Lombardo (Slayer, Phantomas, GripInc, Dead Cross). It is a unit which across the board has forged a new aspect to the Suicidal Tendencies personality without losing its prime character and appeal. Produced by Muir alongside Paul Northfield (Rush, Dream Theater, Queensrÿche, Ozzy Osbourne, Hole, Marilyn Manson) who also engineered and mixed the record, World Gone Mad snarls and stomps, providing an incitement as bruising and confrontational as it is a riotous funk grooved infestation of ears and body.

Latest single Clap Like Ozzy sets things off; its fuse and explosion prime Suicidal Tendencies. Lombardo’s catchy beats first catch ears, a grumbling bassline quickly adding to the thick coaxing as guitars send sonic scythes across the lure. Swiftly the song uncages a venomous yet ridiculously catchy assault, wiry grooves and rhythmic tenacity an anthemic roar of punk ‘n’ thrash virulence ridden by the unmistakable presence and tones of Muir. As hooks collude with the flirtatious antics of the bass, Pleasants winds trails of melodic lava around it all, his strings a heated siren within an already irresistible calling.

The New Degeneration takes over finding even more irritability in its tone and individual elements. Riffs and rhythms almost stalk the senses as Muir leads the defiance; group calls a great backing to his instigation. An undercurrent of animosity brews throughout the attack, eventually igniting as Lombardo flicks the switch to a full-out ravaging of ears with his magnetic swipes. Again the track is ‘typical’ Suicidal Tendencies but rippling with fresh twists and turns to leave satisfaction rich and full before Living For Life appears to eclipse its success. Unsurprisingly moments of Infectious Grooves like juiciness appear within World Gone Mad, the third track unapologetically embracing their funk metal swing for its initial flirtation before crashing ferociously upon the senses with its punk scented epidemic of ravenous riffs and on rushing rhythms again led by the twisted beat alchemy of Lombardo. The track is glorious everything you could wish from a Suicidal Tendencies encounter and more as it seduces and inspires body and spirit

suicidal_tendencies_-_world_gone_madSuicidal Tendencies - World Gone MadThe gentle melodic opening of Get Your Fight On! is a suggestive pull next which intrigues more than ignites the imagination but soon leads into the waiting rhythmic prowess of Lombardo and the sonic enterprise of Pleasants and Pogan. It too works its way from a relatively calm tempting to an incendiary blaze where it really grabs the appetite and passions as heavy metal flames unite with punk and thrash dexterity for an anthem which might not hold all the sparks of its predecessors but leaves only an eager want to delve into its cauldron all over again.

The album’s title track is another which takes its time to convince to the same level as the opening tracks, showing itself a slow burner which by the fifth or sixth lessons is one of the moments of the album which lingers the longest. A perpetual prowl which ignites onto a consuming fire of sound and aggression, the song has a touch of Insane Clown Posse to its most intense fire and Red Hot Chili Peppers to its relentless groove but as expected roars with nothing other than the voice of its creators.

The excellent Happy Never After fingers lustful reactions next, its gait also a prowling incitement crossed with sonic tendrils and pushed by steely riffs courting militant beats. Muir is the ringmaster to its determined intent and nature, whipping up the heart and imagination of track and listener alike as the rest of the band spins a riveting and increasingly addictive web.

From one major highlight to another as One Finger Salute stands bold and aggressive with punk rock insatiability and thrash driven intensity straight after to create a deliciously imposing and hungry proposal. Diaz’s bass is a treat of a bestial lure, its resonating flirtation aligned to the jumping beats of Lombardo, both enslaving attention soon bound in the sonic potency of the guitars.

Straight after Damage Control is a threatening infestation of wonderfully toxic and gripping grooves as rhythms again take on a preying animalistic potency whilst Muir and riffs stir with their punk ‘n’ roll cattiness. The outstanding track keeps the album’s pinnacle point going in feverish style, bass and drums especially irresistible though all parts of the incitement leaves a new hunger installed in ears and appetite for the release.

The sonic metal tapestry of The Struggle Is Real equally sparks a zeal for song and album, its punk call and rhythmic swagger a captivating irritant on peace and clam while successor Still Dying To Live sees the quintet embarking on a smouldering melodic venture equipped with alluring throaty bass tempting and psych rock shimmers around the warm coaxing of a kaleidoscope of magnetic hooks and surprises. At over seven minutes, the track is a masterfully invasive seduction romancing ears and imagination and a compelling finale to World Gone Mad capped by the stripped down magnificence of This World and its evolution and continuation of the closing track of the same name upon 13.

The track is a fine end epitomising the growth and riveting blossoming of sound and imagination between the two albums seeing World Gone Mad a powerful and thrilling new turn in the band’s history.  Whether it will be considered the band’s best release will down to the individual but without doubt the album is destined to be right there as a true favourite.

World Gone Mad is out now across most online stores through Suicidal Records.

http://www.suicidaltendencies.eu/   https://www.facebook.com/suicidaltendencies   https://twitter.com/OFFICIALSTIG

Pete RingMaster 15/11/2106

Copyright RingMaster: MyFreeCopyright

Big Jesus – Oneiric

Pic cred: Chris Sullivan

Pic cred: Chris Sullivan

Imposingly dreamy, Oneiric is a proposal which simply infests, seduces, and lingers with increasing potency listen by listen. The new album from Atlanta bred outfit Big Jesus, the transfixing Oneiric is a warm serenade of the senses but equally has a predacious side to its shadows and rhythmic weight which hooks eager attention. Mellow and raw, seductive and fiery, the band’s sound sits somewhere between My Bloody Valentine and Deftones, Smashing Pumpkins and Palms but is all the time weaving its own distinct adventures now collected on one gripping album.

According to vocalist/bassist Spencer Ussery, the Big Jesus sound was bred on inspirations found in nineties rock;  everything from metal, psychedelic pop, shoegaze, hip hop, and classical piano music impacting on the ideas and music of the band. It is a mix which lured potent interest in the band with the release of their debut album One, and is set to escalate as the Matt Hyde (Deftones, Slayer, Monster Magnet, Sum 41, Alkaline Trio) produced Oneiric swarms over more and more ears.

Bringing four tracks from their earlier release with six new encounters, Oneiric quickly grabs ears and imagination with opener SP, the song instantly a writhing mix of fuzzy melodies and hungry grouchy riffs. It is imposing yet inviting, especially as the warm tones of Ussery float across the feisty landscape of the song. Guitarists CJ Ridings and Thomas Gonzalez cast a great web of warm and aggressive enterprise too, riffs and grooves a conflicting yet beautifully united adventure which with the ethereal nature of Ussery’s voice offers a House Of Love meets Smashing Pumpkins enticing.

art_RingMasterReviewThe snarling air of Ussery’s bass and the intensively swinging beats of Joe Sweat make a matching powerful lure, their driving energy and dark nature as virulent in the following pair of Always and Lock & Key. The first of the two is a ridiculously catchy affair, it’s relentlessly twisting grooves and rhythms a feistily contagious invitation wrapped in magnificent psychedelia/ shoegaze spiced vocals while its successor musically ventures down the same creative avenue to create its own tempting while caressing the senses with romantic melodies as sonic suggestiveness warms with celestial hues. Again there is heaviness and intensity involved which sublimely tempers the bright air and only increases the potency on ears and imagination.

Through the rapacious directness and melodic meanderings of Floating Past You and the gentle yet intrusive and slightly melancholic croon of Fader, the album transfixes with ease while their successors, the sonically incendiary Shards and the heavy metal hued Oneirica only tighten the pull of one increasingly engaging encounter. The latter is another song which fizzes with infectious vitality and a rhythmic boisterousness which seems to inspire all the other elements making up the outstanding and seriously enjoyable multi-flavoured track.

Shrimp caresses the senses with its melodic and vocal gossamer next; a golden kiss on ears with a fiercer underbelly. it is an irresistible calling on appetite and emotions before Felt In Reverse coaxes the senses with magnetic reverberation into another sonically flaming and vocally seductive fire of sound and imagination. As at times across the album, surface elements of the song seem a touch similar to that of other tracks but with closer focus and each subsequent play, the song reveals its own mesmeric and often wonderfully volatile character of craft and invention.

Concluded by Heaviest Heart and its mix of irritable predatory riffs and airy almost diaphanous melodies and harmonies, Oneiric is pure temptation in your speakers. As suggested, the album simply grows and further entangles the listener with every listen, unveiling plenty to satisfy fans of rock music from psych and melodic rock to shoegaze and grunge.

Oneiric is out now via Mascot Label Group / Mascot Records and available across most online stores and @ http://www.mascotlabelgroup.com/big-jesus/

http://bigjesus.net/   https://www.facebook.com/bigassjesus/   https://twitter.com/bigassjesus

Pete RingMaster 07/10/2016

Copyright RingMaster: MyFreeCopyright