The Survival Code – Hopelessness Of People

Checking out recent single Crawl combined with the potency of previous releases, we declared The Survival Code a band it is so hard for us not to be excited about. That track was the second teaser for the London based outfit’s new album; an intimation alongside its predecessor of something to truly anticipate. Having feverishly devoured the full-length we can announce that Hopelessness Of People not only lives up to the promise offered by its singles but has emerged as one of the year’s major gems.

Formed by Dubliner Gary McGuinness, The Survival Code has bred and earned a rich reputation since emerging late 2011, each release seeing their imaginative rock bred sound openly growing and evolving backed by a live presence which has constantly proven itself a rousing experience. Though numerous musicians have been alongside lead vocalist guitarist McGuinness, it has been his long term link up with drummer/backing vocalist Tom Cook which has been the heart and power of the band. A trio for their acclaimed Matt Hyde (Trivium, Slipknot, Ash) produced 2015 debut album, MMXV, and the subsequently just as striking Broken Strings EP two years later, The Survival Code has slimmed down to just the core duo upon Hopelessness Of People and the band has never sounded more powerful, dynamically bold, and rousing.

With Hyde again producing, Hopelessness Of People takes mere seconds to entice and thrill ears with opener Same Skin. Its initial guitar shared lure is a calm intrigue ridden coaxing which soon flares up with rapacious energy as Cook’s beats court their own infectious trespass of a swing. McGuinness’ vocals are just as captivating, like the sounds a blend of melodic composure with underlying aggression and volatility. Embracing rock in its various shades alongside a twinge of punk irritability and metal bred ferocity, the track and band’s sound soon establishes its inescapable identity though with its tenacious almost stalking hooks and hungry grooves there is a certain Sick Puppies hue to the excellent encounter, a spicing which enjoyable lingers across the whole release in varying degrees.

Crawl is next to snare thick attention, immediately imposing with its senses harrying riffs and formidable rhythmic swing. From its already infectious threat, appetite wrapping grooves and imagination stoking twists combine for a web of contagious enterprise matched by the equally compelling vocals of McGuinness in turn backed by Cook’s potent tones. There is a touch of Coheed & Cambria to the track, a pinch of Adelitas Way too as well as the aforementioned Australians but the song rises to be all The Survival Code. As a single it got us lustful to hear Hopelessness Of People and still does each and every time roaring from within its midst.

A calmer entrance by the following Take It As It Is only brings a mutually eventful slice of melody rich and highly catchy hook loaded alternative nurtured rock where rhythms swing with muscular intent and emotion fuels vocal expression while Anything Goes These Days strolls with emotive tempestuousness in its heart and raw power in its snarly breath. In their individual ways, both songs had the body and imagination bouncing, the first especially with its keenly crafted unpredictability.

One of the album’s early tasters is next, Along The Way a single earlier this year which effortlessly hits the spot whilst leaving a lingering breath which again just draws intrigue and attention the way of the album. Though the track does not have the incendiary dynamics of Crawl, it is a virulent persuasion which again has the body dancing to its whims before Self Medicate wraps thoughts in its emotive balladry and the imagination in a tapestry of creative and vocal intimation. A slow burner compared to its companions within the album, the song just grew by the listen enticing purposeful contributions from hips and vocal chords.

In so many ways the track epitomises the almost deceitful virulence of Hopelessness Of People, quietly nagging away yet openly seducing with its resourceful breeding; a template just as successful behind the decisive enterprise of Not Working. It is another which seems to be a touch subdued compared to other tracks but the truth is clear when from nowhere we found ourselves repeating melodies and a chorus which had burned itself into the memory.

Damn these Survival Code boys are devious and at it again within the smouldering and increasingly fiery and just a bit funky This Time Around. McGuinness and Cook unite to weave a contagion of hooks and melodic grooving as tenacious as the expectations devouring exploits of the song, repeating the feat with new imagination for the quite outstanding and devilishly tempting Too Late and in turn Next Step. Another major favourite here, the second of the two borders on the feral, its metal seeded antics spring grooves which demand subservience and riffs which harass to the point of addiction. Around them, melodic flames and vocal angst roar to add to the undiluted captivation.

The final pair of Integrity and Goodbye proves there is truly no moment within the album which is lightweight in presence and enjoyment. The first has a vocal calm which rests perfectly within the more unevenly tempered air of the song though McGuinness’ delivery has a hint of prickliness to it too while the closing offering is a slice of magnetic rock ‘n’ roll which too mixes hushed aggression with volatile energy whilst casting an infectious wind of melody woven turbulence and emotive exclamation.

Quite simply releases like Hopelessness Of People are the reason our hunger to devour new music is more lustful than ever. It is an appetite which has been rewarded so many times this year alone but few as relentlessly and powerfully as by The Survival Code.

Hopelessness Of People is released Friday 31st August, through Good Deeds Music Ltd.

 https://www.thesurvivalcode.co.uk/    https://www.facebook.com/thesurvivalcode    https://twitter.com/thesurvivalcode

Pete RingMaster 30/08/2018Copyright RingMaster: MyFreeCopyright

Deathflux – Execrated

With its members previously part of death metal outfit Cacodaemonic and one of our favourites in progressive metallers Akarusa Yami, there was certain anticipation in hearing the debut album from British metallers Deathflux and Execrated certainly rewards that intrigue and excitement. It is a raw and uncompromising trespass upon ears and senses quipped with rich enterprise the imagination quickly took to.

Formed in 2016 by Nottingham guitarist Tom Clarke, who as mentioned enlisted band mates from his former propositions, Deathflux creates a sound which cannot be precisely pinned down. Led by a rousing and enjoyable senses abusing dual vocal attack, the sextet entangle everything from death and heavy to technical and groove metal with plenty more flavouring involved. Their first year saw the Bludgeon, Consume, Transcend EP uncaged, the band’s second bringing the current line-up together with vocalist Adam Jones joining the raucous bellows of Patrick MacDonald. Now Deathflux is ready for full and hungry attention which it is very easy to expect to be crowding them through Execrated.

It is a release which from opener Forsaken which manages to grab ears and captivate as it trespasses the senses while hinting we are just in on the beginnings of even bigger and bolder things ahead. Maybe that means there is an open potential not quite realised within the album yet it just adds excitement for the future to that gained though the bracing assault of the release. The first track immediately infests the listener as the twin fury of the vocals joins the predacious lure of the guitars and instantly threatening touch of the rhythms.  Soon as it hits its imposing stride, the song winds its creatively malicious tendrils around ears, animosity matched in the individual and united antipathy of the vocalists. Often lurching along between its fevered intrusions as imagination fuels twists and turns, the track lays potent seeds for things to come.

The following Consume finds an even more predatory lilt to its voice and presence, extreme and melodic metal converging on ears and each other as again vocals challenge as they align their discontent. Dissonance soaks every note, syllable, and word; its dystopian coating breeding a conspiracy of enterprise and imagination within the track and subsequent album as proven by next up Devolution. Similarly woven yet individual in its character and rapacious attack, the song springs nu metal hues into its infestation of styles and the web of rancor woven from them. It too jabs and snaps as well as careers across the senses, the guitars alone weaving magnetic intrigue and adventure including a delicious groove as rhythms blossom in their predatory dynamics.

Toxin initially dances in ears with catchy intent, it’s pent up animosity and frustrations waiting to be subsequently unleashed through the riveting exploits of vocals and the persistently unpredictable landscape of the song. As much as all its predecessors hit the spot, the track truly grabbed our attention and appetite, that intimation of even richer and bolder layers to the band’s creativity a nagging pleasure.

Easily our favourite track, it is more than backed up by Bludgeon which simply lives up to its title as it accosts the listener but an assault built with an imagination and diversity of touch which at one point seems to embrace inspirations of a Slipknot or Mudvayne in other moments the likes of Fear Factory and Dillinger Escape Plan.

Next up Transcend is even more bullish and irritable, deathcore traits seeping venomously into its grooved trap set by the guitars, Clarke relishing the dynamics as he casts melodic dexterity into the thrilling mix before Exile brings the album to a vicious conclusion. It epitomises every aspect of the band’s sound; from their ferocious energy and nature to the creative touch and technical flair each member brings to the war.

Though first impression were potent, Execrated really flourishes over subsequent plays as each track reveals more of their individuality and invention which might have escaped notice first time around. Expect to be assaulted and richly pleasured by Deathflux’s first album and anticipate being addicted as its potential ignites in the future.

Execrated is out now through iTunes and other stores.

https://www.facebook.com/deathflux/   https://twitter.com/deathfluxband

Pete RingMaster 03/07/2018

Copyright RingMaster: MyFreeCopyright

The Lotus Interview

The Lotus is a rock band with its roots in Italy but is currently based in Manchester, UK. It is also a creative adventure which embraces an array of flavours and styles in “a visionary and characterful musical journey”. With a new album in the works, we threw a host of questions at the band to discover its beginnings, latest release, what fuels their creativity and more…

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

Can you first introduce the band and give us some background to how it all started?

Hi everyone and thank you for interviewing The Lotus. The band started in 2004 when first Rox met Luca: we initially began playing some covers as many kids do but we immediately realised we wanted more and we immediately started working on some ideas and riffs.

That’s how it started really: in 2008 Kristal and Marco joined the band and that was the real start of a professional band as we decided to record and release our first album, which eventually came out in 2011.

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

Apart from Luca, actually all of us are still playing with many other bands! Mostly metal and rock bands though and I think that always influenced our music in same way.

Rox is playing with Italian prog rockers InnerShine and UK progressive metal band Prospekt, and also with pop folk singer and songwriter named Sukh. Marco is the drummer of two of the most famous Italian metal and rock bands, which are Elvenking and Hell In The Club, and Kristal is the lead singer of melodic death metal band called Lost Resonance Found.

What inspired the band name?

The band’s name was chosen randomly by our first guitarist who was in love with R.E.M.’s song Lotus. We liked it and we realised then, that it was the perfect name for us. A few months later we also found out its meaning of purity and rebirth and we realised that was the name we really wanted.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

As we said before, as soon as we got confident in playing together we immediately started to feel the need of composing our own songs and being rock stars! LOL

Regarding the sound, well, that’s a tricky one: we have never had an established sound or a path we wanted to follow, we just write songs we like and lyrics from experience and feelings we have during our own life.

If you listen to our songs you can really understand there’s something that binds everything which is not the genre.

Since your early days, how would you say your sound has evolved?

We would say we’ve evolved as musicians and composers rather than our music’s evolved. We’re still writing what we want, without any boundary and we love what we’re doing: we’re just better in what and how we play and write!

Has the growth within the band in music, experiment etc. been an organic process or more the band deliberately setting out to try new things?

We always wanted to try new things so actually nothing’s changed since 2004 from this side: probably being mature musicians affected our way to play and compose music and you can probably hear that on our latest releases.

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?

We grew up with completely different music backgrounds and this colourful music palette brought the unique sound we have today. We are big fans of Queen and Muse, as you might have already understood :), but also Pink Floyd, Metallica, System Of A Down, U2, Depeche Mode, or even some heavier stuff like Slipknot.

Is there a particular process to the songwriting within the band?

Normally Rox brings the main ideas and Luca some lyrics inspiration: back to our earlier days we used to mainly compose our songs in the rehearsal room but now, thanks to technology we often produce full demos on the computer.

We actually have to do this way also because Marco and Kristal are living in Italy and rehearsing would be definitely not very much affordable. 🙂

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

Lyrics are mostly inspired by our everyday experiences and translated into a more poetic and hermetic way.

We talk about love and death, and human life: as we do for our music, we don’t have any limit in our lyrics’ themes as well!

Could you give us some background to your latest release?

We’ve released our latest EP in June 2015 just before we moved to the UK. Its name is Awakening and is actually a mini concept album. It’s an ambient Prog Rock opera which will delve into your inner core.

We are currently producing our new album with Muse early producer Paul Reeve (Showbiz), and we have already released three new singles: Mars-X, Perfect Love and Five Days To Shine. They are very different from our past works, simpler song structures, more melodic but still very ‘creative’. Someone said: ‘If Muse and Deftones met in a pub and had a cheeky couple of Sambucca’s and hit the town and ended the night with a ride on a spaceship, that’s exactly what this song sounds like.’

Give us some insight to the themes and premise behind it and its songs.

Our latest song, Five Days To Shine, is very personal and we think the more you listen to it (or watch the video) the more you understand that. It basically talks about a man who waits for five days to know his fate with his girl. He thinks that’ll be alright but he knows the future isn’t bright.

We made the video representing this man as a kind of ‘creator’, who’s trying everything to restore what he’s lost but eventually he gives up. We filmed it in a stunning place in Manchester called Hulme Hyppodrome.

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?

We used to go into the studio with rough demos and we’ve always struggled to work with limited time. That’s why now we tend to basically go to record with all the songs pretty much finished, so that we can concentrate on instruments’ sound and performances.

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

We’d define our live shows as heavy metal. Even though our music is mainly rock, The Lotus as a live act is more energetic, more aggressive. I think that’s one of our main strengths. We have played more than 120 shows in our career but we’re definitely looking for doubling it within the next few years!

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?

We are coming from a different background which is in Italy, so we’ve definitely found a more fertile place to keep on growing our seeds.

However, these days it seems more and more difficult to have a solid fan base which follows you everywhere ‘physically’ and not only on social media.

If you’re not convinced on what you’re doing it’s better you choose another job!

Talking of social media, how has the internet impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success?

We think internet and social media are both good and bad thing.

They really give anyone the opportunity to get out from the anonymity and be the star you always wanted to be, but the problem starts when music is not enough anymore. You really need to let everyone come into your life. Everyone must know who you are, what you are doing, when you are doing it. Even all the pretty small things you want to keep secret; just let them go and share them with everyone. We find this a bit scary but that’s what it is now, so you have to get used to it. And we are getting used to it!

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

2018 will bring a lot of new things: we will go back to the studio to finish recording the album between March and April. Then we are expecting to release the fourth single as soon as we have everything in its place and the album immediately after that. If you want to be updated on what we’re doing you can visit our Facebook page at www.facebook.com/thelotusofficial  or our website www.the-lotus.com . Thank you!

Pete RingMaster 08/02/2018

Copyright RingMaster: MyFreeCopyright

 

American Wrecking Company – Everything and Nothing

Released less than a thick handful of weeks back, Everything and Nothing is one of year’s most voracious metal releases and in turn one of its most appetising. The new creative enmity from US outfit American Wrecking Company, the album is a ferocious tempest of sound bred across a broad spectrum of metal and expelled in a caustic roar individual to its creators. Everything from groove and death to nu and punk metal, with plenty more besides, is sucked up into the maelstrom and woven into one antagonistic furnace so easy to devour.

Since emerging in 2006, the Tacoma, Washington outfit has grown into a potent force and live presence across the West side of the US, sharing stages with bands such as Hatebreed, Fear Factory, Motorgrater, Act of Defiance, and Mushroomhead to great acclaim. Now they are ready to stir up broader attention with Everything and Nothing and it is hard to see the Pavement Entertainment supported release failing.

It launches at the listener with its title track, opening with an atmospheric coaxing as portentous as it is deceptive. The relative calm is stalked by apocalyptic threat, a danger from within which niggly riffs spring. Instantly, they carry an infectious lure; bait swiftly emulated in the sonic vines which wrap them before the track surges cantankerously across the senses. Vocalist TJ Cornelius stands across it all, his ire fuelled growls defiant as the guitars of Randy Bebich and Ben Reynard spin a trespass of sonic spite and nagging riffs around them, the latter persistence also matched by the groaning lines of Jeff Bloomfield’s bass. Still that catchy temptation infests song and ears in the ferociousness, teasing and tempting as the swings of drummer Dylan Hickey bite.

It is a great start more than matched by the groove netted From Grace, a slab of extreme virulent metal which gnaws on the senses and stirs the imagination. Like a mix of Cryptopsy and American Head Charge, the song grumbles and rumbles, every second a crotchety insurgent commanding attention as it savages the body to contagious effect though it is soon eclipsed in presence and harrying by the following I Won’t Listen. The guitars alone ensure irresistibility is bred for their grooves and sonic doggedness, their raw persuasion more than matched by the barbarous yet similarly enterprising rhythms as Cornelius raucously hollers to equal success.  There is no escaping a bit of Slipknot and Fear Factory spicing within the charge but mere flavours in its infernal and seriously compelling assault.

Health for Wealth churns up the senses next with its own web of waspish grooves, surly dynamics, and choleric attitude; American Wrecking Company lacing it with a belligerence caked but open melodic dexterity which just lights up appetite and imagination while its successor, The Burning lives up to its name in touch and atmosphere. It feels like a sonic witch hunt, every note and syllable a combative infestation of psyche preying on ears and the world but entwined with a flirtation of grooves and enterprise which keeps the track on a constant evolution within its fractious pyre.

As Purge swings and taunts with its thick groove metal predation and Enemy soils the senses with its crabby enticements and instincts, band continues to stretch the album’s landscape of sound. Each song is maybe a nudge into new adventures rather than a big leap but one by one they openly reveal the expanse of the American Wrecking Company sound within the constant emotional and physical storm. Beautiful Lie is no different though it does not quite have the inventive attributes of other songs around it. Nevertheless its carnal breath and sonic tenacity leaves a want for little before Mad by Design arguably courts the widest collusion of styles and imagination within the album for its mercurial and persistently captivating feud.

The release is finished off by Day of Shame, a song which springs from a great melodic coaxing with middle-eastern promise into a rip tide of rapacious grooves splintered by scything beats. The throaty tension of the bass is icing on the toxic cake and a final track to confirm American Wrecking Company as one potent and exciting force.

Everything and Nothing is a beast of a proposition which ticks all the boxes and more yet you still feel there is so much more to come from the band such the potential equally loud within the creative ferocity. Happy days!

Everything and Nothing is out now on iTunes and other stores through Pavement Entertainment.

http://www.americanwreckingcompany.com/    https://www.facebook.com/americanwreckingcompany

Pete RingMaster 27/09/2017

Copyright RingMaster: MyFreeCopyright

Barbed hook and stirring insights: talking Kill II This

A growing and attention grabbing force within the UK metal/rock underground scene from the mid-nineties, with acclaim crowded albums under their belts, it is fair to say that the demise of Manchester’s Kill II This in 2004 left many heartbroken. Their return a decade later though not only re-ignited that following but lured a new wave of fans especially recently through the recently released single Sleeper Cell. The track showed that the quartet of vocalist Simon Gordon, guitarist Mark Mynett, bassist Pete Stone, and drummer Jeff Singer had not only retained their rousing metal and heavy rock blended sound but found a fresh energy and adventure within in. We recently had the chance to explore the past, present, and beyond of the band with thanks to four string slapper Pete…

Hi Pete and many thanks for sharing your time to talk with us.

You have just released the video for new song Sleeper Cell but before we talk about that can you give some background to Kill II This and how it all came to be in the mid-nineties?

Mark, Jeff and myself were in a band called China Beach in the early 90’s – we really learned our trade in that band, touring Europe relentlessly, often just living in our van, sleeping on top of the gear….We would probably have been classed as Power metal back then, but we were getting the urge to get a lot heavier as the metal scene at that time was evolving. We decided to look for a new singer and – and that’s how we ended up with Nick Arlea who at the time was living in New York playing in a band called Power.

We had a fair bit of music already written that was just way too heavy for China Beach and so Kill II This was born. We got the album recorded fairly quickly (Another Cross II Bare) and more touring began. We already had a reputation for being a hard working reliable band and I think that helped us get some of those early tours.

Did you have a specific aim and sense of direction for the band at the time?

Just onwards and upwards really…None of us had a job so there was only the band to focus on. Things were comparatively easy back then ha ha! We never purposefully tried to fit into any genre – we started using samples a lot more adding a new dimension to the live shows and our overall sound…at the time nobody was really doing that.

How has that changed, if at all, with the reactivating of the band a couple of years back.

Well we’re a little bit older now obviously, with the responsibilities that brings! I don’t feel as desperate to prove ourselves anymore I guess…we’re not trying to be the next big thing anymore! We are immensely proud of what we do though and are thoroughly enjoying our revival. I’m loving the new stuff we’re doing and Simon has breathed new life into our back catalogue…he kills it every night on stage. I still don’t know how he didn’t end up with us way back to be honest-we’ve been mates for years!

You released a quartet of albums with for us the second in Deviate the moment the band truly clicked within the metal scene and its keenest attention. How did you find it at the time trying to make that breakthrough?

I think at that time the band felt like we had really earned any success we were getting. We had worked hard and made a lot of sacrifices in our lives. We were touring nonstop still and had some fantastic tours with the likes of Slipknot, Megadeth and Machine Head to name a few, as well as headlining in our own right, and it just felt like the natural progression of things…we worked hard and we were starting to see results. Good times!

Would you say that the album was also the moment the band’s true and distinct sound suddenly blossomed?

Undoubtedly…I think Mark had really found his riff writing groove – I think he would agree that DV8 was probably our best album too. There were some internal wranglings through this period – I had left the band for a while, Caroline joined for a while, then I came back – all sorts going on, but the end result was still that unmistakable Kill II This sound.

Fifth album, A New Spiritual Mountain was marked out by the band as being its last but eventually emerged under the moniker City Of God. What is the story behind it and that switch? Was it mostly because of the new character of sound it embraced?

I think really this is a question for Mark as I didn’t play a part in that project, however personally I don’t think it was in in the same vein as Kill II This musically. There was definitely a different feel to it. It was the first time I’d heard Simon sing like that too really-even more aggressive than his Xentrix stuff. Great album though – we often wonder if we should sneak a song or two from it into our live set…

Leaping forward to the now; Sleeper Cell undoubtedly has that signature Kill II This sound and personality but equally a fresh breath of adventure and indeed aggression. How do you see your sound as having evolved since the comeback?

A few years ago Simon and myself were in a band with a couple of the guys from Xentrix called Hellfighter, which I guess had some thrash undertones and I’m hearing some old school influences in our new stuff here and there – but I wouldn’t say there’s a massive difference. We’ve used far less samples in the new track than earlier stuff, there’s some aggression in there vocally, but importantly there are melodic hooks.

Has everything within the band been an organic shift or something you all deliberately aimed for when planning your return?

I think fairly organic really-we have no deadlines to live by these days so we can take our time writing – something that we never could in the old days. We haven’t deliberately set out to sound one way or the other to be honest – we’re just going with the flow creatively. We’ve all been playing together in various guises for years and it’s a bit like putting on a pair of comfy slippers when we get together!

And the return of the band, how easy was it for you all to come back together and start creating again?

For me the timing was just right. Hellfighter had just split as the other guys were reforming Xentrix, Mark and Jeff had been informally chatting about reforming at this point. I think the push was being offered a headline festival slot at Fiesta Du Rock in Belgium, even though we weren’t strictly in existence at that point. So we rehearsed and we were made up with how good it sounded. It just came together so fast, and the songs still sounded fresh and relevant. So we thought let’s do some new stuff…

Sleeper Cell is a hint to the kind of sound and imagination we can expect from future releases?

That’s a hard one to answer. Yes I think you’ll hear things in a similar vein but don’t be surprised if we throw some curveballs in there. We’re not writing for the music industry anymore. This is for ourselves as much as anything. Obviously it would be nice if everybody else likes it too….

Tell us about the single’s video. It was recorded by Carl Arnfield of Chalkman Video, who has persistently sparked visual pleasure with his films over the past few years. How did you come to link up with him?

Through friends of friends I think-he needed something to complete a show reel – we needed a video! It’s such a small world really -he was good friends with Xentrix- was actually in them briefly I think! He put us in touch with a chap called Johnathan Santry who arranged all the fight choreography and is actually in the video…Great bunch of guys.

Carl was a great – he worked really hard for us – we’re made up with the video.

What inspired its striking narrative and guerrilla like strike on the senses?

Well I think the lyrics and subject content speak for themselves. I think it really suits the aggression of the verses then the melody of the choruses adds a great hook. Then the outro is just huge!

Unfortunately on the same day, several hours after releasing the track and video the atrocity that was the Manchester Arena bombing happened. Given the subject matter of the track we have pulled back its proper release for obvious reasons.

Where did the filming take place; and a lengthy shoot?

The band shoot was done in a day at a studio in Preston, and the fight scenes were shot in Manchester over a couple of days so not too lengthy. Carl really worked hard to get it finished for us….in fact we’re still humbled by effort everybody involved put in.

What is next for Kill II This; The chance of an album being planning?

We intend to keep writing for sure. Whether or not we release an album or just drip feed one track / video at a time I’m not sure. We are looking already at festival appearances next year, plus a few more shows this year. I’d love to get back out to Europe too…it’s been too long.

Big thanks again for chatting with us; any last words you would like to add?

Thanks for showing an interest in us and we really hope you enjoy the new video…you can watch it on our website where you can also download the new track Sleepercell for FREE.

http://www.kill2this.co.uk/    https://www.facebook.com/pg/kill2this    https://www.youtube.com/channel/UCsrVYMExsQyYNt0h4WU1lRQ

The RingMaster Review 13/06/2017

Copyright RingMaster: MyFreeCopyright

GraVil – No More Forgiveness

Four years on from the release of their repeatedly acclaimed and imposingly impressive debut album Thoughts Of A Rising Sun, British metallers GraVil return with its successor No More Forgiveness. Not that the band has been away, becoming an increasingly potent force with a live presence alone which demands new attention each and every time. The years between though has seen the London based outfit breed real maturity in their songwriting and sound as well as an anger fuelled aggression which takes no prisoners as it ignites the senses. There was next to nothing about that first full-length which left you feeling that the band could have majorly improved upon yet it has been blown out of the water by the creative might and raw intensity of No More Forgiveness.

Written and recorded over a 15 period, No More Forgiveness saw the band take a whole new approach to its creation compared to its predecessor. The majority of writing was done online and by telephone, the band employing cloud and home studio technology whist attacking the lyrical side in one intensive week. Talking about the new album vocalist/lyricist Grant Stacey said, “There is a massive sub-context of loss within the new album, with 2016 notably being a brutal year; however No More Forgiveness pulls in a lot of strength from negativity that all too often engulfs our society and ways of life. It’s time to make a stand and do what’s right… and this is us, doing things right.” It is a power and emotional turbulence which is immense within the release, the fuel to its uncompromising ire and intensity within a voraciously charged and crafted encounter leaving the listener exhausted and invigorated.

Produced by Dan Alba (Voices, Sarah Jezebel Deva), No More Forgiveness opens up with Detonate; a track instantly devouring ears with rapacious riffs and fierce rhythms. A quick breath taken after the first surge is followed by a senses enveloping tide of sonic trespass led by guitarists Tony Dando and Charlie Webster. Stacey is soon snarling in the midst of it all, drummer Perrin leaving mighty indents with his swings as the bass of Sparx matches the irritable tone of the vocals. Bound in imagination stoking grooves and an unpredictable array of hooks and twists, the track is a mightily stirring opening to the album setting down the benchmark No More Forgiveness rarely misses thereon in.

Following the introspective examination of the first, Are We Alive scours the feelings of losing control; defiance soaking its roar as a web of enterprise is spun by the guitars. Jagged grooves and spiky beats collude with the brooding tone of the bass, Dando’s melodic flames scorching their invasive union with suggestive intensity before the outstanding I Am The Blood spills its venomous contagion. As in all tracks, despite the open hostility there is an instinctively infectious air and endeavour which has the body rocking as hard as thoughts are evoked and provoked by its imposing words and emotions. Group vocals only add to its rousing presence and energy, the track a beast of an uprising in heart and inspiration.

Plagues, Thieves And Murderers is a predator of a song, slipping in on a sonic mist before prowling with discontent through ears with the antagonism of the bass and biting intent of the drums to the fore. Even when settled, the song stalks the senses with Stacey masterfully scowling as riffs add toxic animosity to the increasingly compelling trespass of the senses and emotions. It is hard to pick a favourite proposal amongst all ten but the disappointment loaded contemplation of the music scene comes swiftly to mind each time the question arises as too its successor Locate The Traitor. Like a warrior, the song stands bold and tall, bellowing in voice and energy as grooves swarm and flirt with the imagination while rhythms harry the senses. It too has the body rocking with zealous endeavour, the track prime GraVil in a whole new ball game in design and release.

Next up Choke In Silence is an unforgiving tide of aural intensity and emotive gall sharing adventure with a wealth of multi-flavoured textures and alluring melodic spices, the song as sultry and beguiling as it is barbarous, while Fractured, Divided is bewitchment full-stop. Featuring the striking vocal beauty and elegance of Metaprism’s Theresa Smith, the song blends Celtic/folkish spices with metal bad blood. It is drenched in raw emotion stemming from Stacey’s opening up the feelings he felt at the loss of his baby a few years back, the track sparking a thickly evocative and physical connection with thoughts and emotions even without initially knowing its background. On top, that union of contrasting vocals is simply irresistible as the track provides another peak in the lofty heights of the album.

New single Decommissioned steps forward next, the track initially hiding its musical vendetta behind melody nurtured smog before unleashing its rancorous tone and intensity like a fusion of Slipknot and Raging Speedhorn. Bred from the vitriol found in betrayal, there is no escaping the bitterness or galvanic potency of the track; its arousal of thoughts and attitude all have faced an unbridled stoking of pleasure which Forever Is A Prison keeps burning with its nagging riffs and biting beats alongside friction spilling vocals and melodic toxicity. Though at times the track does not quite match the heights of other songs within No More Forgiveness, it is the height of their prowess rather than its lacking which decides as again Dando exhilarates with his adventure and the band as a whole leaves a memorable invasion and heavy pleasure in its wake.

The release is closed up by One Eyed King which in only its first bundle of creative seconds has ears and appetite enthralled and even more intensively gripped as grooves sear and hooks pierce within a fiercely enjoyable barbarity of rhythmic vindictiveness and vocal conflict. It is an immense and thrilling not forgetting formidable end to an album which thrusts GraVil to the fore of the current metal scene. It was easy to think that after that mighty first album, GraVil had found a peak hard to massively improve upon; how wrong that thought was with No More Forgiveness leaving it and most other current releases engulfed in its wake.

No More Forgiveness is out now across most online stores.

https://www.facebook.com/gravil/

Pete RingMaster 10/05/2017

Copyright RingMaster: MyFreeCopyright

Ninjaspy – Spüken

It is fair to say that Spüken, the new album from Canadian metallers Ninjaspy has been a long time in the making. With its ten tracks spanning a decade and its recording beginning late 2014, the band’s second full-length has had time and attention given its creation and character; it all reflected and more in its thoroughly enjoyable and imaginatively dynamic adventure.

Consisting of a trio of blood brothers in vocalist/guitarist Joel, bassist Tim, and drummer Adam Parent, Ninjaspy has honed a fusion of groove infested metal, reggae, and other heavy natured flavours which now roar mightily within Spüken. It is a web of sound which grabbed attention in the Vancouver threesome’s 2007 debut album Pi Nature and even more so in the following EP, No Kata six years later. Their new offering is the natural and lofty evolution of these earlier successes; a release weaving occasionally familiar but always unpredictable proposals which tease, flirt with, and persistently arouse the senses and imagination.

Linking up once more with producers GGGarth Richardson (Rage Against the Machine, Red Hot Chili Peppers, Mudvayne, Gallows) and Ben Kaplan (Biffy Clyro, Atreyu, Haste the Day), Ninjaspy gets the album under way with the single Speak, a track certainly sparking anticipation of Spüken with its release last August. Its relatively low key Australasian entrance cored by an emerging bait loaded groove soon leaps into a smouldering swinging stroll with more than an air of Dog Fashion Disco meets Faith No More to it. Subsequent raw outbursts come loaded with ferocity and zeal, trespassing with the same catchiness as the song’s mellower teasing where rhythms dance and the bass grumbles.

It is a stirring start swiftly eclipsed by Shuriken Dance. It too shows restraint in its initial coaxing, melodic twang and rumbling rhythms colluding in an understated but bold tempting before a web of sonic and creative espionage binds ears and appetite. A punk roar escapes the throat of Joel, his aggression matched by the punching beats of Adam and both tempered by the melodic exploits of guitar. Their calm is as deceptive as the raw touch they temper, each beckoning ears into a waiting System Of A Down-esque bedlam of psychotic sound and invention. The track is pure virulent infectiousness, drawing body and voice into union with its own twisted exploits.

The following Brother Man warmly grabs ears next like a collusion of Ruts and 12 Stone Toddler; its stalking groove and melodic coaxing a delicious mix soon embracing a reggae and metal induced tempest in turn proceeding to entangle all earlier aspects within its similarly and seriously catchy landscape. The further into its depths the more deranged twists show their voracious enticements as too mellower melodic but no less certifiable essences. Thorough captivation, it is more than matched in aberrant adventure by Dead Duck Dock. The song also follows those before it by making a relatively gentle melody woven entrance but also one soon showing argumentative discord in sound and intensity as its groove metal instincts rise. With hues of Slipknot and Society 1 to its growl, the song is a roar of creative irritability and intrigue never resting for long in one flavour or mood.

The outstanding Become Nothing is a loco romp revelling in a sound and imagination something akin to again SOAD  this time in league with Kontrust while What!! infests ears and satisfaction with a Skindred/American Head Charge scented escapade though as every reference used as a hint, it is a potent hue in a Ninjaspy bred roar.

The sweltering infection fuelled funk of Jump Ya Bones soon spins its own particular tapestry of rich flavours and various styles as it flirtatiously bounds through ears before Grip the Cage provides a more even tempered shuffle though it too expels moments of incendiary emotion and energy. They both equally push the diversity of the album and songs, that ten years of writing and maturing giving birth to Spüken skilfully shaping their varied designs.

The melody rich and increasingly agitated Azaria stretches that variety yet again, the song deceptively straight forward initially, luring ears into its own expectation defeating maze before Slave Vehemence brings it all to a thrilling close with a cauldron of capricious invention and impulsive ideation wrong-footing and exciting ears at every turn.

It is a fine end to an increasingly pleasing album unveiling new nuances and moments with every listen even after double figure plays. It is a release sure to harass global attention the way of Ninjaspy but more so leave new legion of fans lusting for their sound and presence.

Spüken is released April 14th

http://www.ninjaspy.net/    https://www.facebook.com/ninjaspy/    https://twitter.com/ninjaspy

Pete RingMaster 12/04/2017

Copyright RingMaster: MyFreeCopyright