Dead Asylum – Death Always Wins

It is hard not to be enamoured with the Canadian underground metal scene and the number of striking and very often seriously impressive bands it spawns so it is not a surprise to find another making a sizable addition to the list. They are Vancouver quartet Dead Asylum who through new album Death Always Wins leave no hiding place from their ravenous blend of melodic death and thrash metal with plenty more things on offer. It is a creative scourge relentlessly harassing body, senses, and imagination but rewarding each in return.

Emerging to the rear of 2011, Dead Asylum lured attention and praise in their second year with debut album General Carnage. Time since has seen their reputation especially as a live force escalate; the band sharing stages with the likes of Anvil, Toxic Holocaust, Warbringer, Exmortus, Soulfly, and Soilwork, as well as touring across their homeland into the US and play alongside bands such as Suffocation, Bison BC, and Holy Grail at numerous festivals. Now they have Death Always Wins to offer up, and straight away it shows itself one of those encounters which quickly has you thinking broader attention and opportunities are lying in wait for its creators. Time will tell if it bullies and seduces that success but certainly the album has stamped Dead Asylum down as a band to take real notice of.

Instantly the album consumes ears in virulent grooves and rapacious riffs, Defiance fuelled by a vocal animus as rhythms plunder the senses. The grievously magnetic vocal attack comes from rhythm guitarist Mike Lister and bassist Roger Mowat, their interchanging and entangling deliveries as venomously intrusive and compelling as the sounds around them. Thereon in lead guitarist Eric Morrison spins and spreads a web of grooves and melodic toxicity, his enterprise entwining around the punishing yet equally virulent and rousing assault of drummer Samantha Landa. Infectiously nagging and trespassing ears and imagination, the track is a superb arousal of the senses to explosively set things off.

The album’s title track is next, unleashing its own hungry grooves and barbarous beats within seconds as vocals share a cancer of expression and word. Death Always Wins equally conjures a labyrinth of melodic and sonic craft to expand its temptation, one flooded by a pestilential infectiousness based on a thrash breeding which is rabid and irresistible.

Somehow things become even more predatory within Between Me and the Grave, the track initially prowling with ill-intent before accosting ears in a primal surge of carnivorous riffs and grooves as Landa brings even greater malice and swing to her rhythmic trespass. At times there is something of the likes of Soilwork and Scar Symmetry to the encounter, the band’s Swedish death metal inspirations open if twisted into Dead Asylum’s own creative antipathy within this and surrounding tracks like Bury the Living; another corrosive barrage of invention and dexterity bred on imagination and unpredictability. Whether the Dead Asylum sound is truly unique can be debated yet as this song alone shows, it has a memorable character and adventure which sets it firmly apart from the crowd.

Forgotten Sacrifice with its senses niggling grooves and instinctive grudge fires up the passions yet again, the track a skilfully sculpted blur of hostility and sonic violence twisted by Morrison’s vitriolic grooves and entrancing citric melodies and further scarred by Landa’s intrusive rhythms and the vocal rancor of Lister and Mowat.

Through the bestial dance of Bred to Die and the malignantly seductive fire of Welcome, ears and appetite for extreme adventure are gripped, the second of the pair especially enthralling with its almost exotic charm and jaundiced tapestry of sound. Neither quite have the little extra which makes their predecessors so incendiary for the imagination but each adds a potent reason to acclaim the album before final track Inmate 666 seals an already done deal with its psychotically bred and insatiable invasion of thrash death rancor. The track is glorious, an exhilarating end to a mutually riveting release.

Dead Asylum will be new to many, after Death Always Wins they will surely be the lust for a great many more.

Death Always Wins is released June 2nd through https://deadasylum.bandcamp.com/album/death-always-wins

http://www.thedeadasylum.com/    https://www.facebook.com/deadasylum    https://twitter.com/DeadAsylummetal

Pete RingMaster 01/06/2017

Copyright RingMaster: MyFreeCopyright

Megascavenger – As Dystopia Beckons

art_RingMasterReview

With good words heard about but sounds not yet an acquaintance, we had definite intrigue in our anticipation of the new album from Swedish death metal project Megascavenger. What we found within new album As Dystopia Beckons was one mouth-watering and unpredictable kaleidoscope of ferociously imaginative, ravenously confrontational, and venomously contagious extreme metal incitement.

The third album from the Rogga Johansson created project, descends on the senses with a creative animus of discontented sound, ruinous vocals, and an industrial seeded dissonance providing something which really is out of the ordinary. As with previous albums from guitarist/bassist/vocalist Johansson with drummer Brynjar Helgetun often alongside, As Dystopia Beckons sees the guest involvement of a host of members from major bands; Hail of Bullets, Entrails, and Bolt Thrower amongst many sharing their musicians. In many ways though, the stars of the proposition are the bold songwriting and spread of virulently invasive and varied flavours which merge with a tempest of corrosive death metal.

It all begins with Rotting Domain, a predatory stalking of the senses featuring Sven Gross of Fleshcrawl. Initially the track skirts around and prowls ears, shadowing the atmospheric visage of a dystopian landscape which emerges from within the sonic coaxing. Swiftly though, the listener is the target of hungry riffs and tenacious rhythms as an imposing portentous intent is shared by gutturally spewed vocals. It is a highly magnetic affair, especially with the stabbing beats and searing grooves which lay their claim to the imagination.

An industrial intrusiveness opens up the following assault of The Machine That Turns Humans Into Slop. From the carnal tones of bass to the swinging melodic grooves and voracious trespass of the rhythmic web, the song demands and receives eager attention. David Ingram (Hail of Bullets, Echelon, ex-Benediction, ex-Bolt Thrower) adds to the erosive persistence and infectious nagging of the song before Dead City with Jocke Svensson of Entrails involved, takes over. Straight away, the track stalks the senses with a cauldron of onerous sonic intrusiveness and thrash lined riffery. It is a drama which has the imagination swiftly locked in, physical attraction quickly lured by the industrial lined rapacity in sound and emotion that consumes ears. Though it does not quite find the same heights as the first pair of songs, it leaves enjoyment at a similarly feisty level before being eclipsed by As The Last Day Has Passed.

Already there has been a varied addition of textures and spices to songs, but the fourth is far bolder and subsequently even more attention grabbing. Teddy Möller (Loch Vostok, The Experiment No.Q, The Hidden) joins the pair in the lively catchiness and rampancy of the classic/ thrash metal fuelled track, his grizzled vocals a great union with Johansson’s throat shredding prowess. Like a mix of Fear Factory and Soilwork yet not, surprise is instantly replaced by pleasure for not only the gripping sounds but the bold ideation involved.

Things only seem to get braver and more hectic from hereon in; starting with The Hell That Is This World and its early-Pitchshifter/ Entombed like seductive massacre. The track is glorious, an uncompromising anthemic assault of brutal, groove entangled rock ‘n’ roll which again is built on numerous strains of addictive noise and tempestuous textures for one unique infestation of the passions. Kam Lee (ex-Massacre, ex-Mantas, Bone Gnawer, The Grotesquery) adds his prowess to the song and appears again in The Harrowing Of Hell, though before it, the death ‘n’ roll of Dead Rotting And Exposed scars and corrodes the senses whilst stirring up another industrial soaked stomp followed by the even more hellacious Steel Through Flesh Extravaganza with Adrie Kloosterwaard of Sinister in the mix, which uncages a contagion soaked storm of sonic cancer on the senses. Once more the best description for the thrilling violation is grievous rock ‘n’ roll, and again unbridled satisfaction is the reward.

The Harrowing Of Hell entwines gothic and extreme metal in an encounter which hints at bands like Sisters Of Mercy and Gene Love Jezebel as much as an Asphyx or a Godflesh. From a strong start, the album is at a new level around its middle with this transfixing encounter up there as its finest moment alongside The Hell That Is This World.

Completed by the prophetic sonic instrumental smog of its title track, As Dystopia Beckons leaves the senses wasted and imagination alive with emotions in total agreement. The album easily feeds a want for something individual and refreshing whilst stirring up the instincts for a barbarously invasive time, so can only be heartily recommended.

As Dystopia Beckons is out now via Selfmadegod Records @ http://selfmadegod.com/en/shop/item/12022

https://www.facebook.com/megascavenger

Pete RingMaster 02/03/2016.

Copyright RingMaster: MyFreeCopyright

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[Evertrapped] – Under The Deep

Photo - credit - Luc Delorme

Photo – credit – Luc Delorme

As much as the melodic enterprise and accomplished brutality of Under The Deep breeds major satisfaction it is the rabid gnawing of the senses from start to finish of each and every song which sealed the deal for ears and thorough enjoyment of the new album from Canadian melodic death metallers [Evertrapped]. It was the ebbing and flowing but persistent underbelly of the album which caught the imagination and appetite most securely, it in turn allowing the craft and invention of the band to create their absorbing narratives over and around it. The result is a release which might not turn the metal year on its head but definitely gives it another highly pleasurable and flavoursome kick.

The Montreal-based [Evertrapped] first emerged in 2007, its name intentionally written with enclosed brackets “to signify the trappings of modern life for all of us and how people, despite their best attempts to break out of the mould are still affixed to a simple controlled existence and futility.” Consisting of guitarists Frederick Dupuis (ex-Daggerfalls) and Vincent Benoit, drummer Eric Lemire (ex-Apocalypsys, ex-Ice Castle), bassist John Yates (ex-AraPacis), and vocalist James Brookes (ex-Ammonia, ex-One Final Moment, Continuum), [Evertrapped] has earned a formidable reputation for their live presence which over time has seen them share stages with bands such as Kittie, Deicide, Cryptopsy, The Catalyst, The Agonist, Slaves On Dope, Dark Century, BornBroken and numerous more.

Album Cover - Evertrapped - Under The Deep_RingMaster Review     2010 saw the release of debut album Tales From The Supermax, with its successor The Anomaly unleashed two years later. Now the band has uncaged the primal yet precisely sculpted ferocity of Under The Deep on the senses, its exploration that “of the deepest reaches of human madness. Not clinical madness, but simply the darkest regions of the soul and the blackest part of the human heart from a mind found to be socially functional, but is really way too far gone. And thus it seeks to explore what is underneath the deepest depth, hence no matter how deep you descend there’s always another layer that can be torn away.” As suggested earlier, physically and sonically it shows no mercy or restraint but lines and veins its hostility with a nest of writhing grooves and atmospherically wrapped melodies that not so much temper the tempest but give it fascinating substance and drama.

From the dark ambient intro of […], the album explodes with Arise From The Ashes, its violent roar set up by the climatic voice and bedlamic finale of its predecessor and quickly ravaging the senses with antagonistic nostrils flared and predatory recriminations spewing from the guttural ire of Brookes. With that great unrelenting nagging at the heart of its storm, the track explores a web of sonic endeavour cast by the guitars and marshalled by the barbarous incitement of bass and drums. It is an enjoyably formidable start matched by the even more vocally rapacious and musically carnivorous Underneath The Deep. Like the raw soundtrack to a vicious version of the movie Falling Down, provocation sparking a game changing reaction, the song twists and swirls like a malicious dervish as again trails of melodic vapours and sonic imagination add to the creative tapestry holding its own to captivate ears and imagination in the throes of the fury.

From one highlight of the album to another as Palace Of Injustice in similar vein but with its own character, bullies and entices in equal measure. The band has been compared to the likes of Arch Enemy, Unearth, Whitechapel, Soilwork, and The Black Dahlia Murder, and it is easy to hear why across this magnetic offering alone, suggestions again backed by the blistering lyrical and physical causticity of Hypnotized By Hatred. A song themed by the scenario of relentlessly being told one is worthless until it becomes belief; it is a torrent of intensity and rhythmic pressure which seems to return after each evocative melodic turn with even greater animosity and violent craft.

Fair to say each track, and the album, has much more in their depths than seemingly shown at face level, a wealth of textures and resourceful individual and united invention which needs time to find the light. The rewards in turn are plenty as proven by the excellent Blood Of The Fallen. One of the more immediate thick persuasions and thus another pinnacle of Under The Deep, it too still reveals over listens skilful nuances and contrasting hues to its corrosive bellow to become only more compelling over time.

Both Lethal District with its virulent swing within a dystopian savagery and the middle finger defiance of Burning Through Vengeance keep ears and appetite full and fiercely content whilst Reaper ignites an eventfully searing blaze of attitude, emotion, and sonic temptation boiled up into a torrential onslaught of whipping beats and carnal riffs. Entwining it all though is more of the tantalising craft of Dupuis and Benoit, their weave of suggestive melodic toxicity and erosive endeavour framed perfectly by the ruggedly rousing bass lure of Yates and the scything swings of Lemire.

The album concludes with Embrace The End, a final tsunami of spite with a no punches pulled reflection driven superbly by the continually impressive diversity and emotion of Brookes’ vocal delivery. The song is an enthralling and exhausting close to an album which just seems to blossom further with every dive into its heart. You, like we suspect many, may have yet to focus your attention on [Evertrapped], but it is a missing out easily remedied by a long look at Under The Deep.

Under The Deep is out now digitally via Hellstorm Recordz and @ https://evertrapped.bandcamp.com/album/under-the-deep

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

Pete RingMaster 20/10/2015

Copyright RingMaster: MyFreeCopyright

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Scarnival – The Art Of Suffering

 

Scarnival_RingMaster Review

2012 saw the unveiling of German metallers Scarnival’s acclaimed self-titled debut EP, now three years on the Hannover quintet unleash their first album to realise some of the rich potential already shown to be fuelling their sound and confirm a growing reputation as one compelling protagonists of explosive metal. The Art Of Suffering is a brutal and sonically incendiary encounter, a fierce incitement wearing influences of bands like At The Gates, In Flames, and Soilwork like proud badges. It does ebb and flow in major and less impacting successes, its grip fluctuating across its irritable body, but from start to finish, it is one groove infested slab of savaging to enjoyably get the teeth into.

Scarnival was formed in 2009 by guitarists Christian Kähler (ex-Schierling) and Henna Deutsch (also Tredstone), bassist Gerrit Mohrmann (Cripper and ex-Schierling), and drummer Max Dietzmann (Tredstone and ex-Schierling) alongside vocalist Niklas Reimann. With Daniel Siebert (Inquiring Blood, ex-Steak for Breakfast) subsequently taking over the vocal persuasion three years later, the band made their first broad mark with their self-titled EP. It and the modern melodic death metal flowing through its veins swiftly grabbed fan and media attention with high praise quickly following. Live the band has also earned a potent reputation for their ferocious presence, shows with the likes of Arch Enemy, Debauchery, Rage, Tankard and Vader amongst many, helping brew an increasing spotlight upon the band. Now it is the turn of The Art Of Suffering to awaken fresh ears and appetites, and though proof that its creators are still exploring and getting to grip with finding open uniqueness, it is a definite wake-up call to the hellacious roar of Scarnival.

Scarnival - The Art O_RingMaster Review     The Art Of Suffering opens up with its title track. Portentous whispers fill ears first, quickly followed by an evocative caress of guitar. Those first few seconds are a potent prelude to the fury of sound poised to abruptly explode upon the senses, riffs scowling as harsh rhythms drive the confrontation and vocals. Already the song shows great and impressive diversity across the unbridled ravaging, the guitars also revealing their own variety of flavour and enterprise as a maelstrom of hostile and seductive tendencies quickly brew into one wholly magnetic incitement of corrosive metal, heavy rock, and addiction luring grooving.

The superb start continues through God Given, a track starting on a discord soaked splash of sound and almost as instantly turning into a primal predator. With no one else credited as additional vocalist, presumably every guttural growl, venomous squall, and grouchily clean tempting impressively comes from Siebert’s own raw throat across the album, and fair to say, as on the second track, he is as relentlessly gripping as the melodic imagination around him is emotively expressive. The song continues to merge a blend of varied metal into its appealing landscape before making way for the more brutish but no less infectious bellow of The Easy Solution. The energy of the track is again insatiable, as too the outstanding mix of vocals and jagged endeavour spilling from every guitar chord and spiteful beat. It is the nagging groove which takes most attention though, its catchy essence a rich lure in the tempest.

Hindsight steps forward next to offer a mellower, though still intimidating, proposal. Quickly it shows itself unable to ignite the same hungry reactions as its predecessors, familiarity and simply that so often indefinable spark which sets tracks ablaze missing from its otherwise strong body. It leaves ears and thoughts contented though, with Losing Identity stirring them up a little more through its barbarously grooved nagging and rhythmic punch bound in sonic rapacity. Musically it is enticing but vocally is where it wins, a hardcore essence encroaching some of the excellent diversity spilling from throat(s), though it too is left a touch pale by Watch Me. Featuring Soilwork vocalist Björn Strid, the track is heartily primal and sonically inflamed, its initial roar easily carrying ears and emotions into the clutches of its hostile stride. That alone hits the spot, but it is when the song twists into harmonic and vocally clean scenery around dancing hooks and spicy chords that it magnificently blossoms in to its greatest inimitable persuasion.

Both The Hunt and Rewind keep a freshly stirred appetite lively. The first succeeds through a fusion of insidious vocal toxicity and predacious grooves caged by skittish beats and invasive intensity, whilst its successor being part bestial and part flirtatious, stalks the senses with its inventive animus of sonic zeal and ravenous riffery. As all tracks varied hues entwine, slithers of thrash and death, black and melodic metal colluding here in a tapestry as destructive as it is enlivening. The pair thoroughly satisfies, a success shared by the classic metal infused Pathetic, though it has a more expectations feeding presence to leave it enjoyably pleasing if without causing any particular stir.

Eternal Salvation has the album back in top gear as soon as an intoxicating groove winds around ears in its first seconds, the masterful bait seeming to dictate the growing swing and contagious tempting of the excellent track. Many of the album’s songs do share certain melodies or elements of design, without any ill-effect on its potency, but this one stands bold as one of the most original and thrillingly unpredictable storms on the release. It borders mayhem at times, its fluidity pushing limits but everything just unites perfectly for one rancor soaked violation where even the sudden slip into melodic beauty only accentuates its might.

The Art Of Suffering comes to a close through firstly the gripping and barbaric drama of One Morning Left, another peak which is as emotionally cancerous as it is viciously unrelenting, and lastly Lies with its ruinous heart and tempestuously resourceful soundscape of scarring sound and ideation. The pair leaves the album on a lofty high, the latter emerging as the most courageously inventive and thus thrilling song on the release.

The Art Of Suffering is another striking step in the emergence of Scarnival, a release which impresses though also one it is easy to predict will be blown away by the band itself at some point ahead as they grow and mature further It is though a perpetually enjoyable and captivating savaging which only leaves a taste for band and more, a result not to be sniffed at for sure.

The Art Of Suffering is released via Kernkraftritter Records on August 7th through most online stores.

https://www.facebook.com/scarnival        http://www.scarnival.de/

Ringmaster 04/08/2015

Copyright RingMaster: MyFreeCopyright

Wild hooks and inescapable persuasions, introducing Threatpoint

Threatpoint Reputation Radio/RingMaster Review

There has been very good things coming out of America about a “raw, no gimmick pure groove metal band!” They are called Threatpoint and after checking out their sound it is hard to offer a better description though it does not quite hint at the full variety of sound and texture within their magnetic assaults. This is a band we instantly thought we need to know more about so grabbed the opportunity to corner the band with a few questions.

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

Can you first introduce Threatpoint and to your furiously diverse assault of groove/metal what would you describe as your biggest inspirations?

Chris James (vocals), Alex Olivetti (guitar), Mike White (guitar), Eric Ross (bass), and CJ Krukowski (drums). We draw from so many different ideas and genres… But a few that we all like are Devildriver, Testament, Soilwork and Killswitch Engage.

What predominantly inspires the roar to the lyrical side of the band?

Lyrically Chris writes about life. Sometimes struggles we endure or stories of situations people have gone through. There’s always a positive note in them. You’ve got to read into them. There’s a spiritual sense to him.

How does the songwriting process work within Threatpoint?

Songs generally start with a vocal melody or a guitar inspired cut. With the two new guys now everyone writes in the band. Chris and Eric also play guitar. So there are a lot of ideas floating around constantly!

You just touched on it, you have had a line-up change recently, how has this impacted on things like indeed songwriting and where has it invigorated the band most?

Mike and Eric are very good friends that played in a band together prior. So that helps with the ease of transition. Both of them bring massive energy to the band as well as writing skills of different types. We finally feel a sense of completeness with the addition of them.

Careful What You wish For Cover-Reputation Radio/RingMaster ReviewTell us about your album Careful What You Wish For…about its theme, recording etc.

That album took us a year and four months to finish. Among working full-time jobs, doing shows and writing the material we were stretched and burnt out. Originally it was supposedly to be 10 songs, which turned into 20 then was cut to 14. We record at JL Studios in Olyphant Pennsylvania. Joe is a mastermind. His skills are amazing. We say can you get this sound and he does.

CWYWF is a collection of ideas …no one theme…Different real stories or views on our take of life.

How would you describe the evolution in your sound and differences between the new album and its predecessor Dead To Rise?

Definitely more advanced on this album. You strive to get better as you go. Find out what works and what doesn’t go over so well. Some songs are great to listen to on disc but live they don’t go over as well. So it’s always a learning curve.

The band, as readers look at this interview, is undertaking an intensive tour along the Southeast of the US. What can people expect from a Threatpoint show and will you be airing Careful What You Wish For in its full might?

We are currently playing quite a few tracks off it live. Expect high raw energy from the stage. No gimmicks!

Yea, we go to southeast and then out to west coast in the fall. Lots of shows coming up. Hope to see and meet lots of new peeps!

You can stream our full album on our website www.threatpointofficial.com

Once more big thanks for chatting with us, any last words?

Thank you to our fans and anyone helping us to grow. Please stop by our Facebook page and give a LIKE…

https://www.facebook.com/threatpoint     http://www.threatpointofficial.com/

Pete RingMaster

The RingMaster Review 16/05/2015

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

Despite – EPic

Despite Online Promo Shot

Poke a wild beast and you get a savaging, an obvious fact which certainly also applies to Swedish metallers Despite and their new EP EPic. Band and release go for the jugular from their first breath and never relinquish their gripping rancor and highly flavoursome persuasion until the final note of rage dissipates. With a sound which draws on a diversity of styles bound in a passion which is as open as the venom in every groove and the anger driving every rhythmic and corrosive twist, EPic is exactly what it says on the tin.

Hailing from Gothenburg and formed in 1998, Despite has consistently drawn strong responses and acclaim from fans and the underground media for their releases and live presence, a clamour seemingly increasing year by year. With a sound which reminds forcibly of Mudvayne around their The End of All Things to Come album but equally the likes of Soilwork and Meshuggah infused into something individual to the band, Despite feel like they are at the point where the wider metal world is waking up to their fury, especially now thanks to the might of EPic. Through debut album In Your Despite of 2009 and its successor Clenched a year later, the quintet has honed a sound and developed a stature which demands attention but the new EP is another big step which with its initial release last November and now a focus grabbing reboot on January 19th, provides a commanding wake-up call to the rest of the unsuspecting metal world.

Opener As You Bleed looms up on ears from a distance with an immediate tangy groove, which as it reaches its destination erupts in a controlled but vibrant maelstrom of intensity and attitude equipped with even broader grooving amidst potently jabbing beats. The guitars of Timmy Leng and André Gonzales are instant inescapable bait, Meshuggah seeded riffs a jagged lure within a toxic caress of melodic enterprise. There is also a sense of intimidation and rage to the song which finds its potent exit through the heavily swung rhythms of drummer Oscar Nilsson and the bracing vocals of Peter Tuthill. His deliver is a perpetual snarl but with a clarity which allows the ire and passion of the lyrics in each individual narrative to make a formidable incitement to match the sounds. There is also variety to his attack as clean elements are allowed to stand alongside his abrasing strengths, a mix which works a treat and nestles perfectly in the blistering Despite PromoImagetempest of the craft around him.

The outstanding start is continued through Awakening, a furious ravaging of the senses from the first second but as the first, coming with a twisting turbulence of invention and intensity. More blustery and hostile than its predecessor, the song also has a sonic grooving which compels the imagination whilst a blend of melodic and destructive invention reminds of Chad Gray and co in union with Dark Tranquility. It is a hellacious temptation leaving appetite greedy and senses throbbing, and there is no respite as Unexceptional steps up next. The third song opens on another enticing snarl punctuated by nasty drums rallies aided by the increasingly potent and enthralling bass threat of Mathias Dagerhed. An explosion of animosity of course is not far away, the track subsequently spilling creative enmity and emotional bad blood with contagious and bewitching effect. It is a seducing which also appears in an Indian flavouring which veins the turmoil, a exoticness which grows and blossoms with increasing temptation as the song reaches its fiery finale and explores a strong whisper of Motherjane in the inventive turbulence.

The song is superb but swiftly matched and at times surpassed by Give Me Life. Bestial in sound and touch from the first clawing of ears, the encounter blazes a scarring trail across the senses. In that unbridled scorching though vocals unite in anthemic rebellion and grooves dance devilishly, both igniting an already breath-taking ferocity. Excellent clean vocal tempting and atmospheric melodic sighs add to the intrigue and unpredictability of the song, but are always shaded by the delicious creative animus of the song.

It leaves final song Sanctum Falls some task to leave the listener on a matching high, a challenge firmly met by its creative drama and exploration. The song is arguably the most inventive and unique provocation on the encounter, offering a Slipknot like colouring to again an expectations dismissing adventure in songwriting and sound, and though it might just miss the plateau of its companions on the EP, it leaves satisfaction full and praise eager.

For newcomers to Despite, EPic is a stirring and exciting introduction whilst those already in the know, will surely agree the EP is the band on a whole new plateau.

No strangers to line-up shuffles, Despite since the initial release of EPic has seen the departure of Dagerhed with a search of a new bassist on going and the arrival of third guitarist Zoran Panovic; just another twist in the gripping ascent of the band to eagerly explore ahead.

EPic is available from January 19th @ http://despiteofficial.bandcamp.com/album/epic-2

http://www.despiteofficial.com/

RingMaster 19/01/2015

Copyright RingMaster: MyFreeCopyright

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http://www.thereputationlabel.today

 

Despite Unleash Their Killer New Record To The UK This Month!

Despite Online Promo Shot

Euro Bruisers ‘Despite’ reboot their new EP ‘EPic’ on Monday 19th January 2015.

Ever since their formation, ‘Despite’ have destroyed stages throughout Europe with their face-melting concoction of modern metal laced with alluring dynamics and crushing riffs.

Although they draw from the likes of Slipknot and Soilwork to Strapping Young Lad, Despite etch their very own signature on the metal genre. Approaching their musical endeavours with nothing less than whole-hearted intent, Despite thrive on originality and ballsy groove.

Formed in Gothenburg, Sweden back in 1998 and featuring Peter Tuthill (Vocals), Timmy Leng (Guitar), André Gonzales (Guitar), Matte D (Bass) and Oscar Nilsson (Drums), all five members share an uninhibited and mutual infatuation for heavy music. The innovative riff beasts have built up a formidable reputation for themselves in their native land through hard gigging and with the releases of both their debut album, ‘In Your Despite’, and its follow up album, ‘Clenched’, which dropped in 2010. During the past few years the band have had switches in personnel, but the industrious five-some are now back, stronger than ever, and fiercely firing on all cylinders.

In 2013, Despite began work on their third record entitled “EPic”, which is finally released in the UK this January, and it’s a real belter. EPic starts off with the forceful hammer groove of their current single ‘As You Bleed’, which proves to absolutely ravage the ear drums. The quintet’s impressive riffery is on display throughout the record and the ferocious ‘Awakening’ is a prime example of the band’s sheer intensity and brimming guile. ‘Unexceptional’ is next up and offers the quartet’s trademark sound wrapped around the thoughtful use of an Indian Harp; this underlining accent highlights the band’s keen dynamism and cunning use of experimentation. ‘Give Me Life’ continues to hit you square between the eyes before ‘Sanctum Falls’ closes proceedings with its pounding rhythms and a full vocal assault that cascades into an engaging web of melody that will linger with you long after. EPic drops this January and the band will tour the UK later in 2015; stay tuned for more.

Despite PromoImage

-DESPITE RELEASE ‘EPic’ ON MONDAY 19th JANUARY 2015 THROUGH ALL STORES-

https://twitter.com/DespiteOfficial           www.despiteofficial.com https://www.facebook.com/DespiteOfficial

 

No Sin Evades His Gaze – Age Of Sedation

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Introductions from emerging bands obviously come in many shapes, sizes, and with varying success, but few leave as rich a hunger and lustful an ardour as inspired by UK metallers No Sin Evades His Gaze and their debut album Age Of Sedation. A riveting maelstrom of styles and flavours honed into a dramatically imposing and scintillating tempest, their release is an extraordinary entrance from a band young in years but mature in creativity and craft. There has been a loud buzz brewing around the quintet for a few months now and it is obvious as to why now.

No Sin Evades His Gaze was founded in the middle of 2013 by vocalist James Denton (ex-Ravenface). Completed by guitarists Kevin Pearson and Dan Thornton, bassist Matthew “Moat” Lowe (ex- Bleeding Oath), and drummer Theo Harvey (ex-Ravenface), the band gripped attention with the release of the single Age Of Sedation in May of this year, the track soon earning critical acclaim and media attention to match the appetite of the band’s growing fans. It was a potent hint of things to come, a rich suggestion of their new album but still merely a teaser to its blistering presence and might. Forging a ravenous and fluid web of everything from metalcore to technical and groove metal, progressive to death metal, the album is a raw and brutal hostility brought with the most elegant of touches and intensity of adventure. Not all songs startle as rigorously as others but each dramatically impresses with insatiable aggressive invention and rapier like imagination. Age Of Sedation may not top best album lists come December but it will be high in the majority of candidates.

A Crack In The Looking Glass is the opening intro to the album; it’s coaxing a thought challenging vocal sample surrounded by a melodic fanfare fuelled by a portentous breath. It is not a dramatic entrance but certainly awakens 10514663_279269198932257_7855588474433333182_nattention and intrigue which the following title track swiftly exploits with its masterful provocation. Continuing the brewing almost epic ambience of the first piece, riffs are immediately rubbing on the senses as a climate of change and volatile intent boils up around them. Percussive incitement and heavy bass tempting soon add to the fascination embracing ears with the guttural growl of Denton a savage provocation in their midst. The track in full stride is a beast, tight melodic veining and caustic riffery aligning to violently antagonistic rhythms from Harvey and the ravenous intensity of the basslines. There is also an intimidating swagger to it with teasing grooves simply igniting the senses. It is obvious to see why the song set greedy anticipation in motion for the band’s album and it is only the start of something special.

     Motionless In Obedience instantly sets out its own contagious bait as drums and guitars unite for an initial canvas of temptation which brews up into a magnetically layered and impressively textured weave of ideation and sound. Orchestral whispers and sultry melodic colours permeate the intensive pressure and intent of the track whilst grooves and hooks offer a barbed lure which slips comfortably into the agitated depths of the encounter. As with all songs, each moment is a passing twist in a growing picture, the aggressive growls of Denton evolving into an outstanding clean delivery with the frontman impressive in each extreme, and the overcast menace of the song finding a clearer melodic air to seduce through. Like a mix of Meshuggah and TesseracT merged into another of Between the Buried and Me and Sepultura, but still only part of the sound, the track continues the immense start of the album.

The sonic enticement of Filth makes a transfixing lure to a bordering on carnivorous onslaught, essences of Korn and Mudvayne flirting with the industrial hints and barbarous maze of the song’s invention. It is an addictively compelling provocation, much like the album, which uses every note, chord, and pestilential syllable to assault and inspire. Its apocalyptic presence evolves into a sense of awakening as it fades away with crystalline charm before air and ears are baited by another unpredictable threat of tenacious riffing and rhythmic athleticism which sizzles with spite and ingenuity. Vocally as its predecessor, the blend of roaring rancor and melodic enticing is as masterful and rewarding as the seamless merging of vicious intensity and creative rabidity.

Both the predatory Roll Up The Royalty and Debris strikingly feed a hungry appetite. The first is a bruising fury of raptorial grooves and scarring riffs caged by inventively pounding rhythms off set by the again excellent vocal mix courted by the cantankerous charm of the bass and a mystique wrapped sonic exploration. Its successor sees the bass of Lowe offering another predacious character of sound and rugged contempt whilst over him vocals scowl and croon entwining venom and harmonious enticement. At its heart the track is a toxic treat with scything beats and scorched grooves sculpting a scintillating net of creative resources and bewitching imagination.

Age Of Sedation continues to abuse and ignite the senses with its enthralling tapestry of sound and inventiveness, The Cycle Resets an incendiary blaze of sonic poise courted by a twisted fight of rhythmic brilliance whilst the next up Biometric Alchemy laces its vigorous terrain with industrial strains of tempting and potently evocative flames of sinister melodic radiance. It is another glorious pinnacle in the album; the song’s first half a towering oppression of carnal malevolence which evolves into a stunning progressively seeded fire of melodic expression and vocal brilliance. Think Soilwork meets Fates Warning to give some kind of idea to its excellence.

The release is completed by firstly the infection dripping enmity of The Guillotine Blade, a creative war for the senses and template for the imagination to immerse in. Its every turn oozes ingenious challenges and stirring provocation cored by an infestation of enslaving grooves and sonic tempting. Its triumph is matched by closing track Affinity, the most aggressively mellow proposition on the album but still littered with rhythmic animosity and stabbing riffs. It is the swarming flames of melodies and warm vocals which steal the passions though, their beauty an absorbing caress in the final creative and ravenous blitz of the release.

The song is a richly flavoursome end to a stunning debut from No Sin Evades His Gaze. The fact that Age Of Sedation just gets more powerful and enthralling with each listen, not forgetting exciting, suggest that the UK has a band to set the metal world ablaze if not now within near horizons.

Age Of Sedation is available digitally and on Ltd Ed CD now @ http://nosinevadeshisgaze.bandcamp.com/album/age-of-sedation-2014

http://nosinevadeshisgaze.com/

9/10

RingMaster 21/08/2014

Copyright RingMaster: MyFreeCopyright

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Axegressor – Last

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Thrash metal with the hostility and ravenous jaws of a rabid horde is the bestial sound which roars away in the hands and skills of Finnish metallers Axegressor, epitomised and taken to its strongest level to date on new album Last. The nine-track fury is an exhausting and thrilling onslaught of passion and thrash rabidity, maybe an encounter so well seeded in its inspirations to lack a strong vein of originality but holding an invention and craft to its contagious ferocity which easily make the band stand apart from the rest and pushes them towards the frontline of the genre.

Formed in 2006, the Turku quartet of vocalist Johnny Nuclear Winter, guitarist Seba Forma, bassist/backing vocalist Aki Paulamäki, and drummer Atte Mäkelä took influences from authentic thrash metal into their own ideas, impacted upon by bands and sounds they had been listening to since their teens. Alongside that flavouring, experiences from ten to fifteen years playing in various metal bands adds to a mix which is impressively accomplished and exciting as evidenced by the new album. Over the early years the band grew a potent and increasingly growing fanbase and reputation in their homeland, helped by shows supporting the likes of Dark Tranquillity, Legion of the Damned, Onslaught, Soilwork, and Municipal Waste. At festivals too the band has only done themselves good whilst previous albums, debut Command and its successor Next in 2007 and 2011 respectively, after first EP Axecution a year into its life, confirmed and accentuated the impact of the emerging Axegressor. The Listenable Records released Last is the band’s greatest moment so far and the expected trigger for the band to much bigger things.

From the opening Freedom Illusion, band and album has attention and thoughts engrossed and eager to explore the voracious cover_lenticements ahead. Heavily striding riffs and sinew swung rhythms engulf ears first within which for the first and definitely not the last time the great savage predatory sound of the bass thrills and bewitches. It is a formidable and commanding start, nothing flash or explosive but everything that is compelling and anthemic for appetite and passions. Once the vicious rasping vocals leap from the shadows a switch is flicked and energy and tenacity is lit up as the track charges with teeth bared and aimed for the jugular of the senses. It is a seamless and captivating move, accompanying group shouts and the sonic invention of the guitars irresistible. The song continues to mix up its gait, at times swamping the body like a swarm of insidious hornets in sonic flight and at other moments prowling around with a bear like intent weighing up its next move.

Lead Justice rips at flesh next, in top gear from the first second scything through air and bone with its rhythms and searing flesh with guitar rapaciousness. As the first, the track is an incessant persuasion badgering and impressing for an early submission with its tremendously gripping bait. A certain drama also walks the edge of the narrative, primarily sculpted by the exciting bass sound and the vocal causticity, the result with all combined a continuation of the striking presence of the album and ignition of an even keener hunger in the listener, a greed soon satisfied by the blistering Mind Castration. Riffs and rhythms as expected, shape the fury of the song from the first moments, carving out their temptation from within the sonic flume marking the first surge of the track. Once more there is an insatiable thirst to the elements of the song which simply nags from start to finish with repetitious and contagious efficiency, a suasion upon which vocals and melodic enterprise wrap their toxic exploits. It is a riveting adventure, a constant aggressor clad in sonic finery and creative distinction from those around, as all songs on the album to be fair.

Things are kept ticking over very nicely by Merciless Reality Check, a track which is nastier and more intensive than those before but lacks some of the spark. Nevertheless it is a pleasing and exciting incitement before the furnace of spite that is 15 unleashes its venom on the senses. Rhythms and riffs collude in a maelstrom of antagonistic and malicious endeavour from the off before aligning into another single minded but unique rampage. Malicious and hypnotic, and wholly infectious, the track is an invention clad predator which surges and twists throughout its tempestuous presence, a roaring proposition and soundscape for which battlefields and nightmares were invented.

Intensive examination is the order of the day once Social Pressure unleashes its punk infused tsunami of incitement and beleaguering enterprise. The track tunnels deep within ears and skin, hooks and grooves as pestilential in their epidemic contagion as they are malevolently seductive. Axegressor have mastered the art of creating repetition fuelled beauty with no finer an example than this monster of a track soon matched in its own unique character by A Fistful Of Ignorance. Delivered in a more predacious crawl than the outright onslaught of the previous track, it massages the senses with heavy handed riffs and that carnivorous bass persuasion to impressive effect before inserting its own transfixing and determined urgency.

The closing pair of Command To Last and Determinator ensure brakes are untouched in their tumultuous and varied deliveries, the first a constantly belligerent gallop with moments of unbridled aggression and the last an uncompromising heavy metal stomp around a thrash cored ferocity which may not match earlier successes but leaves the album in a thrillingly healthy state.

Last is an exhilarating encounter and though as mentioned it arguably uses well wore seeds, there has been few bands producing a sound anywhere near this good and uncaging releases as enjoyable within thrash metal over recent months and longer. A must check out release for all thrash and punk metal fans.

Last is available via Listenable Records in Europe now and in North America on June 24th.

http://www.axegressor.net

9/10

RingMaster 10/06/2014

Copyright RingMaster: MyFreeCopyright

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Rainwill – Zer0ed By Pr0gress

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Bringing an absorbing and accomplished tapestry of melodic death metal to bear on the imagination, Zer0ed By Pr0gress the new album from Russian band Rainwill provides a wealth of satisfaction which matches an eager creative adventure. Though not ground-breaking as such the eleven track release is ripe with an invention and exploration which sets it apart from similarly sculpted releases. Evocative and unafraid to push ideas, the band and album make for a deeply appetising triumph to treat the ears and more.

Rainwill began in the October of 2000, formed by vocalist Sergey “Sclep” Grebenkov, guitarist Alexander Krylov, and Alexey Gunenko to explore their desire to create melodic-death metal. The first few years saw the band build a sturdy presence through their live performances and appearances at festivals, the band sharing stages with the likes of Rossomahaar, Kruger, Necropsy, Little Dead Bertha, Skyfall, and Non Immemor Mei. 2003 saw their debut demo Will Of Rain appear to be followed five years later by a three track promo. Debut album Canvas escaped Rainwill’s imagination in 2009 to eager responses as was a tour across the Ukraine with Ambivalence. From 2011 the band worked on creating Zer0ed By Pr0gress over the next couple of years, and with a line-up of guitarist Kirill “Dr. Horror” Mashkov, bassist Dmitry Ponomarenko, and drummer Dmitry “Kain” Grinenkov alongside Grebenkov and Krylov, the Fono Ltd released album is poised to wake up a wider enthusiastic attention for the band.

The Voronezh based quintet immediately stretch and ignite the senses with the album’s title track, guitars expelling spirals of 1420514_729467937081305_618408450_nsonic heat and acidic persuasion whilst rhythms rampage with the hunger of the devil through the ear, their touch punchy and commanding. Intimidating vocal growls frequent the battlements of the song built by menacing riffery and rhythmic predation but aligned to this tempest  is a melodic endeavour which coaxes out greater adventure as it reveals its persuasive hand through impressive harmonies and keys to continually tempt with the twisting sonic sculpting by the guitars. It is a very strong starter, not strikingly setting new borders for the genre but a full captivation which is immediately surpassed by its successor.

Pleasure from Amusement instantly launches its carnivorous jaw lined with senses tearing riffs and a rhythmic breath of rapacious intent. Bestial with a great djent seeded stutter to its riffery, the track soon expands its melodic arms with excellent clean vocals persistently switching with impressive heavy growling; musically melodies and enticing grooves similarly sharing temptation with the track’s predatory instinct. A scintillating testing seduction of the senses making the first pinnacle of the release it is soon matched by the alluring Value of Life, the song taking the mixture of its predecessor to richer appealing heights, and the electro induced Slipstream. The second of the two has an industrial essence to its presence, a feel of Fear Factory pervading the savage intensity and creative dark rabidity which marks the band’s sound and invention.  It sculpts another peak on the album and confirms the strong appetite already in place for the album.

From the delicious evocative melodic instrumental Starving the album seems to stretch its creative legs even further, the likes of Hatred Rises with a vibrant progressive appetite fused into another raptorial heart and the powerful One Word with its soaring vocals and destructive intent, firing up greater bouts of pleasure and enterprise. As mentioned there is plenty which is familiar or certainly has been trodden by the genre over the years but it is fair to say that Rainwill takes it into a new and exhaustingly enthralling domain.

Every track on the album uncages a voracious provocation and a craving for creative adventure, Self-Deception Progress a prime example of the addictive proposition with its scorching melodic embrace within a ravenous bordering brutal storm. Completed by the spellbinding key spawned, melody soaked emotive caress of Model2 and the final intensive examination of the psyche Last Man Who Saw The Day, the album is a magnificent release which earns greater reactions and acclaim over each traverse of its magnetic glory.

Rainwill must surely become a more recognisable name and presence in the wake of Zeroed by Progress, the album an unreserved recommendation for genre fans and especially fans of bands like Soilwork, At the Gates, and Sonic Syndicate.

https://www.facebook.com/pages/Rainwill/258431803801

8.5/10

RingMaster 20/12/2013

Copyright RingMaster: MyFreeCopyright

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