Bad Solution – The War Within

BS_RingMasterReview

A handful of weeks over two years ago, British metallers Bad Solution seriously impressed with their first EP, Self Destruct. A fiery and inventive roar, it seeded a keen anticipation for the London based band’s debut album; a hunger made to wait but now rewarded with a beast of a first full-length not only confirming that early promise but pushing their sound and writing to a whole new level.

That fresh new adventure tempers the slight disappointment of four out of the album’s ten tracks coming from that first release though such their impressive and highly enjoyable impact there is never a negative hearing them again and again. Their infusion within the brand new tracks on The War Within actually brings other previously less noticeable attributes within the quartet out to join those of their newer companions to create a fully rounded and increasingly riveting proposition.

With originally an all Polish line-up, Bad Solution was formed in 2011 by guitarists Trix and Mariusz Chojnowski. By the November of that first year, British vocalist Alex Willox came in with fellow Brit Joe Patterson replacing Mariusz Burzynski on drums two years later. With the current line-up completed by original bassist Wojtek Suberlak, Bad Solution has gone from strength to strength on the UK live scene, also sharing the stage with the likes of Gallows, The Blackout, and Soulfly across numerous festivals. The release of Self Destruct in 2015 thrust the outfit into a new richness of attention which can only be eclipsed by that generated by the outstanding exploits of The War Within.

Drowning starts things off, instantly confronting ears with rapaciously wiry grooves and hard jabbing beats. It pulls back a touch soon after, relaxing into a more controlled stroll as the guitar weaves a melodic web though still the rhythmic incitement of Suberlak and Patterson brings a bite and lively tenacity. The quickly impressing vocals of Willox are potently backed by the roars of Trix as the song develops a Clawfinger like snarl, it in turn evolving into a just as enticing melody rich cry. The carousel of the song continues to turn, increasingly engaging ears and involvement with very round whilst developing a volatility which only adds to its potency.

cover_RingMasterReviewIt is an outstanding start matched by the equally boisterous and aggressive proposal of Nothing (You don’t know me). Like a fusion of Five Finger Death Punch and Bloodsimple, it is a fiery protagonist grabbing and teasing ears with its muscular and melodically seductive enterprise, Willox again a striking and impressive presence within a maelstrom of ravenous and creatively tenacious magnetism.

Demon In My Bed then follows, beckoning the imagination with its initial Middle Eastern flavoured coaxing, a hue continuing to seduce and flourish throughout the track’s beguiling tapestry of sound and flavours. Once more there is a Clawfinger-esque feel to moments within the song but as in its predecessors, the song soon shows its own individual character in sound and writing as mellow passages beget invasive groove stoked dexterity which begets revolving flames of melodic endeavour.

The melancholic caress of the piano amidst sorrowfully ethereal keys brings Self Destruct into view next, Willox laying his plaintive tones in their arms as darker hues simmer and eventually grow. Veining them are spicy tendrils of guitar and a bass snarl which just intensifies as the song eventually erupts into greater aggressiveness bringing a Papa Roach meets Spineshank air to proceedings. Trix and Chojnowski add additional creative flames with their magnetic guitar craft, the track boiling up with every passing twist and turn for an impassioned climax taking a final bite out of the senses before the calmer presence of Echoes Of The Cry steps forward. With captivating elegance to its melodies and atmosphere, Willox similarly restrained in his tone, the track smoulders and simmers but with an increasing edge which sparks thicker flames of intensity across its lively croon. Though a slow burner compared to those around it, the song simply blossoms over time to one of the album’s truly memorable moments.

The chunky invitation of The Last Lie has ears and appetite swiftly on board whilst adding another strain of refreshing flavouring to the release with its echoes of One Minute Silence. Added to the progressive, slight seventies scented journey of the encounter, it makes for a beguiling and seriously virulent persuasion though still not as addictive as the ever manipulative exploits of Desert Rock. The star of the first EP, it seems to grow with every listen even two years on. It’s also Middle Eastern seeded temptations come backed by a rhythmic incitement which has feet bouncing within seconds. As infectious as they are though, they carry an aggressive bent which strikes almost venomously, the snarling bass matching that ferocity as those early evocative melodies continue to seduce around the addiction stoking chorus. Every band has a track which seals the deal with fans more than any other; this is Bad Solution’s and then some.

The swinging stroll of Dear Sarah follows, a flirtatious affair grabbing feet and hips with its first breath as the imagination comes under the magnetism of tangy sonic tendrils and the vocal prowess of Willox. A fusion of alternative metal and hard rock, the song is as rugged as it is graceful ensuring that the album only increases its grip on ears and pleasure; a hold tightened further by the classic/blues rock hued FOD. A fire of sound and intensity equipped with its own contagious kindling, there is no escaping its creative drama.

The War Within is completed by the equally inflamed White Washed, a track with irritability in its veins and a melodic rapacity in its heart. Suberlak’s bass is a delicious grumble within the flames, though not given enough clarity to groan for personal tastes, whilst Patterson masterfully scythes across the hungry tide of riffs and resourceful web of grooves cast by Chojnowski and Trix.

Though maybe not as impacting as those before it, the track is a fine end to a greed inspiring album. Two years back, the Self Destruct EP suggested Bad Solution were knocking on the door of major recognition. Its opening surprisingly never quite came but no worries, the quintet have just kicked it down with The War Within.

The War Within is available now from most online stores.

 

https://www.facebook.com/badsolution    https://twitter.com/bad_solution

Pete RingMaster 08/08/2017

Copyright RingMaster: MyFreeCopyright

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

Xerosun – This Dark Rage

Photography by Olga Kuzmenko

Time for another catch up moment, this time with the This Dark Rage EP from Irish melodic death metallers Xerosun released a handful of months back. It is fair to say that since we covered and enjoyed the band’s debut album Absence of Light way back in 2011, they and their sound have quite simply evolved into completely new attention grabbing beasts, changes and evolution leading to their latest impressive  proposition more than deserving of a belated look.

With a just as hungry progressive bent to their ravenous sound, the Dublin quintet has persistently drawn greater praise and support in recent times. Building on previous successes like that first album and sharing stages with the likes of Avenged Sevenfold, Soulfly, Xerath, and In This Moment, the past two years have been exceptionally busy for Xerosun. Two headline UK tours have been accompanied by performances at festivals such as Mammothfest and Siege of Limerick, times capped off by the release of EP/mini album This Dark Rage and the Olga Kuzmenko created video for its title track, both themed around the Craigslist killer Miranda Barbour, a subject set to be further explored in the band’s new album set for later this year.

This Dark Rage opens with that title track, vocalist Martyna Halas-Yeates’ raw throated scowls courted by the predatory prowl of guitars and rhythms; it all soaked in venom and spite. As riffs continue to gnaw and beats stab, the primal instincts of the track suddenly flip into a groove driven canter, Halas-Yeates’ tones becoming a siren of beauty before the beast returns in voice and song again. The rapier like jabs of drummer Damian Dziennik hold even more spite while David Kuchar’s bass is savage in tone and flirtatious in swing matching the now established web of hostility and grooving. It is a compelling blend and result, the guitars of Fiachra Kelly and Gareth Jeffs rich in craft and enterprise while Halas-Yeates captivates in her dual persona. She is angel and demon and though her melodic prowess feels more natural, her vocal causticity only convinces within the adventurous tapestry around her, wicked grooves deviously colouring the unfolding lyrical drama.

Anatomy of a Lie follows the great start, even overshadowing it as it creates its own groove sculpted temptation, one again bred from ruinous fractions of intent and a blossoming of magnetic melodies and harmonic flames again led by Halas-Yeates’ kind side. It is a song which has grown and evolved since its first outing within a great video back in 2013 and another sign of the band’s hunger to grow and draw every ounce of their imagination to the fore. As all tracks, it is a fusion of flavours beyond the description we first gave you, a controlled but bold maelstrom of antipathy and warmth lighting the senses much as the tempest within next up I Spared Hundreds succeeds in. With electronic essences almost taunting ears from its shadows, the song is a carnal provocation with a relatively latent but openly glimpsed peace. Harmonies and keys temper the cancerous instincts surrounding them, while imagination is an increasingly riveting trait in the song as innocence and insanity mingle in the corners of its psychosis.

The release is brought to a close by firstly The Mother of Morality, a corrosive web of sound with Middle Eastern veining radiated in suggestive melodies and vocal elegance. At times it is like a mix of The Agonist and Motherjane, in other moments more Scar Symmetry and Arch Enemy nurtured, and quite beguiling. As the EP, the track just grows with every listen, the enjoyment of its first appraisal becoming more lustful and impressed with every venture into its passionately lit caverns.

Repent, Rewind, Reset brings it all to an end, its seven minutes plus a spiral into emotional and mental turbulence matched by a soundscape of volatile and schizophrenic sound. Though for whatever reason the track does not grab as powerfully as its predecessors, it makes for a fine and fascinating conclusion to a release which only impresses more and more. Xerosun is a band on the ascent with a potential driven, imagination powered sound to match.

This Dark Rage is available on CD and download @ https://xerosun.bandcamp.com/

http://www.xerosun.com/    https://www.facebook.com/xerosun   https://twitter.com/xerosun

Pete RingMaster 31/03/2017

Copyright RingMaster: MyFreeCopyright

Contemplating Leaving Eden

le-3-11-16_RingMasterReview

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

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

Can you first introduce the band?

Hi, great chatting with you also.

Eve: Lead Vocals

Ryan: Manning Drums

Johhny V: Bass

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

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

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

What inspired the band name?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

https://www.facebook.com/bandleavingeden

Pete RingMaster

The Ringmaster Review 01/12/2016

Copyright RingMaster: MyFreeCopyright

Jonestown – Aokigahara

Jonestown_RingMasterReview

Beauty and paradise can turn to pain and hell with seeming ease within the hands of mankind; the utopian vision of the charismatic and disturbed central figure in the inspiration to the band’s name a prime example. UK metallers Jonestown seed their sound and lyrical confrontations in such personal and worldly tempests; to borrow words from their bio, “The name Jonestown encapsulates the fragility of our state in nature and in society. We’re oblivious to how fragile we are and how quickly life can turn to death.” Musically, the Brighton band starts in hellish landscapes of sound and emotion too which, as shown by new album, Aokigahara, is then taken to fiercer debilitating states whilst subjecting the listener to one seriously thrilling incitement.

Formed March 2014, Jonestown took little time to impress and lure thick attention. They won the Metal 2 The Masses competition that same year with their first ever gig together being the initial round of the event which they also won. From there they have played with the likes of Soulfly, Monuments, No Consequence, and Black Dahlia Murder , toured with Prolong the Agony, and drew acclaim with performances at festivals such as Bloodstock Open Air in 2014 and in 2015, both Leofest  and Mammothfest. 2016 is going the same successful way as its recent predecessors for the band, starting with the recent release of their stunning debut album Aokighara. Named after the forest at the base of Mount Fuji known as ‘the Suicide Forest’, the release is cauldron of raw and varied metal ferociousness fuelled with a hardcore laced antipathy in sound and tone. It is a creative animus, a web of inventive rabidity and ravenous imagination, and quite irresistible.

Jonestown Artwork_RingMasterReviewIt opens up with Deliverance, a track taking its time to come into view from within a haunting cold ambience. Chilling winds wash provocatively over the senses as a melancholic melody sighs in the background. Soon an imposing wall of intimidating chords and raw intensity looms up though, it in turn erupting into an onslaught of corrosive sonic and rhythmic animosity led by the vocals squalls of Harley Anderson. It takes little time for the technical prowess and unpredictable enterprise of the band to show its impressing nature with guitarist Craig Radford spinning a web of grooves and melodic temptation as a suggestive wrap to his and bassist’s Tony Hardwick predatory riffs and lines, this all without defusing the unbridled rancor of tone and touch of the song.

It is a striking start to the album quickly matched by Cenodoxus and Borderline. The first of the pair is equally as bitter and uncompromising as its predecessor, the senses bruising swings of drummer Rich Owen as virulent as they are punishing. It also pushes the imagination further with a great Korn-esque twist within its Black Dahlia Murder meets Meshuggah meets Murdock like ravishing of ears and emotions. Its successor has its own creative vendetta to share; grooves an infestation as toxic as they are seductive, simultaneously tempering and accentuating the impressive and varied strains of Anderson’s vocal enmity and the carnivorous voice and exploit of the bass.

Mass Extinction Six is a merciless knot of emotional tension and sonic jaundice next, again an assault brought and veined with some richly flavoursome and appetite inciting invention, whilst the album’s title track breeds an emotionally corrupted atmosphere around a whirlpool of virulent riffs and grooves. Without quite matching the earlier pinnacles of Aokigahara, both leave ears resonating and pleasure thick before Aprés Moi shares its own caustic drama. As with all tracks, it is an unrelenting predator, never giving ears a moment’s breath or the imagination time to settle before another raging and contagious outburst of invention and breath-taking hostility erupts to steal attention.

With the mouth-watering emotional discord and physical bedlam of The 33rd Parallel and the sonic terrorism and mesmeric beauty of the equally outstanding Deadweight bringing Aokigahara to a riveting and ferocious close, the album stands as one of the best metal debuts this year and back. At times it almost proves too brutal and invasive to take in one go, but every track brings such a fresh adventure of conflict and emotional friction that tearing away from the album’s grudge proves impossible. Bottom-line is that this is a treat no one should ignore.

Aokigahara is out now @ http://Jonestownbrighton.bandcamp.com

https://www.facebook.com/jonestownbanduk   https://twitter.com/jonestownmetal

Pete RingMaster 28/04/2016

Copyright RingMaster: MyFreeCopyright

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Lody Kong – Dreams and Visions

Photo-Joey Nugent

Photo-Joey Nugent

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

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

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

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

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

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

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

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

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

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

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Pete RingMaster 30/03/2016

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Warfaith – Wise Man Is Dead

warfaith_RingMaster Review

Though there is an old school breeding to their sound, as debut album Wise Man Is Dead shows whilst storming the barricades, equally French thrashers Warfaith infuse just as potent twists of modern and varied ideation into its ferocious character. It brings a wonderful blend of raw and inventive thrash metal drawing on its various decades, and though the release is definitely recognisably schooled in the genre’s breeding days, it replaces major originality with inventive and fiercely enjoyable rock ‘n’ roll.

Formed in 2012, its origins seeded in many bands such as Violator or Warfare before then, the Nancy quintet quickly sparked their local scene into supporting life with their live presence and their first pair of tracks in Terrorist and Spit on the Cross. The following year saw the recording and release of the Blood And War EP; six tracks released that October helping to enable the band to venture further afield within the metal underground. Now it is the turn of first album Wise Man Is Dead, a release sure to light up ears for thrash around its birth but with plenty to please all of its fans even without stirring up particularly new pastures for the genre.

warfaith-album-face-aplatit_800_RingMaster Review   Influences to Warfaith include the likes of Slayer, Soulfly, Sepultura, Cannibal Corpse, Scar Symmetry, and Pantera, and that hints at more going on than just a vintage thrash incitement as the opening pair of full tracks to Wise Man Is Dead confirm after the sonically enticing Intro. It’s melodically acidic and accomplished coaxing leads into the album’s title track door, it exploding with ravenous rhythms and vocals across a scourge of violent riffs and instantly infectious incitement. The hellacious onslaught relaxes a slither as the track hits is barbarous stroll, the bass of Moon a great steely lure within the sonic web cast by guitarists Jojo and Odian. Driven on by the full roar of vocalist Max and the vicious swings of drummer Igor, the song continually shifts in gait and intensity, enterprise and maliciousness without even lessening its fury before Jesus Sucks erupts with irritable sinews forging antagonistic rhythms within another richly flavoursome weave of enticing grooves and imposing riffs; it all hostile and all thoroughly enjoyable.

Max brings a punkish element to his tones on the track which seems to spark the same in the sounds of Crack’s Whore straight after, the track a tempest which has a thick hardcore whisper to its torrential nagging of bestial riffs and bass grouchiness, and indeed the increasingly raging vocals which also slips in to spoken delivery with the same ire in tow within the attack. Once more the guitars unveil sonic and melodic slithers but primarily the song is a rancorous squall to light the soul, only relenting when it has to make way for the spicily hook loaded revelry of Purgatory. As in its predecessors, twists constantly bring a familiar air but with inventive freshness to the ear, and indeed contagion, which just hits the spot and the want from any thrash fuelled offering.

Terrorist keeps the good times boiling in the system, blood inflamed by the rabid tempest thrust through ears and the vocal union between Max and guest Nico Xanort; their contrasting tones of spite and ferocity a union as enjoyable as the spiralling invention from the guitars and rip-roaring tenacity of the song as a destructive whole. It is a brutal anthem impossible not to enlist in as equally the even more caustically abrasing Furious Pig, and after it, the merciless Kill With Truth. In their joint uncompromising extreme metal turbulence, inviting hooks and sonic endeavour bring individual adventure against the dark hearted aligning of senses battering and inventive drums and an addictive bass tempting, especially in the second of the pair which is a beast of virulent violence and temptation and arguably the most unique and exploratory song on the release, even in its tsunami of maliciousness.

There is no let-up to the musical and lyrical vehemence with Warslave, the track a horde like surge of rancorous bass bait and insatiable riffs pushed on by the great punkish squalls of Max, or Addiction right after. It devours ears like a war machine, pressing on with relentless authority whilst spewing flames of catchy enterprise and impassioned incitement lyrically and emotionally. The song is glorious and once again it has to be said the bass of Moon is wonderfully demonic in its voice and delicious in its growling texture, as shown one final time in the closing Redemption. It is actually the most predictable and thus less impacting song on the album but still brings Wise Man Is Dead to a mightily pleasing close.

It has to be said that Warfaith had us held in the first listen but the hooks only went deeper with ever subsequent listen. Wise Man Is Dead is definitely a release which just gets richer and bolder with every encounter so do give it the time it deserves; you will be rewarded.

Wise Man Is Dead is out now via most online stores.

Pete RingMaster 17/09/2015

Copyright RingMaster: MyFreeCopyright

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