Kayleth – Space Muffin

KAYLETH_band

Everything about Space Muffin, the new album from Italian rockers Kayleth is a spatial adventure; from the eye catching cover and lyrical exploration to the space rock coloured climate gathered over a stoner rock sculpted landscape, it is a flight through other worldly explorations. Equally that stoner and metal induced breeding gives songs and release a contrasting grounding which makes it as intensely imposing as it is celestially fascinating. Space Muffin, a fluffy name offering a slight deterrent before a note is heard, and Kayleth draw on recognisable influences it is fair to say, Kyuss and Orange Goblin for example. It is an open spice though which the Verona quintet entwine with again familiar space/psych rock seeded imagination to conjure something seriously compelling. The album might not be the one to really challenge your expectations but definitely it is a proposition to turn pleasure and a hunger for more up to the highest setting.

Formed in 2008, Kayleth has persistently lured an increasingly potent attention their way through their releases which started with Not Yet in 2006. Initially their sound was rigorously stoner-esque, with In the Womb of Time and Rusty Gold of 2008 and 2010 respectively, thick enticements of the broadening emergence of the band. Their sound has been on a constant evolution even from those early releases, but it was after The Survivor was released in 2012 and through the addition of keyboard player Michele Montanari that the band went on a new exploration into space/psych rock territories, investigation taken without leaving behind the stoner canvas which had already garnered the band increasing acclaim. The band and songs within Space Muffin seem to revel in this new horizon of imagination in their songwriting and sound, discovering like its premise, a new world to play in.

The heady heights and atmosphere of Mountains opens up the release, its muscular presentation an immediate wall of rugged riffs and pungent rhythms within a web of spicy grooves. Behind it the keys of Montanari seduce away, not making a major declaration yet but coaxing behind the scenes as the excellent grainy vocals of Enrico Gastaldo join the widening scenery of the song. Guitarist Massimo Dalla Valle matches the increasing lure of the keys with tangy grooves and acidic melodies, both aspects uniting in rich warmth as the bass of Alessandro Zanetti rumbles within their midst. Completed by the feisty and imaginative beats of Daniele Pedrollo, the song stomps and swerves with irresistible contagion; turning as the keys bring their interstellar KAYLETH_coversuggestiveness into an exotic temptress.

The excellent start is continued by Secret Place, a track loaded with an energetic stride driven by virulent grooves, rampant rhythms, and the potent vocals of Gastaldo. That Orange Goblin essence is a busty flavouring here but equally you can easily suggest a touch of Eagles of Death Metal to the vivacious appetite and energy of the song. It is ablaze from its first second and even with some clever twists and teasing from keys thereafter, never loses its lustful voracity. Imagination sparking invention is just as evident too and even more dramatic in the following Spacewalk. With samples and an on-going narrative offering a space flight with almost Robinson Crusoe like undertones, the track takes to the air with a magnetic shimmer and gentle melodic seducing. Thrusts of intensity led by caustic riffs and heavily swung drums pierce the beauty of the ambience drifting across the track, the burst bringing intermittent and eventually sustained tempestuousness to the bewitching encounter.

Both the intimidatingly sturdy Bare Knuckle with its mouth-watering rhythmic shuffle and sonic flaming against the charming ambience of the keys, and the soulful Born To Suffer have ears and imagination wrapped up in their designs and melodic colours. The first from a contagious ruggedness slips across sultry climes of sonic and provocative textures whilst the second with a blues toned melodic croon smoulders and entices with captivating charm before sparking with classic metal seeded enterprise. Neither quite matches their predecessors, though Bare Knuckle makes a thick challenge, but both leaves senses and thoughts riveted before Lies Of Mind flexes its striking musical and inventive muscles for a bruising and infectious slab of space rock toned rock ‘n’ roll. As most songs there are plenty of twists and unpredictable surprises employed, without going overboard, leaving ears and emotions greedy and equally a quite inescapable anthemic tendency.

   Try To Save The Appearances also has a broader rock ‘n’ roll character to its heavy persuasion, stoner and psych rock colluding in a tempestuous and wholly tempting charge which at times, as elsewhere on the album, has hints of Monsterworks to it as well as that of Karma To Burn. It is a glorious incitement leaving just the instrumental elegance and heated soundscape of NGC 2244 to bring the album’s flight to a tantalising close.

Space Muffin might have a weak title but within its walls it is one thoroughly enjoyable and invigorating adventure. Kayleth’s album does not truly surprise too often but leaves ears blissful and satisfaction over flowing, thus a release to heartily recommend.

Space Muffin is available via Argonauta Records now @ http://www.argonautarecords.com/shop/music-/47-kayleth-space-muffin-cd.html

http://www.kayleth.com/

RingMaster 03/02/2015

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Return from the Grave – Gates of Nowhere

Return From The Grave - Band

Seeded and drenched in the thick atmospheres of seventies metal aligned to the oppressive textures and persistence of doom metal and blistering stoner designs, Gates of Nowhere the new album from Italian metallers Return from the Grave is a wide wake-up call to a band with rich potential and exhausting intensity. Its seven tracks consume and suffocate the senses relentlessly yet bring them and the imagination alive with compelling resourceful enterprise. It is a proposition which ebbs and flows a little in holding the tightest grip on attention but never lets it wander or enjoyment of its often spellbinding and predacious incitement falter.

Hailing out of Venezia, the quartet of vocalist Semenz, guitarist Sparta, bassist Kilo, and drummer Jack came together in 2011 and soon unveiled their self-titled debut EP. It was followed the following year by first album The Rebirth from the Last Breath, its heavy tsunami like provocations earning comparisons to bands such as Black Sabbath, Orange Goblin, and Orchid in the acclaim. Casting themes bred from ‘Horror stories and the hidden meanings of Life and Death’ within Gates of Nowhere, the debut release for the band on Argonauta Records, Return From The Grave are entering through a doorway to a wider recognition with its release. A one way trip you feel such the richness and depth not forgetting rigorous seduction oozing from within the Richard Whittaker (Saint Vitus, The Who, Black Sabbath and Rolling Stones) mastered release.

The first thing hitting senses and appreciative thoughts is the production. As thick and cavernous as the sounds it surrounds, it brings the Return From The Grave - Coverlistener into the dark origins of the ingredients the band infuses into their propositions. It gives, as evidenced superbly in the ravenous Intro which starts the journey off, a sinister foreboding air and seemingly analogue breath to the release, a portentous oppressiveness which really suits the music and intensive energy of the tracks. The opening piece is dark and ravenous, a dangerous swamp of sound and intimidatingly emotive textures which seduces as it infests the psyche. It has a heavy poetry to its funereal stance which captivates thoughts as it leads the listener into the last strikes of its storm and subsequently the following Words In Words. The start of the second track is deceptive, its welcoming strands of sonic coaxing almost jovial after the sufferance before. It is bait which persists as rugged rhythms and swipes of guitar and bass enter the narrative but eventually swamped as the vocals blaze away within a now burning cauldron of energy and sound. There is still a swagger and melodic temptation which steals attention from the weighty substance around them though but in turn it loses out to the excellent resonance effected vocals. Ultimately all combined it is a storming stomp of a song, a dramatically magnetic slab of voracious metal.

Center Of The Will opens up next with a bewitching crawl of gnarly bass and teasing percussion before being joined by the entwining tendrils of guitar, its lure acidic and searing as it crosses the senses. Finding a potent stride with rhythmic muscles swiping through every beat, the track becomes a furnace of melodic rabidity and sonic tenacity which flares and seduces with incendiary potency from within the lumbering yet keen gait of the song. Twists and turns bring intrigue to the generally singular course of the incitement, adding along with the scorched vocals, rich distractions to the compelling burdensome weight of the encounter. Leaning into its finale the track explodes into a rabid charge of riffs and rhythms, a thrash like urgency and hunger taking over the driving seat for an exceptional climax.

The intensive intimidation of The Rage Of Rays steps in next to push the listener into an even deeper wash of seventies nurtured metal, again a Sabbath like predation and enticement leading the way, though that bait is never far from the surface of any song within the album. The impressively sculpted and layered beast smoulders and burns with an even tempered intensity and appeal compared to the previous tracks but it lacks the indefinable something which left its predecessors so persuasive and gripping. It is still an appetising meal for the ears but soon forgotten as the rolling menacing rhythms of Uncovered Fate burst into life. The drums hypnotise senses and imagination instantly before sharing time with another excellent animalistic snarl from the bass and cutting scythes of guitar. Snatches of melodic seducing and glazes of sultry suasion almost dance within the devilish portrait unfurling within the imagination whilst the vocals, which were not as effective on the last song, are back on form here as they join the creative maze spun by the guitars within the expanding rapacious enthralling adventure.

The release closes with firstly the mesmeric River In The Sky, a fascinating flight which reveals more about the band in many ways than the other songs, its sirenesque use of atmospheres and ambient beauty within dramatic aural structures sheer captivation, and lastly Inside Human’s Soul. The final song is an alternative version of a track which appeared on the band’s debut album, a more of a straightforward charge within more predictable walls which reveals the growth between the band’s two albums.

Gates of Nowhere is an engrossing encounter from a band evolving potently and it is easy to feel has a big future on the larger stoner/doom metal stage waiting.

Gates of Nowhere is available via Argonauta Records and @ http://returnfromthegrave.bandcamp.com/album/gates-of-nowhere now!

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8/10

RingMaster 03/06/2014

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Oruga – Blackened Souls

Photo

There is a chilling honesty to the emotionally destructive sound unleashed within Blackened Souls, the new album from French metallers Oruga; an undisguised ravenously truthful breath which revels in the corrosive melancholy and raw misery which breeds its compelling canvas of sound and intent. Fusing the darkest, heaviest doom sculpted malevolence with the most irritable invasive sludge attrition, Oruga create a tsunami of provocation which leaves mercy and respite as lost in the depths of the overwhelming intensity as the senses they invade and violate. Their new album is not a ground-breaking persuasion, slotting in perfectly with numerous similarly bred releases over recent times but whether many others come close to the emotional ferocity and erosive voracity which breeds their thunderous rhythms and colossal riffery is doubtful.

Formed in 2010, the quintet from Northern France caught wider attention with the release of their self-titled debut last year, its dark ravenous premise the certain base from which Blackened Souls explores further and deeper, uncovering primal layers within raw and cold agonies. Whereas its predecessor found avenues for tempting melodic classic metal lures the new release is a charnel house of stark and harsh emotions, though it too is unafraid to colour its cavernous hunger with riveting adventure. There is also a sense of frustration to every note and vocal roar which seeps from the album, a despair at its heart which intensifies and enlivens chords and syllables with persuasive toxicity. It all makes for a thoroughly compelling incitement which shows Oruga to be a potent emerging force within extreme metal, one deserving of major attention.

Heretics brings the album to bear upon the senses first, its opening tide of sonic ravishment and instinctive antagonism brewing in a3478321359_2intensity from the opening note as the guitars of Julien L. and Fred P. swarm portentously around the ears. Simultaneously the rhythmic coaxing of Bruno H. adds to the thickening web, a capture increased by the dark throated strains of bass from Pietro G. and the initially clean spoken vocals of Cedric M. It all converges into a singular menacing which still with some restraint begins crawling over the senses peering into the darkest corners of the psyche as Cedric twists his delivery into a caustic growl. Elevating its potency, spite, and energy in varying degrees, the track crawls under the skin capturing the imagination with its specifically aimed and concentrated creative venom. It is not a track which startles in its invention but skilfully bewitches in its emotional malevolence and undiluted straight forward voracity.

The following We, The Darkness crawls from the same imaginative fiery sonic pit of oppressive invention, its sonic hooks and distorted melodic endeavour shards of acidic light within the lumbering prowl and hunger of the song. Again Cedric brawls with his lyrics with a bestial predaciousness whilst the rhythms cage and punish with each heavy fisted swipe but it is the spearing sonic bait of the guitars which provide the passion spawning lures which pushes the album up another level within two songs.

Both Dead Among The Living and Disciples reinforce the impressive start, the festering aural animosity of the first sculpting a sonically scarred canvas upon which great melodic vocals unveil their suasion alongside expected squalls and guitars paint their intrusive scenery with rapacious hues and searing emotions. It is an even tempered encounter compared to other tracks initially but eventually the predator within loses its chains to unleash violent riffing and cantankerous rhythmic animosity before revolving between a poetic scorched beauty and a vitriolic fury for a breath-taking and at times uncomfortable journey. Its successor opens with a gentle yet primal elegance as the guitar emotionally hints at the impending intimidation of an unbridled fury. A tempestuous cloud of sound and intensity smothers ears and senses subsequently, lurching over and preying on thoughts and emotions as Cedric expels the heart of the song. It is a brutal tempting which bruises and transfixes with every rabid beat and edacious squall of guitar, both enriched by the hellacious dark tone of the bass and the ever threatening vocals.

It is fair to say that from its formidable start the album just increases its weight and quality, the final two songs providing the evidence. Cursed savages air and ears first, its carnivorous presence and breath a perpetual sonic scrub on the senses, a lethal highly addictive scourge punctuated throughout by the uncompromising strikes of Bruno. It is a torrential violation where you soon make assumptions but have them almost as quickly dismissed with force by the brilliant twist into a post metal drift of spiny melodies and cleaner predatory vocals. It is only a temporary detour but an inspired and invigorating one giving the returning maelstrom more depth and intrigue. The track is a glorious example of the ability and invention of Oruga though it is soon left looking up at the plateau set by Ghosts Of Anneliese. The closing song manages to bring an even nastier element to its incitement, every rhythm holding sheer malice and each scrub of riffing scratching deeper into ears and psyche. The excellent spread of gruff and again cleaner vocals spread greater spice to the album whilst the toxic melodic designs and underlying emotive groove paint sultry toxins into the spiteful corruption. Throughout the release there is a stoner-esque spice which here is at its strongest, though twisted with the Oruga invention it emerges as a deranged and rigorously thrilling tainting. The track is glorious, a titanic beast of invention and passionate ferocity, and almost alone the reason why the band and Blackened Souls deserves a strong bright spotlight.

Blackened Souls is available now via Apathia Records @ http://apathiarecords.bandcamp.com/album/blackened-souls

https://www.facebook.com/Oruga666

8.5/10

RingMaster 20/05/2014

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King Goat – Self Titled EP

     King Goat Online Promo Picture

     King Goat is an intimidating provocation, heavy in intent and in weight, and as evidenced by their new self-titled EP, mightily compelling. Consisting of three immensely imposing tracks stretched by tempestuous riffs and impossibly alluring grooves, the release pushes King Goat into a new intensive spotlight. Its riveting weave of stoner and doom metal with psychedelic and progressive flames is a raw and thorough captivation of ears and imagination, a proposition sure to arouse a wealth of new allegiances.

Hailing from Brighton, King Goat emerged at the start of 2012 and was soon stirring up attention locally. Their debut EP, Atom was released early 2013 to good responses but soon followed by a change of frontmen. Once back into its stride the quintet began working on their second release and unleashing again their powerful live performances across London and the South coast to stronger responses whilst garnering an ever increasing legion of fans. The new EP is the next potent step in the rise of a band which you sense has the potential to eventually impact intensively on European psychedelically fuelled doom metal.

The EP starts with an epic track in length and presence. The Final Decline is a towering and thoroughly absorbing journey for senses and King Goat Cover Artworkimagination which breeds from an opening suggestive ambience. It is a stark and chilled atmosphere which initially caresses ears, a portentous breath in climate with a lone emotive guitar coaxing which stands engagingly within the cold wind and barren landscape unfolding around it. The song slowly emerges with dark weighty tones of the bass and resonating beats prowling the senses matched by the equally shadowed vocal calls. It is an intensive proposition but lit by enthralling guitar design which without being flashy or dramatically startling simply seduces the imagination with its eastern temptation and repetitive virulence. The song gradually increases into a stroll, all the time brewing and accelerating its rapacious energy and rhythmic enticement until from a moment of catching breath it erupts into a primal swagger with equally bestial growls before an excellent melodic roar of vocals soar across the incendiary scenic maelstrom now smothering the senses. It is an exhaustive and alluring encounter which only enhances its bewitching grip with every taking of its dramatic journey.

The following Cult Obscene is swifter in its emergence but like its predecessor is bred by a provocative and imagination sparking scenery soaked in a sinister ambience. It is not long though before hypnotic rhythms enslave attention, soon sharing that entrapment with scorching melodic flames of adventure from the guitars and again a bass tone which simply resounds within ears and the narrative of the track. The track shows a mix of Cathedral and Ten Foot Wizard to its enveloping shadows and blazing melody defined drama whilst the caging sinews and rabidity of the rhythms has a certain Mastodon predation to their intent. As its predecessor, the song simply consumes the body, feet and senses wrapped up in the riff driven stomp of the track and imagination through to passions enslaved by the sonic invention of guitars and grooves.

Already the release has a hungry appetite alive and greedy for itself which is only driven to stronger urgency by final track Melian’s Trance. The closer is inescapable, every aspect of its sculpting working like an epidemic on the listener. It is a blazing tempest of adventure and metallic devilry employed by dark ravenous emotions and deeply rooted shadows lying in the heart of the songwriting and unrelenting imaginative sounds of the band. With riffs, rhythms, and grooves an overwhelming horde of insatiable predators submission is inevitable, the song a thunderous end to an equally massive release.

With Sabbath essences permeating the whole EP as rigorously as those already mentioned, King Goat has announced themselves to the whole country with a metallic bellow which is hard to ignore or resist.

The self-released King Goat EP is available from Monday 28th April @ http://kinggoat.bandcamp.com/

www.facebook.com/kinggoatbri

8.5/10

RingMaster 27/04/2014

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7stbaby – Control

 

7 st baby

    Providing an encounter which not only sparks the imagination but takes it on a rapacious ride through a maze of sounds and metal bred styles alongside the passions, UK band 7stbaby is a provocation we are going to hear much more of and be persistently impressed by. The reason for that bold declaration is debut album Control, a compelling and scintillating landscape of invention and adventure. The Guildford trio has created a juggernaut of riffs and grooves aligned to a sonic mastery which just infects thoughts and emotions. Equally though it is an adventure unafraid to leave expectations and assumptions a barren wasteland with nine tracks which explore and stretch everything from stoner and progressive metal to ambient textures and heavy rock enterprise. Released January 31st via Got Wrong Records, it is one of the first important introductions of the year and already a heavyweight contender to rival the established regime within rock and metal.

     Founded a few years ago but held on the back burner until last year by Kyle MacKenzie (vocals, guitar) and Ben Martin (vocals, bass), both members of the also impressive Surrey band Static Plan, the duo enlisted the presence of drummer Greg Webber also of their other band to complete the active line-up. August last year saw the band record and self-produce their debut album, a release which seizes ears and thoughts from its opening moment and never relinquishes its imaginative feisty hold until its parting breath. Now with its impending release also ready drawing impressed responses alongside ours, the album is poised to thrust 7stbaby into the heart of the heavy riffing intensive fire of British stoner and progressive metal.

     An atmospheric electronic breeze opens up Behind The Looking Glass, an ambient coaxing infused with distant vocals Screenshot-2014-01-07-at-16.15.30taking over the first few seconds before the song slowly stretches out a melodic arm. Again this is a mere moment in the evolving fire of the track, soon bulging riffs and crisply cracking rhythms assault the ears as a sonic weave of guitar class veins their urgency. Into its sirenesque stride the vocals from MacKenzie and Martin punch through air and sounds, their tones laid with effects but expressively forceful in their own right. A Queens of the Stone Age flavouring emerges at this point though similarly the track offers essences of bands such as Orange Goblin and fellow Brits Ten Foot Wizard to the mix. Three minutes of blood rousing, emotion inciting endeavour the tracks makes the perfect contagious start which the album only grips tightly and continues across subsequent offerings.

    The following Somebody’s Bitch opens with a grouchy bassline gnawing at the ear before sonic winds erupt from within the equally rapacious riffery. An acidic groove only adds to the instant lure and as it settles into a more relaxed but still intensive stroll with outbreaks of intimidating and weighty aggression, the song sparks another wave of hunger in the awoken appetite. As magnetic as the first but bolder in its merging of varied styles and sonic spicing, more than happy to slip into voice and ambient progressive breaths within the sturdy enticement , the song continues the strong and riveting start with an ease soon matched by the next up Psycho and its successor, the title track. The first of this pair stalks the senses with an initial predatory snarl and combativeness, a Devildriver feel wrapping the vocal delivery and antagonistic menace. It is an immense opening soon taken to another plateau when the band steps into a gentle melodic embrace, warm vocals and dark rhythms combining for a Korn like temptation which persists throughout. It is a seamless transition repeated as the voracious and virulently addictive chorus erupts. The track is metal alchemy, a voracious invention soaked hunt and enslaving of the passions. Its successor delves into a blend of striding melodically caustic sounds and smouldering vocals, a Palms like venture that seduces and riles the imagination and senses with another mouthwatering fusion of songwriting ideas and musical craft.

      Leave Me To Bleed is another song with a ravenous snarl and heart to its creative abrasiveness yet skilled in immersing melodic and sonic persuasion which leaves the track unpredictable and impossibly compelling. From an Alice In Chains like start the track through an electronic whiff of ambience unleashes a blaze of rhythms and riffs which devoid of vocal direction simply consumes and invigorates with anthemic potency. Its robust and torrential energy is very different to the atmospheric climate of Lucid. The next song on the album carries strong elements of the band’s sister venture, a Static Plan rock elegance merging with a Deftones like immersion for the imagination to seduce and enthral. It is a glorious wash of emotive and bordering on melancholic beauty with shadows as company.

      The outstanding Horses puts the listener back under intensive and heavy incitement next, its vocal drama and tightly gripping grooves sparking thoughts of Life Of Agony whilst the mesmeric Bastille and the closing Pale Horse only reinforce and intensify the impact of the album. The first of the final pair is a riveting interfusion of light and dark, hope and pain through again a Deftones cast ambient transfixing within a threatening and skilful frame of rhythms, bass menacing, and shards of guitar invention. The final song is a drifting melodic caress matched by a similarly sculpted vocal embrace. A progressive flight through reflective beauty lyrically and musically it is a bewitching end to a simply impressive debut.

     From a rigorous and towering first half through to the emotionally driven beauty of its second with maybe just the production a minor niggle with its slightly suffocating touch on the songs, Control is a fluid evolution which takes the listener on an exceptional flight of brave adventure and skilfully sculpted emotional provocation; it gives the passions and neck muscles a damn good time too. 7stbaby is destined to major things…you heard it here!

https://www.facebook.com/7stbaby

9.5/10

RingMaster 17/01/2014

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Hungry Brains – Centre Of The Omniverse EP/The Mule EP

The Mule EP

The Mule EP

     The tail end of 2013 saw the release of two sister EPs from UK’s  Hungry Brains, a pair of releases which suggests that the Manchester trio and their impressive mix of stoner rock and progressive metal is a towering force in the making. Both releases spark the imagination and passions with skilful enterprise and mountainous ranges of riffs and sonic flaming. Think Monster Magnet meets Alice In Chains with plenty of Svolk and Red Fang bulging contagion involved and you get a big hint to the scintillating sound created by the band and as to why both EPs are leaving lips eagerly licked and anticipation rife for what is ahead from the band.

      Made up of Callum Armstrong, Paul Daly, and Orestis Papadopoulous, Hungry Brains first swiped at or rather barged into attention with the Centre Of The Omniverse EP last September. Consisting of three tracks which instantly enflamed the senses and imagination it was a commanding entrance soon reinforced by the December unleashing of The Mule EP. Alone either make a compelling introduction but together they enforce a declaration of intent from a band only a fool would refuse to keep a close eye and eager ears upon.

Centre Of The Omniverse

Centre Of The Omniverse EP

    Centre Of The Omniverse opens with Dawn Of A New Age and immediately is throwing heavy muscular rhythms at the ears whilst the guitar sears all their vibrating hairs in the face of its intimidating and refreshing tempest. Vocals are not slow in thrusting their persuasion forward either and soon the impressing dual delivery is seducing even further the already keen appetite awoken by the already contagious sounds. That AIC reference is soon bearing its suggestion, especially through the vocals which a carry a definite Layne Staley feel but also we would suggest there is a slight Metallica essence as well as Soundgarden and Kyuss to the song’s imaginative mix. It is a totally magnetic start with only the fade out to its finale a slight niggle.

    The following Unmade is a brief and rigorous brawl of sound with blues kissed psychedelia soaking the melodic adventure whilst rhythms again thump and career through the ear with firm and skilled provocation. Raw and fiery in sound and breath, the track is a combative yet seductive blaze of enterprise which produces and says more aurally in its one and a half minute than most bands manage in their epic soundscapes.

      The first EP is concluded by Crooked Eye, a tantalising blend of expressive and harmonically fiery vocals within a sinew driven rhythmic cave and heavy intensive riffs. Part stalking and part canter, the song entices the imagination with a steely sonic stare and evocative melodic embrace whilst never relenting in its dramatic persuasion or breath stealing craft. As with all the songs and those on the second EP, there is never a moment where predictability reigns or expectations are merely fed, every minute and flame of sound an invigorating incitement for thoughts and emotions.

    It is hard to recall many introductions to a band which has been enjoyed more and The Mule EP soon shows it is not a one off. Made up of one track in two parts, the release confirms and stretches further the potent temptation and presence of Hungry Brains with ease. Part 1 opens with a shamanic call of vocal chants which is instantly meditative but equally coaxing the imagination into thoughts of something dramatic and imposing pending. That hope is slowly realised as the track emerges, taking its time with rolling heavy cast rhythms and a sonic mist of almost antagonistic tempting within a relatively restrained atmosphere. The bass is a delicious tempter in the evocation, dark and menacing amongst the heated weave surrounding its throaty tones. The piece scores the air for a final time before evolving into Part 2 and unveiling a contemplative stroll of riffs and mutually determined rhythms. As a spiral of sonic sculpting from the guitar ignites the song’s sky, vocals again present the lyrical narrative in impressive and enticing style, once more only adding to the overall irresistible lure of the sound and release. Virulently contagious without losing its dramatic intensity and provocation, the nine minute track infests the passions to make its length slip by in moments and its potent suasion and that of the whole release rise with every passing minute.

      Hungry Brains is a band we are sure you will be hearing time and time again swamped in acclaim across the future months and years and with both releases available as buy now name your price releases on Bandcamp, only the foolish and lazy would wait until then and resist now the stunning toxicity of this impressive band.

http://hungrybrains.bandcamp.com/

www.facebook.com/HungryBrains

10/10 for both EPs

RingMaster 15/01/2014

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Groan – Ride The Snake EP

© Oran Tarjan

© Oran Tarjan

Like being thrust into a predatory mosh pit of agitated woolly mammoths, the Ride The Snake EP from one of the UK’s most exhausting and inventive sculptors of heavy duty riffs and contagion clad rhythms wrapped in funk kissed intrusive grooves continues the towering presence of a titan of consumptive intensity. Groan are no strangers to acclaim and it is hard to expect anything but another fever of praise and strong reactions for their latest towering five track bruising. Merging stoner and doom metal with hard rock and classic metal, plus plenty more essences, Groan has never been lightweight in crafting rapacious provocation but it is fair to say that their new release has an extra growl to its rampage which ignites even further hunger for the band’s incendiary sound.

2010 saw Groan’s debut album The Sleeping Wizard uncaged and it had little difficulty in garnering eager responses and acclaim from fans and media alike. Equally drawing hungry responses for their live shows the band next recorded a split EP with Finnish band Vinnum Sabatum in 2011, it another record swamped by critical plaudits as was second album The Divine Right of Kings which was unleashed in October of last year. Now with a new line-up seeing band founders vocalist Mazzereth and bassist Leigh Jones joined by guitarists Mike Pilat (ex-Ocean Collective) and James Beedham, as well as drummer Zel Kaute (ex- Pettybone, Vodun), Groan thrust forward the Ride The Snake EP to attack and ravage the senses, something the Superhot Records released record does with riveting exhaustive ease.

Women Of Doom opens up the torrent of sound; ridiculously gripping acidic grooves winding their way around the chugging RideTheSnakeCoverthroaty bass prowl and slugging rhythms, all immediately capturing attention before moving on to the imagination as their persistence seduces with every chord. The great slightly rasping vocals of Mazzereth almost scold the ear, his delivery a squalling passion which matches the heat of the song’s energy and the melodic causticity coating every note. From the lumbering yet energetic start the track lifts its heavy metal knees into an eager romp, entwining both lilts across the remainder of its magnetic heavyweight bulk.

The impressive start is soon left in the wake of Drug Lord, the track a massive peak upon the release. Group shouts triggers the entrance of the track, their call enticing predatory riffs and barracking rhythms to bring their intensive pressure and air to the already tempting bait. There is always a swagger to the band’s creativity and songs, the second on the EP employing one of their most contagious yet, the song swinging with muscular hips whilst sonic endeavour and anthem bred vocals seduce the listener further. It is a delicious riot of dirty rock ‘n’ roll soaked in raucous blues and stoner toxicity, a song hard not to just have just one more rampage with before moving on.

Both Slice of That Vibe and Blessed Is My Blade feed on the black ‘n’ blue emerging upon the senses caused through their predecessors with individual but mutual creative rabidity. The first fuses a punk ‘n’ roll essence reminding of Fuckshovel to a Maiden kissed metallic predation. It does not quite find the same submissive rapture as the first two tracks but with guitar invention which has lips licked furiously it is still a formidable and irresistible blaze soon matched by its successor. The second of the two hits a classic/hard rock vein to exploit, rhythms taking chunks out of the senses whilst the guitars send sonic spirals across their bows with enterprise and seductive skill.  Infusing additional haunted temptation and a breath stealing chugging charge as well as a bordering speed metal infection, the track is an absorbing stoner rock hybrid of the highest order.

The eight minute plus stroll of Citadel of Chaos brings the EP to a close. It offers a reserved gait which increases pace and intensity as it expands and an insatiable seduction within its expressive and sonically scenic path. Though the earlier tracks still take top honours the closer shows everything you need to know about Groan to place them on the frontline of British stoner and riff driven metal.  With the likes of Desert Storm, Ten Foot Wizard, and XII Boar to name just three of the great imposing current and emerging bands, the UK scene has the staggering armoury to take on the heavyweights of the world with Groan again proving they are driving the frontline.

https://www.facebook.com/groanuk

9/10

RingMaster 09/12/2013

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