Vovkulaka – Self Titled

Having recently devoured an EP featuring four of their fan’s favourite tracks, there could only be one next port of call and that was the self-titled debut album from Ukrainian metallers Vovkulaka. If that introduction to the band impressed and excited then we can only say that this twelve track release had us lusting for the striking sounds and rousing songs it held.

Emerging in 20914, Vovkulaka (Ukrainian for werewolf) is primarily the solo project of Odessa based vocalist/drummer/songwriter VolK but an adventure also featuring members from Bulgaria and the United States with Stone of metallers Contortion providing guitar and its stage line-up up completed by dancers and percussionists Naya G and JuleZ, and guitarist Ivan Manoloff. Vovkulaka creates a voracious sound bred in the heart of industrial and nu metal but one embracing a host of other flavours such as gothic metal and dubstep. Like a fusion of Fear Factory, Korn, Slipknot, Society 1, Type O Negative and Rob Zombie it grips attention but with an individuality which ensures it boldly stands out from anything else. Lyrically VolK’s inspiration and invention finds its seeds in his passion for ghost hunting and the paranormal experiences found as well as more personal issues; shadows and darkness sought and embraced to immerse the listener in the most compelling encounters.

Produced by Darian Rundall (Pennywise, Suicidal Tendencies, Yellowcard), the album immediately had the senses and psyche hooked with its opener, Summon The Demon. The brief track is a rhythmic calling, VolK revealing his percussive skill and manipulation as carnivorously haunting beats conjure an atmosphere from darker realms. It may barely be a bidding escaping a minute but proves an irresistible invitation leading to the equally ravening haunting of Cemetery Voices. Crawling over ears and senses, the track is a heavy but compelling trespass but one already a lively threat through the skittish percussion of VolK around his rapaciously slow vocal drawl. The similarly sinister lures of guitar and electronics only add to the captivation quickly bred, the track a sign if mere hint of things to come.

Darkness Calling follows with again a rhythmic tempting which burrowed under the skin. Electronic fingering and the sonic courting of guitar brings shadows and ears together, the Korn-esque flames of the latter lighting up the earthier but no less infectious declaration from VolK’s voice. The track is superb, its senses grinding grooves and dubstep throbbing swift addiction and quickly matched in potency by the even more esurient intent and drama of My Devil. Keys gently entice with a crepuscular sheen before the track erupts in another ravenous incitement, again psyche burrowing grooves leading the way as raptorial rhythms pounce. The contrast of crystalline electronics and musical predation simply gripped attention, all the while rhythms jabbing and stalking with manipulative animation as gut bred vocals magnetically nagged; a dubstep solo from DJ Gigantor from the band Evol Intent extra creative flesh to feast upon.

Emerging from a calm if again minatory caress Defy enslaved ears in its tenebrous realm; defiance and decay embroiled at the heart of its visceral grumble as it wormed deeper and deeper under the skin through raw-boned but rich grooves and provocatively niggling rhythms. With Volk’s cadaverous vocals ever enthralling, the track easily gripped and inspired the imagination before Priest Hole unleashed its own addictive fall from grace. VolK’s rhythms alone ruptured attention, their deeply probing bait aligned to scurrilous but rousing grooves and the illuminated eeriness of keys. The track quickly made a stake for best track acclaim though quickly challenged by the decayed and vicious malevolence of Death Ground. Nefarious grooves wind around ears as corrupt rhythms surround sinful vocals, the result one glorious ungodly delight.

The band’s acclaimed first single is next, Glory To The Heroes a track breaching ears and keen support across the globe with its release in 2018. Featuring Keith Lynch (Bill Ward Band, Ozzy Osbourne) on guitar and dedicated to Ukrainian soldier Nadiya Savchenko who was jailed in Russia but released in May 2016, the track quickly revealed why it made such a strong impact before, savage riffs and punishing rhythms perfectly set against light shimmering keys and melodic seduction as Fear Factory meets Pitchshifter like industrial discontent corrupts the air.

As the contagious venom and dexterity of Whispered Lies seduced as it invaded and Purple Door writhed and crawled into body and psyche with flesh-eating grooves across bone resonating percussion, the album shared further aspects to the Vovkulaka darkness and sound. The latter is something akin to Korn being violated by Godflesh as angels caress the carcass while The Dark Empty chews on the listener’s emotional flesh with rabid jaws coaxed by feral grooves and maniacal rhythms as VolK’s vocals again direct the rich pleasure.

The album closes with a metal version of the Ukrainian National Anthem though the CD also offers a couple of bonus tracks in a drum solo enhanced Darkness Calling and an instrumental version of Defy.

Vovkulaka is a band which should, if any of the references we suggested to their unique presence appeals, no must, be checked out but be warned such their debut album’s dark triumph there will be no turning back.

The Vovkulaka album is available now across most online stores.

https://vovkulaka.com/   https://www.facebook.com/VovkulakaFanPage   https://twitter.com/VovkulakaMusic

Pete RingMaster 15/03/2020

Copyright RingMasterReview: MyFreeCopyright

Acid Reign – The Age of Entitlement

Formed in 1985, British thrashers Acid Reign went on to shares stages and tour with the likes of Nuclear Assault, Dark Angel, Exodus, Flotsam & Jetsam, Death Angel, and Candlemass as well as release mini album Moshkinstein in 1988 and subsequently full-length The Fear and Obnoxious. A final show at the London Marquee saw the band come to an end; that was until 24 years later when Acid Reign returned with a rebooted line-up. Now they have a new album ready to ignite the UK thrash scene, an incendiary device leaving most other offerings this year exposed to its rousing wake.

Like a great many we never had the pleasure of experiencing the band first time around but look set to devour its exploits this time around if The Age of Entitlement is just the beginning of things to come. Led by original vocalist Howard H Smith, Acid Reign thrust a fresh voracious breath upon the metal landscape through their new encounter. Instinctively, thrash metal and its protagonists share a core flavouring as seed to their individual exploits and Acid Reign are no different but they have embroiled it in a host of other rapacious flavours and imagination bred adventures which makes it easy to be greedy for more.

With a line-up completed by bassist Pete Dee, guitarists Paul Chanter and Cooky, and drummer Marc Jackson, Acid Reign quickly gripped attention with the drama of album opener T.A.O.E., a track pushing the senses with its war tempered wall of riffs bound in barbed acidic guitar wiring. With drums banging their own confrontational trespass and melodic flames further igniting its pure temptation, the inspiring instrumental leads to the ravenous jaws of The New Low. Immediately, the second track surges through ears, rhythms a punishing incitement as guitars and bass uncage their own ferocious catchiness. Wired hooks vein the tempest as Smith’s equally manipulative tones further inspire participation in a feral roar which had us quickly and fully locked in.

NewAgeNarcissist equally made brief work of recruiting neck muscles and fiercely flung limbs, Smith’s fierce tones and lyrics riding the insistence with similar dexterity. The swarm of grooves across the song devoured as they sparked the appetite, rhythms just as uncompromisingly fertile before the track unleashes a chorus only the deaf could ignore. Every moment within the ravening song though is pure virulence and creative prowess, qualities just as rampant within next up My Peace Of Hell, a track galloping through ears with nostrils flared and breath aflame. A punk ferocity adds to the theatre of persuasion as too the web of enterprise cast by the ever agile guitars with another galvanic chorus a viral topping to it all.

As mentioned there is plenty that is familiar to the thrash instincts of the band and its songs yet each merges them into a slab of individual confrontation and endeavour as shown yet again by both Blood Makes Noise and Sense Of Independence. The first springs a persistently infectious trespass of groove metal infused, punk dusted, rock ‘n’ roll; essences of bands like Suicidal Tendencies and Infectious Grooves adding to the song’s gloriously insatiable holler while its successor growls with a barbarous grin as more extreme textures infest thrash rapacity. Even so melodic intimation and felicity bare the evocative heart of the song within one tempestuous climate of sound.

The hungrily swung antagonism and contagious face-off of Hardship and the demonic consumption of Within The Woods as ravenous as the Evil Dead themselves simply escalated the grip and impressive presence of the album, the latter eight minutes plus of creative adventure and pleasure nagging sonic acumen while Ripped Apart with carnal intent ravaged and devoured senses defenceless to its almost arrogant catchiness.

The album departs with United Hates, a predacious thrash scourge erupting from a scene of melodic beauty to remorselessly consume and ignite the senses. A deviously crafted yet primal assault of viral thrash brutality, it brings The Age of Entitlement to a close as exhilarating as its beginnings and indeed whole body.

It feels like British thrash is sowing the seeds to another heyday with the strength of releases this year alone, something surely even more certain if others can aspire to the bullish magnificence of Acid Reign and The Age of Entitlement.

The Age of Entitlement is out now via Dissonance Productions; available @ https://acidreign1.bandcamp.com/

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Pete RingMaster 11/10/2019

Copyright RingMaster: MyFreeCopyright

Billybio – Feed The Fire

An integral part of numerous inspiring moments with Biohazard and Powerflo, Billy Graziadei continues to be one of punk’s driving forces as he uncages his debut solo album under the moniker Billybio. Feed The Fire is a powder keg of hardcore dexterity and discontent, fire and brimstone punk rock as contagious as it is a snarling intolerant of the ills coursing through the world. Bred from a rich fusion of flavours the album is a fury of anthemic rock ‘n’ roll with a roar which makes you want to take part whilst paying keen attention.

As Graziadei declares, Feed The Fire is “100% me. No influence from anyone else. This is who I am and what I’ve become. I’m a product of everyone I’ve met, talked with, shared my stories with…and a bit of their stories as well.” It growls and bites as it inflames and badgers thought and spirit whilst unleashing some essential slices of punk rock.

With friends such as guitarist Dan Palmer (Death by Stereo/Zebrahead), bassist Ra Diaz (Suicidal Tendencies), and drummer Simo Perini alongside Graziadei, the Tue Madsen produced release instantly got under the skin with opener Freedom’s Never Free. Marching into view, the track explodes on the senses, raw grooves and Graziadei’s vocal grievance fuelling the attack. It is an ear grabbing invitation which simply hits another level as the track twists into one virulent chant of defiance, an inescapable trespass to which submission and involvement is instant.

Latest single and the album’s title track follows, unleashing its own contagion from its first breath. With teeth bared through its first riff and vocal uproar, Feed The Fire quickly launches itself with creative tenacity; guitar and rhythms as explosive as the vocal incitement which again fuels insatiable catchiness.

No Apologies, No Regrets rises up with a more deliberately predacious intent, slowly rising to its full height before hurling its goodness and dissonance at ears while in turn Generation Z uncages infectious multi-flavoured rock ‘n’ roll with zeal. The first is a web of temptation and altercation, as inventive as it is furious with its outstanding successor a contagion of hard and punk rock which needed mere seconds to have body and vocal chords adding their mutual zealous discord.

Through the likes of Sick And Tired, an infectious dispute and enterprise bred persuasion, and the feuding Sodality which erupts from the dark smoulder of the momentary breath that is Remedy, the album only tightened its grip on ears and appetite pushing its claws deeper into the passions with the musically and emotionally acrimonious Rise And Slay, the track a delicious predatory harassment of metal, punk, and ravenous rock ‘n’ roll.

Offering up thirteen slabs of confrontation, there is truly no weakness or less than irresistible moment within Feed The Fire as emphasised in turn by the bracing punk call of STFU, the haunting and intimidating melodic siren that is Trepidation, and Untruth with its virulent resentment and imagination; all dramatic treats easily devoured.

The album is concluded by firstly the bruising anthemic blaze that is Enemy, another moment which has heart and vocal chords rigorously on board and lastly Disaffected World. The final track is arguably the most manipulative incitement of them all especially through the vocal and seriously tempting sonic tocsin which interrupts the song’s primal uproar.

Punk rock in its many forms has had a prize year in releases across 2018 with possibly, most likely, its finest moment now provided late by Billybio; an uprising sure to be the inspiration it deserves to be.

Feed The Fire is out now via AFM Records across most stores.

https://billybio.com/   https://www.facebook.com/BillyBIOHAZARD/   https://twitter.com/billybiohazard

 Pete RingMaster 18/12/2018

Copyright RingMaster: MyFreeCopyright

Dead Cross- Self Titled

Pic SAWA

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

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

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

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

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

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

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

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

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

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

Pete RingMaster 08/08/2017

Copyright RingMaster: MyFreeCopyright

Temple Of Lies – The Serial Killer Suite

From its predatory nature alone, The Serial Killer Suite ensures ears and an appetite for imposing metal are aroused; add potent individual craft and an instinctively woven web of grooves and rhythmic threat and you have a release which stalks attention. The third album from UK metallers Temple Of Lies, it is a rapacious contagion of sound and intensity living up to its theme and untamed protagonist.

With its first pair of singles making persuasive hints of things to come, The Serial Killer Suite swiftly shows each were accurate clues to, if still slithers of, the adventurous character of the album. The successor to the well-received From Sand, it also sees the Temple Of Lies exploring heavier and darker corners of their sound and imagination; areas as dirty and bloodthirsty as they are groove nurtured infectious and hungrily energetic. Since emerging in 2010, the Leicester hailing outfit has shown an imposing growth in their sound, an evolution now having its head within their third full-length whilst still suggesting the exploration is far from over.

The Serial Killer Suite opens up with Epic Doom and instantly prowls ears with its groove lined swagger and growling riffs and bass line. Like a ringmaster vocalist Si Shaw steps into the middle, sowing the seeds to the psychotic devil in the album’s midst. Equally from the song’s initial breath, Jon Scranney’s guitar spins a web of enticing yet rapacious hooks and grooves, bait matched by the tenacious swings of drummer Alex Gamble and Jags’ similarly grouchy bass. It is an irresistible welcome into the waiting emotional carnage and ill-intent and swiftly backed by the just as gripping exploits of Broken Mind. Again band and sound court the senses with a threatening stealth, the bass pressing intimidatingly as Shaw’s gravelly tones join its trespass. As thrusting beats and harrying riffs add their lures, the song surrounds ears with hungry enterprise, the wiry tendrils of Scranney’s guitar rich spicing.

Illusion of Choice draws on the grungier side of the Temple of Lies sound, fusing it with their ever ferocious and enticing blend of metal. Instantly the track is on the boisterous balls of its feet, rhythms scything and riffs snarling as vocals and hooks collude in a virulent temptation with a touch of Disturbed meets Spineshank to its short but fiercely persuasive body before Modus Operandi lays down its individual creative intent. Often tempting like a fusion of Monster Magnet and Suicidal Tendencies, the track has ears and imagination hooked in no time, every twist a captivating moment, each turn a fresh treat merging the familiar with the unpredictable; an essence which applies to the whole of The Serial Killer Suite.

Latest single Skin is next, the track starting with a great bass grumble and proceeding to place layer upon layer of growling dexterity whilst creating another seriously catchy proposal. Shaw again prowls it all with vocal character and quality, every syllable spawned from the psychotic menace of the album’s heart. It is inescapably magnetic stuff pretty much matched in the irritable presence of I Cut You Bleed, though the song for personal tastes just misses finding the final persuasive ingredients of its predecessors. In saying that, there are also times when the song has ears and pleasure truly in the palms of its venomous hands.

Through the calmer though still instinctively volatile Sleep and the tenebrous tone and heart of its initial single, Dark Energy, the album has ears firmly gripped and enjoyment full. The first is a mellow proposal compared to those around it but deviously dark and tantalising with Scranney again showing his melodic craft and invention. Its successor also offers a less imposing proposition initially but there is a tempestuousness and emotional toxicity which brews and catches throughout the track’s poisonous embrace.

Both are tracks which also do not quite reach the heights of earlier roars yet leave the listener wanting for nothing before being eclipsed by the crabby rock ‘n’ roll of Teeth, another song with a great whiff of the crossover thrash of the previously mentioned Mike Muir led Californians in its snarl. Gamble’s beats leave the senses bruised from within the compelling encounter, the grievously addictive tone of Jags’ bass mutually greedy as Shaw and Scranney again enthral.

In turn Face of Grey hits the spot with its almost carnally toned intent and nature though it too is overshadowed by the following Symbiotic Parasite. As soon as church bells and senses intruding beats rise, there is an air of something special brewing, a suggestion only added to by the nagging riffs and controlled but fiery net of fleeting grooves. Subsequently things erupt in a voracious stomp, a swarm of infection and energy though still on a ferocity rein sparking a gripping tapestry of adventurous enterprise.

Nihilist Dreams brings things to a fine conclusion, the song an epilogue of emotional admission and creative resourcefulness which grows more tempestuous and imposing with every passing second. It is a great end to one of the year’s most enjoyable moments so far. Certainly being picky, it would have been interesting to see Temple Of Lies push the majorly adventurous and unpredictable moments of the album with an even bolder intent, to see it become truly distinctive, but there is nothing about The Serial Killer Suite that leaves disappointment or a lack of rich enjoyment. Temple of Lies is ready for global recognition; whether the world is ready for them time will tell.

The Serial Killer Suite is out now through Attic Records on iTunes and @ https://templeoflies.bandcamp.com/album/the-serial-killer-suite

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Pete RingMaster 11/07/2017

Copyright RingMaster: MyFreeCopyright

Suicidal Tendencies – World Gone Mad

 

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

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

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

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

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

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

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

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

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

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

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

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

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

Pete RingMaster 15/11/2106

Copyright RingMaster: MyFreeCopyright

Bootlegs – Ekki fyrir viðkvæma

Bootlegs_RingMasterReview

With the band recently inking a worldwide management deal with GlobMetal Promotions, we thought a look at Bootlegs’ recent album, Ekki fyrir viðkvæma, was in order.  Formed in 1986 and soon becoming one of the bigger names in Icelandic metal history over the next five years or so, Bootlegs released two highly praised albums in that period before disbanding in 1991. Since then the band has come and gone through a couple of brief comebacks before returning more permanently in 2012. Released last year, Ekki fyrir viðkvæma is the Reykjavik quartet’s latest incitement of raw and ferocious thrash metal, a release metal fans will not want to be missing out on.

WC Monster and their self-titled second album, released 1989 and 1990 respectively, certainly pushed Bootlegs from national success towards recognition upon the broader metal map as too appearances on compilation albums over the next couple of years and a live presence which saw the band break into the likes of Denmark. After coming to an end, the band did come back together for a big reunion concert which was recorded and subsequently released as a live album a few years later in 2006. Before its release though, Bootlegs were already active again, returning in 2004 for a two to three year presence.  Then in 2010, they arose again with original members back; the fresh return followed by releases of the band’s first two albums in 2014 via Minotauro Records. Last year saw Bootlegs enter the studio for their first recordings in over two decades, and emerging with the rather impressive and rousing Ekki fyrir viðkvæma.

With the vocal roars of guitarists Jón ‘Junior’ Símonarsson and Jón Örn ‘Nonni ‘ Sigurðsson to the fore and its energy and intensity driven by the rhythmic predation of bassist Ingimundur ‘Elli’ Ellert Þorkellsson and drummer Kristján ‘Stjuni’ Ásvaldsson, album and sound is old school, thrash in its irritable prime. It is unafraid to offer some punk attitude too, at times songs breaching a Suicidal Tendencies like punkiness, but for the main and in its individual style, Ekki Fyrir Viðkvæma is the perfect fit for tastes bred on the likes of Voivod, Exodus, Metallica, Slayer, and Subhumans.

Front_RingMasterReviewFrom the hungrily abrasive and riotous punk ‘n’ roll of Gervigleði er ógleði, the album has ears and appetite in league with its ferocious intent. It is a great opener quickly matched in success and persuasion by the thrash prowl of Fullur á Facebook. Grooves and hooks collude with rapier like swings from Stjuni in the second song, luring in the listener before uncaging a ravenous assault and devilment reminding of the crossover thrash sounds of the previously mentioned California hailing band.

As the likes of the senses nagging KúkurPissOgÆl and the glorious exploits of Bootlegs fyrir börnin come and go, it is fair to say that major surprises are few yet fierce temptation and unbridled enjoyment unmistakable and inescapable. Within the second of the two, there is also something very familiar about certain melodies and flavoursome hooks yet all escape comparison to anyone in particular as the track steals ears and passions with ease. There is an occasional sense of early Stam1na, passing essences fleetingly bringing the Finnish band to mind as the track provides the first major pinnacle within the album.

Tribute to Thrash is one of the few English sung tracks and more than lives up to its title, swinging along with a snarl and swagger while being as multi-flavoured as its predecessor. With some great guitar interplay involved it is followed by Eitur naðra which explores a darker and heavier canvas of textures and character as sonic flames vein its intimidating posture and tone. The track is just one more highly memorable proposal, whether stalking the listener or in a rampage of niggling riffs and the snakiest of toxic grooves, and swiftly irresistible as too the in the face predation and roar of the excellent Gjallarhorn.

By this point it is fair to say that Ekki fyrir viðkvæma had us hooked, sharing physical and vocal, where we could language wise, involvement with instinctive eagerness. The pair of Fórnarlamb tískunnar and Kjörkassasvín only add to the album’s temptation and uncompromising thrills; both tracks providing an immediate and merciless trespass as anthemic as they are grouchy. They are highly addictive proposals carrying an array of imagination pleasing twists and turns backed by the band’s individual craft; the latter especially intriguing and devilish in shape and resources.

Making less of a dramatic and lingering impression is Poser though fair to say that its antagonistic attack leaves only satisfaction in its wake before Haleluja adds its own creative incitement and SOD III uncages the album’s shortest and most hostile offering yet. Again both leave pleasure full without matching earlier triumphs with the closing Ó Reykjavík providing a final spirit arousing galvanic punk ‘n’ roll stomp to greedily devour.

It is a great end to an excellent release. Ekki fyrir viðkvæma might not be the best thrash album you will have heard this past year or so, though it is in with a real shout, but it is undoubtedly on the frontline of the most enjoyable and ridiculously easy to return to propositions you will come across.

Ekki fyrir viðkvæma is available @ https://bootlegsthrash.bandcamp.com/releases

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Pete RingMaster 11/05/2016

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