Kinasis – Pariah

Though formed in 2010, UK metallers Kinasis maybe a proposition, like for us, which has escaped your close attention up till now. That is surely going to change with the release of their new EP, a ferociously striking and aggressive incitement loaded with hungry unpredictability and a technical prowess which simply inflames the fascination and pleasure. The four track insurgency is Pariah, a proposition which embraces an array of metal bred flavours in a cauldron of ravenous imagination and rabid dexterity.

Since emerging seven years ago and drawing strongly favourable responses with a debut demo the same year, Kinasis has grown into the British metal scene with increasing individuality and potency. Recent years their reputation earning live presence has seen the Bridgwater quintet shares stages with the likes of Sepultura, Malefice, Flayed Disciple, Sworn Amongst, Abadden, and Tacoma Narrows Bridge Disaster among many as well as venture into Italy alongside S.H.I.N.E. The release of Pariah feels like and should be the moment when Kinasis step from the shadows and stamps their creative authority and individual sound upon the extreme metal landscape.

Produced by Justin Hill (ex-Sikth) and wrapped in the artwork of Andy Pilkington of Very Metal Art, Pariah instantly goes for the jugular with opener Red Earth. Riffs surge through ears with a rapacious nagging whilst rhythms purge their animosity straight onto the senses. With every passing second the intensity rises but with a virulence and infectiousness which has the body bouncing to the ferociousness. A Korn-esque essence emerges as clean vocals invite nu-metal nuances, an industrial dexterity reminding of Static-X joining in as the track fluidly twists and turns through its inventive drama further embracing melodic and atmospheric suggestiveness. It is sheer magnetism, the track a mighty persuasion and alone the declaration of the coming of age of a new force to take notice of.

The following Black Dog creeps up and prowls the listener with predacious riffs and stabbing beats, then once sizing things up vocally and musically plundering the imagination with vocal tenacity embracing both raw and clean throated enterprise as death and technical metal tendencies dance which each other in barbarous intent.  As nu and groove metal elements get involved, things only become more precise rather than muddled, Kinasis showing their adeptness at weaving diverse and seriously enticing trespasses. For personal tastes the track never quite lives up to its three companions but certainly leaves no element of dissatisfaction in its wake.

Kindred similarly stalks ears if with a less obvious enmity as melodic strands entwine its initial proposal. Even stronger Korn like essences emerge to pleasing effect across the song and around a death/grindcore merging which has hints of Cryptopsy in its own infectious savagery. Clean vocals interchange with barbarous expulsions to further enhance the adventure, the band musically as bold and expert in switching through a kaleidoscope of styles and flavours without disturbing the song’s carnal nature and heart.

The release concludes with Incipient, an instant maelstrom of voice and sound colliding nu-and industrial metal psychosis with the harsher antagonism of variety woven extreme metal  before luring in just as appetising melodic and groove metal imagination. It is seriously arousing stuff, the type of sonic manna addiction is spawned from right here. As throughout Pariah, every twist brings a fresh incitement to chew over but mere seconds to consume before the next steals attention and increasing ardour.

It is the final throe of a quite simply stunning encounter from a band which will surely now get the attention their craft and imagination deserves. There have been a few bands coming to the fore as the British metal scene heads into new horizons and Kinasis have just made it known their intent to be there on the frontline.

Pariah is released September 29th and will be digitally available at most online stores with physical copies sold through http://kinasis.bigcartel.com/ and at shows.

https://www.facebook.com/Kinasis

Pete RingMaster 26/09/2017

Copyright RingMaster: MyFreeCopyright

Anti-Clone – The Root Of Man

Anti-Clone_RingMasterReview

If asked at the start of the year which was the one release we were most anticipating in 2016 there would have been no pause of thought involved in saying the debut album from UK metallers Anti-Clone. They had us addictively hooked into their own distinct nu-metal bred, psyche twisting sound from the outstanding Hands Sewn Together EP, which had its highly successful national release back in 2014. Its tracks were a regular part of our podcasts too, finding the same eagerness across a horde of other shows and stations with the mainstream media soon waking up to the band’s emergence in turn. Now two years on and quickly following reputation cementing and pushing performances supporting Mushroomhead and Sanguine on certain dates of their recent UK tour, the Boston hailing quintet are poised to unleash The Root Of Man.

The question was never going to be would the album live up to expectations seeded in the last EP and the hefty fuss around the band, that just seemed to be a given in thoughts, but would their music have grown and evolved enough to make them a real contender to stir up the metal scene beyond the UK as earlier songs suggested. Well, the answer is found within the first few tracks of the eleven song incitement alone. Together they give a rousing confirmation with their creative roar, only being forcibly backed by the rest of an album which in some ways continues where the Hands Sewn Together EP left off but immediately shows a craftier and imaginatively more exhilarating, not forgetting broader, weave of styles and flavours in its boldly sculpted songs. The Root Of Man is Anti-Clone on a new mature imagination drenched plateau from songwriting to sound to presentation. There is inventive confidence and fierce adventure at every turn as the scent of inspirations from the forefathers of the nu-metal scene are again embraced, twisted, and honed into openly fresh textures within the band’s own fascinating experimentation.

art_RingMasterReviewFormed in 2011 but really finding its creative mojo once the current line-up was in place a couple or so years later, the Lincolnshire band soon sparked a hungry and swiftly growing fan base for their dramatically addictive sound which reached its first pinnacle in the Hands Sewn Together EP. Live too, the band has grown to be one of Britain’s prime incitements, sharing stages with the likes of American Head Charge, Kindred, ESO, Breed 77, Sworn Amongst, Maplerun, Evil Scarecrow, and Bloodshot Dawn amongst many along the way. Linking up with EP producer Matt Hyde (Machine Head, Trivium, Fightstar, As I Lay Dying and Slipknot) again for The Root Of Man, the quintet of brothers Drew (drums/ programming) and Peter ‘Mr Clone’ Moore (vocals), Conor (guitar) and Liam Richardson (guitar), and Mike Bradbury (bass) are seemingly poised to set their place at the head table of the UK and indeed European metal scene.

Dually looking at “the beginning of the human race, starting with Eve committing original sin which resulted in us being cast out of Eden” and symbolising the band’s beginning as a band; “These are the roots that we are planting to fully establish ourselves as our own entity, to establish ourselves as Anti-Clone“, the pledge music funded The Root of Man immediately grips ears and imagination with its title track. It is a brief but inescapable lure into the album, an as expected apocalyptically ambience clouded scene setter which is soon crawling portentously over the senses as steely bass and toxic grooves wrap the enjoyably familiar tones of Mr Clone. Its dark tempest rolls straight in to Deracinated which seamlessly draws ears into its own animus of intent and creative rapacity. Straight away an industrial toning merges with the schizophrenic nu-metal prowess which flows from the band, Society 1 meets Mudvayne like essences adding to the imposing character and trespass of the fearsome magnetism on offer. Ebbing and flowing in raw confrontation, the track bewitches ears and stirs up the appetite, setting them in an unfamiliar and disorientating yet welcoming blend of old school aired modern imagination for a seriously rousing slab of predacious incitement.

SwitchBlade growls at and brawls with the senses next, vocals from Mr Clone and the Richardson brothers almost pestilential in their psyche invading animosity as the sounds around them rise and fall with constant inhospitable adventure. Melodic calms and percussive invention are just as potent lures in the agitated imagination and landscape of the song; all colluding to savage and spellbind before A Sight For Sewn Eyes prowls ears with Fear Factory/Spineshank tinged ingenuity. As replicated across the whole of the album, every moment of the song brings greed breeding drama to the listener, Mr Clone showing his clean melodic tones are as fiercely agreeable as the rawer psychosis fuelled side of his vocal character. The song persistently twists and turns from the start before reaching a bedlamic crescendo that never truly departs once erupting as the song leaves on a groove bound web of suggestiveness.

With a constant range of peaks across its landscape as momentous and memorable as the Alps, B9 adds another with its Manson-esque textured slice of predatory heavy metal whilst Twisted Neck entangles ears in the intoxicating vines of toxic grooves which wrap a calmer melody hued serenade beneath a thickly tempestuous and predatory climate of sound and personality. Both tracks present a tapestry of styles and textures, the first also flirting with steampunk like elements where, not for the last time, Anti-Clone have a touch of the now sadly demised Shanklin Freak Show to them. Its successor flirts with a colouring which is more 6:33 meets Dog Fashion Disco though as always, it is hard to pin down a flavour such the Anti-clone ingenuity as they align spices to their own enthralling ideation.

A great punk metal hue seeps into the riveting and mercurial soundscape of Mechanical Heart, the track as welcoming as it is fearsome with sinister keys and avant-garde devilry lining another almost rabid mix of nu and industrial metal carrying at times more than a whisper of death metal to it. Compelling to the extreme, the track simply wants an apocalypse based Hellraiser movie to grace to see its majesty totally fulfilled, though fair to say there is no time to linger in thought with any song during the album as here Feed The Machine steals attention instantly with its vocally anthemic and physically bracing proposal. Repetition in word and sound within the track is a glorious igniting of instincts; that simplicity employed in another rich weave of roving grooves and a cantankerous rhythms skilfully sewn into an irresistibly unpredictable but dramatically galvanic onslaught. Like early Korn in some ways and Slipknot in others, the track still stands distinctively tall as another unique Anti-Clone ravaging of the senses and passions.

ComaSpace brings a moment of relative calm and the chance to catch breath next though unsurprisingly it too has irritability to its tone and dark imposing edge to its atmosphere. Vocally Mr Clone entices ears with a clean delivery as melodies merge acoustic and more aggravated hues into the Deftones spiced offering. Again the band has ears and appetite enthralled, though even being another impressive moment within The Root Of Man, it gets overshadowed a little by Astaroth. The band’s new upcoming single, the song is sonic slavery; the reason mosh pits and lustful reactions were bred into life. As barbarous as anything on the release and the most virulently contagious assault too, the track has everything you need to know about Anti-Clone and whether they are the tonic to your personal musical passions.

Completed by the grisly presence and voice of Sentinel, a sonic inferno of psyche burrowing riffs and grooves amidst an insatiable and concussive tempest of sound and attitude, The Root Of Man is the declaration of a new major force in UK and undoubtedly European metal. Anti-Clone is set to be one of those guiding their journeys over the following years whilst with this superb release, the band has placed themselves right there in stature alongside a great many of those who have inspired their adventure to date.

The Root Of Man is released 29th April  via PHD (Plastic Head Distribution) with more information @ http://www.anticlonehq.com

https://www.facebook.com/AnticloneHQ/   https://twitter.com/AnticloneHQ

Pete RingMaster 04/04/2016

Copyright RingMaster: MyFreeCopyright

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To The Lions: Self Titled EP

If you want your musical balls given a real beating whilst being caressed with melodic enterprise to sooth the damage, then time to meet UK metal band To The Lions and their tremendous new self titled EP. Four tracks of raging brutality and impressive melodic invention, it is a fresh and imaginative addition to what has been a year of promising and strong emerging extreme and metalcore fuelled UK bands. The Cambridge quartet do not quite fit in any exact category which is the first good thing about them but certainly they can be as aggressive and angry as any and just as inspired with their inventive ideas and smoother passions too.

Formed in the last weeks of 2008, the foursome of vocalist and guitarist Tony Stead, guitarist James Croft, bassist Nigel Ferguson, and drummer Mark Richards, have spent the last year and a half on a blur of gigs as they promoted and shared their well received debut EP Spent Shells. Shows with the likes of Forever Never, Orestea, RSJ, Sworn Amongst, and Kobra and the Lotus, have gone to help spread their presence and sounds across the South of England and with the new EP it would be surprising if the next time they appear on the radar we are not noting them as being at the fore of emerging British metal.

From the moment There’s A Reason winds its scorched notes around the ear and bursts into stiff muscular assaults of riffs and barbed rhythms, there is a feel that something mighty is about to let loose on the senses. The band does not disappoint as the venomous tones of Stead rage over what has become slightly subdued yet intrusive sounds. It then shifts into an unexpected but skilfully brought melodic breath before merging the extremes of intensity, entwining them with invention and passion. This makes for a shifting varied track which arguably without lighting undiscovered beacons is fully intriguing and in its latter progressive air, wholly beguiling.

From a strong start the ride gains greater heights of excellence and addiction. The following Oceans Away bawls like a storm from the off, its surging riffs and challenging intensity a crush on the senses. Beneath it all though there is a melodic presence waiting and soon it explores the track in unison with the abrasive drive of the song. With great harmonies and group shouts tempering the vocal menace and impressive fiery guitar play keeping the tempest of shuffling barbaric rhythms honest, it is a tempest to devour eagerly and deeply. As the guitars burns with an acidic groove and the anthemic chorus returns for its climax, the track leaves one breathless and grinning.

The other pair of tracks carry no intentions of easing up on the intense rampage, to only further pleasure. Wolves And Lions is a metallic scream, an inferno of bruising riffs and bitter soaked vocals upon serpentine grooves and thrash tinted expulsions of noise and sonic vindictiveness. It twists and blisters the senses whilst taking pot shots at the ear with an armoury of destructive malice from the violent creativity of the band.

The closing Fourth like the opener does not stand right out from the crowd like the second and third track do, but still open up a maelstrom of satisfaction, pleasure, and anticipation for more from the band. It is a powerful and thunderous track which again show To The Lions as a band with a flair and skill at melding light, dark, anger, intricacy, violence and composure, into one boiling onslaught of quality.

Remember the name To The Lions, if they continue to progress as they are they will be a big force and name in future years.

http://www.tothelions.co.uk

Ringmaster 31/08/2012

Copyright RingMaster: MyFreeCopyright

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When Giants Collide – No One Is Safe

UK metalers When Giants Collide have not just made their debut with a release that is powerful and ferocious but one that leaves their audience sprawled on the floor as empty husks from their sonic onslaught. No One Is Safe is a very apt title and fair warning for the demanding series of violations within the EP’s muscular walls.

The West Yorkshire quintet, originally formed in 2008, really started to put their stamp upon UK metal when they re-energised with a new, and the current line-up in 2010. This point saw the band and sound really come together and things begin to gel and move distinctly forward for them. They began drawing in eager and strong attention through the sharing of stages with the likes of Martyr Defiled, Silent Screams, Panic Cell, Sworn Amongst, and Texas in July to name a few, their highly intense mix of destructive riffs, mind bending rhythms, and incisive technical metal creativity riling up audiences to great effect.

Immediately the EP opens it is obvious the ability of the musicians involved, the songs carefully crafted and strikingly presented to display the skill of those involved. When Giants Collide bring a fusion of influences from bands like Meshuggah, Sikth, Between the Buried and Me, and TesseracT, the band using these flavours in a collision (the band’s name really the perfect representation) with their own immense ideas to create precise yet bludgeoning music that cannot be denied. It comes with the intent of attaching to and equally numbing and mesmerising the senses.

First track ‘Wasteland’ eases itself in with simplistic crystalline guitar melodies and an air of impending menace. The acidic melodies persist as intrusive riffs demand attention combining into a partly hypnotic and partly abusive maelstrom of creativity. The guitars of William Luke Downing and Rory Cavanagh pierce and splinter within the ear into testing intimidating aggression and mesmeric sparkling melodies. Powered by the impressive drumming of Damian Clarke and the growling bestial lines of bassist Anthony Green the song erupts and expands like a living beast, breathing and throbbing with an eager pulse.

Every song within the EP warrants that description, such as the antagonistic ‘Codename 47’, a track that feels like it is examining and judging ones limits before unleashing the stunning and challenging ‘Defcon ‘ to consume and eat away all defences before its insatiable heavy sound. As with every track, as harsh and full of violate intent as they are the band temper them wonderfully with their technical and melodic interplay. Beautifully blended it is almost as if the songs have a cannibalistic quality, the intensity and the fierce side of the sound wanting to consume and feast upon the melodic and technical progressive like grooves and those cleaner blistering elements wanting to slice apart the heavy artillery of the band. It all combines into an impressive and constantly intriguing experience with ‘Balboa’ and ‘Swansong’ matching and completing a fine release.

Throughout No One Is Safe vocalist Scott Jenkins growls and spews lyrics as if his throat is in dispute with his voice, bile coated and verging on inhuman his harsh delivery enhances and burdens each track. Many bands seem to have gone this way whether by choice only they know but certainly with When Giants Collide the lack of variety within Jenkin’s delivery does hinder at times. He is a strong vocalist and at times his ‘cruel’ delivery is perfect but in other moments as the bands melodic sway exudes out, a shift in attack or variation in tone feels needed.

This does not stop No One Is Safe being a more than fine debut and though the band need a little more individuality to their music to really stand out one can only anticipate that it will be a certainty in the future of When Giants Collide.

http://www.facebook.com/whengiantscollide

RingMaster 10/02/2012

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Sworn Amongst – Evolution EP

You cannot beat metal that is as honest as it is direct and as engaging as it is eagerly consuming. The new EP Evolution from UK metalers Sworn Amongst is the perfect example. It does not come with pretence or tries to be anything it is not but just delivers impressive and deeply satisfying metal sounds that leave the senses alive and the listener invigorated.

Forming in 2003 Sworn Amongst has been on a steady upward climb bringing in an ever increasing and fervent fan base as well as building a strong reputation live and through their recordings. A couple of EP’s the following year and the band’s independently released debut Derision of Conformity in 2005 grabbed strong attention to their immense metal/thrash/hardcore sounds. The band also drew the attention of Rising Records who they signed with in 2007 and released the acclaimed album And So It Begins. With the album extremely well received by media and fans alike the Hull quartet of Liam Liddell (guitar/vocals), Jonny Barker (lead guitar), Rob Ellwood (bass), and Jonny Harper (drums), dived into several European and UK tours and festival appearances, all enhancing an ever increasing reputation as one of the UK’s most exciting and powerful bands. 2010 marked the release of their second album through Rising, Severance and further striking shows and tours in its promotion. This year Sworn Amongst impressed at Download and with the excellent Evolution EP imminent the band is poised to thrust UK metal to greater heights in 2012.

The EP unveils new tracks and older ones of which one is a re-recorded song from Severance. The new material firmly declares that the band is one of the strongest and forceful thrash toned bands in the UK, their aggressive and powerful sound veined with rampaging riffs and razor sharp guitar work. From the opening attention demanding intensity of ‘The False Prophecy’ the EP bristles with attitude, energy and most of all simply great unrelenting metal. The vocals growl with menace and belligerence with some great group shouts interspersed throughout, whilst the rhythms from bass and drums are hypnotic. The assault is heavy and pacey but controlled, the band choosing concise intrusions rather than a totally chaotic speed metal onslaught.

Nowhere To Run’ and the best track on the release ‘The Rules of Engagement’ continue in the same vein though both also bring strongly varied flavours different to the opener.  The first throws predatory riffs at the ear with uncompromising rhythms whilst the guitars create melodies and a solo that sizzle as they search out the senses, the song addictive and completely hypnotic. The second of the two hits with an even more defiant and intense attitude,  the drums are punchy and the hungry riffs with no intention of relenting in their galloping chugging attack, excite from first note to last. The track features Annihilator’s Jeff Waters and whether his presence fired up a little extra in the band  or not the song is glorious and pure reason to the belief the band will really take metal by storm soon.

The re-recorded version of ‘Darkness’ and the title track from Severance complete the EP, both songs further proof the band has been one of the most impressive bands in Europe let alone Britain for a while. Excellent songs that round off a great package but it is the new songs that really shine the brightest as they offer up even stronger inspiring sounds and ideas to instil great anticipation ahead. You can hear the ambition and skill from the EP not only in the music but also the songwriting and though one still gets the impression Sworn Amongst has yet to find or define their truly unique sound they are one of the most refreshing and exciting thrash metal bands around, anywhere.

http://www.swornamongst.com

RingMaster 01/12/2011

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