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

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

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

 Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

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

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Ten Foot Wizard – Return To The Infinite

cover

Carrying intensive ravenous rhythms with heftier bones than found on over-weight mammoths and more addictive grooves than lined up at the start of a Nascar race, Return to the Infinite is a towering introduction to a band which in one fall have thrust themselves to the fore of European stoner rock. Ten Foot Wizard is a force to be reckoned with and their debut a towering album that gnaws upon, vibrantly assaults, and virulently rampages over the senses whilst igniting them into one of the most thrilling and senses exhilarating experiences this year. Earlier this year we were trodden on by the magnificent Horizontal Life from Oxford band Desert Storm to prove that heavy insatiably melodic metal /rock is breeding major things this side of the globe, and now standing side by side with them Mancunians Ten Foot Wizard unleash their offering to cement the fact that heavy vigorous rock from the UK stands eye to eye with anything elsewhere.

Formed as a side project by the members of Manchester metal band Bisonhammer back in 2009, the quartet has made a slow but steady emergence with just a handful of gigs each subsequent year leading to this point, though through them their live reputation has grown intensively with the band just recently sharing stages with the likes of Karma To Burn and Witch Mountain. Combining the richest essences of blues and stoner rock into at times a cantankerous but always compelling fire of sound and passion, their first album feels like the key to major prospects for the band, though only if the day job allows one suspects. It is fair to say that the release is not unveiling anything unfamiliar to the genre they rampage within but there are not many who can deliver it as excitingly and potently as these guys.

Opening track Rise From Your Grave opens up the invitation with strong guitar flames that tongue the senses before expanding their presence as they are joined by a predatory bass prowl and punchy drums. It is an immediately captivating sound which offers all the spicery you would wish in blues licked stoner rock. Restrained but full of riotous intent the track stomps along with the guitars bringing a persistent riff persuasion speared by excellent hot to touch solos and melodic searing. It is not a thumping invite into the release rhythmically, in fact it seemingly takes it easy on the ear but there is no doubting it is ridiculously easy to succumb to the temptation which breeds from the fine vocals and scintillating guitar enterprise.

Those drums do not stay in their cage for long though as next up Vulture Bitches swaggers and steers into view upon a rhythmic enslavement of pumped up beats instantly joined by the deliciously growling and predatory stroll of the bass. As addictive as a stripper in a shop window, the track is soon squealing its sonic tyres as it takes the hand break off for a pounding ride of heavy coated rock and metal aligned to an evocative blues call which reins in the charge from time to time to tempt out even greater passions for its offering. Like a mix of Kyuss and Sabbath with a touch of Clutch thrown in, the song is a mesh of intrigue and carnivorous hunger sculpted into a neck fatiguing triumph.

At times across the album there is a Danzig feel to things, especially on the vocals, and a gothic breath that adds its influence and no more so than on Real Love. The song is a blood pumping surge of rhythmic probing and uncompromising riffing wrapped in the Glenn Danzig/ Jerry Only like vocal delivery and shadowed clad dour toned horror rock. It is another instantaneous deep hook to the passions, its bait lingering and insatiable giving the following Medicine a challenge to make a strong impression up against it. As the slow crawl of bass and grooves matched by the vocals finger the senses and thoughts the track shows it is no problem, the intimidation and rugged touch of drums and guitars an irresistible lure reinforced by the throaty bass growl and again outstanding vocals. A mid-way switch into an escaping blaze of acidic riffing and rhythmic rabidity ignites the air further before it is all reined back into the delicious almost doom laced crawl.

Six Feet Rising takes a deliberate fiery saunter through the ear, guitar and vocals offloading satisfying blues fumes before making way for the increasing impressing varied bass persuasion. It is the platform for another riveting build into a climactic furnace of sonic brilliance and melodic violation. Once more there is a thick Danzig feel which only pleases and makes a great appetiser for the brewing blues tonic that invigorates every aspect of the track. It’s might is soon given a run for its money by the magnetically grooved Saturnalia and the staggering Fuck!, a track as much punk and noise rock as it is heavy metal and stoner, and a rapturous slab of heavy fisted inventive pleasure.

The closing trio of songs seem to extensively explore more avenues and corners of the band, all meaty in length and intensity though arguably lacking the impact certainly the immediate appeal, of their predecessors. The Storm is a tempest of lip licking grooves and bone resonating rhythms wrapped in a melodic fervour that screams craft and toxicity whilst End of the Line and the closing epic instrumental title track both twist around and enflame mind and heart with melodic and inventive kindling to spark off greater inventive fires, the last song an enthralling expressive journey.

Self-released on their own Beard of Zeus Records, Return to the Infinite is a tremendous and wholly devoured triumph. Watch out for Ten Foot Wizard as they tear up speakers near you as once lost under their sinew shaped spell there is no return.

https://www.facebook.com/tenfootwizard

9/10

RingMaster 16/08/2013

 

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com