The Last Ten Seconds of Life – The Violent Sound


Having beat up on and seduced the US metal scene, Pennsylvania hailing The Last Ten Seconds of Life are abut to do the same to a global attention with new album The Violent Sound. It is a success not too hard to imagine almost expect as the release unleashes twelve brutal alternative/nu/groove metal furies that just grip and excite ears and imagination. The band’s sound has plenty more in its arsenal of flavours and temptation but a mix of Korn, Mudvayne, and Britain’s own Anti-Clone is a fair indication to the downtuned tempest the Mansfield based quartet uncage.

Formed in 2010, The Last Ten Seconds of Life has risen through the local and national US metal scene, earning a potent reputation for their fearsomely impressive live shows and releases like debut album Know Your Exits of 2011. The past year though has seen the band evolve their sound into a whole new and striking adventure with new vocalist John Robert C. coming in, his irritable grouchy growls and impressive broader versatility seemingly, on the evidence of The Violent Sound, just bred for the band’s evolution in songwriting and imagination.

Engineered by Grant McFarland and produced by Carson Slovak (August Burns Read, Texas in July), The Violent Sound is the first offering from the new line-up and pretty much goes straight for the jugular as Little Black Line opens things up. Its initial lure though is the clean tones of John Robert, enticing within brewing discord honed tempestuousness which blossoms into a predatory stroll that as good as stalks the senses. The harsh rhythmic tenacity of drummer Christian Fisher is bound to the barbarous groove and tone of Mike Menocker’s bass, both a formidable invasion of ears as the guitar of Wyatt McLaughlin creates a sonic smog of portentous temptation.

Though the song never brutalises, its intent and weight takes no prisoners, setting the listener up for the intensive examination of The Drip. That Korn-esque texture to the band’s sound swiftly seduces ears within the encounter, interrupting a primal trespass equipped with scything grooves and vocal antagonism around rhythmic animosity. The track is glorious, another aural predator further impressing in melodically bred moments of emotive resonance before Bloodlust lives up to its name in tone and emotion. It is a savage uncompromising affair but again one with twists into unpredictable and sinister passages which even if only brief draws the imagination further into the violating tempest.

cover_RingMasterReviewThe following Six Feet is just as diverse in its attack and simply imperious, its volatile climate and grievous intensity skilfully contrasted by the melodic and harmonic swoops upon ears; the two colluding in bewitching espionage before the track is back devouring all before. As much death metal seeded as any of the flavours previously suggested, the track is a carnal incitement igniting an already keen appetite with the album’s title track reinforcing its increasing hold. The Violent Sound roars with sonic spittle lying upon vocal ire as rhythms pounce with animalistic predation, a vicious stalking leading to the calmer melodic and cleaner vocal enterprise of the band which is as virulently infectious as anything escaping the crushingly relentless ferocity.

A Marilyn Mansion air accompanies the flirtatious swagger of Casanova, an irresistible track with all the grooved swerves and salacious moves of a venomous pole dancer while Bag of Bones worms into the psyche with a niggling groove prone to discord fuelled expulsions of sonic unpredictability. Around it, the track brews another fury which buffets and abuses the senses, every swipe and incursion eagerly welcomed as the track swings like a hungry hound with a creative deviousness just as eagerly abound within successor Switch, a volatile fusion of metal and heavily boned rock which either licks at the psyche like a demonic lecher or presses in on the senses like a murderous vice.

That sanguine essence is even more prevalent and zealous within next up Blind Faith but equally the band’s harmonic imagination is a rich lure, so much so that you do not know whether to bow to its seduction or run for the hills, the former ultimately the only reaction to the brilliant protagonist.

It is a success and creative endeavour matched by that within Wise Blood, The Last Ten Seconds of Life again creating a concussive, sublimely seductive siege of ears and senses, trapping the imagination with exotic grooves and spicy melodies amidst vocal dexterity before Social Suicide casts a paradox of contrasting textures which simply captivates with ridiculous ease.

With the groove entangled, sinisterly shadowed Last Words completing the ferocious proposition, The Violent Sound is destined to push The Last Ten Seconds of Life firmly into the broadest metal scene. If not, there is something seriously wrong.

The Violent Sound is released by Siege Music on October 21st.

Pete RingMaster 20/10/2016

Copyright RingMaster: MyFreeCopyright

The Last Ten Seconds Of Life – Invivo[Exvivo]



    With more of a storm than a buzz brewing up around US metallers The Last Ten Seconds Of Life, the Mansfield, Pennsylvania quartet unleash their new album Invivo[Exvivo] to ravage not only their already seemingly submissive homeland but equally Europe and the UK. Ten tracks of virulently malicious and ridiculously compelling extreme provocation the album is a ferocious mix of filth clad aural brutality. A voracious maelstrom of everything from deathcore to grind, groove to nu metal and a flood of plenty more essences poisoning its vitriolic glory, the band’s sound takes no prisoners but neither does it leave the listener searching for rapacious imagination or feverishly rewarding adventure. Some of the tracks take longer to pull a submission than others from the passions but ultimately all succeed on one quite exhausting and riveting scourge.

     Formed in 2010 and consisting of guitarist and songwriter Wyatt McLaughlin, vocalist Storm Strope, bassist Anthony Madara, and drummer Christian Fisher, The Last Ten Seconds Of Life not only build on but stretch strenuously the seeds sown and bred on previous releases, the Justice EP of 2010, debut album Know Your Exits in 2011, and the Warpath EP of the following year. Invivo[Exvivo] takes everything to new impacting levels, its impressive savagery and inventiveness the band at a new vicious creative height. Released by Workhorse Music, it is fair to say that the album is not quite the perfect beast, at times missing a few opportunities in a torrent of successes to tantalise as it rips out the jugular, but there is never a moment or second offered which does not flare up the senses and passions into an excited state.

      Engineered by Grant McFarland and produced by Carson Slovak (August Burns Read, Texas in July), Invivo[Exvivo] last10seconds_infvivo_finalcoveruncages Fertile Steps first to leap upon and savage the senses. The opening breath of the song is an antagonistic brawl and things only intensify as rhythms punch and slap with merciless and spite whilst riffs grind out insidious grooves around the impressive varied venomous squalls of Strope. From the first minute of his appearance the vocalist impresses and leaves ears as hungry for his destructive narrative as the carnivorous sounds around him. The track itself has a definite Slipknot meets Carcass feel at times but also with an unrelenting drench of Pig Destroyer saliva soaking the results.

    The immense and thrilling start is soon taken up and further by False Awakening and the following A Dime A Dozen, both sonic carnivores which tear through the ears with an intensive heavyweight predation and rhythmic stalking. The first comes from the violent throes of demons, in tone and effect soaked vocals which mingle with the guttural spewing which spills bile with every outpouring. The track stomps as it comes to an early conclusion allowing a breath to be swallowed before its successor produces a pestilential fury of unpredictable and persistently shifting sounds and flavours. Grooves and carnal riffery are irresistible bait in the torrential contagion and malevolently cantankerous heart of the confrontation. It is the first major pinnacle of the album though not that many steps above what came before to be honest such the impressive start of the album.

     Numbskull is the nasty spawn of a hard core and grind union; a track which rampages over and slowly preys on its victim with a continually switching creative intent, again a Slipknot like prompting with Devildriver animosity and Brutal Truth hatred a suggestive texture. It is a downtuned sonic pestilence easy to be consumed by and drool over as is the next up tide of ferocity The Face, a track which scars and seduces simultaneously though both abilities come with an untamed rapacious corrosion.

    Morality emerges from a winding sonic enticement initially before placing itself intimidatingly around the ears to take rhythmic and melodically bred violent swipes. It is a striking entrance but soon losing a part of its compulsion as it employs spoken vocals/sample within a maze of guitar sculpted descriptive noise. The track is strong and constantly slipping in a prod at the appetite but is devoid of the spark which made the previous tracks so irresistible. Arguably the song is too adventurous for its own good and certainly there is not the same fluidity linking all its imagination as that impressive elsewhere on the release. Its ‘weakness’ is instantly amended by Haste Makes Waste and Deadfast though, the first a magnetic tsunami of intensity speared by a great and varied swinish vocal delivery from Strope yet again. The second of the two is another best track contender, niggling hypnotic grooves opening up the throat of the song before its roar and ferocity storms the barricades with a delicious part hardcore, part industrial metal, and all extreme metal esurience. Relentlessly twisting its body and potent resources around and within itself, it is an exceptional blitz of ideas and flavouring which just gets better and better with a great sludgy intensity to its closing incitement.

    To be honest Skeletal took more time than any of the songs to fully convince, though it’s impossibly black and malignant heart and lethal sonic emprise was swift in its captivation. Eventually it did prove itself to be one of the strongest hatefully impressive blessings on the release. Its triumph makes way for the closing Ego Death, a seven minute plus infestation of grooves and rancorous imagination which gnaws away at and suffocates the senses with the densest malevolence jaundiced assault on the album. It completes in Invivo[Exvivo] an outstanding , absorbing, and invigorating intrusion which without being the complete devil is a demon record to make The Last Ten Seconds Of Life your next best brutal friend.


RingMaster 16/01/2014

Copyright RingMaster: MyFreeCopyright

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Red XIII – Perceptions


Whether UK metalcore annihilators Red XIII have realised the immense promise which brewed within their debut album of 2010 with their new EP Perceptions is questionable but certainly the enthralling six track release is going in the right direction whilst easily placing the Blackpool quartet as already one of the more original and refreshing emerging breaths, or should that be roar, in the genre not only in Europe but possibly worldwide.

Riding roughshod over audiences since 2006 with their uncompromising yet adventurous sound, Red XIII has earned intense attention from fans and acclaimed responses from the media through the aforementioned album Better Safe Than Sorry, as well as impressive passionate performances alongside the likes of Sylosis, Liferuiner, Heights, Betraying The Martyrs, Texas In July, Heights, and The Arusha Accord to name just a handful. The new release shows the band at its most destructive and creative to date and though the leap has not been as potent as anticipation imagined going by their already high standards it is a big step forward for the band with Perceptions easily standing out amongst similarly engineered sounds in the genre and a great many metal releases in general.

Released via Transcend Music Label Services, the EP opens with the immediately intriguing Sleeping Giants, its initial progressiveRED XIII - Perceptions wind loaded to a brooding bass and twisted riffs accompaniment. Installing a groove which whips head and passions from their slumber, the track unleashes rhythms from drummer Tim Clark which cage, poke, and explore the senses the further into the song you go whilst the bass of Ivan Coulburn offers a rapacious presence from first note to last, its presence a predatory link between the drum incitement, the flames sonic class of guitarist Jason Dean and the excellently continually shifting vocals of Sean Donovan. His delivery stalks a range of squalling provocation and malice dripping growls to ride the extensive grooves and invention of Dean like a tempestuous beast.  The fact that the song and release as a whole does not always push the envelope and limits of its most potent elements is really the only ‘flaw’ you can lay at their doors, the track walking the lip of full adoration and addiction causing might but never quite taking that last leap of faith. Despite that the opener is an immense introduction which the rest of the songs only qualify in their individual and richly pleasing stances.

The following General Disarray takes a mere second to bombard the ear with another delicious groove and even hungrier rhythms within an earnest and rebellious intensity. Into its stride the track is a storm of ferocious rhythmic punishment and persistently encroaching and thrillingly evolving guitar abrasion built on impressive sonic invention and acidic melodic persuasion. As before the vocals of Donovan come in multi-brewed venom, at times almost touching a clean gait whilst cruising the full gamut of scolding malevolence. It is a monster of a song with a craft which leaves one magnetised during and after its confrontation.

Trainwreck explores the senses with a sonic web of enterprise before allowing a ridiculously addictive bass lure to escape its flame and the vocals to score the now mesmerised senses with primal spite. It takes no time though for the track to unleash an exhausting corrosive breath and unrelenting caustic hardcore rough handedness. With a gait as unbridled in its assault as the unique vindictiveness the track, it taunts and erodes the defences with energy every bit as violent as a derailment but with more purposeful and direct targets. Without reaching the heights of its predecessors the track easily leaves a hunger for more of the abusive thrills offered whilst suggesting there is still much more to come from the band, again a comment which can be levelled at Perceptions as a whole.

Next track The Bitch grabs top honours on the EP, its emergence from a dawning raptorial charge and bone splintering rhythmic beckoning into a tsunami of deeply coloured sonic endeavour and rabid intensity guided by the heavy fisted great vocals of Donovan and matching bass snarl exceptional. In some ways the track seems unsure of its direction yet everything it entwines around its impressive body and the ventures brutally explored only lead the passions to erupt with greed and want for more of its unpredictable foraging of the senses and emotions, especially its progressively sculpted and wholly seductive climax.

The final pair of songs, Illuminate and Exploding Pet, expose the listener to more creative fire in songwriting and its unreserved barbarous realisation, the first of the two a fusion of hardcore and metal savagery carved into a compelling slab of excellence almost as equal to the previously mentioned gem and the closing song which lives up to its outstanding title by whipping the senses with industrial strength lashes of barbed riffs and similarly vicious rhythmic intrusion. It is a mighty conclusion to a formidable and wholly impressive release. Ok Perceptions still loudly hints that the band has some way to go before unearthing their full potential but it still stands above most other metalcore releases with ease and ignites a sure anticipation of a real classic in their future.


RingMaster 07/05/2013


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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.

RingMaster 10/02/2012 Registered & Protected


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