Potergeist – Crocodile Teeth

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The lure of a southern blues swamp is unleashed once again by Greek band Potergeist through new album Crocodile Teeth, and once more ears are treated to a contagion of dirty uncompromising rock ‘n’ roll which is as unique as it is familiar. The band has a sound which even with constant evolution across releases has a recognisable presence but comes as something undeniably individual to the Athens quintet. As the new album shows it is fresh and it is invigorating, and one thoroughly enjoyable stomp.

When forming in 2004, Potergeist had a more straight forward Kylesa /Down like southern metal sound as evidenced on debut album Southwards two years later. By the time of its successor Muddy Mermaids in 2012, the band’s sound had got harder and more aggressive whilst delving into the darkest depths of blues. Tagged as swamp metal by the media, the Potergeist sound was matched in progression by the attention given them and a live presence seeing the band share stages with the likes of Lynyrd Skynyrd, Monster Magnet, Pro Pain, The Haunted, The Shrine, Kylesa, and Paradise Lost. The outstanding Swampires unleashed its swamp toxicity in 2013, Potergeist’s third album darker and more voracious in sound and presence again. Though not outgunned in attack and ferocity, fair to say Crocodile Teeth takes the Potergeist sound to yet another depth of quality and invention.

Feeling as intense and intimidating at times as the last release the Peter Rutcho (Falling in Reverse, Revocation, Bury Your Dead, Havok, Seemless, The Ghost Inside) produced and mixed Crocodile Teeth reveals the band’s fullest and rounded sound yet, settings its stall out in the brief intro Swamp Muse Summoning before going for the throat straight after with its title track. Riffs and rhythms are an immediate barrage and temptation backed by a quickly emerging tangy groove. It is the first bait to the sturdy stride of the song quickly accompanied by the grizzled tones of vocalist Alex S Wamp. He is soon showing the great prowess of his grouchy and clean tones as guitars and bass cast their own intimidating and dynamic enterprise. There are no major surprises in song, or indeed album, yet as suggested earlier there is freshness and distinctive essence which ensures this is no run of the mill metal or Potergeist offering.

Crocodile Tears Artwork   The following Visit From A Swampire canters in on an infectious swing, riffs as rampant as the energetically skilled swings of drummer Tolis Toleas whilst grooves are as fiery as the melodies and solos which breed throughout. The track easily has body and emotions involved in its anthem as does What Then which comes next. The song is a touch more restrained in aggression and energy initially, but soon a bracing canter of raw riffs and rapier like rhythms entwined in the spicy grooves and bluesy melodic hooks of guitarists Nick XP and Stratal. Complete with an irresistible swagger, the song keeps things boiling over before in turn making way for the southern metal drawl and heavy rock brew of Truth. The track begins with the same groove the previous song left on but is soon sculpting its own tenacious and aggression roar. There is a touch of Crowbar in some ways to the song as the bass of Kostis Vihos brings a predatory proposal against the as dramatic but more welcoming vocals and sonic adventure cast elsewhere.

Atonement takes over next and is soon spreading a weave of southern rock inspired melodic spicing around the ever formidable and engaging rhythmic strength of the Potergeist sound. Featuring guest backing vocals from Anna Stephanou, the song is a warm slice of blues rock ‘n’ roll equipped with a dark edged groove and a blaze of imagination around the constant lure of Wamp’s vocals.

Roaming ears with a thick stance of sinew swung beats and bestial riffs The Preacher And The Witch stalks the appetite next with its magnetic web of sound. Both Fotis Benardo and Penelope Anastasopoulou add additional vocals to the tapestry of sonic and melodic craft. It is a fine song if without the spark of certainly the early songs, though much is down to a big personal appetite for when Potergeist go hell for leather in their rock ‘n’ roll, and quickly over shadowed by the excellent Eve. It too is more reserved in its gait and coveting a more classic metal whisper to its body but moulds everything and more of the band’s potent enterprise into a pungent slab of anthemic persuasion.

The album closes with Last Punk Standing, a compelling bellow of a song aligning mellower melodic tempting with a rigorous snarl resulting in a dramatic and impressive end to another mighty offering from Potergeist. We will admit that the previous Swampires still has the steal on the passions but there is no denying that Crocodile Tears is the band’s most accomplished proposition yet and one of the most enjoyable and satisfying slabs of metal driven rock ‘n’ roll you will hear this year.

Crocodile Tears is available digitally now and on CD and Vinyl via G.O.D. Records

https://www.facebook.com/potergeist

RingMaster 08/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Feared – Synder

feared_2015

Six albums in with the release of Synder and Swedish metallers Feared have uncaged a fury and voracity which not only confirms the band as one of the relatively unsung greats but has the listener smiling broadly as their soul is desecrated. Feared’s new album is a rousing, destructive beast of a proposition. It is an encounter which is not exactly menacing new boundaries within a thrash/death metal landscape but taking its already established template to dark and creatively ravenous depths which are as fresh as they are rabid. The band’s name describes exactly how their music should be contemplated with the ‘sins’ of Synder greedily devoured.

The story of Feared goes back to 2007, the project the creation of guitarist and producer Ola Englund (ex-Six Feet Under). Despite a potent start and a first demo in 2008, the band disbanded until two years later when things stirred again. Englund and vocalist Mario Ramos (Demonoid) released a self-titled debut album which swiftly earned support and acclaim from fans and media alike, a success built on the following year through second album Rejects. The 2011 encounter lit further focus upon the band which once more escalated as Furor Incarnatus in 2013 came out, though in turn a greater hungry appetite outside the band and striking creative energy within came with fifth album Vinter. The album followed a period which saw Englund also become the new guitarist of The Haunted and the addition of drummer Kevin Talley (Suffocation, ex-Dying Fetus, ex-Black Dahlia Murder) and ex-Clawfinger bassist Jocke Skog to Feared. The release revealed a new intensity and inventive tempest within the band’s songwriting and sound, a gateway to darker ferocious climates which has now been driven on and overshadowed by Synder. Produced by Englund and Skog it is the finest Feared assault yet, from the striking artwork of Sylvain Razorimages wrapping its hellacious roar to the furiously flavoured and diversely coloured adventure, it is an intensive examination and explosive incitement for ears and imagination.

feared_synder_cover  The album’s title track opens things up, the brief instrumental an initial melodic caress of guitar courted by an ominous air which brews and expands as the track comes to rigorous life with thick rhythms and evocative sonic endeavour. It is not a startling start but a potent atmosphere setter, warming up ears and thoughts for the immediate ferocity of Your Demise. Riffs fling their spite at ears with rage and virulent animosity, their thrash breeding an instant gripping lure enhanced by the spicy grooving and thick throat shredding vocals of Ramos. Framing and igniting it all further, the growling grouchiness of Skog’s bass and the precise rabidity of Talley’s beats drive an anthemic urgency and contagion within the track, it all colluding for a breath-taking and thrilling full start to the album.

The impressive and riveting tempting continues in Of Iron And Ashes, the song equally uncompromising and carnivorous but quickly adding floating melodic clouds of keys to its turbulent canvas. Their presence and touch is minimal in the otherwise violent climate but cast an intrigue and unpredictability which eventually is realised in a calm, melodic eye of the storm moment. The volcanic heart and nature of the song is soon ravishing ears though as squirming grooves and tenacious riffery leads ears through a rhythmic jungle into the resourceful venomous grasp of Caligula. Again this song shows as those before it, that there is plenty involved in the thrash/death sound of Feared, here a groove/alternative metal weaving adding to an inventive theatre for a potent Bloodsimple like essence.

My Grief, My Sorrow follows suit in its own individual way, its heavier prowl and imposing intensity a predatory insistence on the senses. It’s stalking takes on even greater malevolence as rhythms make venomous jabs and stabs though the acidic grooving is a constant temper reining in the fury enough to allow mouth-watering melodies and sonic imagination to have their say. As its predecessor, the song takes the imagination on an enthralling ride whilst bruising and battering the body, a respite found straight after though in the classical elegance of the melancholic Dygder, another short and descriptive instrumental.

It leads thoughts and emotions in to the waiting ravenous jaws of By Silent Screaming, an immediately caustic and bracing tsunami of vitriolic energy and creative tenacity. Though never quite matching up to those around it, hail their torrents of riffs and beats, the song is the most exploratory on the album with changeable scenery of melodic endeavour and an almost psychotic air to its rhythmic and unpredictable imagination. It is a fascinating encounter revealing more about the intent of the band’s latest creative explorations with every listen.

The invigorating Wolf At The End Of The World has ears back in a bracing barrage of sonic and rhythmic raging next before My Own Redemption plunders even heavier, darker exploits. From the gut spilling tones of Ramos to the spidery grooves of Englund, the track bewitches as it chews up the senses. It is another stalking incitement but one with the raw heart of a predator and the inventive emprise of a troubadour, the vocals alone a union of bestial pestilence and melodic crooning. One excellent song is replaced by another as Dying Day explodes in ears with incendiary effect, grooves and hooks whipping up the imagination and vicious rhythms taking care of the body as Ramos spills rancor with every syllable.

War Feeding War keeps appetite and emotions inflamed next with its corrosive lures and fearsome persuasion whilst The Narcissist, with a disturbed and vehement web of sound and hostility, is an instantly enjoyable onslaught with plenty that escapes first attention but goes towards increasingly richer return listens. Both tracks involve the whole of the listener, though a point to offer for the whole of Synder to be fair in varying degrees. Some songs, like the first of these two, are more unbridled physical enticements whilst the latter, as also the closing Godless Devotion, provide dramatically deeper and longer to explore proposals.

All tracks though combine to provide the listener with a blistering protagonist to get excited about in Synder and confirm Feared as one of those bands many may have heard about but really should now be making the effort to dive deeply into.

Synder is available now via most online stores and @ http://www.fearedband.com/store-feared-synder

http://www.fearedband.com   http://www.facebook.com/fearedband

RingMaster 28/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Shredhead – Death is Righteous

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Our first dose of Shredhead ferocity came in the excellent compilation album From Israhell With Love of 2012, which collected the best emerging Israeli metal bands around at the time. Many stood out but the Modiin hailing thrashers stole the march on a great many with their voracious onslaught of a track, Knife in a Gun Fight. Taken from their debut album Human Nature released the previous year, the track lit a fuse under a hungry appetite for the band’s sound, something a hindsight look at that first album only made greedier. Now the band has unleashed its successor Death is Righteous, a fury taking their already blistering and incendiary thrash sounds into a whole new sphere.

The eleven track torrent of crippling rhythms and hellacious riffs bound in contagiously toxic grooves, shows a maturity and new enterprise to the songwriting and sound which instantly opens up a fresh powder keg of potential and invention. It turns a great band into a new force in thrash metal demanding and commanding world-wide attention. From a small, raw, and acclaimed proposition which already has been the name on every Israeli metallers lips and gone onto play the Wacken festival Metal Battle in Germany after winning the Israeli Metal Battle in 2012, Shredhead has evolved into an insatiable sonic predator with grooves swinging from the hips and Bay Area thrash colouring spicing up an inventive tempest of sound.

Last year saw the band play with Biohazard and relocate to Berlin, but more importantly record the Tue Madsen (Suicide Silence, The Haunted, Aborted, Sick of It All) mixed and mastered Death is Righteous which they had been working on over the previous year or so. Unsurprisingly highly anticipated, the album goes for the jugular straight away with Devil’s Race. From its first stirring second riffs and rhythms converge on ears with forceful intent, taking a swift pause before cascading again with venom and animosity upon the senses. Vocalist Aharon Ragoza is soon joining the affray, his tones as the music, far more controlled and distinctive from the crowd now but still holding the caustic might and hoarse tone which lit up the first album. His brawling delivery roars impressively from within the cauldron of fierce beats from drummer Roee Kahana which in turn align to the web of grooves and heavily barbed riffs of guitarist Yotam Nagor. It is an imposing and compelling blaze of sound, foot to the floor metal completed by the great throaty lure of Lee Lavy’s bass and an opening tour-de-force setting the release off in scintillating style.

The following LPBZ opens similarly to the core incitement of its predecessor, beats and riffs a familiar beckoning but in no time becoming a bruising punk infused charge of sonic rabidity and Shredhead-Death-Is-Righteous-album-cover-300x300riveting invention. There is toxicity to the grooves which, not only in this song, has a Pantera-esque quality but also a waspish nagging character which increases an already keen appetite for song and album. Its sizzling hostility is matched by that of The Lie which steps in next. It is a song unafraid to develop a contentment to stalk as well as simply rage at the senses whilst coating its grooves and vocals with a southern fried metal edge as it stomps with virulent endeavour. The track’s bracing presence makes way for firstly the groove metal coated predation of Last Words Are Lost and then the volatile character of the album’s title track. The first of the two without stepping from the shadow of the previous songs, lurches with nostrils flared and sinews stretched, offering a mix of Bloodsimple and Exodus in its own unique form. Its successor picks up a recognisable old school hook and lays it openly down before its expressive sonic narrative, the bait soon embroiled in a steady but dirty rage of voice and sound. It is equally prone to exploding with uncaged viciousness and intensity, planting another notable signpost in the new direction of the band’s sound.

The nightmarish bellow of Hallucinations comes next, neck muscles tormented and ears scarred by the outstanding raw bluster of the track. With a tasty solo and melodic spicing intruding on the inventive turbulence, the track equally sets a marker down for band and album which Walk With The Dead straight away emulates with its infection of spicy grooves and concussive beats. Where Shredhead now outshine their previous album and many other bands on Death Is Righteous is with the constantly revealing and giving underbelly of imagination and unpredictable ideation which boils beneath the surface warfare on the senses. Each song is a maelstrom, with some like this one a vat of tenacious invention.

On a minor note there is a similarity across some songs as shown by the ever alluring grooving of Can’t Be Left Alive and its closeness to certain aspects of other grooves and riffs on the album. As elsewhere though, it is not long before those elements find their own individualism or align to a fresh blaze of sonic ingenuity or a striking boom of vocals, this track twisting into an angry storm of fierce attitude and shapely venomous designs.

Both Witness Hell and I Hate Myself skilfully ruffle the senses; the first juggling malicious rhythms and bass grooves within an anthemic and corrosive fever of vocal savagery and acidic grooving. There is a touch of Hellyeah to the unbridled trash scourge, but only one whiff of flavouring in a track which also calls in hints of grind, groove, and punk metal to its brawl of thrash ingenuity. The second of the pair floats in on an evocative ambience. Haunting melodies gently stroke the imagination as a just as mellow bass resonance adds its emotive tinge to the enticement. A slow groan of a vocal adds drama too before closing song I Am next swaggers in with muscles flexed and grooves loaded. Thoughts of Down make an offering but again Shredhead turn any inspirations into their own creative and aggressive frenzy.

The track is an impressive conclusion to an immense and ridiculously enjoyable and inventive thrash riot. Shredhead are no strangers to impressing people but the band has invited the broadest intensive attention upon themselves with Death is Righteous, the first step in possible world domination.

Death is Righteous is available now via Mighty Music

https://www.facebook.com/shredheadband

RingMaster 14/01/2015

Copyright RingMaster: MyFreeCopyright

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

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Sawthis – Youniverse

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Tagged as modern thrashers and sounding like the exhilarating offspring of Static X meets Bloodsimple, Italian band Sawthis unleash one of the year’s highlights in the corrosive riveting storm of Youniverse. An unrelenting and breath-taking tempest of sonic intensity and exhausting predation, the eleven track release simply leaves the senses and passions raging for its predation.  Not arguably ground-breaking but thoroughly refreshing and explosively incendiary, this is one album that all thrash fans should add to their personal playlists.

Formed in 2000, the Teramo hailing quintet bred their sound on the inspirations of the likes of Soilwork, Machine Head, Slipknot, Metallica, Testament, and Pantera. Debut album Fusion emerged in 2003 receiving very positive responses from media and fans. This was followed by an extensive time of shows which saw the band alongside the likes of Destruction, Anathema, Sybreed, Impaled Nazarene, Extrema, Sadist, Necrodeath, and Assassin. Their live performances consistently added to the stature of and acclaim upon the band; further appearances with Lacuna Coil, Entombed, Shaman, and Konkhr to name a few only cementing their reputation. Second album Egod appeared in 2009 via Scarlet Records, again to strong reception and followed by more intensive gigs and tours, this time with bands such as The Haunted, Primal Fear, Bulldozer, Cattle Decapitation, God Dethroned, and Sepultura last year. Released through Bakerteam Records, Youniverse is the next step to world awareness and domination, its aim you suspect destined to success.

A conceptual album focused on the theme of multiple personality disorder, Youniverse immediately tests thoughts and synapses with SAWTHIS_YOUNIVERSE_COPERTINA HDThe Logical Color. Rhythms splinter bone from the opening second with deep drilling riffs a muscular companion. It is an attention gripping entrance which only explodes to greater heights as the two protagonists extend their rabidity to further heights and the vocals of Alessandro Falà scorch the air with his vocal squalling, every syllable intense and malevolently sculpted but forcibly engaging like the sounds around him. Ensuring escape is futile the song relaxes into a tantalising embrace, the guitars of Adriano Quaranta and Janos Murri gnawing the senses whilst offering new mystique to the blistering encounter whilst the vocals also offer a more respectful and mellow if still an intimidating and commanding lilt. The track is a scintillating introduction, varied and adventurous but deliciously predatory from start to finish.

The following fury of The Waking Up is equally rapacious and magnetic, the beats of Michele Melchiorre building an irrepressible trap whilst his vocals slip perfectly and potently alongside those of Falà, their at times dual attack an exceptional driving force for the riveting inventive sounds. The bass of Gaetano Ettorre also creates a sinew clad prowl which menaces and tempts like a stalking beast within the torrent of intensity and energy surrounding its intent. It is another towering song continuing the immense start and soon matched by both The Voice Falls On Me and The Disturbed. The first has an insidious breath and air certainly around the vocals but tempers it with a melodic fire reminding of In Flames whilst its successor which features Rob Cavestany from Death Angel, simultaneously sears and smoulders within the ear whilst weaving melodic and vocal temptation that leaves the passions alight and guitar enterprise which spawns burning tendrils of sonic enterprise to seduce without mercy.

Through all the tracks the album deepens its hook within the emotions breeding a hunger which dares Youniverse to fail their need. No such realisation is forthcoming as the likes of The Indelible, a track which swings seamlessly from carnivorous intensity to seductive melodic flaming, The Impure Soul with its creeping twisting sonic vines of excellence within a ferocious yet carefully trained consumption, and The Spotlight only increase the dramatic strength and torrential imaginative lure of the release. The last of the three finds an extra growl and rawer presence to its caustic provocation, though melodic and harmonic exploration is only a deep breath away and soon merging into the turmoil with enchanting toxicity.

Before departing the album ensures the listener is left a wasted blissful wreck through the corrosively contagious tempest that is The Mad and the hellacious beauty of The Switch, both tracks stretching the passions and boundaries of the album further. Earlier we said that there was debatably nothing unique about Youniverse which was true except that as tracks like this and the closer, The Walking exploit the rapture seeded, it is hard to remember many others stalking the same routes as Sawthis. The final song is no slouch in whipping up the senses and satisfaction either, its rampaging stomp another blaze of sonic venom and melodic adventure wrapped in creative savagery.

Produced by Paolo Ojetti (Infernal Poetry) with the band, Youniverse is a massive war of pleasure and enthrallment, a release which takes Sawthis to the upper echelons of new metal, and without doubt another album to add to the growing pool of serious contenders for album of the year.

www.sawthis.it

9.5/10

RingMaster 30/09/2013

Copyright RingMaster: MyFreeCopyright

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

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Hell’s Domain – Self Titled

Hell'sDomain

Giving the body and senses no time to grab a breath from its first brawling note through to its riotous last, the debut self-titled album from Danish thrashers Hell’s Domain is a storming blaze of thrilling aggression and voracious energy. Without pushing down the walls of the genre, the album is one of the freshest and invigorating thrash releases to come along certainly this year and a marker for other bands to aspire to if they want to permanently enslave the passions.

Formed by bassist Lars Knudsen and guitarist Bjørn Bihlet in 2007 with an intent to conjure up some contagious Bay Area-inspired metal, the band was soon drawing on the combined experiences of being in bands such as Crionic, Hatesphere, Pixie Killers, Artillery, Grope, Koldborn, and Exmortem from the mid-eighties and over three hundred shows with a line-up completed by drummer Anders Gyldenøhr, vocalist Alex Clausen, and guitarist Andreas Schubert in 201,. Produced by Tue Madsen (The Haunted, Sick of it All, Kataklysm, etc.) and released via Punishment 18 Records, the band’s first full introduction to the world is armed with all the weaponry and virulence to thrust them into the widest recognition of devouring passions possible. With a sound sure to re-ignite the hunger bands like Testament, Exodus, and Slayer bred over the years, Hell’s Domain is a force destined to re-vitalise their genre.

Days in Hell opens up the fury, riffs searing the flesh of the ear whilst belligerent rhythms rap hungrily upon the smarting doorways to Hell'sDomainCoverthe senses. It is an immediately incendiary confrontation elevated by the excellent vocals of Clausen and the escaping grooves which taunt before wrapping tightly around the still torrential flow of antagonistic riffery. There is a swarm like incessancy to the attack which only accentuates the song’s temptation and merciless persuasion, but also an intent which is equally sure and precise in its picking and seizing of targets.

The following The Needle and the Vein and In The Trenches continue the immense start, the first caging the listener in a web of drum stabs and hearty riffs before flaring up with scythes of melodic flames which have a near on psychobilly lilt to their punk bred strikes. The song ravages with pack like intensity and ferocity from every second and note whilst drawing a tempering seduction from its melodies and sonic enterprise to defuse the suffering. The mighty encounter is soon matched by its successor, the song initially a more restrained and deliberate enticement with a hard rock beckoning soaking the vocal’s entrance before casting a greater thrall through an Anthrax like adrenaline led predation.

Even at this point you sense something special is brewing up potent toxicity, a hope and assumption confirmed by the likes of the slower persuading yet ultimately passion seizing Order #227, the sonic sand blaster The Walls Come Tumblin’ Down, and especially by the exceptional Crawling in the Shadows. The second of the three is a blistering tempest sculpted by ever impressing destructive rhythms and scathing consuming riffing ridden by magnetically alluring and powerful vocals. The song epitomises the album, it not exactly stretching boundaries but creating a presence and attack which is compelling, virulent, and lanced with individual sonic devilry. The last of the trio opens with a smouldering weave off melodic caresses upon the ear and imagination, its ambience building up to a climactic expulsion which holds off until the colour hued narrative of the guitars have crafted the landscape for the sinew clad adventure to forage. The track once in full stride stalks the listener with its predatory yet welcoming charm, showing again the diversity and inventive thought within the thrash cored tornado of an album.

There is not one sign of weakness or a dip in the staggering strength and lure of the release, songs such as the mighty Dead Civilization, a bruising assault loaded with greedy rabidity, and the corrosively riveting and deliciously wanton As Good As Dead only accelerating the deepening call of a set in rapture whilst the exhilarating primal force of A Good Day to Die leads the pulse rate and heart into dangerous territories, whispers of Suicidal Tendencies only raising the toxicity of the song’s bait.

Completed by a cover of the Crionic track Sneaking Disease, Hell’s Domain has unleashed undoubtedly one of, if not the very best thrash record of the year and a contender for the most enjoyable metal album full stop. Now this is how to spend those coming autumn months, locked in the maelstrom that is Hell’s Domain.

http://hellsdomain.dk/

10/10

RingMaster 24/09/2013

 

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Dawn Heist – Time Wave Zero

With formidable strength and expertise Sydney based electronic metalcore band Dawn Heist unleash their debut EP Time Wave Zero October 21st, a release that pulsates with impressive and eager sounds. Six tracks of unbridled power and well constructed songs all realised with a defiant aggression tempered with soaring and incisive melodies.

Formed in 2010 Dawn Heist took no time in winning people over with their intense and energised live shows including tours and support slots with the likes of Terror, The Haunted, Daysend , and Five Star Prison Cell.  Time Wave Zero is the result of their time in the studio with ARIA nominated producer Greg Stace, an EP that not only satisfies immensely but sets the band apart as a definite one to closely watch. Their metal/electronica blend is vibrant and at times mesmeric, the band finding a good balance between the two sides of their sound, the flowing electronic swells and atmospheric caresses easily slipping beside and within the hard and forceful mountainous riffs and direct attack. The quintet of vocalist Pat, drummer James, Bassist Zee, and the twin guitars of Lee and Ellis do not thrust forth their wall of noise as violently as for example The Browning but neither do they step back into the lighter tones of an Enter Shikari, the band find an instinctive and very enjoyable mid-point as they batter relentlessly whilst enflaming the imagination with their smoother caresses.   

The EP starts with ‘The Anesthetist’, its techno start misrepresenting the ferocity ahead though it does not take long before the band explodes into harsher realms. Musically it turns out the song is not their heaviest, it is quite a subdued track power wise though the aggressive and absorbing twin vocal attack of Pat carries enough venom and intensity on its own. He switches between guttural growls and smooth croons with plenty of sounds in between, effortlessly making a perfect match for the musical blend on display.

Where the opener and second song ‘Timewave Zero’ end and start is barely noticeable, their handover seamless though it does highlight the one aspect of the release that could be classed as a flaw, the similarity between tracks.  With many bands this is a negative BUT all the songs here are equally well thought out, engaging and pummelling it does not feel important that they carry a shared facade. This track pulsates with unrelenting staccato riffs and soothing, lively electronic sounds that in many ways should not work, but they do totally and very agreeably. The song has a heavier edge to its predecessor coming over with the feel of Fear Factory laced with a liberal dose of Linkin Park and Asking Alexandria, a mix that maybe sounds wrong but works wonderfully.

The bands first single ‘Nine Worlds’ is arguably the best track on the release though there is equality across all tracks to be fair, just this stands wilfully demanding attention and getting it. Again with a similar set up and sound from the previous song it beats its chest with a restive attitude, beating its message into the ear with striking riffs and rhythms.

The remaining three songs complete Timewave Zero with the same uncompromising attack and skilled melodic interplay. The rampant bullying riffs of ‘Loki’, the hypnotic harmonies of the big and another best track challenger ‘The Heretic’, plus the closing violent crescendo of ‘Scarecrow’ all dissect and play with the senses eagerly and thoroughly.

The exciting thing about Timewave Zero is not only the sounds within its walls but the promise and anticipation it ignites for future releases from the band. Dawn Heist is a young band that maybe has yet to find the finished identity for their sound but is already making music that improves any day and gives a new freshness to metalcore and metal in general.

www.facebook.com/pages/Dawn-Heist/96871407343

RingMaster 17/10/2011

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