Demons Of Old Metal – Dominion

DOOM 2_RingMaster Review

We all know rock ‘n’ roll is spawned in hell and eager through hordes of bands to spread its glory, an infestation proven over the decades to only thrill especially in the hands of bands like Demons Of Old Metal. Theirs is a forcibly vocal and thrilling stomp consuming the senses which is in full roar within the glorious shape of new album Dominion. The UK band has been around a little while, working away at trying to “win back the souls of those that have turned their back on sex, drugs and rock ‘n’ roll!” From the fact that their new release is our and a great many others introduction to them suggests it has been a slow battle to date but things are about to get hot and dirty we suggest once their outstanding album uncages its contagion.

Formed around the time 2010 turned into its successor, Demons of Old Metal emerged as four veterans of the UK metal scene united to play “what got them into music in the first place – classic metal.” Casting a sound, presence, and stage show coloured by schlock horror inspiration, the band released their debut offering on the Halloween of 2012, in the riot of mini-album, The Demonic Chronicles Vol. I. It as a well-received and praised proposal followed by the band creating metal havoc across the country live and the subsequent releases of Vol. 2 and 3 of The Demonic Chronicles over the next couple of years.

The Torbay hailing band’s sound is mutant rock ‘n’ roll rising with creative bloodlust from a twisted blend of Pantera, Them County Bastardz, Hell Yeah, Steel Panther, and Machine Head, to give its hellacious voice some description. And as Dominion swiftly reveals, it is an infestation of ears and imagination refusing to take no for an answer with its virulent hostility.

Dominion Artwork -_RingMaster Review   The album announces itself with the brief theatrical Domintroduction before launching itself at the senses, with nostrils flared, through the outstanding Fakeskin. Riffs and rhythms quickly build a wall of spite and enticement, already badgering and welcoming a just as instant appetite for the provocation. As the expressive punkish tones of vocalist Tombstone Cowboy leap into the brewing tempest, electronic slithers and teases play, a side-helping of temptation to the full meal of a voracious onslaught luring away as the guitars of Tombstone Cowboy and Psycho Wing continue to rampage and flirt with the throaty toxicity spread by bassist Babyface Stephens s. With the scything violence of drummer Dr Doom simply nasty and gripping, a rich Slipknot essence can be added to the suggested breeding of song and album, but all flavours here and ahead stretched and mutated into a web of metal distinct to the demons.

You Version 2.0 leaps on the listener next, its physical and emotional agitated an open toxicity within another storm of merciless rhythms and riffs bound in nagging grooves and confronting vocals. The electronic sparks of the first song is replaced by a more industrial metal predation, thoughts of Pitchshifter teasing throughout whilst heavy and more classically honed spices venomously soak the pores of the track and senses. It’s addictive quality is emulated by both Dance of the Damned and Open wide and Scream, the first stalking its victim with rugged textures and the electronic toxins woven by Digital Death whilst growing into its spite with an increasing weave of flavours and inhospitable but gripping enterprise. The successor to this Devildriver like animus of a song, stomps with a dirty rock ‘n’ roll swing and theatrical snarl, its lure smothered by a sonic climate of intensity and rancor. The band seamlessly fuses the contrasting yet similarly belligerent winds of that invention, creating a hellish primal nursery rhyme as catchy as it is intimidating.

There is a ‘mellower’ trespass next with The Quiet Ones, its southern rock flames and dirt lined grooves locked into a thick turbulence of riffs and rhythms, neither outweighing the other but mutually leading to a moment of groove heaven and an increasingly explosive and vicious outpouring of sonic rabidity. A borrowing of a Rage Against The Machine tempting only adds to the fun, and as much as the album bruises and devours it also offers a rich tongue in cheek layer through lyrics and mischief.

Grind was a little ‘disappointing’, though only in the fact with its title hopes were it would burrow into flesh and psyche like a drill bit. Instead it spun a wiry web of grooves and sonic tenacity amongst a threat of rhythms and riffs; the result being another inescapably persuasive and seriously enjoyable intrusion before making way for the writhing and relentless nagging of Behind the Mask. With a ripple of rap metal to its persistent niggle of riffs, the song demands attention, evolving new strains of melodic and cantankerous imagination in return. Longer to hit the same rapturous reactions as most of its predecessors, the song easily succeeds in leaving satisfaction full before being over shadowed by the excellent The Star of your Nightmare. Its electronic coaxing amidst prowling riffs is almost Marilyn Mansion like but in no time a cancerous violation unique to Demons Of Old Metal with the track emerging as a theatre of cinematic mayhem and sonic ingenuity.

Cast around a fiery acidic groove, See How They Die seduces and menaces before overpowering its initial rich flame to dominate through bearish riffs and ill-tempered rhythms, the vocals bridging both emotions with open relish. Like The Union Underground with anger problems, the song is a grizzly treat leaving Get Outa Dodge to provide one last growl of insatiable and uncompromising rock ‘n’ roll, and ending the album on another big high.

British metal/rock ‘n’ roll is building towards a new heyday going by releases over the past few months, and when it erupts in full voice, there is no way Demons Of Old Metal will not be there leading the thrilling riot.

Dominion is out December 1st with pre-ordering available now @ http://www.ebay.co.uk/itm/-/221931265158

http://www.demonsofoldmetal.co.uk   https://www.facebook.com/demonsofoldmetal  https://twitter.com/demonsofficial

Pete RingMaster 05/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Bonz – Broken Silence

bonz_promo

With Stuck Mojo deeply entrenched in the passions maybe it is no surprise that Broken Silence, the debut album from BONZ, immediately felt like an old friend returning to stir up trouble and the passions. Led by the original frontman of the former, and welcomingly dosed with all the recognisable tones, raps, and roars vocalist Bonz offered in the major protagonists sculpting and ferociously driving rap metal forward, band and album swiftly set a lively spark in the passions. Around him though the sounds offer plenty more than an echo of former glories; twisting rap, nu, and southern bred groove metal into one riveting and ridiculously contagious proposition. Think Stuck Mojo, Body Count, and (Hed) PE in a passionate collusion with The Union Underground and you get a colour of the creative blaze of BONZ. It is familiar in many ways but still dramatically fresh and best of all, ridiculously anthemic and instinctively compelling.

The band came about after Bonz played with ex-Primer 55 guitarist/bassist Curt Taylor in Killer in the Workplace in 2009. With the band coming to an end in 2011, the pair wanted to continue working together and BONZ was the outcome. Early demos suggested something tasty was brewing, a realisation now openly unleashed on the world through Broken Silence. Last year saw the band sign with Germany’s Eternal Sound Records and the creating of the band’s imposing full-length debut, showing in the words of their bio that “the “Mouth of Mojo” is indeed back in fine form.”

If any album in recent times has started with as potent and irresistible a stomp as Broken Silence we missed it. Opener Sinister Grin is pure virulence, from the wonderful earthy lone bassline which sets it in motion, the song is the seeds to addiction. It is almost rockabilly in tone at the start but just the simple lure into the furnace of rap metal tenacity which explodes upon the listener soon after. Grooves are as immediate in appearance and captivation as the distinctive provocations of Bonz, their united bait framed by the punchy rhythmic trap laid by drums and bass. Body and thoughts are increasingly seduced as the track romps with anthemic fury and enterprise, every lyrical spit and tangy hook the inescapable kindling to a fiery ardour for the punk infested 4PAN1Ttempest.

Such a powerful gripping entrance was bound to be followed by a slight dip, not that Comes Over Me gives it much room to breed with its mustier breath and heavier rock infused protestation. Slim but strong diversity from the vocals adds to its inviting drama whilst the guitars scrub up a great dusty atmosphere to the riled encounter. It keeps the potency of the album high as does the excellent Godshine which follows. A thick vine of southern rock flaming veins the track, infusing the stormy attitude and intensity of the encounter with a sonic colour which flames nicely against the infectious vocal conflict.

The album’s title track like the opener is baiting and binding ears and imagination within seconds, this time with another delicious toxic groove which is belligerently unrelenting in its persistence. It cores the track from start to finish, shifting its shade of colour only as Bonz almost duels vocally with the listener. The rhythmic stomp of the track is just as gripping and incendiary, beats punching ears with a middleweight’s consistency and accuracy as bass and guitar prowl and flirt respectively. There is no denying you cannot escape the Stuck Mojo comparisons but it is hard to remember that band finding the same depth of swagger and epidemic like temptation in as many songs on a single release as already shown upon Broken Silence.

30 Seconds To Swat is a punk metal brawl, the bass providing a dirty groove whilst riffs blister and inflame the air with a budding fury. Not as unique as other tracks but a thoroughly absorbing incitement to neck muscles, the song makes way for the exceptional stalking that is Take It Personal. Bass and riffs prowl around the listener, leery and combat ready. They do step back for the rap of Bonz though, the bass accompanying his vocal contention as beats equally slow their assault. It is going to erupt at some point of course and does in the ridiculously addictive chorus which has voice engaged in its call within one round of its rivalry. The track sets another pinnacle in the heady heights of the album, easily sparking thoughts that if live audiences bellow for one song it would be this mighty antagonist.

There is enough diversity to the album to make Broken Silence more than a rap metal revival, the great melodic charm and chant of Sour Diesel teasing with a bluesy groove and Insane Clown Posse like vocal sway whilst Bad News stamps and seduces with a feisty fusion of hard and melodic rock. Jared Gomes and Co come to mind during the song but equally a loud whisper of P.O.D. shows itself, both mere spices to the rock ‘n’ roll roar. Their pleasing successes are surpassed by the great punk causticity and dirty rock ‘n’ roll bellow of Bad Love, where essences of hardcore and melodically infested rapcore collide within the furious climate of the song.

Completed by a great live version of Take It Personal, it is easy to suggest Broken Silence will be sheer joy for fans of rap and nu metal, and for sure those of Stuck Mojo even as BONZ unravel their own identity with their debut. If you are looking for flaws, maybe not enough striking diversity to the delivery of Bonz could be offered, though why change something which works, and surprisingly the release never gets as nasty and spiteful in its anger as expected. When it is this much fun and thrilling though, it simply does not matter.

Broken Silence is available now via Pavement Entertainment/ Eternal Sound Records @ http://eternalsoundrecordsshop.bigcartel.com/product/ltd-cd-digi-pack-pre-order-bonz-broken-silence-ltd-cd-didi-pack-2015-release-date-13-02-2015

http://bonzband.com/

RingMaster 11/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Final Trigger: Skrap Metal Vol II

FT Promo Screamers without Logo

Imagine the attitude of Hed (PE) merged with the funk devilry of Infectious Grooves and the rap metal aggression of Motown Rage fused into the swagger of The Union Underground, then those essences instilled into a vat of punk rage. What emerges from the toxic fumes of that volatile alchemy is an unpredictable and riotously contagious force, or to give it a name, Final Trigger. Formed in 2006 and hailing from Toronto, the band maybe is not a name yet instantly recognisable but with the release of the excellent Skrap Metal Vol II you can only suspect wider recognition is just around the corner.

The new release follows Skrap Metal of 2009, both coming through Boonsdale Records. The debut received strong acclaim with its single Start A Moshpit gaining particular attention across Canada and the US. Following years has seen the band play alongside the likes of Suicidal Tendencies, Marilyn Manson, Dillinger Escape Plan, Protest The Hero, Baptized In Blood, Hail The Villain, Threat Signal, Slaves On Dope, Agent Orange, Blaze Ya Dead Homie, Boondox and many more,  as well as them supporting Mushroomhead on a tour across the States. Now with the release of the David Bottrill (Tool/Mudvayne/Stone Sour/Godsmack) mixed Skrap Metal Volume II, the quartet of J-Roc (vocals/guitar), Fazio (bass/vocals), JJ Tartaglia (drums), and Profit G (DJ/vocals/keys) may just be looking at a new world hunger for their distinct and insatiable musical devilry.

The seven track release attaches itself to the senses firstly through the single Face It. Guitars entwine their fiery sonic tendrils Skrap Metal Vol II Album Cover 1600x1600around the ear initially, tempting the passions to take a look before the tumbling heavy muscled rhythms make their play for the affections. In reality as the sounds rubs eagerly over the senses and the vocals begin their tempting squalls it is the whole combination which provides the irresistible hook, the barbs of which become impossible to refuse once the grooves twist and writhe insidiously and the vocals and sound take on a Suicidal Tendencies like punk beckoning. With a deep bark to the chorus and Five Finger Death Punch like rabidity to the riffs adding to the persistently shifting stance, the song is a dynamic and explosive introduction and platform for the album to spring from, which it does in varying degrees.

Through The Darkness and Knock Somebody Out follow up with their own distinct personalities, the first a metal forged encounter which sonically claws at the ear whilst the range of vocals, growling and rapping take their bite at the senses with equal belligerence. It is a relatively straightforward track which without the continual and wealthy mix of flavours employed in its predecessor pales in comparison if still a song which energises the appetite. Its successor similarly sticks to the muscular metallic intent of the band but digs deeper to expel some tight flavoursome grooves and find an intensive confrontation which would feel at home in any American Head Charge or Static X fury.

Things leap back to the opening heights with next up Just A Freak, a track which stomps through the ear with the delicious salacious devilment of Hed (PE) and the charged schizophrenic energy of early Mudvayne. Prowling and leaping around with a thrilling mix of hip hop, metal, and tantalising anthemic urgency, the song is a virulently contagious call to primal needs and energy expelling participation, which like the first track leaves the listener breathless and hungry for much more, especially for the dramatic and potent drums and scurrying weave of incendiary riffs.

Time I’ve Wasted opens with an evocative melodic persuasion which is almost Breed 77 like before fusing in samples and dub lilted invention before the brewing storm. Into its stride the tempest is again unpredictable, an undulating intensity and energy in league with a constantly evolving vocal display. Eventually though the senses flattening might of the track wins through even though the rampant and fluid mix is still allowed to shape the direction of the excellent track. It is a song which dangerously veers towards the edge of chaos and disaster but the band managed to ride the rougher less impressive moments to create another convincing treat.

The Kottonmouth Kings sounding Everyday with its mesmeric mystique and the predatory T.H.C. impressively complete the release, both outstanding and diverse offerings with the second especially throwing the senses and passions around with the rapaciousness of a hurricane. Skrap Metal Vol II is a great release which installs Final Trigger as one of our regular playlist newcomers, something the band will achieve with a great many we suspect.

www.Facebook.com/FinalTriggerMusic

8.75/10

RingMaster 08/07/2013

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