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

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The Bastard Sons – Smoke

The Bastard Sons _RingMaster Review

There is no escaping the buzz which has powerfully brewed around The Bastard Sons since emerging in 2011 and especially over the past couple of years, and no evading the reason why, once losing yourself in the riotous depths of the band’s debut album Smoke. It is a bulging sack of pure rock ‘n’ roll cast in a maelstrom of flavours showing exactly why the broad term rock ‘n’ roll is the best way to describe the band’s tenacious sounds. At times it is southern rock led, in other moments hardcore driven, and very often metal sparked; to be honest it is constantly all of those and far more, a beast of a stomp sure to incite the passions of fans to everyone from Down to Cancer Bats, Ghost of a Thousand to Black Tusk, Bloodsimple to Hellyeah, and Stone Temple Pilots to Stone Sour.

Around and since the release of their second EP Roads in the March of 2014, the British quintet has been a blur of activity drawing increasing success at the same time. A US tour with Throw The Goat pushed the band’s growing reputation stateside whilst praised appearances at Hammerfest VI and Bloodstock, a tour supporting hardcore punks Snot, and shows alongside ’68, the new project of Josh Scogin from The Chariot, and also Cavorts amongst many others has taken care of the appetites of British fans and media. Earlier this year the York hailing five-piece dropped a potent and quickly devoured teaser for Smoke in the shape of the single Release The Hounds, a dynamic hint realised and taken to greater plateaus by the album itself.

The Bastard starts things off, southern fried chords the initial lure, though for barely a squeeze of seconds as quickly the band with sinew loaded riffs and rhythms bursting set up a riotous stomp of energy and sound. Vocals, as the music, come in varied styles, hardcore and cleaner rock ‘n’ roll tones colluding in a tempestuous incitement with anthem tattooed to its gripping walls. There is a touch of Pantera, Motorhead, and Every Time I Die to the storm, but as repeated song by song, it is just flavouring honed into something unique to The Bastard Sons.

TheBastardSonsSmokeFrontCover_RingMaster Review  The earlier single comes next, and quickly Release The Hounds shows why it had so many feisty for the album, its opening grooves and vocal scowling within a rugged landscape enough to get ears smiling and appetite drooling alone. The heart of the track is unfussy rock ‘n’ roll, a balls to the wall roar coloured and constantly reshaped by flirtatious sonic enterprise and sudden compelling twists of unpredictability, musically and vocally. It is the seed design to all tracks within Smoke in many ways, but persistently twisted and taken down new and individual avenues as swiftly shown by Sobre La Muer… and before it A Lie Is A Lie. The third track rages and croons with incendiary textures and addiction forming grooves whilst its successor casts a sultry air more in Seether/Shinedown territory than anything else, yet with a predatory dark bassline and a steely touch to the guitars, it carries a constant intimidation which strongly expels its fury from time to time. Nevertheless it and the previous song are inescapable anthemic traps; the lure somewhere between Them County Bastardz and The BossHoss, and fiercely contagious.

Bottom Of The Ladder growls and sonically grizzles with scuzzy magnetism next, guitars and vocals a dirty incitement stirring up ears and soul whilst the group calls work, along with the thumping rhythms, on the body and primal instincts. As anthemic in intensity and roar as it is, the track also unleashes an agitated and gripping web of aggressive twists and belligerence toned creativity, its presence ready to brawl at the drop of a hook or scything beat.

The southern drawl of guitars brings I’m Only A Call Away alive next, the song once standing tall writhing like a barroom temptress with inescapable grooves amidst a volatile fistfight of rhythms and the ever fiery and impressive mesh of vocals. As already shown by their live history, The Bastard Sons has a sound which works with, and appeals to, a vast expanse of rock and metal styles, that diversity in no finer and pungent shape than on this fascinating riot.

Through the brief and hellacious, as well as uncompromisingly emotive landscape of the fiercely angry U.S Against Them and the classic metal lined rock ‘n’ roll of Listen Here, band and album keep the thrilling storm blazing whilst Cardboard Walls saunters in on a rhythmic confrontation bound in more of the sludgy southern wrapping the band breeds so invitingly. A suggestive hint of Crowbar appears at times within the fire of sizzling grooves and snarling riffing, but as you may assume the track, whilst being one of the more restrained adventures on the album, it simply layers more flavours and varied textures into one enthralling mix.

Like a sandstorm, vocals shower and scar Scene(ic) Root(s) next to thick success, but equally they slip into cleaner gaits with ease and power to match the similarly volcanic and pleasingly exacting sounds. The track burns on the senses, simultaneously exciting and bruising before Stay True spreads its warmer balm. Featuring Glamour Of The Kill vocalist Davey Richmond, the track is a shadow brewed serenade as atmospherically and vocally haunting as it is emotionally and physically mercurial, and quite mesmeric.

Smoke finishes with the equally potent but far more capricious and intrusive Exist-Distance, a track which kind of sums up band and album with its constant weaving of different flavours and creative twists within a perfectly coherently cultured body, and another song which stands individual in the cast list of easy to recognise Bastard Sons songs.

We gave a list of bands at the start which sort of gives a hint at who might find thick pleasure from exploring one of the year’s real treats so far. To simplify it though, if raw and passionate, imaginative and ravenous rock ‘n’ roll hits the spot than Smoke is a must.

Smoke’ is available from 7th August 2015 via Kaiju Records @ https://thebastardsons.bandcamp.com/

http://www.thebastardsons.co.uk/    https://www.facebook.com/thebastardsonsuk

RingMaster 05/08/2015

Copyright RingMaster: MyFreeCopyright

 

Them County Bastardz – Sick Daze

TCB Press Photo

Sick Daze is an album which reminds us that just maybe we all can slip into the mistake of taking our metal and heavy rock too seriously and that dirty rock ‘n’ roll which is just out to have brawling fun, is as potent and enjoyable as any technically and inventively driven proposition. That is not to say that the new album from Canadian stompers Them County Bastardz is lacking skill and open enterprise, but the seven track romp is all about the heavy riot and thumping devilment of old school metal crossed with voracious country bred rock ‘n’ roll.

Hailing out of Leamington in Ontario, Them County Bastardz rouses up the energies and emotions with a sound taking the southern ferocity of a Pantera and Black Label Society and the grooved predation and attitude of a Bloodsimple and Crowbar, and adding it to the roars of a Hellyeah and Volbeat. It is a brew which does not hold many surprises but relentlessly hits the sweet spot if those kinds of flavours ignite the appetite. It is a head-banger’s heaven with all the spicy grooves and toxic attitude you could wish in a mercilessly bruising and contagious encounter. Sick Daze will probably not top many best of lists come December but in favourites line-ups expect the album to be a persistent regular.

Things are instantly careering into riotous behaviour as opening Drive By spins its sonic wheels and unleashes its unbridled energy in a wall of thumping beats from drummer Jim Kay and the grouchy riffery of guitarists Brien Alexander and Mike Rennie. The song hits its intimidating stride within seconds, the dusty tones of vocalist Andrew Watson stirring up air and mischief as bassist Tyler Wickham adds darker predation to the anthemic belligerence. Neck muscles and voice are just as swiftly enlisted as the track continues to raise controlled but insatiable hell, sirens swarming in the background as band and song begin the album’s mayhem.TCB Cover - Sick Daze

The great start is straight away eclipsed by the excellent In The Country. Opening with police despatch checking out the identity of the band which leads to a panicked alert, the track simultaneously builds up its rhythmic and sonic defiance, an impending attitude led by the thick vocals of Watson who in turn is backed the band’s equally infectious calls. Its full gait and assault still has a somewhat restrained aggression but is merciless in its stalking of ears and inciting of pleasure, especially with things like cow bell mischief adding to spicy blazes of guitar to further ignite the addictively cantankerous persuasion of the song.

Buzz Kill keeps body and emotions locked and loaded on the album’s weighty temptation; the aggressor providing a rowdy but again controlled stroll with abrasing riffs and vocal attitude speared by a groove which is as virulent as it is predatory. Littered with the scorching scythes of Alexander’s guitar, the track is another formidable antagonist upon Sick Daze but matched and surpassed by the bestial treat Metal For Mark which follows after the skit intro of It’s Not Metal which lies between the two tracks. Volatile and viciously captivating, the ravenous Metal For Mark slips into its fury the raw infectiousness of Rob Zombie with the corrosive essences of Prong. Each spicing up the bootleg brewed rock ‘n’ roll snarling from the Canadian rednecks southern ‘breeding’, with extra irresistible tang.

The best track on the album leaves the closing pair of The Bastard and Rise Up some height to match and truthfully they miss its plateau but with a melodically catchy and anthemic magnetism to the first of the two and the final song offering a grizzly growl of southern rock, satisfaction and enjoyment are overflowing in response to their brawly hell-raising.

Sick Daze is rugged rock/metal which relishes a musical and physical quarrel, and only has the appetite to kick up a storm and lead the listener into salacious devilry. Ok it might not be setting down new adventures as such but there is a time to be reminded what rock ‘n’ roll is all about, and this year’s comes with Them County Bastardz.

Sick Daze is available now via Smokehouse Records digitally and on CD @ http://themcountybastardz.bandcamp.com/releases

http://www.themcountybastardz.com/   https://www.facebook.com/ThemCountyBastardz

RingMaster 26/02/2015

Copyright RingMaster: MyFreeCopyright

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