Dead Cross- Self Titled

Pic SAWA

As the world seemingly surges rather than drifts into bedlam it is maybe not surprising that a sound is rising to echo it’s chaotic and discord fuelled order. It resonates from the creative union within Dead Cross, a project said to have emerged “out of a series of impractical schemes, fallen-through plans, and last-minute musical experimentation.” Featuring the combined acclaimed talent and creative ingenuity of Dave Lombardo (ex-Slayer, Suicidal Tendencies, Misfits), Mike Patton (Faith No More, Tomahawk, Mr. Bungle, Fantômas….), Justin Pearson (The Locust, Retox), and Michael Crain (Retox, Festival of Dead Deer), Dead Cross has just released their self-titled debut album; a deviously manipulative and skilfully conjured tempest of noise and intent, simply manic manna for the senses and imagination.

There really is no need to provide background to the members of Dead Cross, each individually and within a mass of bands having set down incitements and inspirations so many have fed upon and blossomed their own ventures with. So it is straight to the first breath of the foursome’s first release we go and the initial sonic mist of Seizure and Desist. From its midst surging raw riffs and rampaging rhythms burst, their assault soon joined by the distinctive and ever rapaciously mercurial vocals of Patton. Just as recognisable are the dynamically imaginative and textile swings of Lombardo; his anthemically biting incitement entangled in the sonic rapacity of Crain and the grumbling bestial tones of Pearson’s bass. A senses crumbling assault of hardcore, he track is as multi-flavoured as it is uncompromisingly furious and a hint of the developing web of noise and varied rock ‘n’ roll infesting the punk heart of the release.

The following Idiopathic even further harries and bullies the senses, its rhythms fuelling a barbarous catchiness which spreads to the united vocal attack and raw tone and causticity of the outstanding track. Unpredictability is as rampant as animosity, mischievous craft and fun equally as bold within the senses ravishing, body inciting maelstrom. Every passing second brings a fresh breath of bold and devilish adventure, the track a dancing predator by the time it makes way for the waspish nagging and unrelenting beating of Obedience School. It is glorious stuff, barbarous and harmonically bewitching leaving a tapestry of punk, alternative metal, and gothic rock suggestion.

Shillelagh is simply punk rock yet hardcore unafraid to embrace the spices of other pungent flavours to its infectious animus; the result a venomous contagion which has the body bouncing and appetite drooling before the imagination is enslaved all over again by a riveting cover of the Bauhaus classic Bela Lugosi’s Dead. Infesting it with the kind of energy and boisterousness felt at the Batcave venue back in the day, Dead Cross ensure the shadows and haunting atmosphere of the original are still an invasive temptation; Crain casting veins of melodic acidity which alone beguiles the senses.

The caustic invasion of Divine Filth hits the spot dead centre right after too, Patton and co vocally swinging from imagination’s rafters as the music around them throws itself around like an imaginatively manic dervish, again every passing second bringing new twists and expectations destroying adventure. Grave Slave is equally as tenacious in tone and intent, the Suicidal Tendencies exploits of Lombardo seemingly inspiring the whole of Dead Cross as they funk out with raw intensity and rancorous resourcefulness whilst equally embracing a Melvins meets early Therapy? like friction. It is a highly addictive proposal within an album similarly growing drug like in its temptation.

The persistent creative harassment of The Future Has Been Cancelled matches the lure and entrapment of its predecessor with its own individual and increasingly ravenous quicksand of sound and invention, at one point sinking into a quagmire of heavy seduction before bursting out with its instinctive rabid virulence of energy and sound to head towards the waiting heavy set jaws of Gag Reflex. It too meanders and dashes through a landscape of evolving gaits and twisted manhandling of the listener; each turn increasing its magnetism and our subservience to its manipulation.

The industrially lined shadows of Church of the Motherfuckers brings the album to a mighty conclusion, the track lumbering along with a primal swagger as resonating beauty glistens in its atmosphere. On the ground irritability guides the tempestuous exploits of the track, its climate remaining relatively clam but around a volatile heart which beats with combustibility. Through it all Lombardo springs a rhythmic trap which enslaves body and spirit, his creative mastery the last word in persuasion as the album comes to a thrilling close.

The tag super-group is bound to accompany many references to Dead Cross but ignore them. The band is a real and potent new force in its own right, yes embracing the previous experiences and exploits of its creators but offering something very different and exciting to rival and outshine most hardcore/punk noise exploits around them.

The Dead Cross album is out now via Ipecac Recordings through most stores.

https://www.facebook.com/deadcrossofficial/

Pete RingMaster 08/08/2017

Copyright RingMaster: MyFreeCopyright

Hellbound Hearts – Film Noir

Like all music fans we breed real anticipation for certain and numerous releases each year but few as eagerly as that for the first album from British rockers Hellbound Hearts. Because of a pair of rousing and acclaimed EPs, the Yorkshire hailing trio has stirred a real appetite for their fervour driven rock ‘n’ roll. Now we can say that those early successes were just appetisers because without doubt Film Noir is the main meal from the band.

One of the things which could have been said about both the EP’s, Outside and The Proximity Effect and also their self-titled debut before that, was that the Hellbound Hearts sound was whilst individual not always truly unique in the crowded landscape of alternative rock, though certainly evolving with every release towards that aim. It is something the trio of vocalist/guitarist Danny Lambert, bassist Craig McLaren, and drummer Lee Brook took note of as explained by Lambert when talking about their first album and how it turned out not as originally intended. “It wasn’t working“, he recently admitted, “we’d had some changes and time to reflect, and whilst the songs were good, we strongly wanted to be our own band and not be like a 1000 others flooding the market. So we canned the album, went back to the drawing board and re-grouped, re-composed and wrote a bunch of new songs, much more fitting with our sound.”  The result of that bold move and concentrated effort is an album which comes alive from its first breath, never relaxes its energies and arousal of ears until the final note, and unmistakably provides a singular body and character of adventure.

Produced by Matt Ellis (Black Spiders, Terrorvision), Film Noir gets right down to business with its opener and recent single Suffering The Radio. Dark brooding keys hug ears initially, the melancholic air of a piano just as swift in its suggestion before from within their shadowed caress a strike of guitars sparks a rumble of riffs and rhythms. Stirring and arousing, the deluge of temptation shows restraint as it welcomes the potent tones of Lambert backed by McLaren and Brook, a union aligning with swinging hooks and a great grumbling bass groove. Inescapably infectious and boisterous, the track hooks ears and listener involvement, inhibitions dismissed for a peach of a persuasive chorus as the heart of real rock ‘n’ roll descending on the mundane and mediocrity of the modern music world above the underground.

The superb start is matched by the virulent exploits of Broken Hearted where again aggressive textures and warm melodies entangle in a contagious roar. Riffs and rhythms prowl with rapacious relish whilst hooks and vocals come littered with infectious enterprise. There is a touch of Jimmy Eat World meets The Wildhearts to the song but already the album is deep in unveiling a Hellbound Hearts only owned proposal, revealing more with every passing minute and songs like next up Poor Disguises. Taking its time to rise up, almost stalking the listener with its predacious beats and subsequent bass groan, the song stands tall with hungry riffs which in turn spark a punk fuelled charge of attitude and energy which continues to infest the song’s tenacious and grouchy rock ‘n’ roll. Lambert’s warm tones bring a fine temper as too melodies though they have a touch scorching senses like licking flames; everything adding to a stomping slice of punk ‘n’ roll.

New single The Light We Cannot See follows with its own galvanic nature and air, again rhythms and riffs carrying a heavy and heady thump as grooves entangle their menace with flirtatious and catchy endeavour. Calmer twists and suggestive textures add to the track’s lively drama and wistful emotion before the reflective Still We Wait ebbs and flows with initial emotive grace. It is a coaxing though into a far darker and tempestuous realm, surges of almost Rob Zombie like riffs and intensity bursting free whilst surf rock kissed melodies shine radiantly upon the turbulence, both contrasts merging for passages of pure ravenous rock ‘n’ roll. With the growling breath of McLaren’s bass and Brook’s dynamic rhythms, the anthemically fuelled track is quite glorious.

There is a great whiff of Therapy? to next up Blood, at times of Pitchshifter too, yet the song entangles ears and pleasure in wiry creative tendrils openly peculiar to Hellbound Hearts while Wake Up flirts with a mixture of pop punk and hard rock for its easy going and firmly captivating enticement before We Are All Alone shares its own moment of reflective honesty against an increasing gnarly bassline, rapier like beats, and metal urged sonic dexterity. The track does not quite light personal tastes as powerfully as many of those around it even with its Terrorvision spiced hues but easily leaves satisfaction greedily content.

The album is closed off by firstly the insatiable heavy rock growl of Fortunes and finally the hellacious incitement of Silent Horror Movie, both tracks in their individual ways webs of stylish temptation and instinctive infection with the former a more pop rock soaked contagion and the latter a ferociously hungry roar uncaging the primal rock ‘n’ roll.

Hellbound Hearts have been no strangers to praise and success but Film Noir leaves all before it dead in the water. It is an exhilarating slab of rock ‘n’ roll which truly only gets better and more irresistible with every listen.

Film Noir is released April 7th through https://www.hellboundhearts.com/   and digitally across most online stores.

Upcoming Hellbound Hearts Dates

8th April – LEEDS, Key Club (album launch show)

16th April – BOLTON, B-Festival (Alma Inn)

3rd June – KEIGHLEY, The Exchange

23rd June – DUNDEE, Firefly

24th June – EDINBURGH, Bannermans

8th July – WESTCLIFFE ON SEA, The Venue

11th August – LEEDS, Yorkshire Rock And Bike Show

https://www.facebook.com/wearehellboundhearts    https://twitter.com/hbhuk

Pete RingMaster 06/04/2017

Copyright RingMaster: MyFreeCopyright

Possessor – Dead By Dawn

Possessor_RingMasterReview

Still drawing new attention with their previous offerings, British metallers Possessor unleash new album Dead By Dawn, a mouth-watering threat of their rawest, most voracious sound yet. Continuing to conjure their individual fusion of old school fuelled metal embracing everything from heavy and blackened death metal through to doom/occult and stoner infused thrash the London trio cast a viciously malevolent and addictively compelling infestation of ears and instinctive pleasure with their latest offering.

Formed in 2013, Possessor teased and tempted with the Wings of Fire demo in 2014 before making a far greater impression with their self-titled debut album later that year. Hellacious and demonic in equal enterprise, the band’s reputation and acclaim garnering stature was given another injection of energy with last year’s Stay Dead EP. Its four tracks breached a new level in sound and adventure by the threesome of vocalist/guitarist Graham Bywater, bassist Marc Brereton, and drummer Matthew Radford; one now pushed again by Dead By Dawn.

The album opens with Afterburner and its sinister, cinematic intro. As shadows collude with aural drama, it fades into the ravenous jaws of the opener, a mesh of riffs and rhythms which go straight for the jugular. The meatiest groove aligns to a primal energy and intensity, they soon entwined in a sonic twine of guitar and the effect cloaked tones of Bywater. Previous releases hinted at a Nurse/Troublegum era Therapy? essence in the band’s sound; the first song shows it has become an even more intense flavouring but still without diluting the distinctive tone and invention of the Possessor sound.

Predatory and inescapably infectious with Sabbath meets Electric Wizard overtones also to its body; the excellent start makes way for the similarly immense and thrilling Scorpion Swamp. Straight away the grievous growl of Brereton’s bass has ears gripped and lips licked, the appetite enflamed further by the sorcerous grooves and rabid hooks joining the mix. Again echoes of the Northern Ireland trio are a vibrant spicing as Possessor and track rumble and grumble upon the senses and imagination, the song an ever twisting web of thrash driven, multi-flavoured metal.

art_RingMasterReviewBeneath the Chapel takes over next, an encounter growing in ears with a less forceful character compared to its predecessors but one soon sharing its own captivating net of flesh whipping beats and rapacious grooves to seriously please. Again within an ever tempestuous nature irresistible hooks taunt and tempt, providing rich bait within the rawest roar of sound to come from the band in any offering yet and the same template seeds the following Without Warning, a design breeding another individual treat within the album. A tempest of grooves and antagonistic ferocity it simply blossoms into a psyche infesting avalanche of predacious animosity to leave a hunger for more.

Things take a breath just a touch as Slaughter High enters next upon another evocative bassline from Brereton, its suggestive twang absorbing bait deviously leading the listener into another waiting beast of sound. Arguably the most old school sounding song on the release, it gnaws at the senses as riffs venomously prowl and the swinging beats of Radford flail flesh with rapier like effect. More destructive and gripping with every passing minute the brute of a proposition departs in a cold storm to let Terror Tripping step forward with its own cantankerous and primal rock ‘n’ roll. Taking a touch more time to thickly persuade compared to the other songs before it, the track is soon seeing swinging bodies and eager satisfaction in its rip tide, especially when it shares another ear exciting hook.

A pair of instrumentals comes next, The Creeps another cinematic scene setting piece parading a glorious and voodoo-esque rhythmic enticement before Midnight devours the body and imagination with its blackened heavy metal and feverishly stomping aural necromancy. Both tracks has ears enslaved and thoughts conjuring before the closing drama of The Curse of the Hearse revels in the individual skills and craft of all three Possessor members, aspects uniting in an incendiary provocation bringing Dead By Dawn to an almighty end.

Possessor get bigger, better, and more creatively barbarous with every release and indeed more irresistible. A treat for fans and a thrilling introduction to Possessor for newcomers, Dead By Dawn and its creators are the kind of propositions metal probably does not appreciate or notice enough but would be a much blander place without.

Dead By Dawn is out now @ http://possessor.bandcamp.com/album/dead-by-dawn

https://www.facebook.com/possessorband

Pete RingMaster 21/08/2016

Copyright RingMaster: MyFreeCopyright

Syren City – Paradise In The Dirt

Syren City Promo Shot_RingMasterReview

Almost two years ago, UK rockers Syren City laid a hefty punch on attention with the Escape EP, five tracks of multi-flavoured rock ‘n’ roll which was as compelling as it was thrilling. Now the Bristol quintet returns with its successor Paradise In The Dirt and three more encounters which leave ears ringing with pleasure and an appetite for more simply greedier.

Formed in 2011, Syren City swiftly bred a sound from essences drawn across the likes of post hardcore, punk, metal and alternative rock. The 2014 Escape EP quickly showed it was a formidable and striking mix, echoing the band’s live reputation earned through festival appearances and shows with the likes of Turbowolf, The Alarm, Mallory Knox, Max Raptor, The Hell, Roam, Black Foxxes, Futures, Young Legionnaire, Attack Attack, and Blitz Kids. The release of their new proposition shows that the band’s sound has continued to expand and indulge in greater adventurous traits, increasing in magnetism with equal measure. The first in a series of EPs which have a conceptual thread and link, Paradise In The Dirt captures ears and imagination with swift deftness of enterprise and a rousing boisterousness, never relenting upon or releasing the listener until its final note has shared its mighty bait.

Syren City Cover Artwork_RingMasterReviewIt opens up with It’s Morphine Time, a song which descends on the senses like a tempestuous challenge from its first breath, but a threat just as quickly seducing ears and appetite as riffs and rhythms launch their hungry persuasion. In no times wiry grooves are entangling song and listener while anthemic vocal roars across the band find a great Beastie Boys feel to them. As it proceeds, the scent of bands such as Rage Against The Machine and Refused also colour the encounter, with frontman Simon Roach taking vocal charge as the barbarous rhythms of bassist Sam Leworthy and drummer Mat Capper badger and incite. It is a virulent infectious affair with the enterprise and fiery grooves of guitarists Ian Chadderton and Josh Mortazavi arousing, aiding and shaping the songs twists and turns as its metal/heavy rock antagonism and inescapable catchiness fuels pleasure, the song alone surely ensuring the EP’s certain success.

It is quickly backed up by its companions though, Danielle coming next and opening on a melodic caress which inspires the following vocals and flirtatious gait of the song. Little time passes before again a volcanic quality and energy erupts, its theatre creating a My Chemical Romance like attraction before things slip back into the captivating calm and the repeat of the galvanic cycle. As within its predecessor, there is a kind of tempestuousness to ideas and intensity which only adds to the riveting drama provided before 10,000 Knives steps forward to grab its share of the plaudits. Initial riffs and lures have a slight Therapy? feel before the punk heart of band and song grips and adds a Reuben meets Taking Back Sunday hue to the outstanding encounter.

All three tracks are uniquely distinct to each other but fuelled by a sound with a character all Syren City’s. The band impressed with their last release and have only made a bigger impact with Paradise In The Dirt, a release sure to be the favourite EP of 2016 for a great many.

The Paradise In The Dirt EP is out now through all stores-

https://www.facebook.com/SyrenCity  https://twitter.com/SyrenCity  http://instagram.com/syrencitymusic

Pete RingMaster 30/06/2016

Copyright RingMaster: MyFreeCopyright

Hung Like Jack – She’s Not Dead

HLJart_RingMasterReview

A band sows its seeds with their introduction and debut songs from whence you hope to see their qualities grow into bigger and bolder blossoms. That is exactly what has happened with British rock ‘n’ roll bruisers Hung Like Jack. Last year the Darlington quartet tempted attention with the AA-sided single Fire beneath me/ Life’s first sign of rage, a pair of songs which, though actually not their first offerings by a long way, grabbed a fresh horde of eager ears with a new spark in their sound and invention. The two tracks were raw and intrusively confrontational slices of punk ‘n’ roll carrying the suggestion of bolder things to come. That promise has now blossomed and more in new single She’s Not Dead, a seriously rousing and stirring slab of incitement hard to tear ears away from.

HLJ2_RingMasterReviewLast year’s offering seem to mark a turning point in the adventure and stature of the band who had already uncaged a trio of EPs and in 2014 the seven-track White Powder mini-album. Formed in 2007, Hung Like Jack quickly put their mark on the local live scene under the drive of John, Tim, and Hakim. Their current line-up was completed by the recruitment of drummer Denz, a union in place before the release of last year’s potent pair of tracks.

As suggested, as good and highly enjoyable as that last single was, She’s Not Dead is in another league and quickly gets a grip on ears and appetite with its opening shuffle of beats and the great lure of the growling bass. That early tempting only increases as raw swipes of riffs show their face within a few more seconds; it all colluding and creating a boisterous almost cantankerous stroll of sound as Johns vocals add further infectious confrontation. Without a lull, riffs and that glorious bass hook continue to entice and enslave as lead and backing vocals emphasise the anthemic pull of a track still taking bites at the senses with Denz’s uncompromising swings.

A great old school punk/new waver essence escapes moments of relative calm which inventively show themselves whilst fiery grooves reveal the heavy rock ‘n’ roll aspect of the band’s sound and invention; hues joined by a definite early Therapy? like roar. It is striking and invigorating stuff from a band which, even if using just one song as evidence, seems to have creatively come of age. The hints were there last year and now makes a hearty roar within She’s Not Dead, the kind of song that incites mass celebration.

She’s Not Dead is out now. Check it out @ https://soundcloud.com/hung-like-jack

https://www.facebook.com/hunglikejack

Pete RingMaster 22/04/2016

Copyright RingMaster: MyFreeCopyright

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

Kovax – Godot

Godot Front Cover_RingMaster Review

The bio of British alternative/noise rock band Kovax states that the band “started in late 2015 as an itch that couldn’t be scratched, as music in the back of the mind that couldn’t be ignored.” It is an essence of nagging which also infests the listener we can knowledgeably announce now having been enjoyably compromised by the Leeds hailing quartet’s debut single, Godot. The two track release is a persistence of sound and character which leaves a lingering imprint on thoughts and psyche after providing a rousing, slightly psychotic adventure for ears.

Formed last year, but officially launched early 2016 through a four day tour following a few secret shows, Kovax quickly makes an attention grabbing impact with their debut single. Suggestions are that their ferociously dynamic sound is for fans of Deftones, Bring Me The Horizon, and Fightstar but imagine the raw energy of Reuben, the confrontational roar of early Therapy?, and the off-kilter punk maelstrom of a cross between Damn Vandals and Them Wolves, and you get nearer to the mark of the band’s gripping offering and the broadness of their sound.

Both mastered by Bob Cooper and recorded at Rec and Play Studios and with Harry Scott (Treason Kings) respectively, the two songs making up the band’s introduction need little time to make a strong impression. Godot opens with an instantly contagious hook which lays its swift bait, takes a moment’s breath, and then returns bigger and bolder with equally hungry rhythms and punk spawned riffs for company. Once in full stride, the track stalks the senses with the sonic feistiness of guitarists Pete Freeth and Dan Hey orchestrating the predation whilst the lead vocals, which we guess as being from Freeth, make a volatile conductor for this maelstrom of energy and aggression enjoyably igniting ears. It is soon realised though, that unpredictability is an equally potent key to the band’s sound, that shown by clean harmonies embracing a smouldering passage further coloured by the predatory tones of Joe Phillips’ bass strings and the niggly incitement of Isaac Turner’s sticks. It all adds up to making the track as enthralling as it is intrusively exhilarating. The web of ideas and sounds involved appear bedlamic at times but are bred with striking imagination and an instinctive volatility which only has the intent of turning on the body and emotions.

The accompanying Marigolds is maybe even more deranged in its nature and concussive tapestry of sound but just as superbly sculpted with ravenous energy and inventive twists for another virulent trespass of ears and an increasingly eager appetite. Once more there is a collusion of varied and at times contrasting textures with raw voracious sounds, as well as unexpected slips into melodic detours and explosive challenges to fascinate and thrill from start to finish.

Both songs invade and remain tapping into the psyche after their physical departure; an intimidation which only leaves a hunger for more. Godot is a mighty first listen to Kovax and a hint that we might just be getting in on the ground floor of something special with it.

Godot is out now and available as a free download @ http://www.musicglue.com/kovaxtheband/products/godot—free-download/

https://www.facebook.com/kovaxtheband   https://twitter.com/kovaxtheband

Pete RingMaster 16/02/2016

Copyright RingMaster: MyFreeCopyright

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

Astral Void – Blood from a Stone

astral-void-band2_RingMaster Review

The first thing which hits ears in the Blood from a Stone EP is the passion and at times fury driving the five boisterous tracks making up its body, that swiftly followed by the energy in the songwriting and music of UK rockers Astral Void. This is a band also unafraid to show echoes of some it’s inspirations in its strongly engaging sound; a proposition which could be described as Foo Fighters meets Sick Puppies meets Nirvana with a touch of Therapy? as a hint but one which invites attention as a fresh and thickly tenacious incitement.

From Norfolk, Astral Void’s seeds go back to 2007 and former Red Leaf front man Andy Martin who from performing solo wanted to put his ideas into a band format. After advertising online, Martin met and subsequently linked up with guitarist Chris Gedge (ex- Smoking Aces), the pair eventually finding further members to a band soon becoming a feature of the Norfolk and London live scene over the next couple of years before going on hiatus. That break ended in 2013, Martin and Gedge uniting again and pulling bassist Nathan Redgrave and drummer Liam Ramsker into the line-up. Soon new songs were forged as the band’s alternative/melodic rock fuelled enterprise began stirring things up again, the release of Blood from a Stone a potent poke on attention with its release a few weeks back.

The EP quickly entices ears and appetite with opener B.F.F, riffs almost stalking ears as rhythms rumble and grumble alongside. The harmonic vocals of Martin and Gedge soon after add an enticing temper to that confrontation, their presence in turn sparking fiery melodic enterprise from the guitar of Gedge; Martin’s craft on strings backing him as resourcefully as the former with his vocals for the latter. Emerging grooves have a Lost Prophets feel to their spiciness whilst the unpredictable twists and fluid changes within the landscape of the song simply captures the imagination to excite ears further.

It is a nature to the band’s songwriting which never misses a moment to impress, the following Bleed moving from an initial melodic caress accompanied by the great emotive tone in Martin’s voice and in turn warm harmonies, into a thicker proposal in sound and emotive weight as the band offer their bolder reflective essences. It never majorly breaks from its infectious croon, instead evolving it and giving it more fire in the belly with a touch of Jimmy Eat World coming to the fore. More of a grower than its predecessor, the song keeps a quickly bred appetite richly satisfied before the EP’s title track inflames it again with a similarly heated and angst lined proposal with a far more grungier heart, especially across its volatile chorus. The guitars border on flirtation throughout with their sonic craft and colour whilst rhythms make a moodier proposition matched by the instinctive snarl of Martin’s vocal delivery; all elements woven into an infectious canter and strain of temptation.

From one success to another as the excellent Dust soon establishes itself as a big favourite. Even from its first breath where a prowling bassline lures in discord equipped guitar teases and a vocal lure with a touch of the stalker to it too, the track has its claws into the passions, subsequently exploding into another grunge toned roar as its chorus demands full involvement. It’s galvanic success in turn seems to spark a feistier and more intensely energetic nature to the following verse and the gripping builds shaping the rest of the song’s contagion soaked blaze. Added joy within the tremendous encounter comes through the quirky slithers of guitar which get a major moment to shine just before the rousing finale, their Devo-esque revelry quite delicious.

There is no escaping the Nirvana like essence to the song either, a spice as enjoyable in closing track Pain for another big highlight of the release. A stirring blend of hard rock, grunge, and punk ‘n’ roll, the track reminds ears of fellow UK band Feud a little but is soon bawling at and stomping with the listener with its own raucousness, constantly inviting and receiving participation as shown by the office here.

It is a mighty end to a thoroughly satisfying and increasingly electrifying introduction to Astral Void. Having recently signed with Holier Than Thou Records, it is easy to expect good times in the future with a band that has all the attributes to impress and the imagination to be bigger and bolder ahead.

The Blood from a Stone EP is out now @ https://itunes.apple.com/gb/album/blood-from-a-stone-ep/id1009403772

https://www.facebook.com/AstralVoidBand   https://twitter.com/astralvoidband

Pete RingMaster 14/12/2015

Copyright RingMaster: MyFreeCopyright

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