Bootlegs – Ekki fyrir viðkvæma

Bootlegs_RingMasterReview

With the band recently inking a worldwide management deal with GlobMetal Promotions, we thought a look at Bootlegs’ recent album, Ekki fyrir viðkvæma, was in order.  Formed in 1986 and soon becoming one of the bigger names in Icelandic metal history over the next five years or so, Bootlegs released two highly praised albums in that period before disbanding in 1991. Since then the band has come and gone through a couple of brief comebacks before returning more permanently in 2012. Released last year, Ekki fyrir viðkvæma is the Reykjavik quartet’s latest incitement of raw and ferocious thrash metal, a release metal fans will not want to be missing out on.

WC Monster and their self-titled second album, released 1989 and 1990 respectively, certainly pushed Bootlegs from national success towards recognition upon the broader metal map as too appearances on compilation albums over the next couple of years and a live presence which saw the band break into the likes of Denmark. After coming to an end, the band did come back together for a big reunion concert which was recorded and subsequently released as a live album a few years later in 2006. Before its release though, Bootlegs were already active again, returning in 2004 for a two to three year presence.  Then in 2010, they arose again with original members back; the fresh return followed by releases of the band’s first two albums in 2014 via Minotauro Records. Last year saw Bootlegs enter the studio for their first recordings in over two decades, and emerging with the rather impressive and rousing Ekki fyrir viðkvæma.

With the vocal roars of guitarists Jón ‘Junior’ Símonarsson and Jón Örn ‘Nonni ‘ Sigurðsson to the fore and its energy and intensity driven by the rhythmic predation of bassist Ingimundur ‘Elli’ Ellert Þorkellsson and drummer Kristján ‘Stjuni’ Ásvaldsson, album and sound is old school, thrash in its irritable prime. It is unafraid to offer some punk attitude too, at times songs breaching a Suicidal Tendencies like punkiness, but for the main and in its individual style, Ekki Fyrir Viðkvæma is the perfect fit for tastes bred on the likes of Voivod, Exodus, Metallica, Slayer, and Subhumans.

Front_RingMasterReviewFrom the hungrily abrasive and riotous punk ‘n’ roll of Gervigleði er ógleði, the album has ears and appetite in league with its ferocious intent. It is a great opener quickly matched in success and persuasion by the thrash prowl of Fullur á Facebook. Grooves and hooks collude with rapier like swings from Stjuni in the second song, luring in the listener before uncaging a ravenous assault and devilment reminding of the crossover thrash sounds of the previously mentioned California hailing band.

As the likes of the senses nagging KúkurPissOgÆl and the glorious exploits of Bootlegs fyrir börnin come and go, it is fair to say that major surprises are few yet fierce temptation and unbridled enjoyment unmistakable and inescapable. Within the second of the two, there is also something very familiar about certain melodies and flavoursome hooks yet all escape comparison to anyone in particular as the track steals ears and passions with ease. There is an occasional sense of early Stam1na, passing essences fleetingly bringing the Finnish band to mind as the track provides the first major pinnacle within the album.

Tribute to Thrash is one of the few English sung tracks and more than lives up to its title, swinging along with a snarl and swagger while being as multi-flavoured as its predecessor. With some great guitar interplay involved it is followed by Eitur naðra which explores a darker and heavier canvas of textures and character as sonic flames vein its intimidating posture and tone. The track is just one more highly memorable proposal, whether stalking the listener or in a rampage of niggling riffs and the snakiest of toxic grooves, and swiftly irresistible as too the in the face predation and roar of the excellent Gjallarhorn.

By this point it is fair to say that Ekki fyrir viðkvæma had us hooked, sharing physical and vocal, where we could language wise, involvement with instinctive eagerness. The pair of Fórnarlamb tískunnar and Kjörkassasvín only add to the album’s temptation and uncompromising thrills; both tracks providing an immediate and merciless trespass as anthemic as they are grouchy. They are highly addictive proposals carrying an array of imagination pleasing twists and turns backed by the band’s individual craft; the latter especially intriguing and devilish in shape and resources.

Making less of a dramatic and lingering impression is Poser though fair to say that its antagonistic attack leaves only satisfaction in its wake before Haleluja adds its own creative incitement and SOD III uncages the album’s shortest and most hostile offering yet. Again both leave pleasure full without matching earlier triumphs with the closing Ó Reykjavík providing a final spirit arousing galvanic punk ‘n’ roll stomp to greedily devour.

It is a great end to an excellent release. Ekki fyrir viðkvæma might not be the best thrash album you will have heard this past year or so, though it is in with a real shout, but it is undoubtedly on the frontline of the most enjoyable and ridiculously easy to return to propositions you will come across.

Ekki fyrir viðkvæma is available @ https://bootlegsthrash.bandcamp.com/releases

http://www.facebook.com/bootlegsiceland

Pete RingMaster 11/05/2016

Copyright RingMaster: MyFreeCopyright

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

Khasm – Fenris

KHASM_Band_RingMasterReview

Hailing from Colmar in France, it is fair to say that French metallers Khasm have introduced themselves in fine style with debut EP, Fenris. Consisting of four tracks sculpted from the emotional rancor and creative hostilities of old school thrash and death metal, with additional caustic essences, the recently released tempest is a compelling and increasingly rousing incitement for ears and the band’s already growing reputation.

A quartet made up of vocalist Christophe, guitarist Philippe, bassist Matt, and drummer Laurent, Khasm draw on inspirations which include the likes of Feared, Hatesphere, Six Feet Under, and Hatebreed for their own uncompromising sonic trespasses. As swiftly shown by Fenris, there is rawness to their sound which fits their lyrical confrontations but equally an inescapable if punishing virulence bred in the instinctive thrash side of their creative character.

They are essences which instantly grab ears in the Jocke Skog (Feared, Clawfinger) produced EP and its title track. Opening up the release with a great throbbing bassline, the song is soon backing up its coaxing with a tide of inviting riffs and biting beats. Almost as swiftly it hits its thrash driven stride, badgering and snarling at the senses with a repetitive wave of riffs and Christophe’s vocal hostility. There are no surprises with the track but plenty to get eager teeth into and find a hungry appetite for.

FENRIS COVER_RingMasterReviewIt is the same with No More Justice, the song needing mere seconds to whet ears and the imagination with its opening bait of Clawfinger-esque riffery. That passing lure is soon lost in the predatory prowl and rhythmic stalking of the song, an intimidating invitation in its own right which in turn twists and turns into a web of sonic enterprise and galvanic hooks within the track’s open discontent.

The already impressing nature of the EP continues with Nightwatch, a track featuring the guest sonic prowess of Scar Symmetry’s Per Nilsson. It is probably the most inventive and boldly diverse track on the EP without losing the hellacious nature fuelling those around it. The song savages and seduces across its brazen sonic landscape but does miss the final spark as found its predecessors. Nevertheless, satisfaction is thick and another aspect to the Khasm sound and character welcomed before the outstanding Turmoil brings it all to a thunderous end.

The closer opens on a lone reflective vocal, which soon provides the trigger to a senses harrying pressure of rapacious riffs and irritable rhythms, they matched in tone and presence by vocal rabidity and rebel rousing. Subsequent grooves only add to the thrilling drama and assaultive tenacity of band and track. It is a final addictive roar of punk ‘n’ thrash, the pinnacle of the EP and Khasm showing they can rock ‘n’ roll with the best of them.

Fenris is a powerful and memorable base for Khasm to spring forward from with anticipation for their next step already impatient.

The Fenris EP is out now on CD and digitally @ https://khasm.bandcamp.com/releases

https://www.facebook.com/khasmofficial

Pete RingMaster 05/05/2016

Copyright RingMaster: MyFreeCopyright

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

Scolopendra – Cycles

Scolopendra_RingMasterReview

Showing themselves another welcome creative fury of sound and adventure from the French metal scene, Paris hailing Scolopendra release their debut album this month. Their ravenous incitement comes in the shape of Cycles, a maelstrom of varied metal flavours and hostilities creating an increasingly enthralling tempest as brutal as it is galvanic.

Formed in 2007, Scolopendra is cored by the brothers, vocalist Maxime “Pantin” L’hoir and guitarist Thomas “Lord Noué” L’hoir, and also bassist Olivier “Capitaine” Le Lin. Initially their sound was thrash and hardcore based before embracing a more black metal fuelled direction. By the time of first EP Apostasy Beyond Sanity in 2011, the band had developed a heavier more voracious blend of extreme and death metal in their sound. Those early essences still emerge in the confrontations making up Cycles with plenty of new spices included, the band’s sound in many ways having found its true character whilst hinting at the potential of even more to explore and come too.

Cycles opens with the industrial toned instrumental Dream Sequences; an aural hallucinogenic immersion for ears and imagination with haunting ambiences and portentous shadows. It transports the listener into the waiting storm of Purity and its initial thrash bred tide of hungry riffs and merciless rhythms. Quickly the track hits its infectious stride and almost as swiftly turns into a bedlamic assault of nagging hooks, irritable grooves, and bruising rhythmic predation. As the music, Maxime’s raw vocal tones grate and allure in equal measure, prowling the emerging web of sonic and melodic dexterity flanking the grouchy beast.

It is a great full start to the album compellingly backed by Awake Nightmare. A less forceful but just as intimidating proposal, the track initially entices with melodic hooks and gentle temptation before uncaging its own creative animus of intent and animosity shaped with more virulent riffs and toxic grooves. Cycles is another encounter this month which maybe is not creating something majorly new yet as this song alone proves, Scolopendra create raw and seriously enticing incitements which are bursting with fresh and distinctly imaginative character.

Spartan Killer Instinct skirts the senses next, before rushing venomously at them with thrash and death metal endeavour to the fore. As all tracks though, it soon reveals an individual web of intriguing and unpredictable creative rancor, ultimately arriving at a moment of swinging violent flirtation which has its victim gleefully enraptured before the barbarity consumes all over again. It is sweet punishment matched by that of Morbid Psychosis. From a ravenous atmospheric bridging the two songs, a glimpse into the turmoil infesting the world today, the new track bristles with hardcore ire and death metal pestilence. It is a mercurial proposition though; at times an infectious flirtation with great repetitive treads to its tempting and in other times a nasty but riveting nest of sonic discord snaking through song and ears.

SCOLOPENDRA ARTWORK _RingMasterReviewFrom one great track to another as Mental Torture takes over with its brutish nostrils flared as scything beats mercilessly lead the way. The hellacious invasion only escalates as another horde of savage riffs and belligerent rhythms join the corrosive surge of vocal discontent. Though not as open as the sounds around them, there is potent variety to the vocal trespasses across the album which cleverly tempers the general abrasiveness of their aggressive texture. Here it is irresistibly contagious despite its viciousness before the track departs for the emotional and physical jaundice of Psychic Paralysis and in turn the brief atmospheric drama and turbulence of End of Tunnels. Both entice and spark the imagination but are soon overshadowed by the two parts of Pinhole of Diffraction. Part One is a bestial corrosion of the senses, rampaging rhythms and niggling riffs courting the antipathy of the vocals. It soon shows a bold and schizophrenic imagination though which simply ignites an already keen appetite for the release. The track is an off-kilter shuffle of enterprise and barbarity emulated with fresh zeal and rigour by the similarly psychotic and creatively maniacal Part Two.

The album is concluded by firstly Psychotic Mass Murderer, a body of sound echoing thoughts the imagination comes up with from the title alone. Its magnetic swagger and Pantera-esque swing fits perfectly with the loathing fuelled heart of the track, grooves an insatiable devilment received with matching hunger while vocals are the imposing rein on the track’s virulent side. Its successor, Soul Dissolution completes the release with an ambient trespass of static and darkly emotive suggestiveness for a low key but evocative end to an increasingly gripping encounter.

Cycles leaves ears and thoughts throbbing and keen to know more about a band which is heading the right way to become a voracious devourer of global spotlights at some point in their ascent.

Cycles is released 20th May across most online stores.

https://www.facebook.com/scolopendraofficial

Pete RingMaster 05/05/2016

Copyright RingMaster: MyFreeCopyright

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

Athrox – Are You Alive?

Athrox_RingMasterReview

Athrox is an Italian metal band creating an ear grabbing roar from the heavy and thrash strains of the genre and Are You Alive? is their debut album showing plenty of reasons as to why the band is beginning to create a stir. Their sound is not particularly unique, it is probably fair to say, yet each song on their new release rewards ears with a fresh and fiery proposal easy to find a healthy appetite for.

Officially formed in the summer of 2014, Athrox was the brainchild of guitarist Sandro “Syro” Seravalle and drummer Alessandro “Aroon” Brandi who had already worked together across various musical projects since 2008. Swiftly the pair recruited guitarist Francesco “Frank” Capitoni and bassist Andrea “Lobo” Capitani with the band’s line-up completed the following year with the addition of vocalist Giancarlo “Ian” Picchianti. 2015 also saw the band settling down to hone their sound and write the songs now gracing Are You Alive?; a concept album looking at the problems that afflict humanity such as war and the suffering of children caught within and the free thought enslaving control of mass media. “Are You Alive? a rhetorical question that we send to people, all people slave of this corrupt society.”

The Grosseto hailing band opens the album up with Losing Your Gods, a short atmosphere setting instrumental as portentous as it is a potent invitation into the release.  Straight away, the thrash inspired side of the band’s sound and adventure stirs up the appetite, feeding it further with Frozen Here. The second track throws up a great incitement of hungry riffs and badgering rhythms from the start, spicy grooves and sonic enterprise entangling that robust spine of the song soon after. Vocally Picchianti is a match to the evolution and enjoyable creative moods of the sound around him; at times a growling antagonist and within a breath uncaging a more traditional heavy metal delivery.

Its varied landscape is replaced by the turbulence of battle for Warstorm; a Metallica meets Iron Maiden like confrontation as enjoyable in its aggressive animosity as it is in the melodic reflection which skilfully tempers the fury. It is a common trait of Are You Alive?, the merging of contrasting intensities, emotions, and flavours; a blend providing each song with individual yet similarly determined characters that becomes a rousing incitement and one of the album’s biggest triumphs in this particular moment.

art_RingMasterReviewGates Of Death stalks ears and imagination next. Straight away it prowls the senses with an intimidating and intriguing air as riffs and rhythms venomously collude while fiery grooves lay a web for the impressing vocals to share their narrative. As with its predecessors, there is a real drama to the sound and its presence too which as much as anything goes a long way to creating a powerful persuasion emulated once again in the suggestive melodic croon of Remember The Loneliness. Warm yet melancholic from its first breath, the track brews a more tempestuous climate over time which eventfully sparks an anthemic thrash fuelled canter easy to get a touch greedy for. This is just the first movement of the excellent encounter though, the song continuing to swing through an array of creative and emotionally fired attacks from melodic seducing to volatile ferocity.

Through the melodic serenade of Pretend You and the corrosive ferociousness of My Downfall, band and album keeps attention gripped as raw flames of balladry and senses wilting energy respectively consume ears. The second of the two is another more thrash favoured proposal and for personal tastes, they are the tracks within Are You Alive? which stir the strongest reactions of pleasure though no song leaves enjoyment a shallow pool.

A great Testament feel tones the following Waiting For The Eden as it uncages another bullish challenge of fearsome rhythms and spiky riffs within an acidic weave of juicy grooves and sonic enticing. Within this an ear pleasing vine of individual guitar prowess writhes across the song’s flavoursome canvas and a success swiftly matched by that of the feverish End Of Days which leaves the body breathless and hungry for more by its close before the album’s title track steals attention with its own raw and magnetic blaze of ravenous rock ‘n’ roll.

The album is brought to a close by the melodic tempting of Obsession, a last showing of the variety colouring songs and release as a whole within its heavy metal seeded soundscape of voice and captivating sound and a fine end to a thoroughly enjoyable proposition. As suggested Are You Alive? is woven from familiar aural threads and textures but only presents an ear pleasing proposal which might just be a game changer for Athrox in regard to wider found attention.

Are You Alive? is out now via Red Cat Records @ http://www.redcatpromotion.com/ita_store.html and across most online stores.

http://www.athroxofficial.com/   https://www.facebook.com/athroxofficial

Pete RingMaster 20/04/2016

Copyright RingMaster: MyFreeCopyright

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

The Bendal Interlude – Reign of the Unblinking Eye

bendalInterlude_RingMasterReview

Attempting to build on the reputation and acclaim earned through their previous clutch of EPs, British metallers The Bendal Interlude unleash their debut album; a cauldron of sludge, stoner, and blues with psych and thrash metal to sear and ignite the senses. The release is a beast of a proposition; an attention grabber reinforcing and pushing the already firm stature of the Liverpool quartet but maybe one not quite seeing the band going far enough with the new bold elements of flavour and imagination to steer them away from similarly designed offerings over recent times. Nevertheless Reign of the Unblinking Eye is a fiercely enticing and enjoyably rousing slab of predacious riffs, salacious grooves, and thumping rhythmic aggression.

Drawing on inspirations from bands such as Melvins, Crowbar, and Cathedral, The Bendal Interlude have increasingly drawn fans and attention through a quartet of releases, starting with an early Demo followed by the Foal Recordings EP in 2010, a Self-Titled EP the following year, and the Odourama EP in 2013, as well as a ferocious live presence which has seen the band share stages with the likes of Sunn O))), Earth, Orange Goblin, COC, Church of Misery, Red Fang and more. They have also made highly successful appearances at festivals like Hammerfest, Sonisphere, and Desertfest to persistently lure keen spotlights to their emergence.

For Reign of the Unblinking Eye, The Bendal Interlude took a new tact in its creation; guitarist Stu Taylor explaining recently, “We took a shift in direction when writing for the album Reign of The Unblinking Eye. The songs are much more elaborate and have a lot more going on sound-wise than previous releases. We played with time signatures, guitar harmonies, key changes, even laying down a 10-part resonator guitar part. It is by far the heaviest but also most dynamic thing we’ve written to date.” His words are quickly backed up by the album and a collection of songs which in contrast to the “abstract collection of ideas and imagery based around loose themes” which coloured previous releases, lyrically carry a more “autobiographical approach”.

art_RingMasterReviewBuckfast For Breakfast opens the album, an easily relatable repetitive vocal sample the spark to a wall of cantankerous riffs and rapier like rhythms. It is a senses trespassing confrontation, swiftly bound and veined by wiry grooves with richly engaging toxicity to their wandering sonic hands. The raw vocal squalling of Nat Gavin adds to the intrusive hostility tempering the melodic flirtation and the instinctive swing to the track’s stalking gait. It is an ear gripping start firmly backed by the blues intoxication and fiery rock ‘n’ roll of Losing Things. With Gavin’s caustic delivery, tracks are inevitably going to challenge with attitude loaded animosity yet as proven here, The Bendal Interlude merge it skilfully with a melodic/stoner prowess and addictive sonic contagion which gives every assault a captivating and inviting personality.

Next up is The Unblinking Eye and its initial electronically atmospheric suggestiveness which the track evolves into its own individual stomp of classic/groove metal fuelled ferociousness. It recruits body and imagination with consummate ease, the virulence of the grooves and infectious swing and lead hook of the track swiftly installing it as a major highlight within the album. The Bendal Interlude are rocking like a beast on heat in song and album, sparking similar reactions in the instincts and spirit of the listener.

Efram’s Hands provides a brooding groove entangled landscape of ravenous shadows and barbarous energy straight after whilst Pint of Bodies grumbles and rumbles with sonic and rhythmic rabidity whilst infusing a scent of enterprise not too removed from glam rock. Subsequently descending on the senses with a Down meets Cathedral like animosity before shifting again into an evocative melodic calm, it and its predecessor both whip up more greed for the album’s trespass before Creeks Gigantic prowls in with a thunderous rhythmic swagger led by the bass groove of Tommy Lloyd quickly matched by the resourceful craft and adventure of Taylors’ invention on guitar strings. Given further incendiary bite by the spiky beats of Dave Archer, the track is an imposingly catchy and intrusive weave of contrasting and dynamic textures finding kinship in the tracks’ vocal irritability and tempestuous air.

Anthemic and tenaciously delivered rhythms again lead an addictive and predictably groove infested persuasion as Triumph of Fortitudo steps in with bruising intensity and Cancer Bats like punk lined antagonism before stepping aside for the more merciful but equally commanding rock ‘n roll of The Block. Drama fuels every crawling riff and the doom coated breath which soaks a track layered with acidic grooving and vocal rancor. Maybe not as striking on personal tastes as other tracks within Reign of the Unblinking Eye, it still leaves satisfaction full; success sought and easily found by the closing emotional and creative animus of R.I.P.  An at times corrosive venture through varied styles and flavours within a core heavy rock storm, the song is a fascinating and increasingly impressing end to a similarly impacting release.

As suggested earlier, The Bendal Interlude could have dared to push their imagination even further but every play of Reign of the Unblinking Eye certainly reveals new twists within the all-consuming invasion of sound. Time and attention only benefits an appreciation of an instantly pleasing album which has the psyche and passions enslaved by crucial grooves in no time; a success no one can avoid or dismiss.

Reign of the Unblinking Eye is out now via Black Bow Records @ http://blackbowrecords.bigcartel.com/product/the-bendal-interlude-the-reign-of-the-unblinking-eye

https://www.facebook.com/THEBENDALINTERLUDE   http://thebendalinterlude.bandcamp.com/

Pete RingMaster 01/04/2016

Copyright RingMaster: MyFreeCopyright

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

Standing before the jaws of time: talking Exumer and Raging Tides with Mem V. Stein

12400934_1259812314045796_5365349834438712260_n

Following the release of Exumer’s ferocious and thrilling new album The Raging Tides, a fearsome and virulent proposition which confirmed the US Thrashers as one inimitably uncompromising force of sound and energy, we grabbed the opportunity to steal a slab of time with band founder and vocalist Mem V. Stein. Kindly he let us in on the creation and background to the band’s latest protagonist for ears and imagination as well as providing insight into his and the band’s creative heart.

Having chatted with Mem back in 2012 around the release of previous album Fire & Damnation, we asked him to bring us up to date with all things Exumer between the two releases?

art

Next we asked Mem if there was any specific aim in regard to the writing and character behind The Raging Tides

There is no escaping an evolution and movement in sound between albums, and fair to say The Raging Tides was as open in a creative leap and shift as any Exumer release to date. So we asked Mem where he most saw the differences and growth of sound between the latest albums and Fire & Damnation.

How about the edge and snarl in what is for The RingMaster Review, the band’s most venomous and compromising encounter musically, as well as lyrically, so far.

exumer_RingMasterReview

Staying with the lyrics, and what feels like a slab of unrest and defiance, as well as an raw commentary on, the injustices and sufferings dealt upon the ’common’ man today, Mem delved for us into the main inspirations to the lyrical side of tracks and to the overall theme behind The Raging Tides and whether the band has become angrier with each release and song over time, emotionally and sonically.

The Raging Tides saw Exumer link up with producer/engineer Waldemar Soychta at Waldstreet Sound in Dortmund again, so we wanted to know what about what he brings to the recording experience.

It seemed strange to say it about a band formed in 1985, but we wonder that with The Raging Tides, Exumer had truly slipped into its creative skin; its sound coming of age?

exumer2_RingMasterReview

It is fair to say that Exumer’s new encounter has lit a fuse for a highly successful and no doubt eventful 2016 and beyond for Exumer. So we had to ask what was in store for fans and band across the rest of the year.

Finally we simply left Mem to add any final thoughts which had a message for Exumer’s British fans.

Our big thanks to Mem for sharing his time with us and for letting us into the heart of band and The Raging Tides. Check out the band and all their upcoming tour and show news @

https://www.facebook.com/exumerofficial/

http://www.exumer.de/   https://twitter.com/exumerofficial

Pete RingMaster
The RingMaster Review 15/03/2016

Copyright RingMaster: MyFreeCopyright

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

 

Anger As Art – Ad Mortem Festinamus

AAA_RingMasterReview

Listening to and basking in the furious unbridled thrash spawned onslaught of Hubris, Inc. back in 2013, there was a moment where thoughts wondered where Anger As Art could go from there to eclipse the might of their acclaimed release. Quite simply it seems, the Californian quartet racked every element of their sound, from aggression and creative tenacity to adrenaline and individual imagination and come up with another inevitable crowd pleaser in Ad Mortem Festinamus.

Formed in 2004 by vocalist/guitarist Steve Gaines (Abattoir, Bloodlust, Tactics, Bitch, Dreams of Damnation, Pagan War Machine), Anger Of Art is a band unafraid of showing its roots whilst savaging ears with its own individual collusion of raw thrash and insatiable speed metal. The years and releases have seen the band becomes more creatively bestial and gripping, as proven by 2013 album Hubris, Inc. and even more imposingly now within its ravenous successor Ad Mortem Festinamus. Equally, the band’s melodic and sonic enterprise, which springs as effortlessly from the band as senses crushing ferocity, has also evolved into something as insatiable and creatively virulent to captivate like a high class hooker within a war driven landscape within their new offering. In Ad Mortem Festinamus every element of the band has hit new heights to emerge a psyche twisting irreverence of vicious rock ‘n’ roll which for us Anger As Art’s finest moment yet.

It all starts with the album’s title track, a relatively brief incantation of voice and portentous ambience which soon breeds an imposing sinister lit tapestry of intrigue laced with a pent up hostility which is just waiting to erupt, something it does in Pissing On Your Grave. The second track initially lays down a bed of rhythmic and sonic traps before bursting with unrestrained animosity through ears, in turn marauding through emotions and sparking the imagination. Gaines’ vocals leads the looting of the senses amidst a torrent of crushing riffs and searing grooves offered by his and Dan Oliverio’s craft upon guitar strings. Rhythmically the swings of drummer Rob Alaniz are welcomingly intensive whilst the bass of Eric Bryan incites primal instincts, each adding to a tremendous and spirit rousing encounter more than matched by the following Aim For The Heart. Just as predacious and uncompromising, the track rhythmically picks at the already placed bruises whilst sizzling on the senses with sonic imagination and a great blend of vocal rapacity across the band.

art_RingMasterReviewAs expected, the pair of Tombward and L.A. State Of Mind show no mercy next, the first the most grievously enticing and volatile tempest so far upon the album whilst its successor is barbarous punk infused metal out to devour and annihilate anything in its way. Both tracks find a fresh gear for the album in their individual ways, the twists of imagination in the first a rival for the sheer irresistible and brutal rock ‘n’ roll of the second, though even so, the pair do get a touch over shaded by the similarly frenzied and venomous Unknowing, Undead. The great physically and emotionally caustic vocal pairing of Gaines and Bryan roar spitefully within the song’s blistering storm but just as easily wear the web of sonic invention which escapes the guitars to magnetic effect around them.

The album is nothing left than a series of highs but an inescapable pinnacle is the rousing anthem of Hammer, Blade, and Twisting Fire. It is a sure fire call to arms for spirit and energy driven by a relentless and deliciously nagging bassline. The track is like a brawling celebration on the eve of battle, with liquor like hooks and grooves extra intoxication before We Hurry Into Death becomes the vehicle for ears and imagination to dive headlong into a barrage of adversarial thrash fuelled rancor.

Anger As Art barely gives time for a breath to be swallowed let alone calm to approach body and emotions, Two Minutes Hate living up to an extended version of its title with its unsympathetic and combative animus of sound and intent. A moment to regroup is given by Praise Of The Firehead as it opens with a great melodic caress of guitar aligned to an earnest lure of clean vocals. In time though, its heart and underlying intensity bursts free in a mighty bellow with the song continuing to merge mellower reflective moments with angst soaked crescendos thereafter. Wrapped in volcanic melodic flames, the song, if without quite lighting personal tastes as forcibly as many of its predecessors, easily captivates as the band reveal further inventive exploration of ideas.

A final trespass of tumultuous energy and imaginative adventure is uncaged by Dim Carcosa; the track the link between the band’s unrestrained thrash intrusions and the more tenacious imagination of the last song, and ultimately another pinnacle of Ad Mortem Festinamus.

In many ways, fans know what they will get with Anger As Art, but with each release the band always surprises and provides a fresh encounter as they push themselves. There are many reasons why thrash metal excites so many of us and now Ad Mortem Festinamus provides yet another unopposed excuse to express that ardour.

Ad Mortem Festinamus is released March 11th via Old School Metal Records across most online stores.

http://www.angerasart.com   https://www.facebook.com/angerasart/   https://twitter.com/AngerAsArt1

Pete RingMaster 11/03/2016

Copyright RingMaster: MyFreeCopyright

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