Kilonova – Omnicide

As the year continues to unfold, it is easy to see 2019 being a marker moment for emerging UK metallers, Kilonova. Formed last year, the band has already supported Finnish outfit Lost Society in the opening moments of this one and now to continue a potent few months are set to unleash their debut EP, Omnicide.

Newcastle Upon Tyne hailing, Kilonova breed their sound in thrash metal but as their new EP reveals, there is plenty more to its voracious proposition including a definite punk snarl. Indeed there are certain moments within Omnicide where we had the thought that if Siouxsie and The Banshees had turned to thrash, it would have not been a million miles away from the threat and rousing incitement heard within the EP.

Descent opens up the release, its portentous breath looming in with increasing menace as riffs gather and emerge from within its brief but potent threat. Eventually they trigger the rise of Straight to Hell, the second track stalking ears before launching a primal yet resourceful attack led by the predacious riffs of guitarist Jonny Sloan and the equally voracious tones of vocalist Ellen Hill. The barbarously swinging rhythms of drummer Steve Rouse and the heavily prowling bassline of Joe Bambrick simply add to the compelling trespass, the track becoming more predatory and rousing by each anthemic thrash fuelled second.

The EP’s first single, it makes for a great full start to Omnicide, one hungrily matched by Hang the Hangman. A mere breath separates ears and its ravening insurgency; guitars and rhythms again a furious accosting of the senses as Hill uncages her eventful caustic attack. Feral and virulent, the track rabidly hit the spot as band and release continued to arouse attention and appetite though it is swiftly outdone by the outstanding Own Enemy. Threat and drama clouds its presence from the first creative gasp, its predacious prowl soon inspiring those earlier mentioned punk suggestions, the song only escalating its fearsome intent and aggression by the inventive circle of enterprise. Easily our favourite moment within the EP, the song also provides an exciting glimpse of uniqueness the band could and should continue to explore.

The equally compelling Blood in the Water similarly breeds stirring freshness in imagination and endeavour to elevate its thrash instincts, the treat of unpredictability and imagination challenging and chasing the senses with the punk/gothic rock hues which had already captivated in its predecessor; both tracks together forging the striking pinnacle of the release before Ivory Tower brings Omnicide to a fine conclusion. The final track is unbridled fury from its first roar but another embracing the growing invention within the release even if its thrash heart still drives its enterprise.

Fiercely enjoyable on the first listen and only more striking and thrilling thereon in, Omnicide is a major declaration of presence and intent by Kilonova; a band which as they ignite the uniqueness teasing within their first EP have what it takes to be a potent protagonist in UK metal.

Omnicide is released July 12th across most stores.

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Pete RingMaster 11/07/2019

Copyright RingMaster: MyFreeCopyright

Xentrix – Bury The Pain

It cannot be mere coincidence that plenty of the most striking and indeed enjoyable thrash bred encounters in recent times have come from bands which emerged in the genre’s youthful days, subsequently departed and have made potent returns in recent years. British thrashers Xentrix are another falling into that category and now lighting up the senses with a thrilling new proposition. Bury The Pain is the band’s fifth full-length, a release revelling in the many familiar throes of thrash metal but essences shaped in the band’s own inimitable character and imagination.

Formed by guitarist Chris Astley in 1985, Xentrix left their mark through their 1989 Roadrunner Records released debut album Shattered Existence, continuing to ingrain it upon the UK metal scene with following releases and a live force which saw them share stages with the likes of Testament, Sacred Reich, Annihilator, Sepultura, and Tankard. After three more well-received albums, the band went on hiatus before returning in 2013 and lighting up that year’s Bloodstock festival. With new vocalist/guitarist Jay Walsh leading the attack alongside the equally potent forces of guitarist Kristian Havard, bassist Chris Shires and drummer Dennis Gasser, Xentrix has again simply created another stirring strike upon the senses with Bury The Pain.

The album unleashes its title track first up, Bury the Pain luring attention with melodic wiring around a bubbling predation of sound. By the tempting chord rhythms brew their aggression, eventually sparking tides of rapacious riffs amidst their own voracious intent. Walsh’s equally tenacious tones steer the trespass, the song continuing to involve melodic and rousing enterprise within the virulent offensive.

Cover art Dan Goldsworthy

It is a great start to the album swiftly matched and eclipsed by the fiery discontent of the outstanding There Will Be Consequences; an anthemic protagonist stirring up the spirit with its gang hollering and nagging dynamics. Accelerations in physical and vocal antipathy only add to its prowess and persuasion before Bleeding Out casts its own melodically woven web of enmity upon ears; a netting to creative and bodily irritability which is just as menacingly compelling.

Both The Truth Lies Buried and the following Let the World Burn tighten the grip of the album, the first emerging from elegant melodic intimation to ravage with control and imagination with its successor hen accosting the senses with a far more untamed demeanour and truculence for matching success and captivation. It is magnetism just as potent within The Red Mist Descends, another track rising from a classic melodic coaxing to uncage creative hostility and viral animosity. As suggested there is plenty within all tracks which is bred from familiar trash ingredients but as this trio epitomise alone, each launches individual and magnetically enterprising propositions.

It is dexterity and fertility just as open and strong within the predatory instincts of World of Mouth, the song a seriously nagging assault of pleasure, and similarly the addictively harassing exploits of Deathless and the Divine. Feral bordering on bestial, the latter leaves no tantalising stone of hostility unturned as not for the first or last time individual craft and imagination unite.

The final pairing of The One You Fear and Evil by Design provides a closure as striking as the album’s beginnings. The first is another which initially tempts with melodic radiance, this gentle caress the lure into a hellacious onslaught of sound and intent providing a multi-textured and flavoured tempest to indulge in. The closer in turn invades with animalistic nostrils flared and creative acrimony freed, savaging and seducing with matching rancour especially within its latter raptorial prowl.

It is a fine end to one mercilessly stirring release. Xentrix are heavier and more ruthless than ever before and at their most compelling with Bury The Pain laying down another mighty notch for British thrash metal.

Bury The Pain is available now through Listenable Records; available @ https://www.shop-listenable.net/en/268_xentrix and https://listenable-records.bandcamp.com/album/bury-the-pain

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Pete RingMaster 25/06/2019

Copyright RingMaster: MyFreeCopyright

Infrared – Back To The Warehouse

Pic By Gord Weber

The Back To The Warehouse EP sees Canadian thrashers Infrared releasing in their words “… the last of the old songs that we felt should see the light of day.” It comes as the band prepares to record a new album for an anticipated 2020 release and we can only agree that its 4 originals and one cover of an Iron Maiden song are certainly deserving of this rather enjoyable outing.

Ottawa hailing Infrared originally rose up back in the mid-eighties as the likes of Metallica, Megadeth, Slayer, and Anthrax were shaping the attention on thrash metal. Embracing that Bay Area inspiration, Infrared released the R.I.P. EP in 1988 before going on an extended hiatus the following year. 27 years on the band united with original members in vocalist/guitarist Armin Kamal, guitarist Kirk Gidley, and drummer Alain Groulx recruiting bassist Mike Forbes to replace the other band founder, Shawn Thompson who had since those early days moved to Miami. A debut album in No Peace soon followed with its successor, Saviours, released last year.

Back To The Warehouse echoes that time when the Big 4 were driving thrash, the likes of Testament, Exodus, and SOD equally making an open inspiration to the tracks within it yet it has a freshness to its particularly individual nostalgia which is not out of place with anything new being cast by current thrashers.

The EP opens up with Meet My Standards and instantly hits its stride and groove as riffs and rhythms cast a familiar thrash incitement upon the senses. Its voracious swing just as urgently got under the skin, setting up body and appetite for the subsequent trespass of familiar yet as suggested freshly animated thrash enterprise. As arousing as its assault is there is also a predatory essence which particularly stalks the listener in certain moments before One Mouth Two Faces brings its own rapacious canter and character to the fore. Forbes’ bass particularly grabbed the appetite but no more than the insurgent riffs and intrepid wires of the guitars and Kamal’s potent tones, it all resulting in a track which easily splattered the spot.

Hate Today, Despise Tomorrow launches on another great rhythmic incitement from Groulx, his tenacious and galvanic dynamics sparking similar exploits in the exploits of Gidley and Kamal as the song expanded its infectious character and enterprise. With a Skids like tinge to its hooks and real individuality to the craft of the guitars, the song takes favourite track honours though it is soon seriously harassed for the title by the just as outstanding Animated Realities. With a punk-esque strain to its hooks and manic edge to its unpredictable nature, the song simply stirred the passions and a greed for more.

Infrared’s cover of Maiden’s Wrathchild is a sure and enjoyable proposition which fans of the latter will embrace with ease but against the prowess of the previous four songs just did not light the fires here. Even so it makes an alluring end to a great EP.

We admit Back To The Warehouse is our introduction to Infrared and we cannot help feeling that we have seriously missed out if the EP’s songs are the last of their arsenal deserving release.  As for the next Infrared album, it cannot come soon enough.

Back To The Warehouse is out now.

https://www.facebook.com/infraredmetal/   https://twitter.com/infraredmetal   http://infraredmetal.ca/

Pete RingMaster 21/06/2019

Copyright RingMaster: MyFreeCopyright

Kneel – Interstice

Open mouthed, bewitched and gasping for breath is not a regular occurrence despite having the honour to hear so many impressive and thrilling encounters at The RR but that is exactly how Interstice from Kneel left us. It is an album which devoured attention as it engulfed the senses, a cauldron of sound and craft which preys on ears and imagination like few others.

Kneel is the solo project of Pedro Mau (ex-Kneeldown, Wells Valley) and Interstice a collection of creative traps written between 2011 and 2013 and now re-released in 2019 through Pulmonary Records. Offering nine maelstroms of hardcore, mathcore, and thrash metal, though that truly only suggests at the full body and diversity of the album, Interstice is as fresh, adventurous, and unique as anything heard in recent times or is likely to be embraced this year. Upon the release, Mau is joined by vocalist Filipe Correia (Wells Valley, Concealment) but everything else about the album is all its Portuguese creator; an artist leaving no stone of unpredictability unturned and layer of creative risk unexplored.

As the album’s opening track swiftly reveals, Mau’s songs are as virulently infectious as they are almost barbarously bold and unconcerned with expected structures and boundaries. Murmurs immediately exploded on the senses, rhythms plundering their welcome with almost toxic prowess as guitars uncaged their own caustic squall. Already though there is an instinctive swing to it all, an inviting lure which only blossoms further as nagging grooves and prowling beats greet the calmer twist of the track just as Correia’s feral tones erupt. Magnetism lines every moment, attention and appetite soon gripped by the drama and enterprise making up the track’s numerous and connected snares. Equally quickly it proves hard to offer up a reference to give a clear clue to the sounds conjured by Mau, but in some ways the likes of Meshuggah, Converge, Daughters, The Dillinger Escape Plan, and Coilguns make good hints to the fascination of Kneel.

The outstanding start is easily backed by Amend, its initial surge hardcore shaped but again soon the kaleidoscopic prowess of the project’s sound unravels as too the senses before its inspiring trespass. Wires of guitar swarm around rhythmic predation and already subservient ears; the track only increasing its slavery as its body writhes with fresh and unique spirals of textures and sound, a sonic vortex just as vibrant and viral within the barbarous assault of Occlusion. Straightaway it violently ravages, never diluting its marauding as it breaks through new nagging enterprise and imagination harassing ideation; Correia equally as uncompromising and compelling within the vicious tempest.

Lessening stalks and ransacks the senses next, Mau’s infernal grooves proving irresistible and melodic dissonance corrosive around rabidly biting rhythms while the two minutes of Absence simply haunts the imagination from its increasingly darkening void. The track allows a long needed breath to be taken, at least for its first half as it subsequently erupts with its own sonic cancer before Cloak dances on expectations with its quick footed dynamics and rapier like incursions. As within every track though, nothing can be taken for granted, its body an edacious helix of imagination and craft.

Both Debris with its flesh snagging jaw and jagged textures and the creative tyranny of Thrall simply gripped and squeezed greater eager attention upon Interstice, each an inescapable maze of skill and nonconformity which if we admit they did not quite match up to their predecessors tells how stunning those earlier tracks.

The album closes up with Sovereignty, a slab of cacophonous rock ‘n’ roll cast upon another hungrily engrossing emprise of convulsing textures, lustful craft, and rapturous imagination. Interstice is a rhapsody of sound, certainly one as vicious and fearsome as it is enthralling but a challenge which takes the listener to new brave and exciting places.

Interstice is out now via Pulmonary Records @ https://pulmonaryrecords.bandcamp.com/album/interstice

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Pete RingMaster 01/06/2019

Copyright RingMaster: MyFreeCopyright

Overt Enemy – Inception

Ahead of a new EP, US thrashers Overt Enemy have just officially released their debut, Inception on Bandcamp and if you missed it upon its initial outing last year via Confused Records there is little excuse to make the same mistake again. Acknowledged as “the best Slayer tribute in North America” the Mission, Texas based band provides three original tracks upon their first EP which command, no demand eager attention.

Formed in 2013, Overt Enemy have proceeded to share stages with the likes of Accused A.D., Angkor Wat, Confused, Panteon, X.I.L, Severance, and Sons of Texas, their reputation growing along with an inclination to focus on creating original music. As mentioned the band is currently working on their follow-up release, Possession being recorded with producer/engineer Joshua Lopez (Immortal Guardian), and you can imagine that its anticipation will only be increased with this reboot of Inception.

The EP opens up with Mercenary and from the off has ears involved as wiry strands of enticing guitars cloak disorder carrying samples. Swiftly the suggestive threat and intrigue of those initial lures are taken up by rolling beats, drummer Jaime Ayala further fuelling the song’s immediate drama before the great trespassing vocals of Leo Ortiz launch their threat and accusation in the midst of his and fellow guitarist Rob Hahn’s riffs and incursive grooves. It is a great, rousing start to the release only enhanced by the throbbing grumbling mumble of Slayerella’s brooding bass.

Political Cancer follows with the bass an instant dark incitement before the citric melodic enterprise of guitar wind around surging riffs. Though there is an immediate urgency to the song it manages to prowl, indeed stalk the listener throughout as Ortiz’s tones harass and arouse. In time the track does throw off its reins and goes for the jugular to only escalate its incitement and the resulting pleasure.

The EP’s title track is next, Inception sidling up to the listener on a web of guitar wiring courted by heavy breaths. Enticement and threat colours every bit of the coaxing, its intrigue generating greater interest and involvement as the instrumental invades, intimates, and then slips away leaving thoughts locked in their own conjuring.

Completed by radio edits of the first two tracks, Inception is a potent and thickly enjoyable introduction to Overt Enemy. They may have a great reputation playing Slayer tracks but if this EP is a sign of things to come they will be breeding one just as strong for their own invention.

The Inception EP is available now @

http://overtenemy.com/   https://www.facebook.com/overtenemy/   https://twitter.com/OvertEnemyBand

Pete RingMaster 12/03/2019

Copyright RingMaster: MyFreeCopyright

Abstract Rapture – Hollow Motion

Formed in 2001, Luxembourg hailing metallers Abstract Rapture especially drew praise with the release of their album Earthcrush. Now seven years after its successful release and “significant” line-up changes the band have its successor primed to re-stir attention and such the craft and enterprise within Hollow Motion it is easy to see the quintet courting the biggest spotlights and plaudits.

Woven in a tapestry of metal bred flavours courting everything from groove and nu to death and thrash metal, the band’s sound and new album is a cauldron of adventure and imagination embracing the familiar and unique. Hollow Motion is a dark melancholic proposition yet a beast with a discontent fuelled fire in its belly and attitude nurtured tension in its breath.

The album opens with A Promise from the Ghouls and immediately lured ears with its rhythmic invitation, the teasing collusion of infectious beats with a dark earthy bass grumble devious. Swiftly the predacious edge of the guitar joins the threat, it all soon sparking into a rapacious stroll further accentuated by the potent tones of Dritt. The swinging grooves and continually intimidating edge of the track made for a compelling and infectious proposal unafraid to twist and turn with further imagination and creative trespassing sparked by the melodic and sonic prowess of guitarists Alex and Nol. It is an ear and appetite grabbing start to the album which continues through next up The Cancer in Your Soul.

The second track is instantly a more predatory proposal, almost stalking the senses even as melodic and grungier hues spring forward from within its ill-intent. Individual craft joins united endeavour as the song blossoms with each adventurous move, it maybe not as strikingly manipulative as its predecessor but just as imaginatively captivating before Endless Chapter grips ears with its own wily exploits. Again the swings of Spit incite as they bite, nagging grooves entangling his tenacious strikes as vocals incite. Across the album there is an essence of Mudvayne meets Disturbed meets Machine Head and no more so than within this gripping offering.

Blood-Red Revolt brought even stronger enticement and incitement to body and pleasure, the track a definite favourite, writhing as it fingers the imagination with its boisterously manipulative and widely flavoursome antics before, following the brief chillingly haunting and increasingly threatening lead of …and Winter Comes, the predacious Inner Plague prowls and teasing the senses with its own venomous but darkly seductive threat. As ever the tenebrific yet tempting growl of Maks’ bass fuels the alluring menacing; constantly keeping the listener on their toes alongside the drums even as melodic flames and enterprise blazes away.

From one outstanding moment to another as Venom Skies descends on the senses with intrusively skittish beats to the fore before its sonic spiral springs another web of riveting and toxic conspiracy built on craft and imagination. The swing of the track is inescapable, its resourceful weave innovative even as familiar hues add to its appealing canvas.

Through the simply invigorating deeds of The Fear Industry and the calmer but similarly enticing Hollow Soul, ears were only firmly held; both tracks and especially the first of the pair offering snares of sound and touch which left us simply greedy for more before Ego Non Te Absolvo (A Drunken Conclusion) brought the album to a destructively intimate and provocative close.

It is a fascinating, tormented end to an album which is almost intense in its dark tone whilst bordering the kaleidoscopic in a sound which still embraces a particular hue that is individual to Abstract Rapture. Hollow Motion will be an introduction to a great many even being the band’s third full-length, one announcing  Abstract Rapture to all as being one striking and thrilling proposition.

Hollow Motion is out now, distributed by Black N ‘Purple Records, across most stores.

https://www.facebook.com/pg/abstractrapture/

Pete RingMaster 18/12/2018

Copyright RingMaster: MyFreeCopyright

Infrared – Saviours

Pic By Gord Weber

Recent times have seen a growing wealth of eighties bred metal bands rising from their assumed demise or slumber. Thrash metal especially seems to have that power of resurrection. Some of those bands are venturing into new areas, some simply continuing what they did best back in the day which lured potent attention, success and reputation. Infrared sits in the second camp, their love and hunger for classic thrash openly inspired by contemporarys like the Big 4 as well as the influence of Sabbath, Maiden and the likes. As old school thrash never dates or tires in our ears, a resourcefully woven and imaginatively delivered encounter of said genre has a welcoming place and the new album from the Canadians is that and more.

Hailing from Ottawa, Infrared grew from local legends to stirring real attention within the national metal scene. Their sound was and is rooted in 70s and early 80s metal, bands such as Accept, Scorpions, and Judas Priest alongside those already mentioned inspirations on the quartet. Their rise came to a halt as life took members down different paths until 2014 saw three of the original four reuniting; vocalist/guitarist Armin Kamal, guitarist Kirk Gidley, and drummer Alain Groulx coming together again. Original bassist Shawn Thompson had since relocated to Miami so Mike Forbes was brought in to complete the line-up. The foursome then released debut album No Peace which featured songs written all those years ago. Now successor Saviours brings eight brand new tracks to ears, songs which swiftly grabbed ours as themes of “demagogues, dictators, and religious leaders professing to be the saviours of the world but instead inflict the most brutal attacks on humanity imaginable” roared.

Saviours erupts into life with Project Karma its opening magnetic yet portentous lure, one becoming even predacious as it prowls the senses. A delicious groove spears it’s stalking, a swinging proposal aflame with sonic enterprise and rhythmic incitement. Its initial lengthy instrumental is irresistible and only accentuated once the warrior tones of Kamal backed by the band head the song’s even fuller assault. Familiar and fresh hues collude in its web, imagination blossoming across its fiery body as a tremendous start to Saviours is set.

That predatory air retains its presence within The Demagogue, the following song also a court of threat and contagion which almost swaggers around ears as the guitars spin their sonic threads and rhythms pounce. Like a fusion of bands like Testament and Slayer, it hits the spot; increasing its temptation as calmer climes are ventured and melodic intimation embraced. It’s subsequent rising heat and intensity brings it back to its original sonic inference before Saviour explores an even darker trespass of menace and seduction. As we suggested, Infrared is not set on reinventing the wheel of thrash metal or even their core sound but there is a bold lining of adventure and imagination which makes their music and especially this track stand out.

Through the melodic and melancholic elegance to tempestuous roar of The Fallen and the voracious charge of All In Favour the album just hit the spot. Across both tracks the vocals of Kamal added more incitement to an appetite already happily feasting on the individual prowess and enterprise of the band, Forbes’ bass especially dark liquor stirring our taste buds. They are all attributes just as persuasive within the predatory They Kill For Gods and Father of Lies with its intensive atmosphere over increasingly manic and ferocious entrapment around demonic character. The most adventurous of all the tracks it simply enthralled.

The album finishes off with Genocide Convention, a trash dervish of sound and aggression with spiralling sonic wires and senses blistering turbulence. Our favourite track it brings the thoroughly and increasingly enjoyable release to a mighty close.

Uniqueness might be a rarity compared to familiarity within Saviours but from an already established base it breeds fresh adventure and captivation. The album lit our pleasure from start to finish and Infrared is further proof that very good things can only get better with age.

Saviours is out now through iTunes and other stores as well as @ https://infraredmetal.bandcamp.com

http://infraredmetal.ca   https://www.facebook.com/infraredmetal   https://twitter.com/infraredmetal

Pete RingMaster 27/05/2018

Copyright RingMaster: MyFreeCopyright