Skox – Years of Legions

Skox_RingMasterReview

If you have a sweet tooth for raw thrash metal or a soft spot for ravenous death metal, Years of Legions has plenty to eagerly embrace. To be honest, the new album from French band Skox has much for fierce metal fans in general to get their teeth in to across ten tracks which maybe do not always majorly surprise but definitely get the juices flowing.

Formed in 2003 and with their current line-up in place since 2010, the Lyon hailing Skox has shared the stages with the likes of Napalm Death, Hatesphere, Loudblast, Destinity, Blockheads, Mumakill, and No Return over the years whilst also making successful appearances at festivals such as Sylak and Ragnard Rock. An early EP also caught attention but it is with Years of Legions that it is easy to expect real attention gathering. With a sound inspired by thrash and raw metal from across the decades and an album “whose martial tones would convey the band’s ambition through the metaphor of war”, Skox is ready and equipped to wage war on a broader landscape.

The album opens with Entering the Battlefield…, a prelude and lead into individual battles posing as songs. Air and land is swiftly busy with the weapons and intent of confrontation, rhythms raising the flag as melodies lay down the sizzling colour and suggestion of things to come as the instrumental heads straight into the jaws of the album’s title track. A stable yet imposing start to the second track is soon a hellacious onslaught of vicious rhythms and violent riffs matched in grizzly kind by the tones of vocalist Jean-Charles Dupin. It is stirring stuff, a visceral dark thrash incitement driven by the hefty swings of drummer Arnaud Neyret and the grouchy bassline of Florent Claudel. Within this, guitarists Vincent Morelle and Gildas Turpin unite to savage and seduce with sonic and melodic enterprise, the band creating warfare across a rousing challenge with plenty to be beguiled by.

Years of legions_RingMasterReviewClaudel’s bass has ears and appetite enslaved in no time on the following Cell Swelling too; its throaty snarl delicious bait which is quickly matched in steely kind by invasive riffs. Provoking and enticing with every touch, the song scowls and bruises throughout but tempers its merciless intent with great unpredictable side steps into calmer rapacious exploits often led by that irresistible bass tempting. As with its predecessor, the song is not re-inventing the wheel but a fresh and individual character to each is the predominate spice which equally stirs the spirit across the likes of Running Out of Time and Thrashtastik. Amongst influences listed are the likes of Slayer, Testament, and Kreator; flavours which especially come to mind in the forcibly contagious first of the pair with its compelling trespass of a swing. Its successor is relatively less open in influence as it uncages a bedlamic shuffle of thrash voracity and ridiculously catchy endeavour. It is a death dance, a flirtation to destruction and as the previous track, one thrilling provocation.

Engine of Death is a track which stalks the senses, prowling around them with toxicity slavering grooves and brutal rhythmic teeth as the increasingly enjoyable growls and animosity fuelled squalls of Dupin rage. By its close, ears and senses feel like road kill, trodden into its sonic rancor and acid laced melodic dust before Road 666 runs over both again with its own eventful juggernaut of lethal swipes and carnivorous riffs. As with others, Skox infuses the song with tendrils of fiery and evocative melodic invention which aligns with the antagonistic side perfectly; the extremes sharing song and attention like brothers in arms.

One bassline is all March of the Dead took to spark an insatiable hunger in the imagination and appetite, its opening trap the doorway into a bestial consumption of ears whilst Smash Your Enemy matches its predatory prowess with its own particular militarist quarrel. Throughout both Skox again turns familiar essences into their own enthralling and highly incendiary sonic warfare and once more leave a certain hunger for more.

Closing with the instrumentally descriptive ‘epilogue’ of Leaving the Killingfield, the riveting album is an increasingly impressing and rousing encounter revealing more temptation with every listen. Skox is a name hard to forget from a band with a sound which seemingly has the same property going by the effect of Years of Legions over time.

Years of Legions is out now across most online stores.

https://www.facebook.com/Skoxband

Pete RingMaster 12/04/2016

Copyright RingMaster: MyFreeCopyright

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

Lody Kong – Dreams and Visions

Photo-Joey Nugent

Photo-Joey Nugent

Let us get the most publicised aspect about Lody Kong out of the way first. The Arizona based band is the creation of Zyon and Igor Cavalera, the sons of Sepultura/Soulfly/Cavalera Conspiracy famed Max Cavalera and brother of Incite frontman Richie Cavalera.

Now to the important bit; the release of the band’s blistering and increasingly impressing debut album Dreams and Visions. It is a ten track infestation of the senses as debilitating as it is invigorating as it uncages ravenous tempests forged in sludge thick, raw metal toned raging infused with punk belligerence and fuelled by post and hardcore causticity. Band and album challenges ears and incite the imagination at every turn with an array of invasive textures and flavours uniting in rabid exploits which generalising as psychotic punk ‘n’ roll would not be to deceptive.

Formed in 2011, the Phoenix hailing Lody Kong soon made a potent mark the following year with debut EP, No Rules. It was an introduction to the quartet of guitarist John Bauer, bassist Shanks, vocalist/guitarist Igor, and drummer Zyon reinforced and more by the band’s part in the 2013 US/Canada/European Maximum Cavalera tour and more recently last year’s Cavalera Conspiracy US tour. Now it is the turn of their eagerly awaited debut album to stoke up broad attention and for the major reasons of sound and fierce invention rather than band personnel.

The album opens with the outstanding Chillin’, Killin’; a venomous assault of a track offering searing bait from its first breath. That sonic intrusion soon erupts into an antagonistic rumble of raw riffs and hostile rhythms urged on by the emotive scowls of Igor. Piercing repetitive grooves only add to the compelling and exhaustive incitement, shifts in the predatory state of the track’s gait and character increasing its irresistible lure with a full throttle thrash kissed charge simply icing on the scintillating cake.

art_RingMasterReviewThe album’s title track keeps the grip on pleasure and appetite just as tight, its bruising weight and cantankerous intensity carrying an air of Pigs and Discharge to its irritable storm. It too is a song which twists through a host of inventive changes and detours, leaving a lingering psyche infesting dark presence and tempting which carries on into the likes of the emotively and sonically cancerous Kreative Center and the stalking animus of Pig In The Pen. The first of the two chews the senses with its nagging riffs whilst hooks and wiry grooves vein the scything swings of Zyon which cross another bestially toned bass trespass by Shanks. It is an unrelenting pressure of sound matched in its individual way by its successor whose initial doomy prowl soon expands into tar like sludge voracity interspersed with frenzied canters of energetic animosity.

Both tracks are spiteful punk rock with the virulence of numerous styles involved, much like the body of the bad-blooded Rumsfield where again band and sound enjoyably crush the senses with their creative and emotive jaundice. As across the album, there are moments of familiar hues and textures running headlong into ears yet each and every time their appearance is woven into something fresh, inventively damaging, and individual to Lody Kong.

Smashed and Blasted is proof as it presents its own hellacious and intensely imposing proposal next. The track is arguably the heaviest and most merciless on the release yet one with a host of imaginative hooks and sonic enterprise which hints as much at post punk and noise rock as it embraces extreme metal and post hardcore ferocity. Its thick enticement is followed and eclipsed by the predacious crawl of Some Pulp. There is liveliness to the song’s attack though it clambers over the senses rather than charges them, vocals and citric grooves the lead bait in its animalistic stalking with again numerous unexpected and incendiary twists.

Through the excellent old school punk/grunge feud of The Dangerous Quest and the dirty and schizophrenic Pistols-esque rock ‘n’ roll of Topaz, the album adds more aspects to its increasingly adventurous character. There are no major deviations from the heart of the songs before, but each explores another inventive hue and discord nurtured variation which continues with the closing sludge ’n’ roll consumption of the senses cast by Venomous Kool-Aid. It is a suffocating weave of thrash and doom metal with classic and hard rock strands, the guitars of John and Igor almost flirting with their bitterness laced craft around the latter’s rasping tones.

Though for personal tastes the loftiest highlights are found in the first two thirds of the album, Dreams and Visions is an unrelenting rousing of body and spirit, and indeed the debilitating devourer of both, which simply leaves a want for more from start to finish.

Dreams and Visions is out now via Mascot Label Group @ http://www.mascotlabelgroup.com/lody-kong-dreams-and-visions-cd.html

https://www.facebook.com/lodykong7   https://twitter.com/lodykong

Pete RingMaster 30/03/2016

Copyright RingMaster: MyFreeCopyright

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

Law 18 – Self Titled

Law18_RingMasterReview

There is little we can tell you about Italians Law 18 beyond that they come from Milan, were formed in 2011, and are a quintet playing “hardcore groove /crossover stoner”. Actually there is one more thing, and that is that they recently released their self-titled debut album and it is one slab of deranged rock ‘n’ roll that we for one have become increasingly fond of.

That description of their sound is lifted from the band’s Facebook page and only tells part of the story, a small clue to the off-kilter fusion of styles the band weave into their compelling creative revelry. Across the album’s nine tracks, you will find everything from groove and nu metal to thrash and hardcore, stoner and punk through to funk and plenty of other bold strains of sound.  Its songs are raw and inventive, ranging from psychotic and quarrelsome to eccentric and tenacious, very often all at the same time, and for the main compelling fun.

The album opens with Dwarfs & Cowboys and an immediate mesh of rich grooves and punkish vocals led by Alessandro ‘Ale’ Mura. Bold rhythms align with Lorenzo ‘Pero’ Perin’s riffs to add thick aggression whilst lead guitarist Davide C springs sonic tendrils into the tempest, a mix which bullies and entices like a mix of Pantera and Suicidal Tendencies as the track develops. It is a relatively straight forward offering but prone to contagious thrash bred surges of intensity amidst sonic drama, each becoming more volatile and extreme with every passing second.

The following You Blind is similarly sculpted but with a swifter eagerness to show its instincts in pushing its boundaries and infusing broader textures of sound and flavours. Hardcore and metallic voracity unite as the initially band prowls before launching a torrent of rapacious grooves and rhythmic agitation upon the senses. It subsequently eclipses its strong predecessor before being outshone itself by Hollow Earth Society. From the initial grazing of guitar and the predacious beats of drummer Luca Ferrario, the song has ears and attention gripped, more so when it slips into an unpredictable web of warped sounds and imagination from its early bout of muscular rock ‘n’ roll. The new and riveting enterprise uncaged is unmistakably System Of A Down inspired and quite irresistible, even with its familiarity to the Californian band, as Law 18 infuse their peculiar strains of heavy and anthemic textures.

art_RingMasterReview The dramatic invention continues with Dominus Caeli, a track opening with a flirtatiously seductive bassline from Lorenzo ‘Tarzan’ Colucci which then incites further jazz/funk exploits from rhythms and guitar. Like an abrasive fusion of Toumaï and Trepalium, the track grumbles and rumbles with punk lined irritability whilst creating an unstoppable and virulent contagion of grooves and raucous aggression. Further building to a hungry prowl courted by unhinged vocal teasing, the song is a thrilling slice of rabid, in sound and invention, metal fired rock ‘n’ roll.

The bass of Colucci again provides a great start to the next track; its heavy pulsing growl the lure into Dirty of Blood and spark for another hellacious assault of hardcore fuelled raging before Leather’s Wreck shares its own expectations foiling landscape of creative bedlam. Both tracks in their contrasting lengths show more of the band’s striking imagination; the brief fury of the first slipping into a mischievous discord hued swagger for a great psyche twisting moment whilst the second provides a noise rock shaped avant-garde adventure. As raw and imposing as it is sonically and melodically seductive, the harmonica skills of Mura excelling with its bluesy expression against the similarly hued guitar resourcefulness of Davide C, the track offers seven minutes plus of ear pleasing and imagination stirring incitement.

An addictive swing and stroll spines the anthemic persuasion of the following Mirror Reflections; its boisterous and pushy antagonism an uncompromising brawl of forceful punk ‘n’ roll. In time, it too evolves as rhythms spring into a demandingly infectious shuffle within post punk like scenery before returning to its tempestuous and bruising rampage of punk metal loaded rock ‘n’ roll.

Rage Against Me roars with defiance from every blues rock pore next as intrigue surrounds each turn in its bracing funk ‘n’ punk stomp. Driven by a grouchy stamping of its rhythmic feet and mass vocal irritability, there is no escaping its instinctive catchiness and highly persuasive ire or from the avalanche of riffs and crushing rhythms which shape closing track 2010. Unleashing a host of heavily spiced grooves, barbarous hooks, and a contagious energy which has bodies as involved as ears and imagination by the parade of vocal provocation across the band, the track is a maze of sonic invention.

It is a great close to an album which grabs attention from the off but really blossoms as a whole and excels in its individual elements with each subsequent venture into its frenzied rebellious world. Law 18 has sculpted something very worthy chunk of anyone’s time but especially for those with a taste for bold yet organic blurring of genre walls but still simply want unbridled rock ‘n’ roll.

Some bands and releases just seem to be on the same wavelength as personal creative adventure;

The Law 18 album is out now @ https://law18.bandcamp.com/

https://www.facebook.com/Law18band/

Pete RingMaster 21/03/2016

Copyright RingMaster: MyFreeCopyright

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

Sixth Dimension – Trauma

SD_RingMasterReview

The successor to their well-received EP, Přežít! in 2013, Sixth Dimension unleash another mighty slab of attention provoking thrash metal this month, in the fierce shape of Trauma. Building upon the irritable ferocity and raw sound of the Czech Republic quintet’s last proposal, their new EP shows another step forward in the substance and maturity of the Most/Teplice based band’s songwriting and sound without losing any of the bracing causticity and abrasive prowess which has already made them a keenly supported proposition at home and further afield.

Formed in 2002, Sixth Dimension soon became a potent live proposition on their local and subsequently country’s underground scene. The release of Respekt in 2006 and more so Nikdy nevíš kdy (You Never Know When) six years later awoke stronger awareness of them, though it is fair to say that Přežít! (Survive!) has been the most potent and successful nudge on broad attention to date. Now it is the turn of Trauma to poke away at more unsuspecting ears and recognition.

The EP’s opening Intro provides an industrial landscape around a thickly pulsing heartbeat. There is an autonomous air to the brief piece and a brewing of portentous pressure which finally erupts in cinematic warfare just before its dark moment feed into the jaws of the EP’s following title track. It is a swift assault of thrash bred animosity led by the scowling vocals of Paul Wieden, art_RingMasterReviewbehind who the thumping beats of drummer Peter Buchner show little mercy. That intent is forcibly backed by the predatory bassline of Jan Hirsch and the senses searing riffs and individual antagonistic ferocity cast by guitarists Peter Špiroch and Filip Skoumal. A great break in the full-on attack escapes midway, the band taking their foot off the pedal in intensity but pushing down the clutch to fresh and magnetic enterprise which only continues to entice within the storm.

The track is a great proper start to the release, a song already showing the new twists of adventure colouring the band’s invention and arguably an even more grievous intent to their lyrical exploration and defiance aligned to creative hostility. Otroci Prohnilosti Systému (The Slaves Of The System´s Rotting) matches its success straight after, going for the jugular whilst guitars flame and lead ears into a web of melody rich classic metal endeavour within a death metal scented climate.

Šest Stop Pod Zem (Six Feet Under (Ground)) is no less imposing or inventive in its eventful landscape of thrash confrontation and unpredictable shifts in gait next, its unrelenting intensity matched in kind by Černá Díra (The Black Hole), an even more resourceful and adventurous protagonist with varied metallic hues colliding within its invasive prowl and increasingly suffocating tempest. Emerging along with Trauma as the favourite track on the EP, it roars with creative aggravation while inciting a fresh greed for the Sixth Dimension sound, a hunger nicely satisfied by the closing Praporučík Kotrmeletz (Proto-Priomordial Lieutenant Zomersault). Unveiling a swing which alone has body and ears gripped, the song is more like mischievous fun for band and listener than the raw hostility of its predecessors but provides a slice of riotous, senses shaking rock ‘n’ roll to enjoyably complete another highly pleasing offering from Sixth Dimension.

The Trauma EP will probably not make a major ripple across the metal world on its own but it certainly adds a pleasing beast to get teeth into if given the chance; an opportunity band and release deserves.

The Trauma EP is released March 11th; for more info go to https://www.facebook.com/sixthdimensionthrash

Pete RingMaster 11/03/2016

Copyright RingMaster: MyFreeCopyright

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

Turbocharged/Ragehammer Split – Enlightenment by Bloodletting

turbocharged_ragehammer_cover_RingMasterReview

There is something about a split release which has the appetite licking its lips even before a sound is heard. It is hard to define why but when you are on the end of the kind of fiercely enjoyable proposition that Enlightenment by Bloodletting shows itself to be, the anticipation for another offering is all the more understandable. The two track encounter brings Swedish death punk metallers Turbocharged and Polish black metal thrashers Ragehammer together for one merciless and exhilarating ravishing of the senses.

turbocharged_RingMasterReviewReleased via Godz Ov War Productions / Mythrone Promotion, Enlightenment by Bloodletting is opened up by Turbocharged, the trio of vocalist/bassist Ronnie “Ripper” Olson, guitarist Old Nick, and drummer Freddie Fister imposing Bloodletting on ears. From the moment a wiry groove entangles the senses as concussive rhythms begin to cantankerously stir, attention and pleasure is ignited. As the song’s blasphemy grows, so does the thick lure of bass and riffs around the grouchy tones of Olson, backed in voracious kind by the rest of the band. At its core, the track is unbridled punk ‘n’ roll, a testy examination of body and emotions wrapped in searing sonic enterprise and irritable intensity driven to greater corruption by the merciless beats and dexterity of Fister.

The track hits the spot quickly and with increasing persuasion before making way for PanzerFaustian Enlightenment and its matching persuasion and success. Consisting of vocalist Heretik ragehammer_RingMasterReviewHellstörm, guitarist Bestial Avenger, bassist Corpsebutcher, and drummer Mortar, the Kraków hailing quartet similarly launch at ears with venomous intent. Instantly, barbarous rhythms collude with bitter riffery as Hellstörm’s vocals spill squalling toxicity upon the now contagious and compelling onslaught of sound. Again it is easy to describe the core of the song as virulent rock ‘n’ roll entangled in the invasive dexterity and invention of the band, but it is a description which really does sum up the galvanic and invigorating violation on offer.

Both tracks provide one tremendous half to a thrilling encounter but equally they offer irresistible bait to check out the bands further, especially Ragehammer and their impending new album, The Hammer Doctrine, scheduled for release April 8th.

Enlightenment by Bloodletting is March 30th via Godz Ov War Productions / Mythrone Promotion on 7” vinyl @ https://godzovwarproductions.bandcamp.com/album/turbocharged-ragehammer-enlightenment-by-bloodletting

https://www.facebook.com/turbochargedswe

http://www.metal-archives.com/bands/Ragehammer/3540356536

http://godzovwar.com    https://www.facebook.com/mythroneprom

Pete RingMaster 08/03/2016

Copyright RingMaster: MyFreeCopyright

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

Mangled – Involuntary Organ Donor

pic Emily Harris

pic Emily Harris

Something gory this way comes and it is in the insatiable shape of Involuntary Organ Donor, the new EP from US gore thrash metallers Mangled. Offering three uncompromising slices of barbarous brutality spawned in a vat of caustic thrash and speed metal rabidity then further infused with death metal violence, the latest unleashing from the Atlanta bred assault is simply invigorating.

Formed in 2011, Mangled has preyed on ears and psyche with increasing relish ever since, as shown by 2012 demo Tales from Beneath the Street Vol.1 and the Sewer Metal EP that same year. 2013 saw Tales from Beneath the Street Vol II: Live Sewage uncaged, a live album followed by what seems like a hiatus of sorts in 2014. Whatever the reason for the world to mistakenly feel safe again, the band returned last year with even more carnage in mind as evidenced by the new Boris Records released Involuntary Organ Donor.

The release opens with They’re Not Gonna Stay Down There Anymore. Its earthy visceral intro provided by Mikael Simpson of retrowave/horror project Phantasma, is a sonic stalking of the imagination which festers menace and a climate of distrust evolving into a web of spicy grooves and predacious riffs and rhythms. The full emergence of the song is a prowling coaxing, the instrumental biding its time and even when it hits its thrash fuelled stride still has an intimidating restraint to it.

Mangled_IOD_cover_RingMasterReviewIt is a potent lure which, as its finale gets fiercely busy, slips into the waiting hellacious jaws of the EP’s title track. Involuntary Organ Donor similarly has a stalking rabidity to its entrance but soon viciously goes for the jugular led by the scything swings of drummer Joe Sweat and the raw, confrontational riffery of Rafay Nabeel and John Manger. The raw throat scarring vocals of Ryan Ritchie inspire even greater animosity within the encounter, the backing tones of Matt Moyer as enjoyably intrusive as his fingers spill more spite courtesy of his bass strings into the animus at the heart of the tempest. With grooves a juicy blooding of the imagination and adventurous twists and turns with the ravishing a spark to an even greedier appetite, resistance to its butchery is willingly put aside.

Butchery Loves Company completes the sonic slaughter, its senses flaying swing alone igniting another exhausting time for the body whilst the melodically toxic imagination of the guitars take care of the imagination. As to the beating offered by the rhythms and the crippling nagging of riffs, that simply leaves a mark that lingers beyond mortal skin.

All three tracks thrill and punish simultaneously, with the last maybe stealing the show and the writhing carcass of your final days of feeling safe. For fans of thrash fired death/grind metal, Mangled and Involuntary Organ Donor is a serious consideration to be violated by.

The Involuntary Organ Donor EP is released via Boris Records on March 1st digitally and on Ltd Ed 7” vinyl (300) @ https://borisrecords.bandcamp.com/album/involuntary-organ-donor-7

https://www.facebook.com/Mangled-270014239690739

Pete RingMaster 29/02/2016

Copyright RingMaster: MyFreeCopyright

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

Huron – The Dead Stay Dead

Photo by Leigh Drinkwater Photography

Photo by Leigh Drinkwater Photography

It will not be the first time that UK metallers Huron will have majorly stirred up acclaim and attention with a release but their stunning new album, The Dead Stay Dead is surely going to ensure that the band is regarded as one of the big boys from hereon in. As mentioned, previous encounters have all drawn strong support and praise from media and fans alike but their new and easily finest proposal to date is a band reshaping and igniting not only their own creative landscape but the metal scene around them.

Formed towards the end of 2007, Plymouth hailing Huron has worked through many line-ups changes which seem to have only help spark new potency and power in their fusion of progressive, thrash, and melodic metal and the increasingly impressive releases it fuelled. Debut album Cheyne Stoking lured strong praise and focus with its release in 2009, the band’s live reputation only being enhanced as they toured the UK in support. Its successor Mary Celeste whipped up an even feistier storm of acclaim across fans and media in 2011, its success matched a year later by the War Party EP. Performances at the likes of Download, Bulldog Bash, and Bloodstock followed whilst a British tour with Skindred was just one more live triumph to add to shows with bands such as One Machine, Onslaught, Evile, Alestorm, Ill Niño, and Viking Skull over the years. As the outstanding The Dead Stay Dead lights an expected touch paper to the strongest spotlights upon the band yet, this year looks set to emulate and surpass the successful twelve months the band had in 2015 and show Huron to be the new big roar in modern metal.

Mixed and mastered by Justin Hill (SikTh) and produced by guitarist Rimmy Sinclair, The Dead Stay Dead opens with The Ark Of Deucalion. A provocative sonic mist first wraps ears before intensive riffery from Sinclair and Chris Smith descends venomously on the senses driven by the barbarous beats of drummer David Parsons and the predatory throaty lures of Rohan James’ bass. It is a swiftly compelling and anthemic incitement built on the contagion of thrash but quickly showing the hefty weave of textures and styles now in the Huron sound as it evolves under the antagonistic roar of vocalist Sean Palmer, who has since left the band with James taking over the vocal spot. Darkly celestial harmonies only add to the drama within the blazing cauldron of craft and intensity, at times the track almost like a merger of Slayer, Devin Townsend, and now demised UK band Mishkin.

Huron Cover artwork_RingMaster ReviewThe striking start is soon eclipsed by the album’s title track, The Dead Stay Dead a predator quickly stalking ears and imagination with its scything rhythms and sizzling tendrils of sonic spice. Vocals assault and ripen the appetite as the song matches their bait with aggressive kind but it is when the track slips into something more melodically comfortable with clean vocals to match, that a great song opens its full temptation. It is irresistible, an ugly duckling evolving into blooming beauty and back with Jekyll And Hyde frequency for the thickest contagion.

Santa Muerte slips in next with a sinister climate and grievous intent in its rhythms and riffs. As in its predecessors, tortuously swinging grooves bind ears and an already greedy appetite whilst the raw vocal tones collude with the open animosity in the thrash bred and increasingly dynamic ferocity devouring the senses. Exhaustion and joy is the by-product of the blistering encounter, ears basking in the melodic enterprise searing their flesh and the rapacious imagination seducing their depths before both Pyschosis and Murder Hole unleash their venomous rancor and creative rabidity. The first of the two is a thunderous onslaught with a death thrash tendency to its equally tenacious weave of infection loaded flavours and ideation. Infused further by the burning prowess of guitars and solo it makes for one glorious collision between song and lust emulated again in its successor, a song which wraps itself in more recognisable thrash spices a la Metallica and proceeds to twist and re-weave those flavours into something far more primal and inventive with another dose of excellent clean vocal adding to the great diversity.

Managing to be brutish and seductive, the mouth-watering Despina feverishly rampages on ears like a cultured barbarian next whilst Bastard King emerges from atmospheric shadows to infest body and psyche with its sonic trespasses and rhythmic predation like a vampiric temptress taking the imagination on a ride through the darkest fearsome scenery. Both again are individual in their nature and bodies but united in igniting the passion with their invasive and imposingly addictive adventures through they are slightly outshone by the merciless virulence of The Spirit Of Hate & Vengeance. Like Black Dahlia Murder meets System Of A Down with Bloodsimple in close attention, to try and give a hint to its insatiable tempest, the track is manna to the metal feeding passions and for personal tastes the king amongst only great warriors on the album.

With the militant natured Bokanovsky’s Process and the flaming progressive subtlety of Solace, band and album continue to beat and thrill; the cunning twists and resourceful stalking of the senses by the first contrasted by the melodically poetic and cantankerously intrusive might of the second. Again each song has its own creative agenda and voice to keep the rich variety to the album flowing before Fresh & Thorns brings The Dead Stay Dead to a fearsomely rugged and invigoratingly rousing close. There is a hint of Mudvayne to the violent wantonness and canny maze of biting textures of the track, yet as everywhere any hints offered to songs in reference to others are slim hues in something uniquely Huron.

It has been a fair while between albums but the time has seen Huron escalate their craft, imagination, and fiercely flavoured confrontation of sound. The Dead Stay Dead is the proof from a band ready and undoubtedly equipped to take on the world.

The self-released The Dead Stay Dead is available from February 12th through all platforms and outlets.

https://www.facebook.com/Huronofficial   https://twitter.com/huron_uk

Pete RingMaster 11/02/2016

Copyright RingMaster: MyFreeCopyright

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