Hell Night / Sweat Shoppe – Split

A new split on Encapsulated Records sees two of St. Louis, Missouri’s finest come together for one simply tremendous encounter. The release features five tracks shared between Hellnight and Sweat Shoppe, a quintet of tracks which all unerringly got under the skin.

Pic by David Torrance

Hell Night provides the first two tracks within the split. Formed in 2014 by guitarist Andy White, the band additionally consists of bassist Eric Eyster, drummer Adam Arseneau, and the distinctive tones of former Shadows Fall and Overcast vocalist Brian Fair. Their sound is a ferocious yet instinctively animated fusion of metal and punk and as emphasized by the duo of offerings here fraught with virulently incisive hooks and grooves.

Their first track is Unincorporated, a predacious nagging of enterprise which is part feral part manipulation from its first breath. Fair’s rasping roar is soon infesting the invasive contagion, that array of flavours a rapacious entanglement squirreling its lures in ears and psyche. The track is superb, not richly unique yet wholly individual to the quartet as too its companion Overburden. Heavier and slightly more intense in its gait and tone, the song also webs the senses in the niggling prowess of guitars and bass as Arseneau’s beats bite and arouse. Its melodic undercurrent is just as tempting, new wave hues lining its understated but potent tease within the more carnal trespass.

Hell Night’s outstanding duo of tracks as quickly matched by the trio uncaged by punksters Sweat Shoppe. Another foursome, the band emerged in 2015 and includes members of The Disappeared, Horror Section, and The Timer as well as Ultraman vocalist Tim Jamison, the full line-up completed by Justin Haltmar, Gabe Usery, and Andrew Brandmeyer.

Lost and Mean is the first of the band’s tracks and immediately barrages ears with its unfussy yet skilfully honed attitude and ferocity. Its old school tone is instantly addictive within the minute and a half of punk belligerence, riffs unleashed and hooks uniting for a catchy invasion which continues within the even briefer Circumstance. The track’s hooks and riffs are ravenously contagious within the darker tone and climate of the song, aiding its inescapable persuasion and addictive trespass whilst reminding a touch of British punk legends Angelic Upstarts.

The final track from them is Clawing Brain, another antagonistic scowl of sonic contagiousness and rhythmic contempt around the attitude loaded vocal release of Jamison. It completes five tracks which do the highly enjoyable business with raw passion, energy, and imagination as well as a bit of intimidation. If either Hell Night or Sweat Shoppe has yet to hit your radar, their coming together here is one unmissable introduction and you can enjoyable further songs from both outfits on the Quarter Hour Of Power compilation also from Encapsulated Records; each release available digitally and on 7” vinyl now @ https://www.encapsulatedrecords.com/collections/releases   https://encapsulatedrecords.bandcamp.com and other stores.

https://www.facebook.com/hellnightus/   https://www.facebook.com/sweatshoppemusic/

Pete RingMaster 10/07/2018

Copyright RingMaster: MyFreeCopyright

Dark Hound – Dawning

Without a plaintive twang in sight, Dark Hound presents a new side to the assumed Nashville music scene though new album Dawning. Hear the Tennessee capital’s name and you automatically think country music in its glory but the ear grabbing quartet prove that its metal scene is in pretty good shape too.

Dawning is the band’s second album and sees them more than build on their well-received Oceans EP of 2015. That followed a self-titled debut full-length from a year earlier which itself sparked strong support across the local rock and metal scene. Formed in 2009, Dark Hound has persistently built and earned a potent reputation for themselves highlighted by Oceans and now set to be escalated by the Kaelin Tauxe/Dark Hound produced Dawning.

The band’s sound is a magnetic mix of flavours; heavy, alternative, and groove metal as prevalent as more progressive and voracious flavours. It is a blend which swiftly grabs attention within opener album Ashes of Your Worth. Instantly riffs ride the senses, the just as persuasive tones of vocalist/bassist ET Brown melodically surfing their tenacious waves. With grooves swiftly winding around ears as a grunge wash descends the track only tightens its grip, guitarists Evan Hensley and Preston Walls weaving a mesh of enterprise as crafty as it is imposing. The track is superb, taking little time to incite and inflame an appetite for stylish yet instinctively rapacious rock ‘n’ roll.

The ticking bomb of Josh Brown’s beats leads in the following Guilt Tripper, his bait accompanied by citric soaked grooves. The punk coated attack of ET’s voice soon joins the thrash spiced temptation, his bass invitingly throbbing as melodic hues infest voice and sound; the cycle repeating with greater endeavour as the track embraces fresh flavours each round. The song bears some of the inspirations to Dark Hound, essences of bands such as Megadeth, Iron Maiden, and more so Testament rising in its heavy metal exploits before making way for the equally infectious trespass of Carnival of Youth. ET’s seemingly calm tones again have an underlying snarl in their arsenal, it igniting with raw dexterity to match the fire of the sounds around him led by the rapier swings of Josh. Captivating from beginning to end, the track reminds of UK band Promethium a touch, the Dark Hound sound infusing their individual invention with more familiar ingredients to fine effect.

The opening whirl of guitar in The Answer had ears totally enthralled, its craft irresistible and continues to tempt across a song which to be honest otherwise did not make the same impact as its predecessors yet was the centre of attention in its increasingly enjoyable company before Crisis of Hope takes centre stage. It too makes a transfixing entrance, its hook fuelled lure Skids like and subsequently coring an emerging Jane’s Addiction-esque stroll. As the previous song, it was bit of a slow burner on ears though making a more than decent first impression, but grew minute by minute, listen by listen into another highly enjoyable encounter within Dawning if still missing the heights of the first trio.

Predacious in tone and sound Thrown to the Wolves quickly hits the spot next, the track almost crawling over the senses even with its eventual lively gait and nagging persistence while Stripped Away aligns acoustic flirtation and creative drama for its own gripping theatre. Considered and seductive, boisterous veering on rabid, the song is a carousel of adventure making a big statement for best song, both tracks in the running and matched all the way by the raucous yet harmonically teasing Balancing Act. Again recognisable flavours collude with strong surprises for a proposal which infested ears and appetite like an aural addiction.

Through the shadowed lined charge of The Jagged Edge pleasure was constant though certain moments did not connect with personal tastes as firmly as others, nothing though to dismiss the increasingly persuasive encounter over, while Thrashgasm delivered exactly what you would expect with its title with aggression and creative passion energy, the snarl of the bass and the ever energetic vocal incitement especially enjoyable.

The album concludes with Here Lies Truth and immediately trespasses ears with carnal riffs and teasingly salacious grooves. Again vocals simply draw involvement as guitars badger and conjure, rhythms imposing and driving song and spirit in fine style alongside as Dawning closes on another high

After the first couple of involvements we would have said Dark Hound had something worth checking out, numerous listens later it is a proposition which needs to be explored. This is a fine band in the making with an album we have found ourselves only getting greedier over.

Dawning is released digitally and on CD January 19th, available @ https://darkhound.bandcamp.com/album/dawning

https://www.dark-hound.com/    https://www.facebook.com/darkhoundband    https://twitter.com/darkhoundband

Pete RingMaster 19/01/2018

Copyright RingMaster: MyFreeCopyright

Infected Syren – Self Titled

Nudging broad attention virtually since they emerged in 2011 and certainly since the release of a demo the following year, Infected Syren are now demanding it with their self-titled debut album. With eleven tracks of rapacious metal infested punk ‘n’ roll, the Cyprus bred outfit grab body and appetite with mischievous intent, rousing energy, and a craft honed in the heart of rock ‘n’ roll.

Nicosia bred and now sharing their time between their country’s capital and London, Infected Syren is said to have come to “finally consider a more serious and dedicated approach towards writing their own material and developing their sound while doing what they love most – performing heavy alternative music!” Certainly you can hear the passion at its heart and the imagination in its character; a proposition which roars with the invasive funkiness of Infected Grooves, the uncompromising punk attitude of The Exploited, the thrash devilry of early Anthrax, and the psychobilly predation of a blend of Grumpynators and Batmobile. It is a stomping incitement embracing familiar traits but all twisted into the fiercely enjoyable individual antics of Infected Syren.

The album opens with the sinister, increasingly intimidating carnival of Infected Circus, a hook woven instrumental easily getting under the skin as guitars suggestively dance and rhythms devilishly swing. It sets the mood and rascality of the release perfectly, the following romp of The B.B.P. similarly manipulative with its hook lined grooves and teasing metal spawn riffs. Guitarists Constantinos Lyras and Louis Syrimis cast a net of infectious exploits within the song’s boisterous body; the latter’s vocals as bold and devious as the addictive textures making up the track.

Already, the release is a swagger of thrash and alternative metal hued rock ‘n’ roll, the band’s punk instincts brewing nicely and erupting more forcibly within UnNormal. From a southern nurtured hook, the track breaks into an inescapably catchy stroll, wiry grooves swiftly entwining the animated beats of Constantinos Syrimis and the lithe canter of Miguel Trapezaris’ bass. With devilment in song and the charismatic vocal deliver of Louis, the track bounds along with the listener taking in calm and volatile scenery with equal ease whilst taking over hips and body like a puppeteer.

It is fair to say that every track within the album is rich in virulent bait and scheming manoeuvres, next up Sick springing its dirty rock ‘n’ roll with frisky buoyancy, bobbing along with attitude and playfulness as punk irritability meets heavy rock intensity, both imposingly irresistible sides entangled in riotous high spirit. The album’s best track is closely rivalled by the punk ‘n’ roll discord coated virulence of Unwanted, the track poking the listener in the chest with its bad attitude whilst toying with them as if a marionette. Heavy metal spices add to thrash instincts within the temptation though again it is the psyche enslaving hooks and grooves which seal the slavery.

Through the psychobilly lined Boogie Stick and the devious ingenuity of The Torture Brothers, the album only tightens its grip on ears and appetite, the first with fevered energy as it stalks the senses spreading aural narcotics laced with Constantinos striking enterprise. Its successor with a similar gait and admittedly flavouring brings its own individual addiction, those hues evolving into an infestation of rock ‘n’ roll which is as toxic as it is a tonic for the spirit, the song laying its hands on a share of best track honours.

Both Divide and Rule and Death After the Melody pretty much match the leading pair, as all tracks come close to in all honesty, their respective defiant groove wired stomp and hungrily swinging trespass each melding metal, punk, and rockabilly textures into one unique carnival of sound and infectiousness. They snarl and tease the imagination, taunt and spark the body into zealous involvement with every note and twist but Infected Syren show themselves just as effective in grabbing the listener’s subservience with unbridled muscle clad, animosity fuelled punk ‘n’ roll, Toothless Tigers the unassailable evidence.

The album closes with Syrens in The Opera, another insatiable imagination stoking instrumental to bask in. It is a fine end to an album we truly cannot get enough of. If Infected Syren cannot stir up real attention and praise their way with this gem of a release something is seriously wrong.

The Infected Syren album is out now on CD and Digitally through most digital music stores and @ https://infectedsyren.bandcamp.com/album/infected-syren

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

Pete RingMaster 16/01/2018

Copyright RingMaster: MyFreeCopyright

Siberian Meat Grinder – Metal Bear Stomp

A big rabid beast has loomed on our horizons, a hungry carnivore of a proposition ready to devour the senses on the way to the top of the metal landscape. It is Russian fury Siberian Meat Grinder; a band which has been laying the foundations for major attention for the past half dozen years but poised to mercilessly seize it through new album Metal Bear Stomp. A ferocious and virulent fusion of thrash, hardcore, hip hop, and plenty more, sound and release has everything desired to arouse the passions and set the body off on one brutal slam dance.

As suggested Moscow based Siberian Meat Grinder had given notice of their presence and intent through mini-albums Hail To The Tsar and Vs The World which were originally self-released before seeing a reboot upon Destiny Records in 2015. Last year the label gave warning of Metal Bear Stomp with the Face The Clan EP which featured a couple of tracks from the new album; hints more than realised and surpassed by Siberian Meat Grinder’s new irresistible assault.

In many ways there is plenty familiar about the album yet everything is woven into a combination and threat as fresh and individual as anything around. It all begins with the intrusive shenanigans of Ruder Than Thou, vocals and guitars instantly in the face with group shouts swiftly in league with their raucous invitation as rhythms bite. In no time surging thrash bred riffs drive through ears, the insatiable beats of drummer Egor herding the aggression directly upon the senses. The punk assault of vocalist Vladimir becomes the ringleader, the rest of the band’s throats anthemic incitement before the unpredictability of the band shines as the song twists into a just as potent Biting Elbows meets Agnostic Front like incitement before exploding with its thrash instincts once again.

It is a start to arouse the passions swiftly supported by the similarly insatiable antics of Hunt the Steel. Guitarists Maxim and Mihail drive riffs through ears, vocals swinging from their bait as band collusion waits to free an anthemic roar with addictive success. In the midst of the charge the bass of Andrei magnetically grumbles, its brooding presence a thick lure within the growing web of sonic enterprise of the guitars.

The album’s title track stomps around next, the Bear-Tsar of a proposal prowling and striking with the ferocity of an Exodus and spite of a Municipal Waste. Again there is no escaping the addictive prowess of the band calls; physical involvement with that and the neck muscle stretching throb of the track swift as the track tightens the already firm grip of the album.

The predatory stalking of Can’t Stop Won’t Stop is just as compelling, that initial prowling threat the lead into carnal rabidity which in turn blends bestial intent with predacious restraint as the song continues to ebb and flow in creative vindictiveness. Its instinctive rapacity is matched and intensified in successor No Way Back, the song a ravenous tempest of speed and irritability veined by sonic toxicity. Its thrash nurtured, multi-flavoured body is again an unpredictable proposal which twists and turns as tenaciously as the vocal attack, keeping expectations guessing and imagination gripped.

Enter Bearface brings a web of bold rhythms and sonic espionage to bear on the imagination next, its brief but commanding punk rock trespass a sinister infestation before things get all rock ‘n’ roll with the trash thrash roar of No Sleep Till Hell. Its infectious subterfuge is a contagious wrapping to its quarrelsome heart, a merger which ensures a blaze of incendiary rock impossible not to leap on board with.

Through the hellacious escapades of Style, a bracing cauldron of fevered metallic crossover, and the nagging bruising stomp of Get Busy, ears get fully battered and richly pleasured as recognisable traits get a unique Siberian Meat Grinder working over while Face the Clan raids the senses with nostrils flared and unbridled combative contagion. All three bring body and spirit to boiling point, the third especially viral with its mercilessly catchy dispute.

A horde of flavours collude in the outstanding pugnacious punk metal of Eternal Crusade, a track which epitomises the rich diverse sound of the band and its epidemic persuasion, before the album closes on the   adversarial roar of Walking Tall where everything from guitars and vocals to emotion and energy are ablaze.

It is a stirring end to an album which gets more potent and irresistible with every venture into its instinctive devilry. It is technically captivating, infectiously addictive, and a hearty punk infused thrash metal onslaught with a legion of extra goodness which is sure to stomp over all resistance to its glorious might.

Metal Bear Stomp is out now CD, LP and Digital Download through Destiny Records.

https://www.facebook.com/SIBERIANMEATGRINDER/    https://www.instagram.com/siberianmeatgrinder

Pete RingMaster 25/10/2017

Copyright RingMaster: MyFreeCopyright

Killer Refrigerator – Refrigeration Plague

Whether you heeded the warning the first time around or indeed the second, US metallers Killer Refrigerator are back to stir us again to the threat of and war with lethal appliances through new album Refrigeration Plague. This time around the rebel rousing caution comes in an even more multi-textured and flavoured technical death thrash proposal which simply has you glancing over your shoulder at those electrical menaces lurking and waiting to strike.

Refrigeration Plague sees the alert incite and rabid creative antics of vocalist/guitarist Cody Coon (UnKured) once more linking up with bassist Countess “Lia” Blender and producer Luke “Java” Sackenheim from Bum-Ass Studios who also took care of mixing and mastering the Cincinnati outfit’s latest confrontation. The album follows 2014 debut full-length When Fridges Rule This World and the moment when arguably people really took notice, The Fridge and the Power it Holds EP of the following year. Confirming the suggestion Java made when sending over the album that Refrigeration Plague is a “tighter” proposition from the band than ever before, the release equally swiftly declares itself their most unpredictable and creatively psychotic without losing any intensity in its instinctive death/thrash breeding across fourteen ferocious encounters.

It opens up with Autoerotic Refrigeration and the dancing bass of Blender before things become far more frantic as Coon in guitar and voice vents his anxiety. Ravenously infectious and rapaciously nagging, the track is a minute and a half of fevered goodness setting up album and a greedy appetite for it with ease.

From there the listener is dragged into the darker heavier grime of Vacuum Doom (Rise of the Dirt Devil), every element as eagerly skittish in the first now revealing a slower, predatory side. Prowling with a sonic glint in its eye, the squealing guitar and vocal tones of Coon again entice; their trespass darkening as the track reveals the bolder tempest of its heart and technical menace of its presence. It ebbs and flows in intensity and creative mania before Night of the Living Bed slips in with its initial corrupted innocence surrounding the introductory tones of Adolf Green who subsequently sets the release ablaze with his sax. The track itself is a sweltering pyre of blackened death and thrash metal; the sonic niggle of the guitar a wiry web as loco as it is skilful; an insanity which eventually consumes the whole irresistible and increasingly psychotic encounter.

Dryers Eve follows with its own creative dementia; a technical delirium which invades and festers like a virus in the psyche. Again the senses enjoyably squirm under the threat of voice and guitar, instincts seduced by the roaming exploits of the bass whether the track saunters or launches itself at breakneck speed. As another threat is uncovered, Killer Refrigerator shows it has really grown in all aspects, next up C.H.U.D. confirming the fact with its virulent asylum of sound and craft. As most around it, it is a slither of a track but one more active and compelling than most multi-minute offerings.

The excellent funky antics of The Revenge of Frankenstove has hips and imagination swinging next, its cross-over mania a sinister and beguiling aberration while De Maytagus Dom Samsungus is a murky yet still contagious consumption of the senses. Both tracks have body and thoughts trapped and elated with their individual enmities, the first especially addictive before the visceral stomp of Gas Station Strangulation eclipses both; bloodlust in its nostrils and sinful misdoings in its soul.

A Salad Named Elizabeth follows with the guest introduction of Kitty [Pryde]; her flirtatiously unaware of danger tones the prelude to another kitchen nightmare of demonic proportions. Its rabidity in sound and intent is a tsunami of primal discontent and skilful manipulation which fascinates and ravishes the senses. Whether its death bred body quite lives up to the excellent opening is debateable but across four plus minutes, the song has attention and pleasure engrossed, a success Spaghetti and Meatballs similarly achieves with its evil rascality.

The excellently titled It’s Not Over Toilet’s Over springs its technical helter-skelter straight after, infesting ears with sonic and rhythmic paranoia while the murderous trial of Splatterfarm is rose coloured pleasure chewing on the senses.

Refrigeration Plague finishes off with firstly its title track, a malevolent infestation of sound and enterprise becoming more violently catchy by the minute and lastly Beyond Frigid Horizons, a kaleidoscopic fury of metal which almost does not know when to depart and is all the more fun for it.

Killer Refrigerator is not a band for everyone, especially if a sense of humour is left at home, but musically is one of the most enjoyably imaginative and voraciously bold extreme metal propositions out there. So be brave and dive into Refrigeration Plague you have nothing to lose and everything to gain as all those appliances leer at you waiting.

Refrigeration Plague is available now @ https://bumass.bandcamp.com/album/refrigeration-plague

https://www.facebook.com/KillerFridge/

Pete RingMaster 15/08/2017

Copyright RingMaster: MyFreeCopyright

Worselder – Paradigms Lost

As French metal continues to prove itself a hot bed for adventurous new bands and voraciously tempting sounds, quintet Worselder add their stock to the brew with new album Paradigms Lost. A web of flavours and styles fused into ear pleasing, imagination catching encounters, the ten track release is a quick and easy to devour proposition revelling in additional time offered to blossom into something even more impressive.

Hailing from the foothills of the Pyrénées mountains, Worselder emerged in 2008. Quickly they tempted local and in turn national attention with a sound drawing on each individual member’s influences and experiences in previous outfits alongside nineties inspired thrash and power metal; an instantly rich mix only blossoming in depth and adventure across the years and releases. Debut album Where we come from was released in 2010 to strong responses though it was the MMXIV EP four years later which especially sparked critical acclaim and led to the band sharing stages with the likes of Firewind, Dagoba, Black Bomb A, and Huntress among many. Recorded across 2016 with Elise Aranguren and mixed and mastered by Bruno Varea (Dagoba, Satyricon, Lenny Kravitz), Paradigms Lost sees the Worselder sound and invention at a new level of maturity and imagination. It is a release which as suggested makes a potent impact straight away but shows greater strength upon subsequent listens as its layers and less open complexities are increasingly revealed.

Infighting gets things going, the opener luring ears with a brooding bassline before rapacious riffs and bone rattling rhythms courted by toxic grooves erupt. Equally rapacious vocals from Guillaume Granier and the band soon join the surge before things settle down a touch with the vocalist quickly showing his potent range and dexterity. There is a whiff of industrial metal to the track initially, Society 1 coming to mind as the track jabs with spiky discontent, but soon its melodic and grooved instincts are entangling and stretching its thrash fuelled charge.

It is a great start hinting at the wealth of flavours ready to embrace ears across Paradigms Lost and its next up title track. From the crackle of fire and portentous rhythms within a similar atmosphere, the song strides forth with melodic vocals and harmonies lying keenly on more rapacious and aggressive sounds. The guitars of Yoric Oliveras and Jérémie Delattre cast another instinctive incitement, a mix of predacious trespass and sonic imagination to be hooked on whilst the scything beats of drummer Michel Marcq rousingly pierce the heavy prowl of Yannick Fernandez’s bass. The track’s twists and turns are as fluid as the array of sounds woven together within the excellent proposal but carry an unpredictability which has the imagination firmly enthralled within the first listen.

The instinctive rock ‘n’ roll prowess of next up Seeds of Rebellion has ears won just as quickly; the similarly striking and irresistible song proceeding to instil that core with anthemic dexterity and spicy grooves. All is delivered with lust but control amidst expectations spoiling imagination loaded with a bold unpredictability before Idols unveils its classic/heavy metal attributes within an aggressively tenacious air. Though the track does not quite ignite personal tastes as forcibly as its formidable predecessors, it only grows and pleases more and more with every listen.

Through the melodically calmer waters of The Sickening and the old school spiced Severed, the album has total attention. The first is a tantalising mix of warm melodic temptation and more bullish volatility as vocal and lyrical insight explores ears and thoughts. At times sultry and exotic, in other moments a more rapacious challenge, the track captivates from start to finish, giving neck muscles and hips a workout with its emerging thrash inspired grooving. Its successor similarly casts a net of ear entwining grooves this time fuelled and coloured by that power/classic metal essence with Granier’s croons and roars on melodic fire.

My Consuming Grief has a darker edge and deceitful volatility to its heart; a shadowy emotive power skirting and courting the drama and adventure of the melodic power metal seeded exploits. It too has ears and imagination swiftly gripped before Home of the Grave dances on the senses with its opening melodic flirtation. It is a glorious enticement only increasing its invitation as darker heavier hues from guitar and rhythms join in. Managing to become more primal and charming with each passing minute, the track provides another addictive highlight to the release.

Worselder toy with the imagination through The Haven next, a song exploring dark hues more akin to the likes of Dommin and Rise To Remain though its instinctive classic metal attributes shape the excellent encounter before the album closes with the shadow clouded, atmospherically apocalyptic Land of Plenty. In its imposing darkness there is hope and elegant melodies bring that light as the song rises from its solemn beginnings to challenge and inflame the senses. More of a slow burner than other tracks within Paradigms Lost, it almost festers in ears and imagination as it makes a potent impact and striking moment to eagerly point out.

Inspirations to the band apparently include the likes of Coroner, Testament, and Pantera; a trio which across the whole of an album but especially in the final song alone you can appreciate in a release which simply draws attention back time and time again as we can attest to. Paradigms Lost has all the qualities and impressiveness to push Worselder into global attention, now it is up to the world to embrace them.

Paradigms Lost is available now through Sliptrick Records on Amazon and other stores.

http://www.worselder.com/    https://www.facebook.com/worselder/    http://worselder.bandcamp.com/

Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright

I, The Betrayer – 7 EP

I, the Betrayer might quite likely be a new name to you if outside of Norway but that could very well change and in quick time if the Oslo metallers bring the rich potential of their debut EP to reality. The release is a multi-flavoured proposal with its roots firmly in a thrash/heavy metal bed which just ripples with energy, creative hunger, and imagination. The 7 EP has been garnering plaudit loaded reviews and comments since its release a matter of a few days ago and it does not take too long to hear why.

Formed in 2014, the quintet embrace a host of styles for their ear grabbing sound; the likes of blues and progressive rock entangling with those aforementioned thrash and classic metal flavours as well as darker extreme metal hues. The result is a proposition which has familiarity and originality in collusion within songs which demand rather than ask for attention. Add a vocalist in Chris Wiborg who provides another fine balance of clean and darker tones to match the same union within music skilfully conjured and crafted by the band and you have something which really warrants a close look.

The EP opens with Credulity and instantly surges through ears on a tide of thrash blossomed riffs and thumping rhythms. Wiborg is quickly in the mix with his strong expressive delivery, the riffs and grooves of Geir Prytz and Alex Bjørklund driving and binding the song with infectious energy and enterprise. Across its snarling body, the track hints at more vicious and antagonistic intent but never quite unleashes either though the brooding bassline of Kyle Sevenoaks midway has a predacious edge which hits the spot.

It is a potent start soon eclipsed by the virulent rapacity and character of Selfish Ride. Sensed in the first, the second track brings a stronger Metallica meets Machine Head like tone to its more irritable nature. That attitude is simultaneously tempered and supported by Wiborg, his mixed delivery adding fuel to the fire of the song’s rock ‘n’ roll which in turn is driven by the highly persuasive swinging beats of Terje Høias. As suggested at the beginning about the release, there is something recognisable about the track yet everything about it is equally fresh and magnetic, though it too is overshadowed by its successor as the EP just blossoms to greater heights song by song.

Conformity is next, its opening melodic lure a radiate invitation but courted by a more portentous bassline; both leading into a web of intrigue and vocal temptation. The calm introduction subsequently makes way for a fiery wash of nagging riffs and skittish rhythms, the track twisting and turning like a dervish in between its charge of chugging dexterity and moments of alluring melodic invention. Things only get more appealing once Wiborg adds a Serj Tankian like unpredictability to his presence, the song too teasing with a mercurial System Of A Down like loco.

Things are calm again as Humanity opens up its melodic arms, every melody and bass caress a suggestive moment matched by Wiborg’s great vocals. Across its melancholic yet radiate presence, the track erupts with greater volatility, fire in its belly as emotion and sonic expression flares before slipping back into its mellow reflection with ease. Things get truly heated in time with eagerly tenacious rhythms spearing a weave of progressive drama under a sweltering climate of sound and intensity.

Things begin to follow a pattern now, the calm before the storm once more enticing the listener as the outstanding Creatures Of Hate dances with a sultry gentleness in ears; ensnaring them and the imagination for the darker, almost demonic intent and imagination of its enthralling shadow woven body. The track is hypnotic, its predatory tranquillity a deceit to the dark heart at its core as humanity is exposed. It is also another fresh aspect to the I, The Betrayer sound and invention, its more primal dark metal inclinations managing to take the EP to its darkest place yet its most composed and imperious.

The release is closed up by firstly the growling thrash bred Boaster,  a track which like the opener is maybe not the most  adventurous but leaves a stronger appetite for the band’s sound and recognition of their  skills and lastly Ignorance Pt. 1, an emotive ballad with an underlying dark edge in outlook and sentiment. Though neither quite have the spark of their predecessors, each only adds to the impressive presence and adventure of 7.

Simply out, the EP is a potential rich and increasingly impressive first encounter with I, The Betrayer but more importantly a fiercely enjoyable one. Expect to hear their name and sounds much more from hereon in.

The 7 EP is out now through Darkspawn Records and available @ https://ithebetrayer.bandcamp.com/releases

http://www.ithebetrayer.com/    https://www.facebook.com/ithebetrayerr    https://twitter.com/itbmetal

Pete RingMaster 14/06/2017

Copyright RingMaster: MyFreeCopyright