Drones For Queens – Practically Weapons

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It may be only four tracks creating barely ten minutes of hellacious fury but listening to the Practically Weapons EP from US punks Drones For Queens, is a hostility which withers the senses and scars the psyche. It is by no means an easy listen, to be honest a barbarous one at times, but for braving its tortuous climate the rewards are thrilling. Creating a venomous brawl of thrash, hardcore, and grind with extra searing spices, the Philadelphia-based band goes for the jugular with a sonic bloodlust and enterprise which is as inventive as it is fearsome. Breaking through its blistering surface though you find a warped enterprise which tantalises, and though to embrace it may prove difficult for some for others the EP is sure to ignite a greedy appetite.

Drones For Queens features ex-members of Woe, Woods of Ypres, and current members of The Green Evening Requiem, Population Zero, and Dirt Worshipper, and has already lured in attention and acclaim through firstly their cassette EP Health in 2012. Even more potent acclaim came with their split 7” release with Occult 45 which came out at the end of the following year, but recorded with Steve Roche (Stinking Lizaveta, Rat Healer, Nightfall, Witch Hunt, Serpent Throne), it is easy to expect Practically Weapons to push the band into wider recognition such the vicious, uncompromising, little treat of an assault that it is.

State Your Terms is the first to corrupt ears, its initial sonic scrub soon battered by a flurry of voracious stick swinging and d-beat hostility from drummer Evan Madden. It is a tsunami of spite and intensity equally driven by the malicious vocal squalls of guitarist Shane Madden. There is no hiding place as the song consumes every inch of the by now ringing ears but beneath the raging tempest, the bass of Bob Stokes is crafting dark virulent temptation and the guitar a spiky but addictive web of sharp hooks and nagging grooving. It is compelling stuff, a clash of brute force and anger against a creative seduction which is almost flirtatious in its understated but open adventure.

It is a fusion continuing across all the remaining songs in their very individual characters, the following EP title track unleashing a heavy ravenous texture of sound and intent built on groove metal agitation and thrash animosity. Though it does not instantly sparkle in its depths as the first song, the grooves which spear the onslaught are mouth-watering and the rhythmic tenacity and enterprise of Evan exhaustingly gripping, whilst its closing melodic twist just steals the imagination.

From its opening second A Blinding Future has a niggling groove which works incessantly away at ears and psyche from within the rhythmic turbulence buffeting the body. The severity of the track’s examination, indeed the EP’s, is fierce and unrelenting but again the ingeniously intrusive invention of the guitars beneath the turmoil is bewitching and backed with similar endeavour by Stokes’ bass which manages to abuse and seduce simultaneously.

The closing Duress emerges as the best track on the EP, its twists and inventive spite standing toe to toe with the savage storm at the surface of the contagious voracity. The song is a maelstrom of grooves, hooks, and flailing rhythms interspersed with acidic melodic twists and the grouchiest bassline you are likely to meet this year, and with a growl to match. It takes tops honours on the release and reinforces the impressive weight and creative exploits of the EP.

Practically Weapons pushes on an already impressive emergence by Drones For Queens and suggests that fans of everything from hardcore and crust punk to grindcore and extreme thrash/metal might potentially have a new proposition to lust over. They certainly have us hooked.

Practically Weapons is available on 7” white vinyl limited to 300 copies via Riff Lifter Media @ http://rifflifter.bigcartel.com/product/drones-for-queens-practically-weapons-7-pre-order

https://www.facebook.com/dronesforqueens

RingMaster 11/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Golers – In ‘n’ Outlaws

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Originally out as a limited edition CD in 2013, In ‘n’ Outlaws is now digitally poised to pounce on the world and a tremendous assault it is too. The fourth album from Canadian punk metallers Golers, the release is a furious and ridiculously contagious slab of crossover ferocity throwing thrash, hardcore, and crust punk voracity into one bruising and belligerent treat. Every mention of the Vancouver quartet seems to draw comparisons to Slayer and DRI, and it is hard to be any different here, though there are plenty of other extreme provocateurs hinting in the spicing of the ultimately fresh fourteen track brawl.

Golers first uncaged their belligerent and sonic fury on ears in 1998, forming after the end of the band they were all playing in, Subversion. The following year saw debut album South Mountain Style uncaged, it establishing the core Golers sound which has snarled and rampaged ever since. 2nd Generation followed in 2004, offering a honed and more impacting flavouring which again was intensified and broadened a touch more with Backwoods Messages five years later. Sparking the keenest attention on the band yet, its well-received arrival was more than emulated by the appearance of In ‘n’ Outlaws with easy to expect greater success coming with its digital unveiling. Recorded with producer/engineer/manager Rob Shallcross (Gene Hoglan, Strapping Young Lad, West Of Hell), the album commandingly and tenaciously shows why Golers has been so greedily devoured on records an live across North America and Europe alike, a presence taking in shows and tours with bands such as Toxic Holocaust, Kreator, The Accused, Napalm Death, Suicidal Tendencies, Dayglo Abortions, Destruction, Ghoul, and Prong. The ultimate step of recognition has yet to be breached though; something In ‘n’ Outlaws definitely has the potential to trigger given the opportunity.

The album’s title track roars in ears first, riffs and rhythms an instant bombardment, gripping attention and an early appetite with force. The great blend of vocals led by Walter ‘Chainsaw Charlie’ Mason, straight away ignite an already contagious offering whilst the sonic craft of Derek ‘Henry the 1st‘ Rockall squeals with appeal against the caustic scrub of riffery from Mason. In 'n' Outlaws_fullCatching the anthemic essences of thrash and punk in one almighty invitation, it is a thrilling start potently backed straight away by the even more hostile Lemon Eyed Devil and the following irritability of Angle Disruption. The first of the two is sheer primal virulence, vocals and grooves a spiteful bait against the fiercely provocative muscles of Jason ‘Cranswick’ Mosdell’s swings and Stuart ’Jonny Goler’ Carruthers predatory bass lines. Its punk rabidity is matched by that of its successor, a song with a bee in its bonnet and malevolence in its breath. Again though, every hook and rhythmic swipe seems to have a devious contagion matched by grooves and riffs, an enslavement of ears and imagination upon which the vocal squalls impressively vent.

Behind the Sun embraces a heavy metal spicing in its corrosive turbulence of sound and aggression next, the track as addictive as those before but finding a rawer, nastier nature to seduce and scar simultaneously. It is a bracing and abrasive quality which is just as vocal in Inbred Militia and soon after Kamikaze. Both tracks brawl with the senses and ignite emotions, the first blessed with a delicious crunchy growling bassline amidst a tempest of guitar and vocal inhospitality. It is pure addiction; the bands thrash intent the raging force of the compelling intrusion. The latter of the pair savages with every syllable and note expelled but again has a catchy enticement to its grooves which leave ears basking.

It is fair to say that there is no weak moment across the whole of In ‘n’ Outlaws; some songs might have a surface similarity at times but each reveals its own distinct character in time, as proven by the sonically inflamed Paradise Entrails, with its bewitching niggling and repetitive grooving, and the vicious When Shit Goes Down. This track scowls and abuses with every rhythmic flex and vocal glare, it’s brief but inescapable ire undiluted intimidation with, as in the previous track, a melodic toxicity to share.

The more composed and melodically fuelled Scratch steps forward next, it’s sonic enterprise a riveting tonic which as you might rightly assume, is soon smothered by an unfriendly vocal confrontation still impressing in its multi prong attack, and a more classic metal coloured voracity. It is another slight twist in the album and nature of songs, one turned a few degrees more in the hellacious storm of Quickshit McGraw with its exhausting intensity and melody induced trespass of the senses, and again in the rabid punk flirtation of Country Blumpkin, this another heady peak in the album.

The album ends as welcomingly riotously and adversarial as it began, Alcoholics Unanimous coming first and bellowing with rancor and rhythmic violence; a malice tempered again by irresistible and unrelenting grooves. It is a tremendous onslaught from the start but finds a new ground of addictiveness with its slip into a punk bred anthem towards the end. The Path is equally as incendiary and persuasive with its concussive charge and vocal causticity, whilst the closing Riff Cult / Relations just stands before ears and growls them out in sound, vocals, and attitude to provide a mouth-watering, energy sapping end to a thoroughly invigorating and rigorously enjoyable album.

Golers will be a secret to a great many no more, new hungry appetites sparked once In ‘n’ Outlaws hits the webby place. The album might not be quite announced as the very best thrash/punk metal offering in history but it is destined to be one of the favourites.

In ‘n’ Outlaws is digitally available from February 6th via Bandcamp. Check https://www.facebook.com/pages/The-Golers-Inbred-Militia-/103231376426551 for details.

RingMaster 05/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

Crack House – The Hits Just Keep On Coming

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Beating on ears, mugging the senses, and corrupting the psyche, The Hits Just Keep On Coming is a punk metal violation which just keeps coming. Unleashed by US antagonists Crack House, the EP is a corrosive brawl of crossover ferocity bringing hardcore punk, crust and thrash in on a tempestuous and belligerent dirt caked rock ‘n’ roll rampage. It is not for the faint hearted or those with a nervous disposition, nor those wanting frills and extravagant excesses to their sounds, but for ruinous and degenerate metal punk animosity, this is one EP well worth being ravaged by.

Featuring members of Eat The Turnbuckle, Javelina, Call The Paramedics, and Bitchslicer, Crack House has no redeeming features to its character and everything riveting in punk bred hellishness. From its opening track, also called Crack House, the band is roaring, abusing, and providing an unrelenting and blistering incitement which beneath its scourge of a surface has a maelstrom of riffs, hooks, and enterprise giving each onslaught’s depravity depth and weight. The first song flings abrasing riffs and vocal causticity at ears as soon as it’s opening brief skit sets the scene. Thumping rhythms are just as full of enmity, every swipe a resonating punch entwined in either a tempest of varied vocal squalling or a sonic whipping of guitar. With thrash and grind just as vocal as punk in the rabid stomp, the song makes a formidable entrance to the release, an opening taking to rawer destructive heights by This Emergency Room Is Gonna Need A Fucking Emergency Room.

The second song has fear and juices flowing from the first rumble of rhythms, the drum’s wanton bait soon joining an opening sonic coaxing. In no time the track becomes a contagious and violent seducing of ears and passions, leading the senses into a visceral landscape which could be described as Motorhead meets Hellbastard at a brawl organise by The Exploited. Grooves spray venom and beats destruction yet the heavy metal spiced sonic insidiousness which veins the storm is almost inviting in its resourcefulness. It is an anthemic intrusion, a description fitting most tracks on the EP, and especially the following title track. Again launched on a torrent of rhythmic contagion, the track smothers the senses in a wave of defiling sonic adventure whilst the rhythms increasingly feel like they sense blood as every scything swing comes with greater rancor to match the increasing bile in the vocal delivery.

Without quite matching its predecessor, the song still ignites ears and emotions impressively as does the briefer animus of Junkie Fucker. It is pure hate and defiance in one accusing sonic fury which leaves ears and emotions ringing as it makes way for the final grudge, March Of The Crackhead. Metal and punk collude here to provide a senses scorching, psyche bruising squall which is as irresistible as it is intimidating. Grooves and hooks are ridiculously addictive whilst the rhythms find new and greater bait in their armoury, building a song which is a total seduction even as it violates your veins and steals your sanity.

   The Hits Just Keep On Coming leaves a real hunger for more by its end. You will feel dirty and violated from the encounter but certainly for hardcore/thrash lusting fans more than likely will breed a real appetite and addiction for sound and band that just will not go away.

The Hits Just Keep On Coming is available via Horror Pain Gore Death Productions http://www.horrorpaingoredeath.com/store/hpgd102.html, as well as Buriedinhell Records http://buriedinhell.bandcamp.com/releases, and Useless Christ Records from January 20th.

https://www.facebook.com/CRACKHOUSEROCK

RingMaster 20/01/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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The Sick Side – Born to Kill

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Bracingly raw and with an attitude and character as mischievous as it is antagonistic, Born To Kill the debut album from Spanish rockers The Sick Side, is like one of those companions you know you should not hang out with as they will only get you into trouble but you just cannot resist the anarchic and brazen seduction. A brawl of hard rock and heavy metal with a very healthy fuelling of punk rock, the release is a potential soaked riot of fun, unclean rock ‘n’ roll from a band which breeding a keen appetite for is very easy.

Storming out of Montblanc, a town in the Catalonian province of Tarragona, the quartet of Xavi Granados (vocals /guitar), Xavi Nuez (vocals /guitar), Sergio Martinez (bass), and Joan Pérez (drums) equip their album with a middle finger driven sound and adventure which demands and commands attention. Formed in 2012 and conducting their first rehearsals and song writing exploits in a garage right next to a cemetery, the perfect landscape for the creation of their devilish brew of sound it is easy to suggest, The Sick Side spent the following year working towards and on Born to Kill. Recorded at the Más Allá Studios in Valls, the album is an instant ear grabbing and furious incitement of energy and tenacity. As mentioned it is a raw and rough around the gills encounter but one we suggest fans of filthy punk and rock ‘n’ roll will get a real kick out of.

The album’s first track Looking For quickly lays down a tasty indication of what is in store within Born to Kill. Though not the strongest track on the release, its snarling vocal led weave of sonic enterprise and thumping rhythms within a caustic wall of riffs is a flavoursome appetiser for bigger things. Essences of Judas Priest like metal, Motorhead bred antagonism, and melodic toxicity collude from within the song to add further bait to the not remarkable but solid opening, an entrance backed forcibly by the Turbonegro like She Is A Whore which follows. As the first song, the craft and imagination of the band is captivating bait within the caustic rock ’n’ roll shaping the proposition, but there is a brighter spark of energy to it which sets up ears and appetite perfectly for the next step forward which comes in the fiery shape of Hanging Around.

The album’s third track has feet and emotions hooked from its opening lure of bass and a swiftly aligning roll of beats. Both Granados and Nuez share the vocal lead across the album, a mix and variety which only adds to the unpredictable nature and adventure of songs, and as shown here when those vocals come in hand in hand with a spicy blaze of guitar sculpted sonic design it works a treat. The hints of punk which whisper in the opening pair of songs is a broader and louder anthemic roar here too giving a great simplistic balance to the skilled and inventive veining of guitar endeavour alongside. Ramones meets Crashdiet; the track is a contagious stomp pushing the album up yet another notch with ease.

Both the heavy rhythmic stride and imposing presence of Jenny and the tangy blues shading of Alice hold ears and appetite firmly bound in catchy intriguing persuasion. The first of the two has a more serious nature to its character, parading a less rebellious and slightly more composed weight to its presence whilst its successor toys the senses with a blues garage rock spicing, both adding variety and fresh adventure to the album. Each also has glimpses of a more Billy Idol like glam punk spicing at their hearts, just whispers but proving more colouring to their resourceful and pleasing offerings.

Things continue to grip body and thoughts as Lights Are Always Bright romps with pop punk devilment, well pop punk caked in scowling vocals and riffs which collude with unpolished barbed littered hooks. It results in a tightly grabbing contagion which is emulated by a song called Track 1, where again heavy rock and melodic punk unite to create an abrasing confrontation with searing heavy metal veining alongside attention holding craft from the band. Both tracks keep things moving along enjoyably before the devilry of A Crime Against Humanity with its distinctive vocal delivery and addictive rhythms, steps up to forge another peak in the presence of Born To Kill, a new level reinforced by the album’s title track and the outstanding War. With a touch of hardcore punk teasing in the first, and heavy metal rabidity colouring the brilliance of the second of the three, the band leave the third to add the juiciest onslaught of the album. War is a belligerence of riffs and rapier like beats from its first breath, the band uniting them and the subsequent roar of vocals and bass predation in a thrash inspired stalking of the senses with a nice feel of Testament to its voracious heavy rock tempest.

   The final two songs of Lady Pheromon and The Sick Side impressively and easily ensures Born To Kill ends of a high. The first is an addiction forging slice of punk rock with another chorus to swiftly succumb to whilst the latter stomps around with stirring attitude and a punk metal swagger helped along by another excellent dark bassline courting a potent weave of riffs, hooks, and acidic grooves.

The two tracks make an enjoyable and ruggedly persuasive end to an outstanding introduction to The Sick Side. The album is unpolished and hostile, organic and ready to tear your head off, exactly as all dirt smothered rock ‘n’ roll should be from a band which can only grow and develop an even more striking and dangerous nature…something to eagerly anticipate on the evidence of Born to Kill.

Born To Kill is available now as a name your price download @ http://thesickside.bandcamp.com/releases

https://www.facebook.com/pages/The-Sick-Side/535224796532994

RingMaster 19/01/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Forged In Black – The Exodus

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Though UK heavy metallers Forged In Black is far from being a new band, they have found a new shift and exploration in their sound and thoughts which has led to a relatively recent name change, a renaming which reflects line-up changes and this progression in sound. Their new encounter is The Exodus EP, a release consisting of one brand new track and a couple of early demos of older songs. It is sure to be a tonic for all fans of adventurous classic metal, imposing riffs, and flesh scoring vocals, whilst for the rest it still has enough to stir attention.

The band began in 2009 under the name Merciless Fail, emerging with the intent to merge traditional heavy metal with a unique contemporary essence. The band swiftly earned a strong reputation for their live performances, playing both Bloodstock Festival and the main stage at Red Roar Festival in 2012 and going on to win Metal to the Masses and Band Quest competitions. 2013 was the band’s most successful to date, playing Metal Gods Festival 2013 alongside the likes of Beholder and Savage Messiah, supporting Skreamer and again Beholder, and re- releasing acclaimed debut album Forged in Black. As the following and similarly well-received The Tide EP, the album came out last year for its second outing, two years after the first appearance and under the new band name. It was the four-track EP which showed a suggestion of a twist in the band’s sound, something far more pronounced and exploratory now with the Romesh Dodangoda (Motorhead, Sylosis, Bullet For My Valentine) recorded The Exodus.

The opening melody of the title track is simple bewitchment, a potent lure reinforced by the emerging stride of imposing rhythms and climatic swipes of guitar. There is a definite thrash breath coverto the track once fully in view, an early Metallica essence to ignite imagination and appetite. It is swiftly infused with heavily toned riffs and the rich vocals of Chris Storozynski, his classic style standing eye to eye with the rugged elements of the track but matching the acidic sonic flames around him. A great bruising vocal backing from bassist Kieron Rochester badgers the fiery tones of Storozynski as they lie on the skilled weave set by guitarists Tim Chandler and Andy Songhurst. The track ebbs and flows with its driving torrents and dramatic crescendos, providing a fascinating encounter offering something for thrash, classic, and heavy metal fans and as suggested previously enough for even those not as enamoured in the genres to find intrigue in.

A 2013 demo of Accusations Of The Innocent is next, the original track having previously featured on album and last EP. Once again a thrash invention helps open up ears and focus before the track spreads into more classical metal scenery wrapped with a creative web of guitars and spicily delivered vocals. Again there is plenty to get your teeth into even if the track feels a little reined in compared to its predecessor. With a cauldron of impressing guitar craft and invention courted by the excellent punching rhythms of Joshua Moreton, the song before it makes way for the 2011 demo of the song Forged In Black, shows exactly why the band has inspired such a potent fan base and reputation. Its successor instantly reveals the rich seeds and bait which has been persistent within the band from their start. Comparisons to the likes of Judas Priest, Iron Maiden, and Black Sabbath come with the mention of the band’s name and it is easy to see why with the closing song. Muscular and sonically sultry, it has feet and neck muscles pumped whilst the operatic calls of Storozynski finds a welcome home in the rich melodies veining the incitement.

The Exodus is a release to put a smile on all heavy metal fans but as shown especially by its lead song, it also has the potential to awaken strong appetites in those less taken with its core breeding, a potency shown by it persuading our less than enthused tastes for classic metal and its vocal styling.

The Exodus is available through all stores from December 1st.

https://www.facebook.com/forgedinblacks

RingMaster 01/12/2014

Copyright RingMaster: MyFreeCopyright

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Warmblood – God Of Zombies

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There is something invigorating and healthy about being accosted with visceral sonic spattering and rhythmic brutality, especially when it is unleashed with a technical tenacity and dexterity which grips the imagination. Such a striking infestation is God Of Zombies from Italian metallers Warmblood. The album is a delicious adventure of sinew shredding barbarism and senses searing viciousness with the tendency to simultaneously seduce with rich melodic flames and unpredictable invention. It is a wrath of melodic death metal riding the hostility of thrash and temptation of groove metal into a blood drenched terrain of decay and ravenous intent. Oh, it is also one thoroughly compelling and impressive assault too.

Warmblood began in 2002, founded by vocalist/guitarist Giancarlo Capra and drummer Elena Carnevali. Soon expanding to a trio with bassist Ivan Marconi, the band released a demo the following year. It was in 2009 that debut album Necrocosmos Destination was set free on the world, the time between releases seeing second guitarist Davide Mazzoletti join the Lodi band but Marconi leave. Deciding to continue as a threesome without a bassist, the band continued earning attention and praise for their live performances across shows and festival appearances, with their first album drawing a keen spotlight at home and further afield. A year later the band signed with Punishment 18 Records and released second full-length Timor Mortis. Inspired by the films of Lucio Fulci, it showed further evolution and hungry invention in the band’s sound. Supported by shows with bands such as Asphyx, Infernal War, Kraanium, Antropofagus, Psychofagist, and Blasphemer, the well-received encounter awoke stronger attention upon the band. Now with the release of God Of Zombies through Spew Records (Punishment 18), it is easy to expect the broadest recognition coming Warmblood’s way.

Opening on the portentous apocalyptic Intro (Zombie Genesi), an dramatically orchestrated instrumental piece soaked in menace, the album flies headlong into ears with Post Mortem Transfiguration, riffs and rhythms a torrential provocation from its first breath. Equally there is a tantalising sonic endeavour coating the tempest, scorched melodic temptation which sparks the imagination ready for the full weight and brutality of the song. Driven by pestilential gut wrenching vocals, the track smothers and infects with toxic intensity. Every syllable comes with a dose of festering ire and decay whilst the trash seeded thrust of the song is as rabid as it is uncompromising. Entwining that though is an invention of sonic intrigue and enterprise which spellbinds in its skill and adventure. It is a hellacious and exhilarating start to the album and only matched by its successor.

Contagium Escalation consumes ears with an even more hostile and urgent predation before honing a heavily thumping stride from which eruptions of malice and invention snare attention. It is not as easily flowing as its predecessor WarmbloodCoverbut still a captivating maelstrom of technical skill and inflamed agitation. Though the band has no bassist, there is a heavy tone which at times is hard to define whether it is bred from four strings or a baritone guitar but relentlessly gives tracks a richer ravenous shadow and depth, as shown by Eucharist Dead Flesh. Swaggering with a thrash seeded intimidation and energy, the song is a hostile flirtation, teasing and tearing the senses with its cantankerous and scarring scythes of sound and malevolence, an attack at times swathed in some quite delicious melodic ingenuity. It is a blistering treat of a violation but only the start of an extended new plateau breached by the album.

The next up Unfaithful Celebrant immediately and virulently entices with its rolling beats before sultry grooves salaciously bind rhythms and passions with their flirty designs. The track writhes with tempestuous persuasion, grooves an irresistible and twisted temptation amongst which a low slung growl adds its own enticement as beats unload their spears with composed yet violent intent. It is a glorious and inescapably addictive creative fury, the pinnacle of the album and alone bait to ensure Warmblood comes under the radar.

Both the thrash fuelled title track with its melodic familiarity and the ruggedly feisty Replaced by Death keep thoughts and emotions fired up, the first an evolving landscape of sonic colour and swinging hooks which is as evocatively restrained as it is furiously uncompromising. The second of the two is more of an unrelenting predator than the previous proposition but still prone to releases of exceptional melodic and skilled enterprise which seamlessly merges into the raw causticity and intensive provocation of the track. Vocally too persuasion is an instant slavery, the bestial yet seriously infectious tones of Capra an unending nightmare you only want to immerse deeper into, much as the album itself.

Culmination of Final Transformation is arguably the least hostile encounter upon God Of Zombies but one of the most engaging with its thick weave of melodic and sonic drama whilst the following Zombinferno is the last chapter to the demise of the album’s narrative. Opening with a vintage cinematic sample, the track explodes into prime rock ‘n’ roll whilst its death metal toned flanks ripple with animosity and a merciless rhythmic badgering is without brakes in speed and malice.

Closing with Ite Missa Est, a peace restoring of guitar sculpted instrumental beauty, God Of Zombies is corrosively spellbinding. It has a familiarity to it at times but just as thick originality across it too which makes it trap and feed ears with consummate ease. Warmblood is a band ready to break into the keenest spotlight, whether extreme metal is ready for their creative bloodlust is another thing.

God Of Zombies is available now via Spew Records

https://www.facebook.com/warmbloodband

RingMaster 30/10/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Rise Of The Northstar – Welcame

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Like being bitch slapped by Godzilla, Welcame the debut album from French thrashers Rise Of The Northstar shows little respect and the utmost hostility yet still charms the frilly panties off the passions. Swiftly instilling itself as one of our lustful favourite releases of 2014, the release is an unrelenting brawl on the senses. Mixing thrash, hardcore, and varied strains of metal aggression in a binding of manga and Japanese cultural inspiration, sound and album is an exhausting thrill which violently bruises and angrily seduces at every turn.

Consisting of vocalist Vithia, guitarists Eva-B and Air One, bassist Fabulous Fab, and drummer Hokuto No Kev, Rise Of The Northstar go straight for the jugular on their Repression Records release full-length and soon has defences willing to be split and devoured by the hellacious fury of ‘manga-core’. Opener What The Fuck tears the senses from their comfort zone, the maniacal glint in the eye of the whole album swiftly and ruthlessly seizing ears once the first song emerges from its deceptive melodic coaxing, guitars opening up with a radiant lure veined by sonic enterprise. When it comes, the colossal wall of sound expelled by the track is a tsunami of spite and intensity. Riffs savage air and senses whilst beats pummel everything in sight. It is a vicious assault and quite irresistible especially as a death metal like malevolence aligns itself with rap cultured vocals and a charging thrash voracity. Everything about the song is raw, vocals and lyrics to riffs and rhythms all looming over the senses like a mix of Slipknot, Bad Brains, and Toxic Holocaust. Its open hostility is also equipped with a sonic temptation which rather than temper the raging seems to ignite it further.

The staggering start is matched within seconds by the predatory Welcame (Furyo State Of Mind), the track from its first breath stalking its victim. A Stuck Mojo like animosity rages in the midst of the storm whilst Cypress Hill like WELCAMEartsonic slithers adds a tease to the incendiary and contagious confrontation. That original slow crawl in attack eventually explodes in primal urgency to incinerate the climate of the song before relaxing back into its insidious stroll. The track is as uncompromising as it is addictive and followed by an equally ferocious and merciless assault in The New Path. Again ears and emotions feel like they are being hunted down by the intensive weight and fury of the track but also just as forcibly find themselves being serenaded by group harmonies and anthemic tenacity. It is a scintillating and pleasingly unpredictable incitement setting a new strain of hunger in motion ready for the excellent Samurai Spirit.

The album’s fourth song casts caustic sonic swirls and a bass probing to tenderise thoughts at first before vocals spew malice and spite with every syllable forced through clenched teeth. Riffs and chords hang around the song with intimidating effect whilst beats slap with increasing tenacity and muscle the further the track challenges the senses. Again though there is a vocal union which demands allegiance, another anthem emerging to push the heights of the album further.

Both Dressed All In Black and Again And Again keep things furiously compelling, the first a belligerent riot of craft and invention which uses every twist of its imagination to unleash another exciting and adversarial predation. It equally sets a web of sonic enterprise to captivate as it spills blood before its successor takes a music box simplicity and naivety into an imposingly rugged and jaundiced landscape. Though neither quite matches the brilliance of those before them, each impresses as they add new character and invigorating variety to the album just like the next up Tyson. A cloud of haunting ambience and sinister atmosphere smothers ears first before riffs erupt in carnivorous voice and intent. Hardcore driven vocals then fly at ears angrily from within in the brewing tempest around them. An infectious stride breaks out next, dragging thoughts and passions with its easily accessible yet nasty resourcefulness. The track matches its title in weight, strength, and menace, again not setting a raging fire in emotions but stirring them up to lively satisfaction all the same.

The ridiculously addictive Bosozoku uncages another storming treat; grooves and riffs in league as they bind ears and passions in their riveting anthemic bait to which rhythms administer their welcome brutality as vocals roar with rebellious relish. It is a blistering slab of rock ‘n’ roll pushing Welcame back to its highest plateau, a level maintained by the following cover of the Pharoahe Monch track Simon Says. Possibly the most brutal and imposing rap track you will hear this year, the band turns it into a storm of antagonistic destruction. There is no peace at its eye either, just more full-blooded voracity and malevolent intent.

The album is brought to a potent end through the fusion of rapcore and thrash infused hardcore uncaged by Authentic and the adrenaline fuelled thrash savagery of Blast ‘Em All, both tracks enthralling debilitating anthems no one could be unwilling to offer their bodies to. They complete a roaring triumph of a release, our introduction to Rise Of The Northstar, despite them apparently having a couple of EPs already loose on the world, and the start of a lustful friendship we suspect.

Welcame is available now on Repression Records.

http://www.riseofthenorthstar.com

RingMaster 23/09/2014

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