Shotgun Rodeo – The New Standard


You might suggest there are more unique proposals coming forth this year but there will be very few encounters which ignite and incite the passions as The New Standard. The six track roar from Norwegian metallers Shotgun Rodeo is as infectiously virulent as the common cold and as instinctively anthemic as any slab of rock ‘n’ roll can be.

Hailing from Trondheim, Shotgun Rodeo have been weaving riotous incidents from contagious strands of groove, thrash, and heavy metal  since 2008 which each subsequent release becoming more focused, potent, and as proven by their latest escapade irresistible. Previous EPs, Dead End Massacre (2012) and Guilty as Charged (2013) drew strong awareness of the quartet with debut album World Wide Genocide especially whipping up enthused attention. That time has seen their multi-flavoured sound become even more adventurous and diverse which The New Standard takes to a new compelling level.

From its first breath the EP sees predacious riffs and imagination enslaving grooves almost battling for attention, each earning their equal share alongside robustly eager rhythms and an overall contagiousness as opener Batshit Crazy leaps at and consumes ears. An enticing groove lined riff opens up the assault, it swiftly joined by heavy beats and broader wave of riffery amidst increasing spicy grooving. The great dirty tones of vocalist Nino Escopeta are soon there inciting involvement too as the song strolls with an aggressive almost arrogant swagger. The swinging rhythms of drummer Doomfang and bassist J.Buvarp trap attention virtually on their own, chaining an eager attention for the tapestry of grouchy riffs and sonic seduction from the strings of guitarist Don Shrediablo to further flirt with the listener within. With its chorus icing on the infectious cake, the track is the first of six which can make anyone lose all inhibitions in public view which is some feat when if like us you are someone hiding a voice which has rats fleeing towards a sinking ship.

shotgun-rodeo-the-new-standard-artwork_RingMasterReviewThe excellent start is taken up another gear with the outstanding temptings of Uncontainable. It too is a brawling stomp of cantankerous riffs and soliciting grooves lorded over by boisterous vocals while being driven by surging rhythms. Once more the band casts a chorus impossible to escape, the blend of heavy and feverish rock ‘n’ roll fuelling a kaleidoscope of spices from hard rock and classic metal to old school rock with plenty of other darker ravenous textures involved. Giving a seriously and gloriously anthemic battering to the senses, the track takes best track honours though it is persistently challenged throughout The New Standard and songs like its successor Around The Bend.

A heavier and darker proposal, the third track stalks ears while easily entangling them in more melody rich grooving, subsequently luring them into a chorus that is as raptorial as it is sublimely catchy. Shotgun Rodeo is unafraid to bring some death metal seeded shadows to their sound either, and it is that lurking hue which unites all the varying elements of the song perfectly, marked by the bestial growling of the bass in turn tempered by the broad enterprise of Shrediablo in a song which is a bit like King Hiss meeting Lamb Of God.

From one compelling moment to another as Drawing Blood From Stone takes over, it too a predatory proposition with twists into contagion loaded inciting of ears and involvement. Merging old school and modern hungry metal in one fiercely imposing captivation, the thrilling trespass of the imagination makes way for the EP’s title track. Once more grooves wrap around ears and appetite as rhythms hunt and attitude loaded vocals challenge, a combination which soon crafts its own individually surly engagement to further hook and ignite the passions.

The EP ends with the groove infected rock ‘n’ roll of Scatterbrain where the guitar spreads some southern goodness in its endeavours while rhythms provide a more fractious but no less alluring invitation. It is a rousing and exhilarating close to the EP, a slightly psychotic proposal all raw sweetness and deceitful animosity which just lights the fires all over again.

The New Standard might not be the most original thing you might come across but few bands involve familiar essences and textures in such a masterfully magnetic and seriously rousing fashion. As the release grips ears once again to say Shotgun Rodeo and The New Standard EP is a must is more than easy.

The New Standard EP is out now across most online stores.

Pete RingMaster 07/10/2016

Copyright RingMaster: MyFreeCopyright

Carnage Inc. – Fury Incarnate


Nagging away at the senses and imagination like a thrash powered buzz saw, Fury Incarnate, the new EP from India hailing Carnage Inc. is an encounter which only excites. Part of the press release for the band’s ear gripping proposition suggests we “Watch out for this band that’s bound to leap out…” It is a thought more than backed up by the five track tempest of raw energy, hungry invention, and old school bred thrash ‘n’ roll.

Hailing from Mumbai, Carnage Inc. have a sound which certainly draws on the likes of the bay area thrash scene and bands such as Slayer, Anthrax, Black Sabbath, and Megadeth. Equally there is a punk fury and attitude mixed with a melodic prowess which makes their kind of crossover thrash rather appetising as it stands out from the crowd of new pretenders.

Released through Transcending Obscurity, Fury Incarnate opens with Dawn, a suggestive instrumental bringing the release and its multi-faceted character into view.  Its gentle melodic bandcamp-art_RingMasterReviewseducing has a warm lure of Motherjane to it and a climate of shadows holding a more tempestuously brooding nature which are uncaged properly in the following roar of Defiled. From a sample loaded opening skirted by distant psychotic rhythms, the second track swiftly bursts upon the senses led by the imagination entangling grooves of lead guitarist Navin Mudaliyar. The swinging beats of Moinuddin Farooqui equally steer the track through ears with an infectious aggression, an antagonistic lure matched by the potent gravelly vocals of rhythm guitarist Varun Panchal. It is a quickly satisfying encounter mixing familiar old school thrash hues with the band’s own imagination for heavily pleasing results.

The EP’s title track comes next, Fury Incarnate similarly surging with predacious intent through ears as the growling bass of Jason Dias alone provides grumbling bait to get eager for but a lure matched in vicious kind by riffs and the punk stoked vocals of Panchal. There is a feel of Suicidal Tendencies to the track as it swings and twists in ears, a thicker Testament meets Exodus colouring emerging in other magnetic moments within the release’s best and most inventive moment yet.

Day of Delirium is another seriously catchy and aggressively rampant proposal, whipping up spirit and appetite from its first bruising breath and only blossoming further as wonderful discord woven grooves add their alluring majesty throughout the often sultry and always muscular affair eclipsing its predecessor.

The EP is completed by Ungod, a track which switches between invasive energies and barbarous intent with fluid enterprise as the increasingly impressing delivery of Panchal is matched by backing vocals and the unpredictable nature and design of the song.

It is an excellent end to a riveting and impressing proper introduction for the rest of the world to Carnage Inc. Certainly this is a band to keep a close ear upon, one which has given thrash something rather flavoursome to chew over.

The Fury Incarnate EP is available now through Transcending Obscurity Distribution and @

Pete RingMaster 05/10/2016

Copyright RingMaster: MyFreeCopyright

The Passion and the Roar: Talking Rising Dark

Rising Dark_RingMasterReview

Formed in 2005, Italian metallers Rising Dark have just began their second decade as one of the underground’s striking and rousing thrash metal propositions. Earlier this year they released second album A World In Ruin via White Tower Records; a thumping and resourceful encounter from the quartet of vocalist/guitarist Michael Crimson, lead guitarist Stanley Bleese, vocalist/bassist Dan Ross, and drummer Balzael, as surprising as it was inescapably anthemic. With thanks to Balzael we now have the chance to explore the heart and depths of Rising Dark…

Hello and thanks for taking time out to talk with us.

Hi from Balzael and Rising Dark, thank you for the opportunity.

Can you first introduce yourselves and give us some background to how it all started and what brought you together?

It all started in 2005 from an idea of me (Balzael) and Michael Crimson; we just wanted to have some fun dreaming about being rock stars and stuff like that. We started with some covers and things like that. The funny thing is that I was not able to play any instrument and I chose drum just because I was inspired by some famous drummer of that time. In a couple of years we tried to produce our own music and here we are with more than 10 years of career and two albums around the world.

So Rising Dark is your first musical venture?

When we started, Rising Dark was the first band for every one of us but during this year we had a lot of side projects. I have always some active side projects to play with, now I’m touring with Angerdome. From a musical point of view I would not say that our side projects affect our genre but it definitely affects the way we play and grow in music ambient. For example with Angerdome, due to the nature of the genre, I’m forced to play a “static drumming” that follows everything the guitarist plays; for sure in rising dark we do not have that strict need but this is for sure something to learn from.

What inspired the band name?

We were 15 at the time, we just picked up a “dark” name; today we still love our name so we were not so foolish at the time ahah.

Rising Dark vid shot_RingMasterReviewWas there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

We did not plan anything in our career but for sure we wanted to propose something rude but also catchy; for sure Metallica inspired us a lot in creating our own music too but we definitely never took by choice anything defined or played from other bands.

Does the same initial spark still drive the band from when it was fresh-faced or has that first wind of creativity evolved over time?

Well, we are still rude and catchy and we still compose thrash metal with no bounds and limits, we take elements from Death, Thrash and Prog music. I would even say that we take something from rock because we often compose ballads that are quite strange for a thrash metal band.

Since your early days, how would you say your sound has evolved?

Our sound is still rude and catchy but I would say that our approach at composition has changed since we learned to be at the service of music and not the opposite. During the composition of our first release, Apocalyptic, we composed with no bounds and regardless of the “final listener’s effect”. That worked but to create tracks with an average duration of 7 minutes is not always a pro. Today we are learning the best way to communicate to people with our music which means you cannot simply walk into the jam room and start to play everything you want when you want and how you want; you have always to keep in mind that you are a performer and an artist and that your final goal is to reach people hearts and let people have fun. You are not producing music only for yourself.

Has it been an organic movement in your sound or do you deliberately try new things?

Everything came naturally and not planned in any way, we just communicate with our music and our fans; our natural enhancement process is to go where our music takes us. When you see that your fans appreciate what you do and understand it, well, you are on the right way.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your own personal approach and ideas?

Well, regarding other bands, we definitely are inspired by Metallica, Slayer, Testament, and the great “fathers of metal music” like Ozzy or Judas Priest but we don’t want to emulate anyone. In fact, what we propose is really a personal interpretation of our genre (that is my opinion). For sure we are also inspired by society, religion, books and films regarding our themes.

Is there a particular process to the songwriting in the band?

Yeah, Michael Crimson usually starts with an idea more or less complete; we jam on it and try to define the shape of the new track while trying some lyric approach. Once done, we focus on lyrics and solos. I finally take care of the arrangements and all the production process.

You have already touched on it but where, more often than not, do inspirations to the lyrical side come from?

For sure society, books, films, videogames are source of inspiration. We usually compose tracks inspired by Lovecraft’s tales; that is definitely a great source of inspiration for us.

Give us some background to your latest release.

It has been a difficult and long process because while we were composing the tracks we also were searching for a new bass player. Fortunately we found Dan Ross only a month before the recording started who gave his final touch to our tracks. For this album I wanted to obtain a more “live sound”; I’m so sick of listening to perfect albums that are completely different from what a band can propose in a live situation. I don’t want to go back to recordings of ’60 or ’70 but I think that an album is more personal if you do not use too much triggers or fantastic presets. If the music is great you do not need a massive production. Nowadays even a band that started jamming yesterday can have an album that sounds like Meshuggah (obviously I am exasperating the concept) but it’s not so easy to find a personal album. That is our direction.

Please give us some insight to the themes and premise behind your release?Rising Dark art_RingMasterReview

Well you can find post-apocalypse worlds, fantastic tales of creatures from Lovecraft’s mind as you can find our personal view of criminality, or war in its emotional aspect or in it’ violent habits.

You enter the studio with songs pretty much in their final state?

When we enter the studio our tracks are totally completed; just in order to give you an example, drum’s recording took 5 hours which means that you play “one-shot” at the tracks.

Tell us about the live side to the band, presumably the favourite aspect of the band?

We definitely believe in SHOW. For us it means not only that you must play in a professional way but that you have to bring a real metal show made of blood, masks and stuff like that. We want to communicate with people in any possible way just in order to see them have fun. We don’t give a fuck about being famous or stuff like that, we want to see people have fun with our music; if that causes us to sell our products well it’s obviously good for us but our goal is to give people a moment to remember, and this vision applies also to the band member. We don’t want to grow old and have nothing to tell to our sons…… yeah… we usually exaggerate a little bit in our shows haha.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it where you come from? Are there the opportunities to make a mark if a band wants it?

Yeah, SACRIFICE and PROFESSIONALITY, these are the keywords. You must always work hard. I also see a lot of bands totally concentrated in what they are playing, watching strings during live [performances] or looking at the stage floor; if you want to reach people you have to communicate with them. If you are doing this for the money well you’d better pack your shit and go gardening, if you are doing it because you want to hear “Oh thank you so much Rising Dark for that show and for your music” well achieve that by playing with people and not only with your instruments.

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive or only a good thing if worked properly?

Well social networks nowadays are a great way to promote you music, but if you are only a social network hero and at the first gig you are a piece of wood, I grant you that you will remain a social network hero. Social network can increase you success but it will work only if there is some “substance”. Social networks also increased the concurrence between the bands because everyone can reach anyone in any moment so if you want them to have you next, you have to offer something real and personal so people can remember you.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Yeah Dan Ross put mayonnaise on the fucking pizza. No, seriously, thank everyone for reading this. You can find our single Plague on YouTube, take a look at it and give a chance to our album if you like thrash metal; support underground artists and STAY FUCKING METAL.

Find out more about Rising Dark and their music @

Pete RingMaster

The RingMaster Review 08/05/2016

Copyright RingMaster: MyFreeCopyright

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Skox – Years of Legions


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.

Pete RingMaster 12/04/2016

Copyright RingMaster: MyFreeCopyright

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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 @

Pete RingMaster 30/03/2016

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Law 18 – Self Titled


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 @

Pete RingMaster 21/03/2016

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Sixth Dimension – Trauma


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

Pete RingMaster 11/03/2016

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