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

Triverse Massacre – Hades

Taking the listener by the throat down the five rivers encircling its underworld, Hades is the new EP from British metallers Triverse Massacre and the hellacious outpouring of the potential first bred in their previous releases. Back in 2014, the With Bared Teeth And Truths EP suggested that the band had the wares to make a potent impact on the British metal scene; Hades is that mighty trespass but one still hinting of greater things yet to come.

Bursting from the depths of Carlisle in 2010, Triverse Massacre quickly stirred up local support and in turn within the metal underground crowd with the release of debut EP In The Jaws Of Deceit. It was a growing reputation equally fuelled by their ferocious live presence which has gone on to see the band earn strong praise and share stages since with the likes of Skindred, Raging Speedhorn, Aliases, The Sun Explodes, The Colour Line, Reign Of Fury, and Anihilated and play Bloodstock Open Air last year alongside Slayer, Behemoth, Mastodon, and Gojira. With Bared Teeth and Truths provoked more concentrated attention and awareness of the band and their ravenous fusion of death, groove, and thrash metal; an incendiary mix now truly igniting within Hades.

The release opens up with Cocytus, an instrumental of imposing grandeur and looming shadows creating the climate you would expect surrounding the domain and god of the underworld. Guitars eventually encroach on the deceitful grace of the air creating a link to waiting venomous jaws as the track flows into the predacious animosity and corrosive depths of Styx. As the guitars of James Graham and Chris Kelsall gnaw and taunt the senses with riffs and grooves, vocalist Liam Stark descends and invades with his raw and potent mix of attacks, the frontman as the sound around him openly showing a growth in snarl and dexterity since that last EP. The guitars continue to weave a web of creative deceit, lures of infectious and seductive design woven to violate while the biting beats of Mike Collins and the tenebrific lines of bassist Jason McEwan have nothing in mind except merciless trespass.

It is a mighty and increasingly gripping track still slightly outshone though by next up Acheron. With grooves swinging from its first breath and contagious irritability coating every note and raw throated expulsion, the track unleashes the most virulent strain of toxic rock ‘n’ roll. The band’s sound has fully escaped any confines of extreme metal tagging, the third track epitomising its adventure and maturity and especially its rudely addictive quality forcing full submission to its rancor.

Lethe is simply bestial; a vicious harrying of the senses. Every element of its twisted body and intent is delicious harassment, grooves swarming through ears as rhythms advance with horde like barbarity. Within the tempest though, as across all tracks, there is a melodic prowess which accentuates rather than tempers the pernicious infestation but equally spotlights the instinctive craft breeding the envenomed imagination and onslaught on offer.

The EP closes with Phelegethon, arguably the biggest intrusive nagging of the senses of them all and quite possibly our favourite though that honour is consistently shared with its two predecessors. It is a stirring end though with the guitars a viperish incursion and rhythms a bold and numbing incitement as Stark crawls and lurches over the senses and psyche with vocal glands spilling malevolence in varying shades.

With Hades, Triverse Massacre has presented itself to the main table of extreme metal but as the EP thrills you still get the sense that the band is nowhere close to depleting its creative depths. That suggests very potent horizons for the quintet and for our beleaguered ears alongside them.

The Hades EP is released May 26th @ https://triversemassacre.bandcamp.com/ or http://triversemassacre.bigcartel.com/

http://www.triversemassacre.com/    https://www.facebook.com/TriverseMassacre%20/    https://twitter.com/TriverseM

Pete RingMaster 25/05/2017

Copyright RingMaster: MyFreeCopyright

Mordant – Demonic Satanic

cover_RingMasterReview

Released towards the rear of last year, Demonic Satanic the new album from Swedish black metallers Mordant just has to be looked at and recommended no matter the length of time since it’s unleashing. Fusing black, thrash, and death metal into one corrosively virulent proposition, the band’s sound and in turn album is a tempest of fearsome rock ‘n’ roll which welcomingly infests and devours the senses.

Formed in 1997, Mordant has released two previous albums in Momento Mori (2004) and Black Evil Master (2008), a trio of demos, and a split with Sabbat in 2013. Each has increasingly nurtured the band’s unique style of black metal fuelled pestilence now raising the cancerous infectiousness of Demonic Satanic out of the sole confines of its source genre. As suggested, the album is pure rock ‘n’ roll without losing any of the Swedish black/metal traits it has its seeds in.

Vengeance from the Dark is the album’s first trespass, the track swiftly luring ears with rhythmic bait and stabbing riffs before driving headlong into a scourge of raw rapacious riffs and toxic grooves. As the throat bleeding tones of vocalist Bitchfire scowl, the thrashier instincts of the band collude with melodic and sonic flirtation but are never allowed off the leash as the track confronts ears like a venomous celebratory waltz. It is a constantly enjoyable nag on the senses with hooks sharing character with old school rock ‘n’ roll, even at times rockabilly.

The excellent start continues as Devastating Storm… Evil Holocaust bounds in with its own incessancy of riffs and rapier like rhythms, the scything swings of drummer Necrophiliac managing to simultaneously bludgeon and be precise in their touch as the bass of Carnage growls with mercurial intent. As the intrusive assault of rhythm guitarist Soulmolester harries ears the grooves of Angelreaper wind themselves around the psyche, venom lining their every twist; masterful assets repeated in the album’s title track straight after. The track is as much psychobilly as it is extreme metal in many ways, that host of elements making up the Mordant sound diverse and expansive not only release by release to date but song by song upon Demonic Satanic. It is still blackened death metal at heart but as catchy as you could wish for; an epidemic of spiteful temptation.

Evil Impalers is another scourge easily taking limbs and appetite in its grip, its thrash sparked charge the drive for insidious suggestion and endeavour to seduce whilst courting the track’s bestial side before the Dals långed based quintet infest the Sabbat track Blacking Metal with their own creative curse. Both tracks leave nothing left to desire with the former pure incitement for pleasure, a potency tapped into by the hellacious outpouring of Desecration from Hell, a tempest of sonic poison also with an embrace of melodic adventure with persuasive toxins of its very own.

Through the pair of Infernal Curse of Evil and Screaming Souls, the senses are tormented and instincts aroused, the first as much a slab of salacious rock ‘n’ roll as it is emotional malignancy and its successor a web of injurious enterprise woven from varied strands of metal. Each leaves a greed for more with the former another peak in the album’s landscape.

Count Lucifer brings the album to a close, its tempest raw yet majestic and surrounded by a web of invasive imagination and magnetic craft. Again you can only describe the enmity as carnal rock ‘n’ roll and one hard to evade becoming enslaved by.

With thanks to Kunal at Transcending Obscurity who personally recommended the album, we may be late to it but have not missed out on something which may happily share its genre inspirations but is, as the Mordant sound, a fresh creative rancor to be in turn inspired by.

Demonic Satanic is out now through To The Death Records and available @ https://tothedeathrecords.bandcamp.com/album/demonic-satanic

https://www.facebook.com/mordantblackmetal

Pete RingMaster 03/03/2017

Copyright RingMaster: MyFreeCopyright

Primal Age – A Silent Wound

photo-promo_RingMasterReview

Four years after their 3 way split with Mostomalta and Cherish on Deadlight Entertainment, French outfit Primal Age return with a new EP again through the Foix based label. A Silent Wound is a caustic roar of the band’s hardcore infested metal giving evidence that the time between releases has been spent bringing a fresh air and touch as well as malice to their invasive sound.

Given in tribute to Mika “Bleu” Adjennian who passed away last summer, the manager at Customcore Records who remained a close friend after the label released the band’s album A Hell Romance in 2007, A Silent Wound opens up with The Whistleblowers VS World Health Organization. From the first rally of drum enticement, the track explodes into a furious surge of riffs and bone rapping beats, their animosity echoed in vocal growls and the raging heart of the song itself. The incessant pressure and assault of the track is a viciously compelling infection, the senses blasted emotionally and physically as the band pull no punches with their scathing political/social outpouring. Fusing thrash and classic metal elements with raw punk ferocity, the track is an exhausting, almost crippling onslaught and quite exhilarating.

ep-cover_RingMasterReviewThe EP’s title track steps forward next, its charge less vicious energy wise but a still as imposing and predatory trespass of the senses as its predecessor. Featuring Felipe Chehuan from Brazil metalcore outfit Confronto, the tempest careers across the senses like a violent tango, hardcore animosity and rigour surrounding metal bred grooves and riffs. Already appetite for the encounter is becoming greedy and only urged on by the almost tribalistic, certainly rhythmically, Counterfeiters of the Science. With thrash bred riffs and wiry grooves entangling rampant rhythms and listener alike, things are swiftly and uncompromisingly catchy and increasingly antagonistic. Another buffeting of the senses ensues, one hungrily welcomed especially as the song twists and turns through a web of swinging beats, grumbling basslines, and vocal incitement as the rousing defiant soaked encounter challenges the opener for best track honours.

The EP is completed by To Jeff, a tribute to Slayer guitarist Jeff Hanneman featuring a medley of the thrasher’s songs. Primal Age are aided by guests in vocalists Julien Truchan of Benighted and Hiroyuki ‘Koba’ Kobayashi from Loyal To The Grave and offer a fine homage to the man and pleasure for the ears.

What comes next from Primal Age metal and hardcore fans will eagerly await especially as A Silent Wound suggests it will be something to savour as itself is.

A Silent Wound is out March 3rd through Deadlight Entertainment @ https://deadlight.bandcamp.com/album/a-silent-wound

https://www.facebook.com/PRIMALAGE/

Pete RingMaster 03/03/2017

Copyright RingMaster: MyFreeCopyright

Raptor King – Dinocalypse

raptor_king_2016-23_RingMasterReview

As a new threat looms to trespass his domain Raptor V and his cohorts have risen again to take on the trespass. Raptor King are back with new EP Dinocalypse, a compelling successor to the well-received Dinocracy EP, to take on the new trespasser of their apocalyptic landscaped world.

Dinocalypse sees Raptor V, a dino king from the cretaceous era which ended up in 2015 via a temporal gate, once again linking up with his acolytes in guitarist Nightsmoke and drummer Don Coco to thwart new protagonist Pelletor. The Boulogne-Billancourt hailing outfit have also enlisted the guest help of bassist Strange Kid Armageddon and guitarist Indian Shredder for their second outing, a release showing a broader web of diversity in sound and bolder uniqueness in its character compared to its predecessor. As impressive and highly enjoyable as the first release form the band was, Dinocalypse easily and swiftly eclipses it in all departments.

The EP opens with its title track, Dinocalypse rising from its ‘sleep’ with a dawning of textures and essences, all entwining each other in a heated embrace until from its midst a thrash fuelled fury escapes. With the three pronged vocals as confrontational and belligerent as the riffs and rhythms surrounding them, things are soon a tempestuous assault challenging the listener as readily as the hunger of those in its tale to take on the invader of civilisation. Infectious grooves and brassy toxic flames add to the volatile and increasingly compelling mix of flavours and styles now colluding with bedlamic potency within the excellent starter.

pochette-raptor-king-dinocalyspe_RingMasterReviewThe dark lures of The Witch comes next, a web of sinister grooves and heavily swung beats gripping ears as a sludgy swamp of sound in a mutually thick climate envelops the senses. It is an alternatively rapacious seduction and invasive proposal veering further into the jaws of the latter as vocal and sonic antipathy boil up with a blackened edge to their intrusive attributes. Equally though, melody woven calm aligned to deception carrying elegance lures with siren-esque intent, a mercurial web of suggestiveness heading towards a devouring concluding tempest of extreme metal and grievous rock ‘n’ roll.

The Long Way To Rock (Pom Pom Pom Pom Pom) reveals its own infectious hand at spinning addiction sparking grooves and raw contagion next. A blend of melodic metal and rock with grungier tendencies in its intent, the song dances flirtatiously in the ears with vocals as varied and contrasting as the sounds alongside them. Whereas the first album was a collusion of truly familiar flavours and elements, the third song and the EP as a whole quickly reveals that exclusive nature and enterprise suggested earlier whilst still making for a proposition which roars like an old friend.

The stand-off between Raptor V and Pelletor is a raucous rumble in Fight’n’Roll, the track a riot of destructive and fiercely catchy rock ‘n’ roll embroiled in combative agitation. Corrosive and anthemic, the song simply hits the spot with hungry endeavour before leaving Lonesome Raptor to bring things to an excellent close. A melodic embrace around the reflective croon of Raptor V, it is a noir lit bluesy smoulder of seduction and another side to the imagination incited escapades with the release showing the striking growth of the Raptor King writing and sound.

Dinocracy majorly pleased last time around but Dinocalypse breaches a whole new landscape of craft and fun and as the closing seconds of its final track suggests is just the beginning of a new rousing conflict of bruising adventure to come and eagerly anticipate.

Dinocalypse is out now @ http://raptorking.bigcartel.com/product/dinocalypse-ep

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Pete RingMaster 28/02/2017

Copyright RingMaster: MyFreeCopyright

Threatpoint – R.I.P.

threatpoint_RingMasterReview

Inescapably enjoying their second album Careful What You Wish For when being introduced to it and the band last year, we suggested that it was easy to see US groove metallers Threatpoint “making their presence a global one if not now certainly on a near horizon.” That album evaded the luck to make the bridge but now expectations of such success are rising again with its successor R.I.P., a release which eclipses the last in every department.

Formed in 2012, the Scranton, Pennsylvania hailing quartet quickly showed themselves a formidable and exciting proposition through debut album Dead to Rise in 2013 and a live presence eagerly devoured locally and further afield. Taking inspirations from an array of metal and heavy rock borne flavours for their groove metal seeded sound, Threatpoint merged familiar and increasingly inventively fresh essences in the following Careful What You Wish and it is fair to say that the latter side has grown yet again within R.I.P., that alongside imagination and sheer creative ferocity.

With newest member and bassist Matthew Van Fleet alongside founding members in vocalist Chris James, guitarist Alex Olivetti, and drummer CJ Krukowski, Threatpoint immediately absorb ears with the portentous lure of the album’s title track. Its initial coaxing is a dark harmonic drone courted by drama carrying atmospherics. From within the evocative draw, riffs and rhythms gather and surge hungrily through ears, quickly finding their assault bound in just as rapacious grooves. Death and thrash nurtured textures are soon fuelling the rousing starter, the raw ire loaded tones of James orchestrating the anthemic prowess of the chorus whilst Olivetti’s enterprise only blossoms across each invasive groove and melodic flame.

It is an invasively potent beginning to the release reinforced by next up Deadend Machineland. It too needs a mere handful of second before settling into a predatory confrontation equipped with its own senses stirring confrontation. Like a gunslinger, it stands sizing up the listener as James’ prowls the imagination, subsequently uncaging a blast of multi-flavoured metal with a good sense of restraint to emphasize its invention before Tombstones of my Enemies presents a riveting trespass of scowling riffs, intrusive rhythms, and a sonic web woven with melodic dexterity, all emerging from a great initial melodic haunting. As each song before it, the track reveals a new character to the Threatpoint sound, R.I.P. already outshining its predecessor in diversity while matching its raw intensity.

art_RingMasterReviewThy Will Be Done is a grievous groove fest littered with invasive hooks and sonic irritability around the equally fuelled growls of James while Light Bleeds Through the Black straight after is a sinister at times almost darkly lecherous protagonist of ears and imagination interrupted by predatory bursts of volcanic ferocity. Both crowd around barbarous basslines from Van Fleet and the wickedly swung beats of Krukowski, a union of dexterity as addictive as the ravenous enterprise around them. The fade out of the first is annoying but a minor gripe in one of the album’s major highlights, a height matched by its successor and the demonian seduction of Bury the Wicked where again lava-esque enterprise meets provocative malevolence.

Through the classic and thrash metal spiced theatre of Laugh Now…Cry Later and the carnivorous canter of Writings on the Wall, the band continues to enthral an eager appetite for the magnetic adventure of the album even if neither quite stirs personal tastes to the same lusty responses as those before them or  the outstanding One in the Chamber…One in the Chest which follows. Its grouchy growl alone whips up unbridled attention, its predacious bassline and similarly natured grooves just as masterful in enslaving the passions as the song twists and turns with inventive rabidity.

The murderous swing of Face Your Fear is the foundation to another pinnacle within R.I.P., a track which courts a host of varied metallic styles as it venomously struts around body and thoughts before making way for the equally gripping theatre of Angels with Broken Wings which features the striking vocal presence of Lauren Balogh, vocalist for DramaScream and SuperRadical; her union with James a major reason for the track sparking another wave of lust.

Completed by the thunderous charge and choleric tempest of Death Rides Again, the album hits a whole new plateau in its second half following a nothing but impressive and thoroughly enjoyable first. It is the spark for expectations that Threatpoint will finally find worldwide awareness for their ever growing and increasingly inventive sound. R.I.P. may be its name but the album is the birth of greater things and success for the band.

R.I.P. is out now across most online stores.

http://www.threatpointofficial.com    https://www.facebook.com/threatpoint

Pete RingMaster 24/01/2017

Copyright RingMaster: MyFreeCopyright