Killer Refrigerator – The Fridge and the Power it Holds

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We all know that technology is taking us over, but an on-going war between it and man, well easy to have doubts there. That was until this computer began deciding alone when it was going to connect to the internet and my iPod began mashing up songs randomly like a manic DJ to mess with the psyche. Of course if we had all listened to Killer Refrigerator previously battle plans would be drawn up and war cries in place. Thankfully they have returned with second release The Fridge and the Power it Holds at the right time, to awaken all and help turn the conflict back into the hands of humanity.

From Ohio, Killer Refrigerator is the side-project of Cody Coon, the guitarist/vocalist of death thrashers UnKured. Recognising man’s slavery to iPhones, toasters, blenders, every appliance imaginable; a dependency seeded from the aftermath of surviving an attempt to wipe out humanity a Millennia ago by the omniscient refrigerator Lord Freezus Christ ( You may laugh but think about the panic and fever which breaks out when you lose your phone), Cody and Luke “Java” Sackenheim decided to rebel against the appliances in 2014 and formed Killer Refrigerator, releasing debut album When Fridges Rule This World as their first assault and warning soon after.

Drawing on cult movies such as Microwave Massacre, Terrorvision, and Basket Case alongside their belief that appliances want to destroy the world, the band create a bedlam of sound and psychological ferocity from a vicious tangling of every extreme flavour that they can conjure, with much more besides. The Fridge and the Power it Holds EP provides seven tracks of almost indescribable but thoroughly thrilling confrontation, and sets up the battle front perfectly for upcoming second album Refrigeration Plague.

TFATPIT_OPTIMIZED     For all the theatre behind the intent and creativity of the band, Killer Refrigerator has a skilled and inventive sound which if you can ride its unpredictable tsunami, blows ears and imagination away, with the passions in quick succession. Straight away The Fridge and the Power It Holds is rich evidence as opener Terrorvision erupts into life with a web of sonic enterprise sculpted by guitars. A muscular and skittish rhythmic accompaniment adds to the initial coaxing before it all colludes with a dark bassline and a salacious mix of senses scorching vocals for a hellacious punk lined ferocity. Not reaching a minute and a half in length, it is a searing and striking start swiftly over shadowed by the excellent Slaystation. Predatory in its first breath, almost sizing up the listener as it dangles a discord kissed bassline and sonic lures from its rhythmic spine, the track is soon driving for the jugular on a tide of thrash bred riffery and ruinous vocal incitement. Squirming around this, acidic flavoured melodies and progressive nurtured endeavour fascinates, leading ears towards an unexpected Nintendo-core interlude before exploding again into the creative and rasping sonic fury the track started with. As mentioned previously, the band’s sound is an unrelenting and evolving maelstrom defying real description but with avant-garde and mathcore tendencies as prevalent as death and grind endeavours, it is a one compelling and intoxicating assault, deranged manna for the imagination.

Shower Thrashing Death toys with folk metal influences before turning into a carnivorous rampage of thrash/death seeded lavatorial rampage announcing the coming of the “toilet gods”. The bass simply seduces within the grimy scenery whilst vocals announce the demise of all with an outstanding mix of vocal deliveries which range from hardcore angst, grind squalls, to Patton-esque crooning. One of the pinnacles of the release it is matched by Killer Refrigerator VS Godzilla, the big fight off between two merciless goliaths. The track stomps with heavyweight rhythmic feet and fiery climactic endeavour, guitars scything across the battleground with sonic rapacity whilst vocal war cries breed a warped anthemic support.

The insidiously enthralling Slave To The Easy-Bake comes next, a scourge of sonic grooving and melodic flaming spun around a simple but gripping bassline. Of course this does not tell the whole deranged psychotic story of the song, every aspect from vocals to guitars, beats to imagination a distorted intrusion to fear or greedily devour.

The EP’s title track steps up next and after battering the listener senseless through pummelling beats, goes on a brutal and feverish march of searing grooves and scarring riffery. It holds back at one point to intensify its weight and drama, before regaining momentum but with an even more destructive and imposing trespass of the psyche. Deathcore, thrash, mathcore, and psyche rock are all in there running amok with the ideation and raw adventure of the band, the outcome another mouth-watering violation.

   The Fridge And The Power It Holds closes with bonus track To Hell With Cancer, one of the most grouchy siren-esque enticements you are likely to hear this year. Ravaging air and ears around a funk bred devilry, the track is a carnival for the mosh pit and a thrilling, uncompromising call to arms.

Lyrically and musically The Fridge And The Power It Holds is so much fun but equally a serious slam of extreme incitement which might have a theme bred from a truth stretched to cultish proportions, but delivers it as a unique and irresistible tempest. It is probably not going to work for all but if it does click an explosive thrilling time is guaranteed.

The Fridge And The Power It Holds EP is available as a name your price download from April 7th @ https://killerfridge.bandcamp.com/album/the-fridge-and-the-power-it-holds

As a backstory to their origins, the band recently released a 20 minute documentary featuring the hilarious exploits of Cody and his fellow fridge warrior Luke “Java” Sackenheim. The documentary can be viewed here: https://www.youtube.com/watch?v=8m1zCBvL4EU

https://www.facebook.com/KillerFridge

RingMaster 07/04/2015

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/

Possessor – Stay Dead

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Like so many we were ravished and bewitched by Electric Hell, the debut album from UK metallers Possessor which was unleashed last year. It was a tremendous persuasion of sound and enterprise reinforced by a retrospective listen of their first EP Wings of Fire, which came out just a few months before that impressive full-length. They have a sound which is raw and voracious yet unafraid to embrace a melodic and sonic toxicity come seduction which is as fierce and flavoursome as the hostile and sinister landscapes it infiltrates. Now band and music has drawn a new lustful submission with new EP Stay Dead, a release realising all the qualities of its predecessors in new and raucously adventurous exploits.

Hailing from London and formed late 2013, the trio breed their insidious temptation masquerading as sound through merging occult metal with sludge and thrash bred hues and tenacity. It is a fusion emerging with a sense of familiarity yet providing distinctly new and incendiary provocations and temptations. They are like a mix of Black Sabbath, Electric Wizard, Kylesa and Therapy?, a hellacious assault on the senses and demonic seducing of the psyche.

cover     The EP opens on a real high of a track and the release never does anything but look down from lofty heights again. Lucifer Stay Dead opens on a rumble of motorbike before descending on the senses swiftly after with a tsunami of riffs from guitarist Graham Bywater and bassist Marc Brereton. With swinging beats just as feverishly hostile and immediate aligned to a sonic enterprise from Bywater sparking early lusty reactions, the track prowls and snarls with bestial irreverence. The song is simply predatory, everything about it soaked in real hunger and antagonistic ferocity. There is no letting up of its intensity either, those ravenous riffs seemingly gaining in strength and appetite across the track whilst rhythms simply grow bigger balls of attitude within a flaming melodic web.

It is an exceptional start matched by Night of Venom straight after, a track which launches itself on the senses with an even heavier and intensive assault. Of course it also comes with that instinctive seduction, an exciting sonic spicing which tempers the viciousness. Brereton’s bass delivers its dirtiest, rabid tones ever though, whilst the contagion of riffs and grooves coring the encounter, like in its predecessor, has a repetitive niggling which simply evolves into an irresistible addiction. This is where that Therapy? essence comes in for us, the song reaping the nature of the same type of persuasion which lit up the N. Ireland trio’s early work.

With it definitely being too short, fair to say you cannot get enough of its primal tempting, the track makes way for Cobwebs, a smiling slice of pop rock. Nah don’t be silly, the song is another portentous stalking of the senses, though to be honest it does have a more respectful swagger to its energy and character too. Of course this is bound in menacing and dark hearted bass growling and just as grizzly riffery, whilst the drums almost call out for mercy such the psychical and gripping sledging they get. It many ways the track is like the darkest Hammer Films of the seventies, its demonic presence and nature wrapped in alluring colourful designs set to entrap before the horror begins.

The EP closes with Lights Out / Crypt of the Sorcerer, the darkest, chilling, and most toxic offering on the release, arguably from Possessor ever. Its classic psych charm is a deceit within a cavernous smothering of devil seeded ensorcellment, the appetiser before a devouring of senses and emotions within a swamp of thrash sculpted riffs and occultist violation. It is sonic smog of seventies and current classic metal twisted and wrung out until breeding its own scorching and intoxicating sludge thick blasphemy. The track is quite simply a thrilling end to another stunning release from Possessor, even with its infernal fade out.

Possessor last year set a plateau with Electric Hell for themselves and the current British occult metal scene, but has now left it behind as a past marker in their emergence with Stay Dead. Maybe only the brave will dare immerse in the world of Possessor but with rewards plentiful and lingering within their aural necromancy, truly no metal /heavy rock fan should fear giving them a go.

The Stay Dead EP is available now via http://possessor.bandcamp.com/album/stay-dead-ep

https://www.facebook.com/possessorband

RingMaster 02/04/2015

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/

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

http://www.thereputationlabel.today

 

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

http://www.thereputationlabel.today

 

 

 

 

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

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

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