Feared – Synder

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Six albums in with the release of Synder and Swedish metallers Feared have uncaged a fury and voracity which not only confirms the band as one of the relatively unsung greats but has the listener smiling broadly as their soul is desecrated. Feared’s new album is a rousing, destructive beast of a proposition. It is an encounter which is not exactly menacing new boundaries within a thrash/death metal landscape but taking its already established template to dark and creatively ravenous depths which are as fresh as they are rabid. The band’s name describes exactly how their music should be contemplated with the ‘sins’ of Synder greedily devoured.

The story of Feared goes back to 2007, the project the creation of guitarist and producer Ola Englund (ex-Six Feet Under). Despite a potent start and a first demo in 2008, the band disbanded until two years later when things stirred again. Englund and vocalist Mario Ramos (Demonoid) released a self-titled debut album which swiftly earned support and acclaim from fans and media alike, a success built on the following year through second album Rejects. The 2011 encounter lit further focus upon the band which once more escalated as Furor Incarnatus in 2013 came out, though in turn a greater hungry appetite outside the band and striking creative energy within came with fifth album Vinter. The album followed a period which saw Englund also become the new guitarist of The Haunted and the addition of drummer Kevin Talley (Suffocation, ex-Dying Fetus, ex-Black Dahlia Murder) and ex-Clawfinger bassist Jocke Skog to Feared. The release revealed a new intensity and inventive tempest within the band’s songwriting and sound, a gateway to darker ferocious climates which has now been driven on and overshadowed by Synder. Produced by Englund and Skog it is the finest Feared assault yet, from the striking artwork of Sylvain Razorimages wrapping its hellacious roar to the furiously flavoured and diversely coloured adventure, it is an intensive examination and explosive incitement for ears and imagination.

feared_synder_cover  The album’s title track opens things up, the brief instrumental an initial melodic caress of guitar courted by an ominous air which brews and expands as the track comes to rigorous life with thick rhythms and evocative sonic endeavour. It is not a startling start but a potent atmosphere setter, warming up ears and thoughts for the immediate ferocity of Your Demise. Riffs fling their spite at ears with rage and virulent animosity, their thrash breeding an instant gripping lure enhanced by the spicy grooving and thick throat shredding vocals of Ramos. Framing and igniting it all further, the growling grouchiness of Skog’s bass and the precise rabidity of Talley’s beats drive an anthemic urgency and contagion within the track, it all colluding for a breath-taking and thrilling full start to the album.

The impressive and riveting tempting continues in Of Iron And Ashes, the song equally uncompromising and carnivorous but quickly adding floating melodic clouds of keys to its turbulent canvas. Their presence and touch is minimal in the otherwise violent climate but cast an intrigue and unpredictability which eventually is realised in a calm, melodic eye of the storm moment. The volcanic heart and nature of the song is soon ravishing ears though as squirming grooves and tenacious riffery leads ears through a rhythmic jungle into the resourceful venomous grasp of Caligula. Again this song shows as those before it, that there is plenty involved in the thrash/death sound of Feared, here a groove/alternative metal weaving adding to an inventive theatre for a potent Bloodsimple like essence.

My Grief, My Sorrow follows suit in its own individual way, its heavier prowl and imposing intensity a predatory insistence on the senses. It’s stalking takes on even greater malevolence as rhythms make venomous jabs and stabs though the acidic grooving is a constant temper reining in the fury enough to allow mouth-watering melodies and sonic imagination to have their say. As its predecessor, the song takes the imagination on an enthralling ride whilst bruising and battering the body, a respite found straight after though in the classical elegance of the melancholic Dygder, another short and descriptive instrumental.

It leads thoughts and emotions in to the waiting ravenous jaws of By Silent Screaming, an immediately caustic and bracing tsunami of vitriolic energy and creative tenacity. Though never quite matching up to those around it, hail their torrents of riffs and beats, the song is the most exploratory on the album with changeable scenery of melodic endeavour and an almost psychotic air to its rhythmic and unpredictable imagination. It is a fascinating encounter revealing more about the intent of the band’s latest creative explorations with every listen.

The invigorating Wolf At The End Of The World has ears back in a bracing barrage of sonic and rhythmic raging next before My Own Redemption plunders even heavier, darker exploits. From the gut spilling tones of Ramos to the spidery grooves of Englund, the track bewitches as it chews up the senses. It is another stalking incitement but one with the raw heart of a predator and the inventive emprise of a troubadour, the vocals alone a union of bestial pestilence and melodic crooning. One excellent song is replaced by another as Dying Day explodes in ears with incendiary effect, grooves and hooks whipping up the imagination and vicious rhythms taking care of the body as Ramos spills rancor with every syllable.

War Feeding War keeps appetite and emotions inflamed next with its corrosive lures and fearsome persuasion whilst The Narcissist, with a disturbed and vehement web of sound and hostility, is an instantly enjoyable onslaught with plenty that escapes first attention but goes towards increasingly richer return listens. Both tracks involve the whole of the listener, though a point to offer for the whole of Synder to be fair in varying degrees. Some songs, like the first of these two, are more unbridled physical enticements whilst the latter, as also the closing Godless Devotion, provide dramatically deeper and longer to explore proposals.

All tracks though combine to provide the listener with a blistering protagonist to get excited about in Synder and confirm Feared as one of those bands many may have heard about but really should now be making the effort to dive deeply into.

Synder is available now via most online stores and @ http://www.fearedband.com/store-feared-synder

http://www.fearedband.com   http://www.facebook.com/fearedband

RingMaster 28/05/2015

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://www.reputationradio.net

 

Vulcano – Wholly Wicked

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Considered the first Brazilian extreme metal band, and by others the first South American one, Vulcano has earned their legendary stature on much more than that alone. Their ferocious mix of thrash and death metal embracing plenty of old school heavy metal essences, has ensured the band has been a constantly and eagerly devoured protagonist across eight variously successful and generally acclaimed albums since forming in 1981. Now they unleash their ninth full-length in the blistering shape of Wholly Wicked, a rampant unrelenting blaze of contagious aggression which predominantly feeds expectations but not as wholesomely as it breeds total enjoyment. The album puts skilled and anthemically voracious rock ‘n’ roll before originality, and in doing so provides a metal rampage hard to get enough of.

As mentioned Vulcano began in the early part of the eighties, and from their first single Om Pushne Namah, the band was luring potent attention and support. A demo and live album followed before Bloody Vengeance in 1986 began awakening even richer responses and awareness, the release tagged as Brazil’s first black metal album. The next three years saw a trio of albums uncaged before the band underwent a quiet period following a series of band problems and tragedies. They returned to action in 2003 with fifth studio album Tales from the Black Book released the following year. A split with Nifelheim followed in 2006 whilst their next album Five Skulls and One Chalice arrived three years later, a period leading to Vulcano hitting Europe with their live presence for the first time. Plenty of line-up shuffles have spiced up the band, as has another two albums, a live full-length, and another split EP on a growing recognition and acclaim of their music, retrospective and current. Now the quartet of last remaining band founder and guitarist Zhema Rodero, vocalist Luiz Carlos Louzada, bassist Ivan The Darkestt, and drummer Arthur Von Barbarian have expelled Wholly Wicked on the world. Like so many also not fully aware of the band’s earlier work, it is hard for us to say how the album stands up to what has come before, but on the modern landscape of thrash/death incitement, it is one maybe unremarkable but seriously exhilarating proposition.

VOLCANO_Whollywcked_300x300     With a low key release last year via Renegados Records, Wholly Wicked is getting its deserved global spotlight through PRC Music and goes straight for the jugular with opener The Tenth Writing. Riffs and rhythms instantly savage ears whilst hooks and mini grooves grip attention and appetite before the song bursts into a furious ear nagging charge. Guitars and bass provide a hungry web of provocation and enticing, the former also adding flirtatious shards of melodic intrigue and imaginative twists as the excellent vocals spew grouchy aggression. With the drums punching the heck out of it all, the track is a storming tempestuous start, not forgetting irresistible one, which swiftly matched in potency and attraction by Pentagram. A glam metal tinged start looms up on ears first, twisting on arrival into a barbarous and addictively compelling tempest of aggravated riffery and spicy sonic revelry, matched in spite by the rhythms. As suggested there is little brand new to mull over in the album and this song, but there is no escaping the imaginative and riveting weave the recognisable aspects are creatively woven into as once more little unpredictable twists and fluid changes in gait impress.

Both Daughters of Pagan Rituals and Infusion of Hatred keep ears and satisfaction ablaze, the first as virulently alluring as it is bracingly intensive. Every hellacious beat, torrent of antagonistic riffing, and tangy groove is incendiary to feet, neck muscles, and enjoyment. The track is irresistible, extreme metal hitting the sweet spot, here to not forge new boundaries but turn what exists into a blur of anthemic devilry with accompanying glory. Its successor reins in the undiluted attack of the previous song but emulates its raw and imposing hostility with a battery of brutal beats and carnivorous riffs bound in squirming sonic enterprise. The track is brief and unfussy, lacking creative glamour and pure addiction for ears.

There are some similarities between a few songs on the album, the niggling riffing of The Return of a Long Night already exposed and coloured well on Wholly Wicked yet entangled in fresh vitriolic and inventive exploits through subsequent songs, basking in the craft and maturity of its creators so it is never anything more than a passing thought as attention and appetite closes in on the next captivating proposal. Thirst for Vengeance offers familiar hues but from its initial groove alone, the song flirts with best of honours whilst growing diversity through things like magnetic throaty bass bait and greatly flavoursome vocals only pushes the excellent encounter into being a firm favourite on the album. For these ears, the best thrash is healthily punk, and the most gripping death, thrash seeded in its heart and this song has it all.

The crawling entrance of the album’s title track offers a new twist next, though it cannot contain the need to decimate ears and senses and is soon an insatiable and frequently twisting onslaught rich in classic metal enterprise and rabid anthemic war cries. By this point in the album, the body is already breathless but it gives no respite as first Tormented careers through ears and stomps all over the senses in infectious primal fashion followed by the even heavier barbarous savaging offered by Malevolent Mind. Each of the pair simply inflames thoughts and emotions, their essences of familiarity and unsurprising natures only adding to the thrills.

The album closes with the anthemic and hostile rampancy of Blowing Death, a mighty carnivorous end to one non-stop explosive ride. Wholly Wicked is like a roller coaster, thrill ridden and devilishly exhausting. Like such rides you also know what you are going to get but it does not stop the enjoyment and hunger for more growing with every trip. It might not be bursting with originality but Vulcano have provided one start to finish favourite.

Wholly Wicked is available now on CD via PRC Music @ http://www.prcmusic.com/store/index.php?route=product/product&product_id=1314

http://www.vulcanometal.com/   https://www.facebook.com/VULCANOMETAL

RingMaster 07/05/2015

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://www.reputationradio.n

 

Oh! Gunquit – Eat Yuppies and Dance

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Time to meet your new favourite band and album, and the beginning of frequent visits to hospital A&E because of the twisted rhythmic effect on the body and the deranged dance-floor tempting offered. The culprits are UK provocateurs Oh! Gunquit and debut album Eat Yuppies and Dance. With more agitated rhythms than found in a Cardiothoracic unit entangled in a web of virulent contagion built on salacious grooves and naughtily flirtatious temptation, the band’s sound is pure irrepressible addiction. Hints of their devilish practices have been unveiled for quite a while by singles, videos, and an acclaimed live presence, but with Eat Yuppies and Dance, the London based quintet has just infected the world with their finest moment yet.

With a sound presumably self-tagged as rumble-bop trash freak-a-billy, and you have to say it fits perfectly, Oh! Gunquit has its seeds in a meeting between neighbours Tina Swasey and Simon Wild at a North London vinyl-only sweaty cellar club DJ night. Apparently from an energetic pogo competition the pair decided to form a band based on their mutual love of wild garage punk, exotica, raw rhythm ’n’ blues, and surf-trash. This was 2011 and since then the band they subsequently formed has become an eagerly devoured proposition across shows and festivals which have seen them playing with the likes of Black Lips producer King Khan with his Shrines, Fat White Family, Public Service Broadcasting, Andrew Weatherall, and Keb Darge amongst many. One gig even saw Adam Ant make a “crazed” impromptu stage invasion whilst radio has been just as hungry for their songs. This has all been backed by a pair of limited edition and self-released seven inch vinyl singles and tantalising videos to match. Now with Dirty Water Records, the band has uncaged their greatest bait of sound and devilment yet to seduce and enslave towns, nations, and the world.

Front Cover 2 flat (1)     With a line-up completed by Kieran, VV, and Alex, Oh! Gunquit equip Eat Yuppies and Dance with a torrential revelry which can fall into anything from psyche rock and pop to garage and punk rock, and on again to rockabilly and surf rock and that is still only part of the full musical stomp which starts with opener Sinkhole. The resonating slightly tinny beats which accost and incite ears from the first breath of the song are the sign of things to come, their anthemic lure having one single aim with their actions, to ignite body and emotions. Vocals jump in swiftly with the same impact before the song slips into a sultry groove woven caress of surf temptation over a vivacious garage rock canvas. The voice of Denver bred Tina brings an enticing tang to the exploit as does the acidic kiss of guitar enterprise which flames across the encounter, everything combining for a potent and lively start to the album.

It is an opening quickly over shadowed by the brilliant Head Bites Tail, an exhausting tapestry of dark pop and fiery rock ‘n’ roll best described as The B-52s meets The Cramps whilst being filtered through the warped funk voracity of Rip Rig & Panic. Brass seduces with unbridled toxicity across the song whilst rhythmically it is as busy and inescapable as the first seconds after doors open on a Black Friday high street sale. The vocals are equally as volatile and excitable in quite simply one quite exhilarating proposition.

Sixties beat lined and blues hued Caves strolls in next, its suggestive swagger as tempting as anything cast by your favourite temptress. Once more there is a great tinge of B-52s to the exceptional enslavement but to that there are additional essences of garage punk bands like The Orson Family, the bluesy seducing of a My Baby, and the garage pop escapade of The 5.6.7.8’s in the mix. The song is pure aural sex but as becomes a habit with Eat Yuppies and Dance as soon as you think the band has hit a pinnacle they come up with an even more deviously addicted treat, in this case Bad, Bad, Milk. Vocally and musically insatiable, the track is sheer addiction from the first flying syllable and rhythmic swipe to its final infection loaded spark. Everything from the chin down is in rapid union with the merciless stomp, every beat, groove, and flame of brass simply Class ‘A’ addictiveness to which vocals and melodically mischievous hooks are the ringleaders.

     The fuzzy sax hazed, seventies psyche pop dance of Hope In Hell provides another new colour to the diversity of the album, before Pony Boy brings a rockabilly/fifties rock ‘n’ roll tenacity to its garage punk shuffle to ignite ears all over again. Think Imelda May meets The Horse Party and you get a whisper of its epidemic of sound and persuasion, again Eat Yuppies and Dance stretching its creative landscape.

Into The Woods visits a bluesy backwater scenery in the imagination next, rock ‘n’ roll keys a la Fats Domino, luring excitedly from within the sweltering but inviting climate of the song. A great merger of fifties and modern rock pop, the song flirts and dances with ears and emotions until making way for bubbly rock ‘n’ roll of I Need Help Now. As its predecessor, the song casts a spell on body and vocal chords whilst creating a new twist of dark pop adventure within ears and album, at times skipping along like a predatory version of The Shangri-Las in a fiery entanglement with Cradle.

All the big irresistible rhythms and anarchic incitements are out for Voodoo Meatshake, their rabid seducing matched by brass and vocals which in turn are bound by searing grooves and a suggestive stroking by keys. It is an explosion of lustful sounds and rousing energies, one of those feel good assaults on the senses which have you exhausted and bloated with pleasure. The same applies to closing song Lights Out; a rhythm ‘n’ blues romp leaping around fondling the passions like a mix of The Revillos and King Salami and the Cumberland 3. It is a glorious slice of sonic diablerie, a mouth-watering hex on feet and passions bringing the similarly sorcerous Eat Yuppies and Dance to a dramatic and thrilling end.

There is no remedy to the potency and create toxins of Oh! Gunquit’s sound, just more lust emerging with every listen of their brilliant first album.

Eat Yuppies and Dance is available now via Dirty Water Records @ http://www.dirtywaterrecords.co.uk/shop/#!/Oh-Gunquit-Eat-Yuppies-and-Dance-CD/p/47051183/category=2749844 and https://ohgunquit.bandcamp.com/album/eat-yuppies-and-dance

https://www.facebook.com/ohgunquit/

RingMaster 02/05/2015

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://www.reputationradio.net

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

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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

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