Hollow Leg – Murder EP

hollow-leg_RingMasterReview

With a new drummer on board, John Stewart (Bloodlet/Caribou King) replacing departed founding member Tim Creter, Florida doomsters Hollow Leg unveil a their two track trespass this March. An individual grumbling fusion of the doom/sludge fuelled metal the band has already been the subject of acclaim for, the Murder EP reveals a new fresh roar and growth in that proposition and, as suggested by its press release, emerges “the band’s strongest material to date”.

murder-final-cover_RingMasterReviewMixed by Sanford Parker and mastered by Collin Jordan, Hollow Leg starts its proposal with Raven. The initial volley of firm beats almost stalks the listener as the song makes its first move. A momentary breath then follows, opening the way for dirty riffs and scowling vocals to lay their hand on the senses as rhythms bring their heavily sinew bound incitement to bear on the blues scented, sludge fuelled consumption of ears. Shifting through the gears back and forth in attack, the track quickly becomes a grumbling treat; essences of the likes of Eyehategod, Weedeater, and Crowbar making tempting hues in the band’s provocative web of sound and texture.

The following title track is just as generously flavoured but veering towards the more stoner-esque side of their sludge/ doom collusion. Tangy grooves are swiftly entwining rapacious rhythms and eager ears, riffs a bed of controlled antagonism beneath them as vocals carry a more open snarl to their character. Though generally a more energetic proposal, the song does slip into moments of  lumbering doom threat only increasing its intensity and bait as melodies gather in the shadows waiting to provocatively dance on a subsequent passage of lighter flirtation before things return to the predatory incitement it all began on.

Both tracks bring a fresh wind to an already in place appetite for Hollow Leg and their compelling sound found through debut album Instinct a fair while back, and a keener anticipation for what is to follow.

The Murder EP is released March 3rd through Argonauta Records on all digital formats with a physical release to follow later in the year.

 

https://www.facebook.com/hollowlegfl/

Pete RingMaster 03/03/2017

Copyright RingMaster: MyFreeCopyright

Twingiant – Devil Down

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There is smog like quality to the sound of US band Twingiant which invades every pore and corner of the senses with voracious appetite; within that thick immersion though the band infuses a searing melodic veining and smouldering enterprise to leave the imagination keen and appetite even hungrier. They describe their sound as simply loud and heavy, but as shown by new EP Devil Down, it is also bracingly flavoursome and rigorously compelling.

Devil Down is also uncompromising in its touch and intensity, Twingiant blending fiery stoner and heavy rock with imposing sludge richness for an inflammatory and predatory cauldron of sound. Formed in 2010, the Phoenix, Arizona based quartet drew keen attention with debut album Mass Driver two years later and last year’s Sin Nombre EP. Their success only backed and reinforced the band’s live stature which has seen them persistently impress and inflame audiences whilst sharing stages with the likes of Windhand, Pallbearer, Weedeater, Intronaut, Metal Church, Satan’s Satyrs, Guttermouth, Black Tusk and numerous more. Now with their self-released and produced Devil Down EP, the band look poised to awaken a more momentous spotlight upon themselves. May be it is not a release to ignite a explosive blaze within thunderous rock ‘n’ roll climes but it Devil Down is certainly a fierce proposition to firmly thrust Twingiant upon a broader landscape of attention.

The striking presence of the release begins with the instrumental Old Hag. Starting from a restrained and elegant flame of immediately enthralling enterprise and craft, the track grows within the ears as its melodic acidity and sultry charm creates a spark for the imagination to run with and explore. There is also a sinister edge to the invention and sonic beauty fuelling the track, the guitars of Tony Gallegos and Nikos Mixas providing a highly suggestive soundscape and narrative courted by raw shadows provided by the gripping rhythms of drummer Jeff Ramon and bass predation from Jarrod Le Blanc. It is a transfixing proposition which as it reaches its finale, digs into a new texture of aggressive tenacity and attitude.

The impressive start is followed by Dead To Rights, a track striding forcibly with a combative swagger from its first second. Loaded with just as magnetically swinging grooves it soon adds theDD Front Cover (1) coarse texture of Le Blanc’s vocals to the mix, his tones strong without blowing anyone away but with their generally minimalistic presence in the context of songs, they make the perfect incitement to the blistering tempests of around him. A brawling eruption of skilled endeavour and resourceful voracity, the song makes way for the carnivorously toned Daisy Cutter. From its first breath the bass growl is carnally bestial and soon matched by the thickly gravelled vocals. Heavy metal seeded grooves entwine the intensive weight and prowl of the song, at times taking over with their engaging flames and mouth-watering beauty, though the scuzzy hostility of the bass is a constant prowling intimidation ensuring every twist comes with its share of menace.

Through The Motions is another enslaving instrumental and with no slight on Le Blanc’s vocals, these are the tracks where the listener can really play and immerse into the creative emprise of engagements and release. They are a canvas for the imagination and emotions to dance freely, and this track a virulent persuasion weaving sizzling strands of sonic and melodic temptation with inventively rabid rhythms for a fascinating evocation, a tapestry for thoughts to cast adventures with.

Tiger Lily suffers a little being sandwiched between its predecessor and the next up instrumental, but still provides a feisty and aggressive enterprise of heavy footed riffs and spicy grooves to persistently enjoy. There is something missing though, a spark which evades even the enticing twists and shifting textures within the song, and whilst it is a potent companion it does not linger around as other tracks on the album, and especially like Under A Blood Moon. The third instrumental is the best, a sultry twang to guitars an immediate seduction which only grows as melodies and grooves embrace the flavouring for their own infectious web of wonderfully unpolished and organic temptation. Once more it is a piece which simply ignites ears and imagination into eager life, every diverse flavour and note seemingly a seed to expanding adventures, especially the dark beauty of strings at its conclusion.

Devil Down ends with its title track, a bruising prowl of heavy metal and sludge rapacity aligned to groove and noise rock causticity. It is a predator, an emotionally blackened stalking which lumbers and crawls with the varied creativity of the guitars its light and merciless rhythms its teeth. The song is an immense end to an outstanding release, where even though for personal tastes the instrumentals steal the show, every track is an almost primal incitement to want plenty more from Twingiant, a band whose stock and presence surely from this point will be infesting the world’s full awareness.

The self-released Devil Down is available on vinyl from 2 December @ http://twingiant.bandcamp.com/album/devil-down

A cassette version of Devil Down will be released via Medusa Crush Records on February 7th.

http://twingiant.com/

RingMaster 02/12/2104

Copyright RingMaster: MyFreeCopyright

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Stoneburner – Life Drawing

Stoneburner

A compelling destructive seduction, Life Drawing the new album from US metallers Stoneburner, casts no doubts on the suggestion that the Portland quartet is one of the most exciting prospects in aural consumption out there.  Creating a scintillating weave of doom and sludge metal with atmospheric ingenuity and melodically sculpted temptation, the band escorts and very often drags a willing imagination across intensive and fiercely enveloping landscapes under tempestuously climactic sonic skies. The album enthrals and intimidates, inciting heavily emotive reactions to its own intimately emotional yet broadly applicable investigations of the “struggle to be a decent person in a world that keeps doing its best to cause you not to be.”

Formed in 2008 by drummer Jesse McKinnon (ex-Buried Blood) and guitarist Jason Depew (Buried At Sea), who had played together in many incarnations previously, and guitarist Elijah Boland, Stoneburner unleashed their first forage of the senses with the demo V.​L.​A. the following year. The band was soon making an impacting presence and noise within the Oregon underground scene, a proposition taken to greater attention and strength by the release of debut album Sickness Will Pass in 2012 as well as over the years the band’s acclaimed live performances which have seen them play with the likes of Yob, Sleep, EYEHATEGOD, Neurosis, Buzzov-en, Weedeater, Saint Vitus, Watain, Tragedy, Noothgrush, Graves At Sea, Lord Dying, Drop Dead, Whitehorse, Wind Hand, Bastard Noise and many more. Completed by bassist Damon Kelly (also Heathen Shrine and the son of Scott Kelly of Neurosis/ Shrinebuilder fame), Stoneburner now uncages their latest infestation of the senses and psyche, an encounter which leaves the listener simultaneously suffocated and invigorated.

Opening track Some Can smothers ears and senses from its first breath, a sonic breeze pulling in a thick and thuggishly textured collapse of NR088_STONEBURNER_frontcover_hi-res (1)antagonistic rhythms and prowling lumbering riffery. The track continues to slowly ravage air and recipient until the entrance of the vocals sparks a spurt of adrenaline and urgency to the persistently uncomfortable and demanding intent of the song. A masterful groove swings its bait openly and irresistibly across the dark bulk of the track whilst McKinnon offers slaps which simply send the body reeling and the appetite into greedier hunger. It is a dramatic and absorbing start where everything from the rapacious rhythms and carnivorous bass tone to the flesh scorching sonic designs of the guitars and the exhaustive vocals of Kelly, or possibly McKinnon with both providing  raw delivery across the release, outstanding alone and viciously majestic united.

The noir cloaked almost sinister and wholly magnetic initial coaxing of the following Caged Bird instantly has thoughts and attention gripped tighter. It is an imposingly provocative lure with the darkest irresistible shades of temptation, its destination a broad hint which you cannot anticipate with the piece at times offering the garage punk realms of say The Cramps as a possibility or the ravenous scenery of a Mastodon as an option to give just two examples. Where it does lead is into a corrosive tempest of sonic abrasion and virulent hostility wrapped in a doom drenched maelstrom of spite and malevolence. As its predecessor, the track finds a spark which injects an eager rabidity and raucous energy into the heart of the pestilential stalking and further on a bewitching melodic elegance as the song evolves and twists within its tortured stance.

The beautiful Drift brings a mellow respite next, the short acoustic guitar sculpted instrumental a safe peace before the savage tsunami of An Apology To A Friend In Need falls upon the ears. The track merges a melodic acidity and venomous intensity into a thunderously eventful and unpredictable adventure, rhythms and bass courting the uncompromising vocals for a merciless predation whilst the guitars seduce and carve up senses and imagination with a skill and ingenious ideation that is impossible not to be fully consumed and submissive for. The song is a beauty and the beast endeavour which is already in control of the passions before its turbulent mid-point.

Both the atmospherically enthralling Pale New Eyes and the Giver Of Birth immerse the listener into soundscapes which leave no room for outside interference. The first exploring a progressive essence to its scenic exploration before walking into a mouthwatering storm of sonic violation and rhythmic punishment, an oppressive brutality which only serves to ignite the imagination and exploit further. It is a riveting canvas of guitar invention and vocal ravishment around a frame of barbarous rhythms which ensures the short instrumental beauty of its successor with a haunting ambience is a psyche soothing godsend.

The next up Done is quite mesmeric and sensational, taking best song honours with ease despite the triumphs around it. Opening on a cinematic and again sinister entanglement for the imagination, it develops an eager stroll which continues to invite dark visions of a more filmic nature before striding through an intensive sludge fuelled narrative and infectiously incendiary drama in sound before the abrasing vocals add their strangled syllables and malice coated words. It is a brilliant tease and masterful persuasion and the perfect way to enter the immensely dangerous sonic world of Stone burner for newcomers.

You Are The Worst provides a colossal towering adventure to lose yourself within, every soar and fall within its antagonistic passage voraciously damaging and unrelentingly absorbing to almost match the plateau of the previous track. It turns into the most savage and bruising incitement on the album and in many ways the most satisfying before the closing epic persuasion of The Phoenix unveils its hypnotic journey. As good as eighteen minutes in length, the song emerges from a tightly enveloping almost claustrophobic birth within deep atmospheric waters. The song floats towards a crystalline light, heading up to a beckoning surface of escape and hope, its warmth realised by sultry guitar craft and caressing melodies. Initially intangible, malevolent intensity is also worming its way into the hues of the adventure, niggling away until erupting and soaking every twist and turn to become an inescapable cloud. It is a glorious technically impressive and narratively thrilling journey which never relaxes as the battle between light and dark rages within its imposing confines until the very end.

Life Drawing is a must for all with a keen appetite for masterful sludge and doom premises and those with a hunger for aggressive progressive explorations. It is not an easy listen at times but one of the most rewarding likely to be heard this year.

Life Drawing is available through Neurot Recordings now!

https://www.facebook.com/Stoneburner.PDX

9/10

RingMaster 15/04/2014

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Desert Storm – Horizontal Life

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If like The RR you thought the debut album Forked Tongue from UK heavy blues metallers Desert Storm was the dogs meat and two veg than their new album is going to excite places you never knew existed. Whereas the previous album from the Oxford quintet also boasted an avalanche of heavily boned riffs and sludge thick blues grooves not forgetting equally demanding rhythms, Horizontal Life expands it all to hungrier heights whilst drenching the results in a fire of passion and striking invention. The band has grown so impressively between albums, the new release holding a maturity and enterprise which makes its excellent predecessor look almost lightweight in comparison.

Formed in 2007, Desert Storm took little time in finding a greedy appetite locally for their formidably pressing sounds going on to breed a similar and larger following and hunger across the UK through their impressive live performances and festival appearances. They have also shared stages with the likes of Orange Goblin, Taint, Weedeater, Zoroaster, CKY, Winnebago Deal, Firebird, and Black Spiders across the years to ever increasing acclaim and swiftly growing fanbase. Forked Tongue added its impressive weight to their sturdy rise but with the sheer quality and brute force temptation of Horizontal Life you can only assume the widest recognition is waiting to embrace the thunderous quintet.

Released via Blindsight Records, the album opens with the charismatic and contagious Word to the Wise Man, a track which desertstormtakes off from where last album left off, its care free swagger and magnetic lure of inciting thick riffs and crisp rhythms instantly addictive. The vocals of Matt Ryan are as grisly and throaty as ever whilst the bass of Chris Benoist brings its own primal breath to stalk the ear within the fires of sonic excellence from guitarists Chris White and Ryan Cole. The blues fuelled lining equally excites the senses whilst the potent call of the guitar within the song is a French kiss for the ear.

Both Shadow of an Eagle and Astral Planes leap upon the passions with stirring craft and exciting melodic flames, the first off of a impacting spike of drums from Elliot Cole which sets up the strolling blaze of searching riffs and sonic temptation all again with a hooked persuasion which ignites energy and captivation. It is a scintillating romp with a familiar air to its curvature of infectious sounds and rich grooves as well as compelling enticement from its thoughtfully sculpted variation to gait and direction. Again the vocals of Ryan bring a rich whiskey breath to the encounter whilst the guitar solo sears the senses gleefully. The second of the pair again holds the ace card of being new yet a returning friend to the passions in many ways and like the previous songs commands hungry affection and commitment to its tremendous provocation.

The following No Slave to Master increases the heaviness and rapacious sound, its Orange Goblin/ Down like stance an air sucking beast coated in shadows and venom musically and vocally which has the need to devour the listener without offering the easier to digest swing and grooves of other tracks. Instead it unveils a light sucking intensity which is just as fascinating and magnetic, as does its successor Mr Strongbatch, a track equipped with carnivorous riffs and punchy rhythms. Its inviting groove does ignite a heat and barbed welcome which is impossible to be ignored and again has a confidence to its stroll which borders of aural cockiness which is irrepressible.

Both Enslaved in the Icy Tundra and Lunar Domes unleash corrosive riffs and an intensity which plenty of metal bands can only dream of, with the energy and vocal spite to match, whilst the second of the two from a bass driven aside, creates a passion exploiting mesmeric and abrasively smothering ending which is outstanding. It also marks the point where there is a shift in the album, Desert Storm exploring more of their progressive/psychedelic side than ever before. Firstly Titan steps forward within a sludge toned swamp of sound which shifts into a cavernous beckoning of noise Ryan growls the narrative with even stronger shadows in tow. The riffs still dictate the course of the song whilst a slow burning groove makes its declaration but once things slip away into a haunting evocative ambience, a wonderful exploration of band, imagination, and sonic beauty is unveiled. It is a startling and enthralling joy with a muscular finish to cement its impressive contribution to the now in place rapture for the album.

The release does not stop there as the serpentine treat of Shenzhen next twists and writhes all over thoughts, emotions, and the senses with reptilian chills, sonic ferocity, and wolverine rabidity before handing over to the best track on the album in Gaia. The song is pure sonic alchemy, a pungent soak of southern heat, eastern shimmering, western harmonies, and tribal instinctiveness. It is glorious, a masterpiece of aurally expressive songwriting and exhilarating imagination, and the undeniable proof of just how far and expansive Desert Storm can push themselves  if they so wish.

Closing with a return to the uncompromising energies and trunk thick riffing in the Mastodon spiced Hofmann and the mercilessly contagious Scorpion to ensure further exalted satisfaction, Horizontal Life is a major triumph not only for the band but UK melodic metal/rock. It is explosive and impossibly impressive with Desert Storm putting a great many established signed bands to shame, long may they continue. A must have release.

http://desertstormband.com/

10/10

RingMaster 23/04/2013

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Kongh: Sole Creation

Kongh 2012

Swedish band Kongh undeniably has a strength and intensity as formidable as their name suggests and through their new album Sole Creation, offers forty five minutes of energy sapping, senses elating, and passion igniting creativity which is just breath-taking. Consisting of four tracks, the third full length release from the band consumes every corner of the psyche with an adventurous and hungry expanse of sludge and doom metal brought with a fiery loud whisper of progressive rock. It is an immense beast which gives some of the most melodically rewarding sounds heard in a long time whilst hungrily gnawing on the bones and synapses of the listener with heavy consuming intent.

The seeds for Kongh began in 2004 when David Johansson (guitar, bass and vocals) and Tomas Salonen (drums) met and began making heavy music together incorporating influences from their different musical backgrounds flavours from blues to grindcore. Two years later saw their first demo appeared, a four track brute of weighty sludge and loud riffing might which unexpectantly within two weeks sparked floods of strong reviews and independent label interest. By that fall the band had signed with Stockholm’s Trust No One Recordings (Isis, Khanate, Switchblade, Breach) and began work of their first album Counting Heartbeats which appeared in July of 2007. Again acclaim soaked the band backed by impressive live shows which included supporting Neurosis and Cult Of Luna. By the end of the next year following a limited split LP with Ocean Chief and a split 7” with Witch-Lord, the band and their epic musical atmospheric ‘hostilities’ were to the fore of awareness within European metal. Second album Shadows Of The Shapeless came out in 2009 and its evolved and aggressively intrusive sounds whipped up another storm of attention and acclaim from fans and media alike. It also received a full US release, the first time for the band as they received their most positive and enamoured reviews yet.

Kongh had reached a height to see them lie alongside the major doom/sludge metal names, with shows and performances with bandsARCD108 such as Weedeater, Ufomammut and YOB sealing their stature as they concentrated playing live and touring over the next two years. As the new Agonia Records released album shows this was a mere step in their rise as the further plateau reached and explored musically by Sole Creation, is their finest and most irresistible moment yet. It and the band is as confronting and abrasive as ever but with an expansive breath which reaches out further in imagination, sound, and impact. The four songs making up the album are individual slabs of dynamic sonic potency, rich melodic incursions, and senses challenging aggressive poetry.

The title track opens up the vat of dramatic excellence upon inciting rolling rhythms and a sonic wash with an acidic touch upon the ear. Soon into its sizzling gait the track unleashes teasing melodic hooks, grinding riffs, and a marked elevation in the intimidation of the rhythms. Once the growling spite of Johansson lies its rasping malevolence on flesh the song is grooving with a wonderful irritability soon tempered by the wonderful clean vocal harmonies which join the fray and insidious yet magnetic melodic caresses from the guitars. It is a sensational encounter which holds the passions tight within only the first four minutes of its ten plus. The track shifts its muscles into a varied venture of ideas and styles within the overall aggressive stance with imperious ease and craft to spark whispers of Mastodon, Kyuss, and Baroness, though Kongh capture a sound distinctly theirs at all times.

Second song Tamed Brute treats the already sore senses to a new decisive wash of sonic mastery to announce its entry before resting on an atmospheric peace though still with a disturbed air to its presence. It is not long before the track is a maelstrom of energy and passion soaked intensity which oppresses and smothers leaving one smouldering under its infectious annihilatory heat. The cleaner vocals are again especially striking though just one of a weave of sensational aspects on song and album.

     The Portals and Skymning complete the release, the first an emotion grasping physical endurance test with the deepest pleasure and enterprise the reward for its devastating and magnetic confrontation. An inferno as dense as it is incendiary the track is aural alchemy, the band turning riotous violence into a mesmeric contagious aural brilliance. The second of the two is equally guilty of the wizardry though it offers a less intensive pugnacity to its far reaching dark beauty, but again a level of musicianship in performance and songwriting which is just masterful.

Featuring a guest appearance from John Doe from Craft, the Magnus Lindberg (Cult Of Luna) mastered album is as flawless as is possible and in turn just sensational, a release which will inspire for a long time to come. Kongh now stand as massive as their cinematic namesake.

http://www.kongh.net/

9/10

RingMaster 05/2/2013

Copyright RingMaster: MyFreeCopyright

Stinking Lizaveta: 7th Direction

US instrumental rock band Stinking Lizaveta have returned with an album in 7th Direction, which is arguably the best instrumental release in a very long time and is easily one of the best albums to be unleashed this year if not the very best. It is magnificent, a masterful vision of imagination, artistry, and storytelling. It is a collection of pieces which tell tales, but your tales, the band offering all the tools and emotions along with an irresistible invitation to write your own script, 7th Direction the perfect vibrant and inciteful canvas of sound and evocation to individual visions.

This their seventh album, follows on from the acclaimed Sacrifice and Bliss of 2009, though all their releases since forming in 1994 have generated an eagerly growing respect and following. Formed by then partners, guitarist Yanni Papadopoulos and drummer Cheshire Agusta, in the basements of West Philadelphia, the pair soon enlisted Alexi, the brother of Yanni, on upright electric bass. Together the trio have created, conjured, spawn, call it what you will such the uniqueness of their sound, a mesmeric and provocative blend of rock, fusing everything from classic, stoner and punk rock to jazz, progressive rock, heavy metal, and so much more. The years have seen them sharing stages with bands such as Corrosion of Conformity, Clutch, Rollins Band, Fugazi, Zeni Geva, Today Is The Day, Weedeater, Hidden Hand, Don Vito, Antikaroshi, End of Level Boss, and Beehoover with each undoubtedly being given a run for their money.

7th Direction is an album which takes infectiousness into addiction status and plays thoughts and emotions like a harp, gently provoking and stroking but at times twanging them for near orgasmic responses. The band writes music which is so fluid it feels like it is simply on the spur of the moment composing, the tracks organic and instinctive as they tease and ignite total captivation. They are also perfectly formed, compact or expansive when the time is right without any unnecessary flamboyance or indulgence at any point. Each song has a facet which is sirenesque whether the flaming guitar invention of Yanni, the heart firing bass strokes of Alexi, or the minimal yet expressive and relentless rhythms of Cheshire, though generally it is all three at the same time, their union a delicious and stirring feast to devour greedily.

    Stinking Lizaveta open the release with the title track and immediately has the passions swelling with its thumping build to an opening crescendo…which is basically the whole song though they repeat the climb a few times to get the juices flowing first. In to its stride or rather emotive sci-fi/noir stroll, the track pulsates with a melodic shimmering which blisters the air on touch alongside the watching basslines and cagey rhythms. It is stunning, a thing of beauty speared with burning flashes of impassioned guitar and tension raising climbs once again.

From the opener alone one would be shouting from the rooftops about the release but this is just the beginning and things just sizzle and brand new memories into the mind track by track. The likes of the following View From The Moon, a heated journey through celestial atmospheres, and the evolving Moral Hazard leave one gasping in pleasure and hunger for more. The first transports one to the theme of the title and easily would make the perfect soundtrack to seventies TV shows like Space 1999 or UFO, without diminishing the quality and stature of the piece. The second is a crumbling upon the senses its flight twisting into a schizophrenic squeal through sonic fires.

Every track deserves a mention but the greatest personal highlights come with the kinetic fury of Dark Matter, a song where shadows and incendiary energies crash and burn whilst a dark snarl prowls as overlord, the hypnotic aural puppeteer that is Z which has limbs and feelings dancing a satanic tune, and One To The Head, another track to fire up every one of the senses with its moody bass tones, tingling beats, and electrifying sonics. Oh there is also the unbelievably magnetic Ten Thousand Hours, a piece which beckons and seduces with a kaleidoscope of persuasive melodic caresses, sonic kisses, and rhythmic wonder.

To say 7th Direction is brilliant seems an understatement, the songs mentioned and every one of the six not covered simply ingenuity from the deepest well, it is that good. Stinking Lizaveta show they are still the true heart and leaders of rock n roll and if after this album there are still those unknowing or disbelieving there is no justice in music for sure.

http://www.stinkinglizaveta.com/

Ringmaster 17/09/2012

Copyright RingMaster: MyFreeCopyright

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