Dirt Box Disco – Bloonz

 Holly Monroe Photography

Holly Monroe Photography

With more individual anthems than the amount likely to be heard at the upcoming Commonwealth Games, UK punk rockers Dirt Box Disco are poised to unleash their new album Bloonz. By now with their third album you could be tempted to think that the Burton-on-Trent quintet might have matured and grown up into a big boys sound but thankfully the band has refused to be swayed by the sensible side, the result another immense and irrepressible riot of prime cut punk ‘n’ roll. Do not make the mistake of thinking the band has not pushed their sound and craft though, it is just their devilry and imagination which has refused to mature as confirmed by the voice of the track King Of The Castle on Bloonz. The album is their most richly flavoured and spicily inventive mischievous incitement yet, the kind of stomp infamy licks its lips over.

Formed in 2009, Dirt Box Disco has been unrelentingly climbing the ranks of punk rock since making their first startling mark with riotous live performances and the Are You Ready? EP of 2011. One of the most turbulently energetic and mercilessly fun bands on stage, their reputation and stock has risen insatiably especially over the past couple of years, aided no end by the release of their debut album Legends and its successor Peoplemadeofpaper. Both releases were deservedly soaked in acclaim and generated waves of new appetites and attention upon the band, a track from the second of the two finding itself the soundtrack to a recent big cosmetic advert. It is hard to imagine Bloonz not only emulating their success but firmly slapping the band onto the top table of European punk and rock ‘n’ roll.

As soon as the first breath of Standing In A Queue hits the ears you know you are in for another thrilling and exhausting ride with the Printband sound, the track frisking from the outset with the devilishly coaxing vocals of WEAB.I.AM as the urgent riffs of DANNY FINGERS and SPUNK VOLCANO lay down an irresistible instant tease. With the crisp beats of MAFF FAZZO aligned to throaty lures provided by bassist DEADBEATZ CHRIS and the whole band backing up on anthemic vocals, it is Dirt Box Disco back doing rock as only they can. That is only part of the tale though as sound wise the first signs of a flavoursome expanse is apparent, the song fusing in a virulent strain of pop punk with more than a whisper of early Green Day if given a make-over by the equally early years of The Damned to it. The track is an outstanding stomp which grips feet and nether regions in a salacious charge of energy and contagion.

The following We Are The Rejects lets rawer sinews have their moment whilst an infectious toxin permeates every note and syllable. The guitars open with a scuzz lit antagonism, slowly scowling before raising their rabidity and energy whilst creating a caustic lure with raw metallic spicery. Surging guitar squalls and adversarial rhythms drive the song forcibly across the senses and feverishly into the imagination, the expected full addictiveness of the chorus and its lighter croon unable to stop the track from being the heaviest imposing treat on the album and probably from the band ever.

Rewind And Eject takes its lead from its predecessor, again finding a more violent voice to its breath and scrub of opening guitar, an intimidation stood over by the ever rebel rousing tones of WEAB.I.AM. From its sterner start the song opens up with flowing melodies and inescapable vocal hooks, though the guitars still stalk with an acidic dispute to their sound and essence. Though not as dramatically gripping as the first two songs, it grows into another inescapable suasion before being pushed aside by the muscularly striding Bullshit. Gripped by caustic grooves which sear the senses within a cage of muscle bound rhythms and cantankerous riffs, the track forges another diverse presence, one which steps out as an accusing predator with lingering hooks and anthemic griping draping every twist of its fierce body. Providing further proof of the evolving invention of the band across the album, that intimidation is then strapped by an ingenious sonic binding, rich grooves winding tightly around the passions for Skids like tempting lining the ’77 bred core of the song.

We are only four songs in and already have experienced a quartet of individually sounding triumphs, the fifth soon stealing the show as King Of The Castle explodes in the ears. Lurching into a rumble of agitated rhythms, corralling vocals, and predatory basslines, band and song stomp and taunt with impossibly contagious exploitation of the already submissive passions. That Green Day spice is again at play but similarly you can suggest essences of Bad Religion and Turbonegro in varying degrees to the unrelenting addiction brewing rampage. With guitars blazing with craft and incendiary relish, rhythms rousing up pulse rates, and vocals charming up the defiance and immaturity in us all, the track is another glorious pinnacle of Bloonz.

Both 9 Lives and Welcome To Hell settle into easily accessible and eagerly inspiring slices of attention stealing rock ‘n’ roll. Neither set the fires burning in the belly as certainly the previous track, but both show that when Dirt Box Disco are simply roaming comfortably within their own creative walls they are still looking down on the invention and presence of most other modern punk bands. The two songs leave lips licked and greed happy, the second especially notable with its foraging of garage punk corners for a blues kissed sonic fire of appetising rioting, before the excellent pair of I Swapped My Brain and Supreme And Gobshite decide to take their hefty portion of the plaudits. The first of this two is fuelled by a mix of The Ramones and Radio Stars, an incorrigible brew obstructing any resistance of its head on riot whilst its successor latches onto a Buzzcocks bred synapse scything groove, riding it hard for a boisterous and combative bruising employing thumping rhythms and sedately savaging riffs. The most aggressive anthem on the release, the track burns and riles as it seduces, riling passions to stand up and roar their approval. It is another twist in the mouthwatering variety of the album, again a song where despite all the comparisons offered, it and all tracks are pure Dirt Box Disco.

   She Goes Out captivates the senses next with uncomplicated riffs and searing flames of melodic and vocal enterprise, all courted by sonic invention. As eager in its unbridled anthemic call as in the creative heat of its solo the song is a siren, its potent bait soon repeated in another guise by Golden Frame. Less forceful in its still merciless enticement, the song simmers and worms relentlessly under the skin. The grouchy growl of bass is the first potent trap swiftly followed by feisty riffs and tightly binding solos, all guided by the excellent legion of harmonious vocals. It all combines for aural slavery of the senses feeding an admittedly already biased appetite for the band until it breeds a new level of hunger.

The album is closed by one final brawl of sound and intent with the thrilling We’re Going Out Tonight. Punk n’ roll at its most commanding, hungry, and epidemically infectious, the track is a blistering finale and sums up the good bad things about the band. To be honest we were expecting good things from Bloonz simply on the evidence of the previous Dirt Box Disco albums but it leaves those thoughts seeming very reserved in their hopes. It is an album which just gets better and motivates greater bad habits the more you spend in its diablerie; the choice protagonist for all rockers everywhere.

Bloonz is released via STP Records on April 26th and available @ http://www.stprecords.co.uk & dirtboxdisco.bigcartel.com

http://www.dirtboxdisco.co.uk

10/10

RingMaster 23/04/2014

Copyright RingMaster: MyFreeCopyright

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

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Dramas and reflections: an interview with Ryan Howell of Farewell, My Love

Photography by Tarina Doolittle

Photography by Tarina Doolittle

A few short weeks ago US rock band Farewell, My Love unveiled their debut album Gold Tattoos, a release which proved that the drama and aesthetic look of the band is more than a look. Hailing from Arizona, the inventive quintet has found their first full-length being heartily embraced by fans and given strong attention by the media. Just as eager to get our 15 minutes of attention with the band we had the pleasure to keep vocalist Ryan Howell busy with our questions, finding out about the origins of the band and the recording of the album as well as the neck break recruitment of Ryan himself on the eve of the band’s first tour…

Hi Ryan, welcome to the site and thanks for taking time out to chat with us.

First up can you give us some background to the early days of you all and the impetus to the forming of the band?

The Farewell, My Love you see now was formed through very intense and careful searching, far and wide ha-ha.

Were your previous bands/projects seeded in a similar sound to that of Farewell, My Love?

I believe that all of us share a very similar vision for what we want this band to sound like. None of our prior bands sounded crazy similar to Farewell, My Love but you could definitely tell where it grew from.

How long from the first seeds of an idea to the full emergence of the band was it?

Not too long, we’ve been blessed enough to find an amazing group of musicians that all share a similar vision and drive to push through anything. We are happy to say that through all our struggles that we have really found a strong line-up that is ready to take over.

Farewell, My LoveYou came into the band later than the other members, replacing the first vocalist who I believe left on the ‘eve’ of a tour. Tell us how it came about that a guy in South Africa became a part of an Arizona band.

The band’s previous vocalist quit the band just three weeks before their first tour, so they spent the next week or so looking all over the internet for who they believed would be the right guy to join them and they found me. We shared a fair amount of mutual friends in the industry who suggested me to them & it just kind of all fell into place. They flew me out 2 weeks later and we left for our first tour together.

Was it an easy fit so close to going on tour and how difficult was it for him to leave his homeland and family?

Obviously leaving your home and family for an extended period of time is never something that is easy but if you have a dream that you would do anything to chase then it is a sacrifice well made.

The work leading up to the tour must have been rather intensive for you all with such a change so soon before?

Yeah, that it definitely was ha-ha. I had to learn an entire set worth of songs in a matter of weeks. I remember having to polish up on learning all of the lyrics on the plane ride over to the states and it being a very stressful, but exciting process.

Did you find that pressure and issue equally though gave your live performances an extra edge?

Yeah definitely. Pressure sometimes gives you that extra drive to make everything as perfect as you can possibly make it.

You have recently released your debut album Gold Tattoos; the response to it seems rather feverish so far. 1489259_562804653795550_1048955586_n

Yeah, it has been received very well by our fans for sure and has opened up the door to us gaining a lot more fans as well. Definitely been very flattering to have our album voted into the Alternative Press Readers Charts multiple months in a row after the album’s release along such acts as Black Veil Brides, Pierce The Veil, and Get Scared.

The album brought up thoughts for us of My Chemical Romance at their best at times; what are the inspirations which have had the biggest impact on your songwriting?

Honestly our band has a very diverse array of influences from Frank Sinatra to Aerosmith to My Chemical Romance. We find a lot of pleasure in combining as many sounds as we can to create our sound while still creating something cohesive.

Talking of that how does the songwriting come together within the band?

Röbby comes up with a lot of the skeletons of what the songs are and then from there we all collaborate to give the songs that signature Farewell, My Love sound.

The album suggests you maybe feel a greater affinity with nineties metal than the current state of the genre?

We appreciate bands that started around that time period, along with many others.

As well as offering thumping slices of passion soaked melodic metal, Gold Tattoos is quite a theatrical encounter too, though not an overblown one; has this aspect of your sound emerged organically or is it something you have crafted into your music as say the band’s look?

We definitely spent a lot of time creating what we feel to be the missing piece in the music scene nowadays while still maintaining a vintage vibe. We are always pushing ourselves to be better.

Lyrically the songs are quite emotive, tales looking at relationships and those off-shooting dramas; how personal is the lyrical side of the album to the band or individuals?

Each song is a personal journey that we’ve all gone through but told through the use of metaphors and storytelling. There are a lot of bands out there nowadays that are very straight forward with their lyrics, which although is cool, doesn’t really fit with the theatrical vision we have for this band.

The album was produced by Don Debiase (Modern Day Escape, Beneath the Sky, For All Those Sleeping), how did that link up come about and what was the biggest impact he had on the album or you as a band in the studio?

Our relationship with Don Debiase came about because of our label owner, Neil Sheehan. They had been friends for a long time and Neil suggested him to us when it came time to write and record our full length album. I feel like he contributed in the way of always pushing us to our limits ad creating a very positive vibe in the studio.

Did the songs during the recording process emerge exactly as you envisaged going into the studio or did they evolve a lot further?

The songs were pretty close to being finished when we entered the studio to record the album but obviously the more you mould with your art, the more it reveals its true potential.

Farewell, My Love 2I can image that a debut album is an exciting unknown which equally can be nerve shredding at times. How did you find the situation?

We were honestly very excited to put the album out because we felt that it really represented what the band sounds like. We knew when we were writing it that it wasn’t going to be for everyone but honestly, no style of music is and we’re perfectly okay with that.

For us the first half of the album was a furnace of excellence compared to a ‘mere’ fire of enjoyment for the second. Obviously personal tastes dictates how successfully songs work for people but what did you use as a gauge or influence when it came to the order you placed the songs on the album?

When it came to the arrangement of the tracks we sat down as a band, listened to all the tracks separately and just felt it out. We wanted it to flow as much as possible while still having an unexpected edge.

Tracks like Afraid Of The Dark and My Perfect Thing thrust the album to the heart of a hungry attention whilst others like Faceless Frames turn up the heat further, but Mirror, Mirror is the biggest prize of them all for us. Can you give some insight into the triumph?

We like to keep our songs as diverse as we possibly can.

Is there a particular track or moment on the album which gives you just that extra tinge of satisfaction inside?

Every single song on the record is something that we are very proud of.

We mentioned My Chemical Romance earlier as a potent comparison to your sound, a band which was the flavoursome pioneers in melodic metal at first for the media and then seemingly within an album the target of ridicule and disdain from the mainstream press. Do you keep that ‘image’ in the back of the mind as you feel the ‘love’ of the media right now?

We keep our influences very close to our hearts but we try to do our own thing and create music that we feel is one of a kind.

What is next for Farewell, My Love? Tours can be expected?

Lots and lots of touring & new music videos. Be sure to keep checking in with us on Facebook, Twitter and all our other social sites for the latest updates!

Thanks once again for chatting with us.

Is there a last thought or quote you would like to leave us all pondering?

Be prepared for the future and remember that we love every single person out there that supports us! We couldn’t do this without our Farewell Family <3

http://www.facebook.com/farewellmyloveofficial

Read the review of Gold Tattoos @ http://ringmasterreviewintroduces.wordpress.com/2014/02/03/farewell-my-love-gold-tattoos/

Pete RingMaster

The RingMaster Review 23/04/2014

Copyright RingMaster: MyFreeCopyright

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Jingo – Belong To You / When You Want Me

jingo pic

Keeping up with the single releasing of UK band Jingo is like trying to keep up with Usain Bolt on the track but much more fun. This past Monday the band set loose the first of a quartet of singles which will be released over four weeks. Being firm fans of the band and their so far rewarding and impressive songs we thought we should look at the new release as well as previous single When You Want Me which came out last month. It was a good move as Belong To You and its predecessordances over ears and imagination with uniquely diverse and feverishly flavoured designs, emulating the band’s previous releases with ease.

Since the release of their first trio of tracks just over a year ago, the songs also released within a short time of each other to awaken a wealth of eager appetites and passion, Jingo has gone from strength to strength and just when you think they may have reached their creative peak they come up with further ingenious twists in their sound and creativity. The quartet of Jack Buckett (guitars/vocals), his American wife Katie (vocals/keys/guitar), Joseph Reeves (drums), and Sahil Batra (keys/bass/guitar/vocals) continue to grow creatively and seduce with greater virulence. Certain tracks are bound to become favourites but there is not disguising the evolution and heights bred since the revealing of those first tracks. Each of their offerings has come with an eclectic mix of sound and adventure, one by one exploring new avenues and depths within the band’s songwriting and imagination as proven by tracks like Black Flowers and, Wake Up in the latter half of 2013. Just as potent and constantly vivacious live, Jingo has ensured this year is going to follow in vein and potency as shown by the two singles already unveiled and no doubt their swiftly following successors.

Released in March When You Want Me emerges from a sonic mist, an almost sinister ambience which has an air of portent about its lips. As aural drama and evocative keys add to the texture of the climate, soon followed by an intriguing vocal coaxing, the song envelops ears and sense like a seductive tempest. Rhythms equally grow in size and weight, framing the colourful brewing maelstrom with poise and incitement. The expected storm does not materialise though instead the song swerves into a magnetic funk dressed romp of fiery melodies, vociferous keys, and boisterous rhythms all under the spell of the excellent vocal union. With feet just as submissively under the spell of the melodic rock stomp as emotions, the psychedelic teasing providing further captivation, the song easily gains full control of body and heart.10154940_501119716661215_4734239148929790224_n

   Belong To You leans against ears with a riveting bass croon initially, its resonance and smooth voice mesmeric within a smattering of percussion. It is not long before the new single spreads into a hot melodic flame which in turn settles back into the opening breath around the easy to indulge in tones of Katie and even paced rhythmic snaps. As a tangle of guitar begins playing with the imagination, the song brings sixties pop spice to its provocative aural melodrama as well as a persistent sprinkling of unexpected pokes of sound sounds and inventive twists, all within the main course of the contagious engagement. Assisting the rich expression and bewitching venture there are also essences of eighties pop punk and psychedelic rock caressing the masterful mix. As now accustomed with Jingo it is a multi-flavoured and diversely textured song, maybe not as immediate in its potential and success as others of their creations but ultimately just as impressive and mouthwatering.

Personally Black Flowers has always held our fullest ardour but it is being constantly challenged by the band as certainly with this pair of singles and most likely will be again by the three upcoming encounters. We will soon find out and enjoy that is for sure.

Stream and Download all of the Jingo singles @ https://soundcloud.com/jingomusic

Belong To You 8.5

When You Want Me 8.5

https://www.facebook.com/jingomusic

RingMaster 23/04/2014

Copyright RingMaster: MyFreeCopyright

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Horse Party – Cover Your Eyes

Horse Party by Kate Wood

Horse Party by Kate Wood

Their previous singles teased and seduced but now UK indie band Horse Party go straight for the heart with their debut album Cover Your Eyes. Its eight varied and shapely tracks provide a raw and flavoursome adventure which simply captures the imagination with no respite whilst simultaneously asserting the Bury St Edmunds trio as one of the brightest emergences in recent times.

The birth of the band goes back to a drunken night in a church where drummer/vocalist Shannon Hope and guitarist/vocalist Seymour Quigley badgered guitarist/ vocalist Ellie Langley through ‘abusive messages’ to join up with them. Fuelled by a mutual passion for the likes of Bjork, Fugazi, Cat Power and terrible films, Horse Party came in existence and soon pulled in strong acclaim with debut track Clarion Call, a free release which took the band to the attention of BBC Suffolk Introducing whilst sparking numerous support slot offers including one with Dingus Khan. A second single and a live EP called Scarlet & Blue followed to increase the weight of their emergence whilst last year saw the trio playing over fifty shows which including sharing stages with bands such as Tunng, Pinkunoizu, Shonen Knife, Heartless Bastards, Ghostpoet, The Nightingales, and Vuvuvultures, perform a live broadcast via BBC Introducing from the new John Peel Centre for Creative Arts, and release their third single through new label Integrity. It was certainly a fruitful and busy year for the band, one set to continue in this with already the album release and a tour currently being undertaken proving a striking success.

The album opens with Back To Mono, a track which instantly jabs at the ears with fuzz lined guitar strokes with a more than  Horse-Party-CD-case-web-versionBeatle-esque tempting to their dramatic coaxing. The jagged tease is soon aligned to an equally compelling melodic exploration and feisty rhythms whilst Ellie’s vocals cast a stirring lure over the lot. It is not an explosive track but one which is unrelenting in its repetitive incitement and insatiable in its want to charge up the imagination. The firm almost imposing beats continue to drive on the track, never relinquishing their potent bait even in the more open and blustery chorus. The song is merciless with its enticements, band vocals a glorious web to lay their narrative and the sonic designs veining the song irresistible colour, but it is that blinkered core of the song which steals the biggest rapture.

Clarion Call makes a less striking entrance but with its minimalistic guitar bait equally draws a keen tempting which flourishes further with the addition of the distinct vocal of Ellie and against lively beats. Before they bring their rich hues there is a feel of Young Marble Giants to the song which then develops into a broader deeper catch of sixties garage rock and chilled indie persuasion. The further it extends its body the stronger and fuller the track evolves, guitars again painting evocative textures which the vocals and chilled harmonies wrap themselves around. Already the album has attention and appetite seduced which Scarlet & Blue reinforces with its smouldering caress and sultry air. Though it is a simmering melody crafted temptation there is fire in the belly of the temptress, incendiary raw clashes of percussion and riff providing imposing crescendos within the graceful and mesmeric immersion of the senses. Live the track is masterful but now having heard in from a studio breeding, it shouts with the emotive beauty and innovative invention of Horse Party.

The following Inbetween with a skittish percussive invitation brings a Fleetwood Mac elegance and flight to its equally vivacious energy. It is a tremendous mix, soaring melodies and mellow vocals tempering but egging on a racy energy and brisk rhythmic provocation. It is another infectious and inciting pleasure easily matched and surpassed by What Do You Need. From a great first impression when released at the tail of last year, the single has grown in weight and potency over time for us and sitting within the album seems in its element as it boldly opens with drama and intensive seducing which outrivals even the first track. A restrained strum is punctuated with deliciously heavily weighted drum thumps, their dynamic pokes spearing the maze of melodic intrigue spiralling across the canvas of the song. Their forceful intent is tempered once the vocals unveil their expression within the weave of the song, though within that restraint they wait to pounce again, which they do with a slow but certain relish as the song stretches and explores its boiling textures and imaginative corners. The busy chorus brings thoughts of Alanis Morissette but only to flavour another original and frisky encounter from the band.

The next up Six returns to a sweltering climate, its thick heat and evocative atmosphere enveloping ears and thoughts with emotive tenderness whilst guitars and bass carve absorbing shadows. Passion flows as animatedly as the sonic sculpting which fires up the jazzy expulsions of the song whilst that sixties feel permeates yet again with a garage rock blaze to the sweltering air lying invitingly over the enthralling creative landscape.

     Let The Man Die catches expectations by surprise not only, as the songs, with its immensely tasty sounds and invention but also by Quigley taking the lead, his tones a potent variation to the album. The song is pure rock pop, the most accessible track for newcomers proving that the strings to their creative bow are as wide as they are diverse. The track is unafraid to add a little post punk beauty especially in its climax either, just to tease and reassure that intrigue is never too far away from the heart of the songwriting.

Closing with the acoustic To Know You Less, a very decent gentle caress to end the show, Cover Your Eyes is pure aural majesty. Singles alone have suggested that Horse Party is a very special proposition but together with their new companions they declare the band as one of the UK’s most exciting and original prospects. Remember it is still early days for the band too so horizons look very rosy for them and us.

Cover Your Eyes is available digitally now via Integrity Records with a gatefold CD version with 16-page booklet released on Monday 12th May 2014.

http://www.horsepartyparty.co.uk

9/10

RingMaster 23/04/2014

Copyright RingMaster: MyFreeCopyright

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Slain – Before The Inferno

 

slain pic

There is no re-writing the text book of death metal with Before The Inferno, the album certainly re-working but treading down existing violations, but it has to be admitted that the debut album from Polish band Slain is a thoroughly enjoyable and potently contagious provocation. Consisting of eight monstrously aggressive and openly accomplished violations, the release grips from its opening track through to its intrusive last. There is admittedly a certain mix of success within the release but never a moment where band and album leaves satisfaction wanting and pleasure lacking.

The creators of this impacting release were formed in 2005, though the band’s seeds in many ways harken back to the nineties when band founder and guitarist Paul was in Cryptic Stench. Some of Slain’s songs originated from that time with the band reworking and rearranging them to fill the full blooded onslaught of their ferocity. Initially Slain went through a few personnel changes whilst the band continued to earn a strong reputation and fan base with their live performances. A stable line-up emerged though before the album was recorded; Paul joined by second guitarist George, bassist Lucas, drummer Wojtass, and vocalist Marcin. Recorded in 2012, Before The Inferno found its release with The End Of Time Records at the tail of 2013. Since its release, Slain has seen the departure of George and Marcin, the pair being replaced by Hannibal and Balrog respectively. The turn of the year the band has begun working on new songs for their second full-length whilst this, their debut continues to make an impression and mark the radar of a persistently widening attention.

The Bełchatów quintet comes at the ears through a sinister ambience, demonic shadows, and intrusive breath conspiring to infest senses Slain-BeforeTheInfernoand imagination. The niggling start to Confession of the Blind Messiah erupts into a torrent of predatory riffs and punching rhythms whilst vocally vitriol and ravenous intent clad every word. It is a magnetic entrance, the track enslaving with its concentrated confrontation before unleashing a further increase of aggression and malevolence. Speared by skilled sonic flames and a persistently shifting antagonistic stance, the riveting track makes for a mighty start to the album, essences of Behemoth and Decapitated offering their presence.

The following Wings of War strides murderously into view next, clad in a tsunami of destructive rhythms, flailing riffs, and an underlying groove which is two-toned in voice and lethal in effect. Well into its purpose, the grooves mutate into an infectious lacing of the senses whilst the vocals similarly squirm maliciously between textures, the combination rigidly enslaving an already rampant appetite for the release. It is a ferocious onslaught but ripe with contagion and addictive toxins, especially the impressive sonic blaze of guitar which colours the track with its piercing solo. As suggested at the start there is not a great slap of true originality to the encounter but thrills and neck muscle manipulation show no restraint in their persuasions.

There is a thrash sculpted fire to the sound and album, its rabid hunger again insatiably driving the force of Malleus Maleficarum and War Is Coming. The first is a feisty stalking of the senses with an angry spine of bad tempered rhythms within an acidic veining of skilfully crafted sonic incitement. Its successor takes the rapaciousness of the other track to greater immensity, its carnivorous rabidity spurring on prowling rhythms and a pestilence of riffery. The track is voracious savagery but again infuses a swagger and swing to its barbarity which infests the passions. When a song straddles the imagination and treats it to a rodeo of feverish energy and vivacity it is hard to resist even when the wounds left bleed profusely.

Fucking Gods continues the violent and irrepressible suasion of the release, its brutal rampage unrelenting yet pronounced in its precise baiting whilst the following Deadly Midget presents a more restrained attrition but one no less hungry in its predation and manipulative toxicity; grooves and riffs sharing the imposing canvas for their fevered taming and consumption of the senses. There is a touch of Sepultura to the poise and intensive intensity of the track whilst its ravenous incessancy and melodic adventure slips easily under the skin and into the memory.

The album is completed by the raging turmoil of Thorn and the imposing enterprise of Omen, both tracks a tasty horde of vindictive rhythms and scourging riffs spiced by sonic invention, though neither quite match the heights of the earlier songs. Nevertheless the pair brings a great album to a stirring close to leave satisfaction full and emotions eager for more. Before The Inferno may not carve out new inventive avenues for death metal but when it provides a hellacious ruin as exciting and stimulating as it does it is hard to raise a care. Slain has ensured that anticipation for their sophomore album is already gearing up.

Before The Inferno is available via The End of Time Records now!

https://www.facebook.com/pages/Slain/1395976333996090

8.5/10

RingMaster 22/04/2014

Copyright RingMaster: MyFreeCopyright

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PROMETHEE release spanking new video and new songs.

Promethee Promo Shot

HIGHLY RATED EURO METAL OUTFIT PROMETHEE RELEASE TWO NEW TRACKS AND IMPRESSIVE VIDEO

Promethee are poised to release two new tracks ‘Dark Souls’ and ‘The Sour Taste’ on 7” vinyl and through bandcamp on 1st May. The Swiss riff kings have also just released a brand new video for ‘Dark Souls’, which is out now and available for viewing at

https://www.youtube.com/watch?v=h2ey8SJggus&feature=youtu.be

 

Hailing from Geneva, Switzerland and born during the early part of 2008, Promethee didn’t waste any time, and quickly racked up a plethora of successful shows throughout Switzerland and France in front of a fast growing public. With the release of their debut five track EP in 2010, the metallers were soon hailed as one of ‘The new bands to catch on the European metal scene’.

True to their growing reputation for being incredibly active, Promethee continued to spread their wings and secured tours throughout Europe, Canada and even Cuba before going back into the studio to record their debut album, “Nothing Happens. Nobody Comes, Nobody Goes.”. The record hit stores in 2012 and immediately propelled Promethee to a higher level. Gathering prestigious feedback from the national press, including Kerrang!, Metal Hammer and Big Cheese Magazine, the album has been continually praised for its technical and musical mastery.

Promethee furthered their climb with well received video singles and live videos which have been lapped up by tens of thousands of fans around the world. Aided by an additional one hundred and fifty shows played in over ten countries, the band’s visibility has swiftly increased.

Now in 2014, Promethee unveil two brand new slabs of mighty metal fused with commanding hardcore and a wealth of groove which will be released in the form of a seven inch vinyl along with a lyric video. The tracks are lifted from the noise chiefs’ new album, which will be released by the end of 2014. After a steady incline during the past three years, the band are now poised for a full scale European and North American assault. And with their fan base growing day to day with tens of thousands of active followers and the band touring as much as humanly possible, Promethee have never been so motivated to transcend and evolve into a heavyweight force on the world metal scene.

 Check out the video for Dark Souls @ https://www.youtube.com/watch?v=h2ey8SJggus&feature=youtu.be

www.prometheemusic.com | www.facebook.com/prometheemusic  | www.twitter.com/prometheemusic

Primal – Prophetae

Primal cover

Prophetae is the third album from one man Polish black metal project Primal, an encounter which immerses imagination and senses in an investigative compelling web of sound and emotion. Exploring the themes of madness, darkness, cruelty, and the beauty of apocalyptic prophecies as well as delving into the insanity of man’s minds in creating them, the five track release unveils a tortuous seduction and a caressing abrading which envelopes and permeates everything from ears down to emotions. It is a challenging encounter but one which is simultaneously enthralling and intrusive in its touch, an expanse of starkly toned soundscapes and ravenous fermentation.

Primal is the work of Warsaw musician/songwriter PrimalOne, a project he began in 2008. Across the years he has released a couple of demos, Ominous Deity and a self-titled EP both in 2010, a split with Iugulatus and Deep Desolation, and a couple of albums starting with Deathzone in 2011 and Obłęd a year later, the pair split by the Duch EP. Recorded in 2012 also and released to the rear of last year, Prophetae is bred from the constant anger and defiance to religious idiocy which marks PrimalOne’s creativity and work. As the quintet of songs soaks through the pores and submerges ears, there is a ripe passion aligned to antagonism which spurs on the invention and intent of the pieces, it alone bringing stern textures and imposing structure to the tempestuous evocation of the tracks.

I opens up the release, church bells laying out their persuasion before being suffocated in an avalanche of destructive rhythms and carnivorous riffs; all determined to challenge and consume the suggestive religious peace. The track is ferocious and merciless in its ravaging of the ears, blackening out light and escape as its vitriolic narrative is offered through heavy nasally spoken words and aural predation. The track alone is an exhausting experience, its moments of respite and melodic acidity as magnetic as the fury before and around them. It is not the most violent encounter you will come across within black and extreme metal but one of the most incessant and insatiable, a description applying to the whole album.

The raw breath and glaze of the track adds to the corrosive provocation and pagan-esque whispers of the premise, fuelling extra venom and beauty in the more patient and classically honed parts, a potent blend emerging again in II. From its dark cavernous depths, the track coaxes and seduces the imagination, rhythms ensuring intimidation and danger is lurking whilst the resonating elegance of the track’s entrance brews a rapturous appetite. The track is soon unbolting its raucous energy and corruptive intensity, guitars winding their incendiary and inflaming melodic toxins throughout the heavy attrition spawned body of the track. There is a bolder anthemic urgency to the track than to the first but only within a determined stalking of the listener, the again spoken and generally unintelligible but thought inspiring vocals adding to the dark demonic drama and senses binding success of the track.

The seven minutes III is relatively short within the album but wastes no times in notching up the raw caustic surface lure of the album, steering the listener through a blackened network of crowding sonic corridors and emotive windings, all converging to test and provoke with insidious charm and uncompromising intent. As the track plays out the body feels as if locked in a dungeon of intense and chilling incitement, trapped underground with a coarse and scourge bred presence which toys with the psyche whilst sparking multiple incendiary reactions.

From the choral sample waking up IV, the track prowls and probes the senses; its lumbering gait dignified yet threatening as sonic flames circle over the smouldering venom you feel brewing within. The track never veers from the object of its steely glaze, twisted vocals adding their evocative narrative to the unmovable intent of sound and intensity. Waves of urgency and muscular intimidation ebb and flow across the track, never diverting it from its focus, the masterful and magnetic repetitious core as infectious as the guitar craft and fiery atmospheres around it.

The closing V opens as its predecessor and with a more voracious and vicious volition emulates its unbridled and unyielding persecution of its recipient. It is only part of the story though as haunting and ingeniously warped twists of the opening vocal harmonies bring a blackened angelic colour to the pestilential glory of the track, whilst there is a general discordance to the tone and heart of the excellent track which draws a rich submission.

Prophetae is not a kind or easy listen but unreservedly rewarding, a full stimulation to thoughts and emotions. There are moments where the album has an arguably unadventurous evolution across tracks which are for the main 10 to 11 minutes long, deviations in sonic and imposing scenery minimal but such the power and potency of the bait it does not become obvious until hindsight kicks in. The album is an absorbing triumph nevertheless and Primal a proposition which deserves proper attention.

Prophetae is available through Q.E.V.Productions/The End Of Time Records now.

http://primalband.bandcamp.com/

8/10

RingMaster 22/04/2014

Copyright RingMaster: MyFreeCopyright

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

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Nihilistinen Barbaarisuus – Synkkä Tuuli / Väinämöinen EP

 original lineup — with Manuel Rodriguez, Mika Mage and Serpent Ov Old


original lineup — with Manuel Rodriguez, Mika Mage and Serpent Ov Old

Creating an aural blizzard within which you can feel skin and senses being flayed by artic spite and stark winds, US atmospheric black metallers Nihilistinen Barbaarisuus is one of the propositions not many know of yet but should make the time to bravely investigate. Which is why we are looking at their debut album Synkkä Tuuli and the since released VäinämöinenEP. The Philadelphia band is one of the rawest encounters in intent and presence you are likely to hear at the moment but one which below its tempestuous emotional wastelands breeds a virulent intrigue which binds attention and appetite. Neither of their releases are an easy listen or kind experiences but both leave you wanting more with the thought that given the chance recording wise they have the potential to be a commanding force.

Formed in 2012, Nihilistinen Barbaarisuus was initially a trio of vocalist, bassist, and synth player, M.W.S. (Serpent ov Old) with guitarists Mika Mage and Manuel Rodriguez. A self-titled demo appeared their first year followed by Synkkä Tuuli in 2013. Following its release both Rodriguez and M.W.S. left the band leaving Mage the sole force behind the band and the Väinämöinen EP. Before then though Synkkä Tuuli drew good attention and reactions for its intensively expressive and intrusive presence which is no surprise once immersed in its sonically caustic cold and ambient frost.

The album opens with the two parts of Ylittäen Jäätyneen Pohjoisen; the first opening with footsteps through crunchy snow as wind Nihilistinen Barbaarisuus coverbites at the senses and an increasingly brewing intensive atmosphere chills bone and air further. With rhythms urgently imposing, guitars swarm over the senses, their touch restrained but sinister and icy. Courted by dark bass lines and the haunted squalls of vocals, the track is a smothering tempest but with a melodic and drone bred seduction which tempers the corrosive breath of the piece. Shivers run down the spine throughout until a respite mid-way brings a melodic beauty and peace to the track, it’s still cold hands caressing the imagination whilst offering a sheltering incitement before a venture back into a tortuous climate within part II. The second part if anything is harsher and more destructive than its predecessor, the climate a vicious antagonist but its beauty more evocative whilst its landscape moves from being an aggressive predator to a portentous siren, danger and emotive sufferance never diminishing in the heart of the track.

The production on the album is as abrading and raw as the sounds, never giving an inch to the senses and at times almost suffocating the sculpted melodies of the songs. It is in many ways a demo quality glaze adding extra harsh textures to tracks but as shown with the wonderful Itämeri Anomalia it never stands in the way of the beauty within the release. A lone acoustic guitar emerges from a wave buffeted beach, its melancholic breath and radiance irresistible and refreshing as keys and further stringed elegance paints a skilled and mesmeric canvas,

That scenic passage is soon submerged under another pestilential storm as firstly the dulled yet appealing Anhedonia erupts across the ears to be followed by the exploration of Arktinen Välisoitto. The first of the two erodes the senses from first second to last, allowing no escape from its intensity whilst its successor opens on an acidic ambience, keys soaring gracefully through its emotive soundscape. The instrumental is delicious, an aural travelogue of emotions which again shows the craft and invention of the composing as well as that of the band members, and to be honest it is these moments where Nihilistinen Barbaarisuus really shine the most.

The release is completed by the rapacious uncompromising stroll of the title track, a song which preys on the senses with curt rhythms and toxic vocals whilst soothing them with mellow expressive keys, and finally the dark instrumental Ketamiini, a piece which is as seemingly venomous as it is radiant.

Nihilistinen Barbaarisuus cover 2   It is a testing album but a highly rewarding one, as is the Väinämöinen EP. With the band now just Mage, though he does invite guest contributions from the returning M.W.S. on bass, Lawrence Wallace (Shadows in the Crypt, Lawrence’s Creation) on keys and drum programming, as well as James McClellan Dorton III (Nightfire, Antikythera, ex-Shadows in the Crypt) on vocals, the two track release is equally as dark and sonically ravenous as its predecessor. The vocals though are allowed a greater clarity within the tsunami of intensity and sound whilst production also finds a more open presence for the songs. The title track marauds over the senses first, the cold expanses of the album revisited again but with a more intimate and precise investigation. Across the rare atmosphere and vitriolic weather of the song, bass and guitars converge in a corrosion intended union but also make their own individual frost bitten temptations for a stronger and more compelling adventure than found on the album.

Second track Yo Jolloin Han Kuoli finds the skills of Mage caressing the imagination once again, his acoustic craft and storytelling a riveting incitement which relishes the emotional colour it brings alone or within the courting of similarly descriptive keys. It is a mouthwatering close to the EP, leaving a lingering warm and thrilled impression of release and band.

If you are looking for something acerbically fresh and raw from an emerging force with the potential to blossom into a quite breath-taking and remarkable proposition, then taking a look at Nihilistinen Barbaarisuus is definitely a strong suggestion. Whether they realise their promise time will tell but you imagine it will be a rewarding time watching and listening.

Synkkä Tuuli is available now on Horror Pain Gore Death Productions http://www.horrorpaingoredeath.com/store/hpgd062.html

The Väinämöinen EP is available from Infernal Kommando Records as a limited edition cassette and can be downloaded for free from http://gunshyassassin.com/news/exclusive-nihilistinen-barbaarisuus-stream-and-download-vainamoinen/

Synkkä Tuuli 8/10 Väinämöinen EP 8.5/10

RingMaster 2/04/2014

Copyright RingMaster: MyFreeCopyright

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

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By The Rivers – Vulture/This Love

By The Rivers Field July 2013_1

Re-igniting the impressive and exhilarating presence and success of their self-titled debut album last year, UK reggae band By The Rivers release new double A-sided single Vulture/This Love. Taken from the album, the songs tell you all you need to know about the melodic beauty and vibrant creativity of the band and their mouthwatering sound. It is another irresistible call for those yet to discover the splendour of the Leicester sextet and another reason for us in the know to let feet blaze over the ground with one of Britain’s most exciting bands.

Formed in 2010 by friends, Nile Barrow (lead vocals/guitar) and Jordan Birtles (drums/vocals), By The Rivers has mesmerised fans and media alike with their unique fusion of reggae/ska/soul/and afro-beat. With a line-up completed by Matt Willars (bass), Sam Read (keys/guitar/vocals), Will Todd (Tenor Saxophone), and Leo May (Trumpet), the band from their first steps were soon gracing stages with the likes of Dawn Kinnard, Neville Staples, Fun Lovin’ Criminals, and Toploader. Their swiftly growing reputation only accelerated as the six-piece continued to play with the likes of the Buzzcocks, Maxi Priest, Musical Youth, Dawn Penn, Saxon Sound, and The Specials whilst released eagerly received EPs and singles. Last year’s album through Kompyla Records thrust the band into an even more intensive spotlight with festival demand and appearances a plenty following its release.

The new single is the next dart of contagious persuasion by the band, one to have lips licked and passions romping. Vulture opens with a Graphic1 glorious wash of vocal harmonies, their touch a seductive caress before the song opens up its entrancing arms into an elegant sway and magnetic swagger. Guitars and bass dance and tease across the length of the song giving a base contagion to fall into, then once enslaved brass flames aligned to anthemic vocal and melodic lures bind the passions even tighter. It is an energetic but respectful romp leading imagination and emotions by the hand into a seductive and vivacious dance.

The musical and lyrical provocation of the song is emulated in its own distinct design by This Love, the song an evocative affair with ears and thoughts which gentle strolls as melodic tendrils and expressive passion drifts off every note and harmonious syllable. It is too easy and maybe lazy to provide UB40 as a reference to the sound of By The Rivers but it is unavoidably suitable for this flowing summer wind of a song. The heat of brass and magnetic touch of the guitars make the initial steal of the heart but as is very often the case with their songs, it is the vocals and melodies which bring the virulent infection to which there is no known cure.

With an instrumental version of Vulture completing the tracks offered, the single is another riveting triumph from By The Rivers, inescapable bait for feet, heart, and soul. Released April 21st alongside a Tom Swindell (Shy FX, Jamie Woon and Die & Breaks) directed video the same day for Vulture, the single and the band’s irresistible blend of catchy songwriting and powerful lyricism make another potent statement for one of the very best new bands here in the UK.

Vulture/This Love is available via Kompyla Records now!

https://www.facebook.com/bytherivers

10/10

RingMaster 21/04/2014

Copyright RingMaster: MyFreeCopyright

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

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The Van Burens – Presidential Lovefest

TVB

Mischief and good music is always a healthily attractive mix and that is exactly what you get with Presidential Lovefest, the second EP from US indie/reggae funksters The Van Burens. The nine tracks it holds captures the imagination and feet from start to finish; the six full tracks and trio of equally magnetic samples which split the earlier songs on the release creating an intriguing web and compelling party to get wrapped up in. The release is fun with a giant F but also an expertly sculpted and devilishly presented slice of slavery.

Formed in 2008 and taking their name from the eighth President of the United States, The Van Burens has built up an eager following for their vivacious and energetic sound. They have a presence which toys with theirs and the listener’s imagination, their songs certainly on the new EP eager to ride unpredictability with contagious adventure. Presidential Lovefest is the successor to the 2010 Eager EP, the former’s success and appeal helping the Boston band to go on to tour the US. Drummer/singer Matt Spitz speaking about their new release said “Presidential Lovefest captures both our fun live set and our meticulous studio sound; it’s a dance record you can hear a thousand times and always find something new”. It is impossible to disagree as even after numerous tangos with its pleasing body, new temptations and depths reveal their seduction ensuring the release just gets better over time.

Taking an irreverent theme of American history to its humorous premises, Presidential Lovefest opens with the introductory scenery of TVB coverMiss Lola Overture, a forty second lead into the following Tricky Dick. It is here where the release really wakes up, rhythms and a blaze of brass heralding the funk driven stomp ahead. The track immediately stomps with a rhythmic swagger courted by a great dark bass tone provided by Emmett Knox whilst alongside them the vocals dance with revelry and a welcoming enticement. With the guitars of Greg Smith and Greg Spitz teaming up with the keys of Jeff King to weave a melodic web which simply seduces emotions and appetite, the song continues its rampant persuasion bursting continuously with the trumpeting calls of Leenie Doran beside the equally magnetic flames of trombonist Pete Fanelli and saxophonist Joel Edinberg.

It is a flaming bait to set the EP off in irresistible style, an entrance after the atmospherically wrapped bye bye with its ‘FoxMulder’/child sample, which is backed potently by the more restrained Hey Everybody. The song is a sultry breeze of smouldering brass and clinging melodies, band vocals and harmonies similarly gentle in their caresses. The track does not inflame as dramatically as the previous song but instead provides a persistent embrace which envelops and soaks the senses for a just as compelling capture.

A continuation of the previous sample comes with hello before Reagan raises its rhythmic knees and keen melodies for a vibrant wind of reggae fuelled enterprise. The beats of Matt Spitz pulsate and rap around the ears, alone triggering a festival in the feet whilst the mesmeric vocal sweeps which span across the punchy canter of the song manipulate the passions. Not for the first or last time, song and band inspire comparisons to the adventurous and inventive mischief of nineties band Honky, as well as offering essences of Fun Lovin’ Criminals. The song is a blaze of charm and inventive vitality, again the brass flumes emotively colouring the expressive canvas provided by guitars and keys framed by the ever tantalising rhythms. With flumes of scuzz kissed sonics and the guest trumpet insurgences of Sam Dechenne, the song steals passions and memory alike.

Lee Harvey emerges from a sinister atmosphere, a sampled public warning stepping from a noir haze right before a jazz/funk bred guitar teasing wraps its lures around the body. Again that Honky reference is at play, experimental hip hop elements swerving their inviting hips from within the fullness of the funk fuelled dance. There is a very familiar toxin to the track but it only accentuates the mystery and seduction, rogue keys and percussive exploits adding further sparks for the imagination to devour as greedily as the ears. Making its way to a climax of fifties swing and rock ‘n’ roll, the track is an irresistible treat to lose inhibitions and breath to.

The smokey air of This Town wafts gently over ears next, its shadowed emergence bringing a reggae built climate of condensed brass heat and stroking guitar evocation. Trumpet and vocal guesting from Doran as in the final song adds to the thick coaxing of the song, melodies and vocals swarming tenderly over the inventive nature of the guitars and rhythms. It is an engrossing, slightly more serious suasion than other tracks, flirtation raising another flush of warm ardour for the EP before the infectious closing of LBJ, it an experiment of intrusive melodies and invigorating imagination.

Presidential Lovefest is a delicious and boisterous encounter, one to lose your reserve and inhibitions to whilst The Van Burens climb your list of favourites with each and every tempting note.

The Presidential Lovefest EP is available as buy now name your price download @ http://thevanburens.bandcamp.com/album/presidential-lovefest

http://www.vanburenmusic.com

8.5/10

RingMaster 21/04/2014

Copyright RingMaster: MyFreeCopyright

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

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