Pink Tatami – Chapter and Verse

Pink Tatami

It is with great thanks to the vocalist of Pink Tatami, Mike Marques that we can bask in one of the most invigorating and downright thrilling releases of the year so far. The frontman of the French band introduced himself and colleagues with the hope that a review of their debut album Chapter & Verse might be possible. One blast of just its opening song and a review was not only possible but essential. Consisting of twelve exhaustingly imaginative fusions of alternative rock and metal, with plenty more besides lurking and seducing from within, the album is a breath-taking tantalisation. Bulging with virulent hooks, deceptive shadows, and an irresistible invention which hooks its claws in from the first second to the magnetic last, this is a debut of not only an outstanding band but of a potentially major force.

More than merely flirting with experimental tendencies, the sound of Pink Tatami feeds off the richest essences within metal and rock, every song a distinctive individual combining for an enthralling and mouthwatering proposition. Toying with and igniting the imagination and passions like a mix of Faith No More meets Kontrust with the devilry of Dog Fashion Disco and Destrage adding to the constantly evolving recipe with an extra spice of 6:33, sound and album roars and teases with all the charm of a bestial predator, the seduction of a sultry temptress, and the psychotic lures of a deranged puppeteer, though not always in that order or combination.

Recorded over a two year period, Chapter & Verse leap at ears and imagination right away, the Paris quartet simultaneously stroking coverand threatening the senses with dark riffs and rhythms with the entrance of opener Twisted Lip. The track soon settles into a feisty keen stride, the bass of Alex Ghilardi growling imposingly whilst the guitar of Florent Beaucousin coaxes and fires up thoughts in league with the richly impressive tones of Marques. It is an immediately flaming temptation which elevates its psyche metal seeded bait with the pop rock twist of the chorus. That Faith No More comparison is a swift suggestion though song and Pink Tatami only use it as flavouring to their ripe feast of sound. Across its saunter the song fuses in some funk twists with a Red Hot Chili Peppers lilt and a strong melodic rock grunge like enticement, an ingenuity which only adds to the potency.

The very strong start is soon shaded by the following Sinistra, which opens up its lure with an electro resonance, its stimulating wash surrounding the welcoming vocals and subsequent blaze of guitar steered by the punchy beats of drummer Bamby Alfonço. Again there is a definite Patton-esque flavour to the teasing which only accentuates the rich tones of the song. Flowing into slower romancing avenues and rapaciously toned energetic ventures, the track keeps thoughts and appetite on their toes and greedy for more which False Rebounds is more than happy to offer. Sinister whispers lurk as a singular guitar brings the song into view, the dark ambience standing over the emergence of the song until pushed aside by funky enterprise and bouncy vocals which step in to steal attention. It is a constant balance though, the shadows never far from making their narrative heard alongside evocative melodies and the livelier urgency of the track ever eager to have its say. It results in a riveting and thrilling proposition though in many ways just the appetiser to its quite magnificent successor.

The title track to the album is simply glorious, from its opening scrub of riffs and pulsating hypnotic beats a ridiculously virulent and anthemic suasion. The start has a Buzzcocks feel to its tempting and is soon courted by surf rock like croons and floating harmonies. Capture of heart and soul is done within those opening seconds, leaving the rest of the track to wrap tighter bonds around their submission. Into its stride the track enlists the contagion of rap metal with hip hop seeded vocals chopping across the ears whilst a sonic mystique dances provocatively in the background before erupting into a blazing sun of impressive vocal soars and searing melodies. It is easily the best song on the album, and the others are mighty, and one of the best to grace the year to date, much like the album.

Fears that there might be an anti-climax in store after such a triumph are soon chased off by both The Employee and “A” is for…, the first stalking ears at through dark vocals upon a stirring ridge of riffs before expanding into an intrigue noir kissed adventure with a sultry melodic breath. A track which manages to smooch with and haunt the senses at the same time it is another striking slice of invention; corrosive floods of aggression and predacious riffs having as much of a say in the painting of the song’s mysterious canvas as the mesmeric vocals and entrancing melodies, not forgetting the arcane tempting watching on. Its successor brings a ska toned walk to its delicious pop rock dance, crooning and embracing the listener in another RHCP spiced escapade which entrances and mischievously plays.

   The caustic touch of Dumas & Dos Santos brings another flood of ardour upon the album, the carnivorous bass tones and rapier like aggression of the guitars and rhythms irresistible as they thrust a violent furnace of intensity through the ears. It is tempered though by an infectious side to its provocation which increases the epidemic invasiveness of the explosive treat. It is a pleasure taken on further by the dark suggestiveness of We Can Help You, a track veined by exploratory sonic adventure and intrusively appealing twists, and the intensively shadowed Dorothea Tanning, its tale and invasive sounds an enveloping cloak of danger and creative spite. The song roars and thrashes about as its theme unveils every black twist and intimidating turn whilst merging passages of intimidating seduction into the turmoil.

Adhesive spits and romances with its diverse wares next, the song a gentle caress in certain moments and a voracious assault in others reminding of Russian punk rock band Biting Elbows at times. The song is surpassed by the following Evokes, a spiral of sonic addiction from its first seconds before careering into the passions on a torrent of punk/metal rabidity. Grooves and riffs squall irresistibly across the bow of the rhythmically challenging song, vocals adding irrepressibly to the raucous tempest. It is a stunning and quite brutal peak to the mountainous range of the album, a Breed 77 toxicity only adding to the inescapable trap.

Closing on the mild in comparison Eye Bank, a song where thoughts of Poets Of The Fall come to mind but just another tone in something unique to Pink Tatami, Chapter & Verse is one of those gifts you cannot turn away from without assistance, an enslaving incitement with far reaching snares. Though long in the making, the album is only the debut of Pink Tatami, a quite magnificent and accomplished one admittedly, but just the start of their journey. It is scary to think how good they have the potential to become and extremely exciting.

The self-released Chapter & Verse is available now!

https://www.facebook.com/pinktatami

http://pinktatamiband.bandcamp.com/album/chapter-verse

10/10

RingMaster 17/04/2014

Copyright RingMaster: MyFreeCopyright

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Mind Museum – One Blood

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The potent ascent of UK alternative rock band Mind Museum continues unabated as they release their riveting new encounter, the One Blood EP. Since unleashing their attention grabbing debut EP Rat Race in 2011, the Bristol trio has continued to impress and outweigh other emerging bands with their weave of heart bred passion, riveting sounds, and gripping enterprise. Each release the band unveils takes their presence and reputation up another level and One Blood is no exception, the maturity in songwriting, sound, and simply presence mouthwatering.

Formed in 2010 from the ashes of several bands including most notably I AM THE DOOR and Full Scream Ahead, Mind Museum has persistently presented a proposition impossible to ignore or not find a deep rooted attraction for. Since forming the band has made as big an impact live as they have with their releases, sharing stages with the likes of Young Guns, Twin Atlantic, The King Blues, and The Royal Republic as well as lighting up their own headlining shows. Taking inspiration from bands such as Biffy Clyro, Coheed and Cambria, The Cure, and Placebo, the trio of vocalist/bassist Justin E Percival, guitarist Will Slater, and drummer Chas Bacon have honed a sound which holds a vague familiarity which makes it instantly accessible before taking the imagination and emotions on an incendiary ride of raw angst dripping vocals, rich sonic colour, and melodic passion. Their 2011 Rat Race EP made a potent entrance for the band, one just as powerfully backed up by The Power Of Three EP the following year but the George Lever produced new exploit immediately shows a big leap the band has taken from those earlier releases, confirming and expanding the promise and adventure hinted at by the 2012 single Lie To Me.

The release opens with The Get Go and immediately has a resonating bass note and a tart guitar wash soaking the ears whilst the already OneBlood-EP_ScreenResemotion drenched squalls of Percival wail in the back ground. As expected from the band on past experiences, it is a dramatic entrance but one which regroups into a restrained and melody kissed persuasion which still retains its raw edge but seduces rather than demands attention. It is a riveting enticement, the dark throat of the bass almost prowling the senses, though without menace, whilst guitars and rhythms keep imagination and appetite busy. Intensity and energy all the time are building their intent though, biding their time until the fiery chorus where everything is ablaze with passion and emotive colour. It is a thrilling encounter which finds a band never short on invention anyway, exploring and interlocking stronger varied textures and washes of sound than ever before. The song is thoroughly infectious and evocatively poetical, Percival’s vocals providing potent and at times emotionally desperate feeling hues to further light up the whole narrative.

The title track strides in next, bass and drums again casting a sinew built frame for the guitar and vocals to drape their emotive designs upon. The punchy touch of Bacon transfixes throughout, commanding the course of song and thoughts whilst the heavier rock bred veining from Percival sparks another level of greed for the extensive tapestry of the song. With its predecessor the song shows the full scope of the band, the first a more heads down rock attack and the second a pungent and intense emotional incitement; both soaked in a provocative passion and dramatic intimacy which inflames the thoughts and emotions of the listener.

   Wake Up steps up next, throwing a towering heavy rock weight upon the senses before again flirting with reining in its assault. This is short lived though as the song erupts into an exhausting and scintillating fire of energy and sonic provocation, rhythms and riffs sculpting a tempest of blistering voracity and aggressive entanglement within, whilst all is flushed with the passion and emotive flames which marks out Mind Museum from the pack as much as their sound. It is an exhilarating song setting senses on edge for the next up Lie To Me to sooth and then inflame further. The song smoulders and nestles closely whilst digging in masterful sonic claws from Slater and rhythmic barbs from Bacon, and once entrenched exploding in a climactic fire. The song is one of those which lingers and returns long after it has made its last sear on the ears, a masterful puppeteer of memory and passions, much like most of songs to be fair.

Both Answers and All The Kings Men keep the temptations and impressiveness of the release foaming at the mouth, the first an initially mellow song but one which soon has its nostrils flaring as it aggressively croons and uncages another furnace of emotional and impacting sonic flames aligned to inciting vocals, and its successor a bewitching weave of choppy riffs and anxiety soaked vocals honed and fused to a virulently contagious blaze of imaginative and skilfully explored melodic causticity. It is a sensational conclusion to what is easily the most emotionally imposing and creatively explosive thing from Mind Museum, and the finest.

Actually it is not quite the finish of the EP as the band treat us to very engaging acoustic versions of Wake Up and Lie To Me, and a couple of remixes of The Get Go and One Blood by Icon Roller which are decent enough. Whether the four tracks are something you would return to time and again like the main body of the release commands is debatable but they make an enjoyable extra all the same.

As declared One Blood is Mind Museum at its most powerful and inventive yet plus their most insatiably imaginative, and you still feel there is so much more to come.

The One Blood EP is available via Secret Chord Records now!

http://www.mindmuseum.co.uk/

9/10

RingMaster 17/04/2014

Copyright RingMaster: MyFreeCopyright

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Holy Mountain – Ancient Astronauts

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Binding the senses in grooves which show no restrain or mercy in their insatiable temptation and plying that slavery with riffs which voraciously gnaw and smother all before them, Ancient Astronauts the new album from Scottish metallers Holy Mountain, is an unstoppable juggernaut of sound and intensity. It is a heavyweight antagonist merging stoner and doom metal into a suffocating tsunami of intense and exhaustive sounds, but one which veins and sears it all with at times corrosive but always incendiary magnetic grooves and melodic causticity. It is quite simply an encounter which lovers of the riff will devour with greed.

Holy Mountain, its name taken from the Alejandro Jodorowsky’s 1973 movie La Montana Sagrada, was formed in 2009 as an improvisational duo by guitarist/vocalist Andy McGlone and drummer Pete Flett. Two years after emerging, the Glasgow band enlisted bassist Allan Stewart and went almost straight into the creation of debut release Earth Measures. The mini album found its release in the May of 2012 welcomed by strong responses and acclaim, a reaction sure to be replicated and taken to greater levels by its impressive successor. Recorded with producer Paul Savage (Mogwai, Franz Ferdinand), Ancient Astronauts is a giant leap if not for mankind certainly for Holy Mountain as they explore all the qualities unveiled on their previous release far more intensively and inventively whilst casting new wild and expansive endeavours.

LV-42666 brings the journey into view, cruising in on a sonic breeze before stroking the imagination rigorously with thrashing rhythms, Holy-Mountain-Ancient-Astronauts-300x288rapacious riffs, and addictive grooves; rogue vocals adding to the celestial mystery and adventure. As urgent as it is heavy, the track strides boldly as sinews bare their muscular appetite and melodies seduce ears with the guile and irresistible lures of a wanton temptress. There is also an unmistakable psychedelic pop romp to the encounter which only accelerates its submission of the senses and passions.

The following Luftwizard instantly brings a darker and heavier suasion but again it is lit by scorching melodies and also this time vocal harmonies which flirt and tempt the imagination as potently as the sounds. The voice of McGlone is fed through a Roland Space Chorus across the album bringing a spatial quality to his tones and the general air of songs, something equally inspired by the majestic pungency of accompanying keys. The thick imposing riffs of the song provide a deep texture to the affair which almost groans in its intensity and rapacious wrapping of the sonic maelstrom within. It is a masterful adventure guiding the listener through a union of dark and light, a mutual rather than combative merger but one with plenty of imposing shadows to its exultant fire.

The title track comes up next exploring cavernous sceneries with doom bred prowling riffery and rhythmic provocation whilst short but virulent grooves lance the thick smothering air, their strikes beacons through the appealing murkiness as the song heads into an explosive contagion which bursts out with urgency and sonic radiance. The track touches the darkest depths and brightest highs in tone leaving the senses exhausted and rewarded by the riveting ascent, their recovery given no respite as Star Kings from a rhythmic draw swiftly courted by a highly tempting bass stroll, feeds another strenuous passage of ravenous riffs and fuzz surfaced enterprise. The vocals are a little further forward and carry stronger clarity within the tempest of sound, though they still feel pleasingly immersed in the overall flood of the experience rather than being an overlying presence riding the waves. It is an aspect which is as potent and important as the riffs and rhythms in making the album the immense proposition it is, they and the ridiculously contagious toxins which the band also casts into the creative rabidity.

Not necessarily the best track, so hard to choose one, but a definite favourite here is Tokyo which comes next. A bestial vicious voice and growl to the riffs drives the track initially whilst the bass with its throaty appeal makes the good guy in the confrontation, its smiling grooves the temper to the predacious guitar grizzle and the trigger to the flirtatious sonic temptation and boisterous vocals which revel in the overwhelming devilry of the track. It is a siren of a song which is matched by Gift Giver, the danger which usually accompanies such a tempting and arguably missing in its predecessor, an open stalking at the start of the song. Its slow pacing is soon ignited as riffs escape their shackles, a punkish urgency taking over whilst the drums hold a little restraint in attack if not power. It continues to switch between extremes bringing a scintillating and unpredictable soundscape to play with and explore, a post punk severity adding its taunts from time to time in the lulls between unbridled sonic blazes. The instrumental is riff heaven and groove manna thrown into an aural alchemy and corruption to bask in.

The album is completed by firstly the seventies seeded psychedelically enhanced 100 Years A Day and lastly the smouldering expanse of Hollow Hill which alone encapsulates all you need to know about Holy Mountain in sound, skill, and imagination, as well as influences with a range of twists and enterprise which pull up references to Black Sabbath, Deep Purple, and Electric Wizard, ones you can apply to the whole of the album even with its distinct presence. Ancient Astronauts is a magisterial slab of psychedelic rock/metal and Holy Mountain a band poised to stake their claim for a seat on the top table of the genre we suggest.

Ancient Astronauts is available now through Chemikal Underground digitally and on limited edition vinyl.

http://www.holymountainband.co.uk/

9/10

RingMaster 17/04/2014

Copyright RingMaster: MyFreeCopyright

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Reverted – Sputter the Worms

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Though you come out of it feeling there is plenty left for its creators to discover and find to develop a wholly unique voice, it is hard not to be impressed and eagerly captivated by Sputter the Worms the debut album from UK band Reverted. With the release of the band’s new single Die My Saint, taken from the album, a look at the full-length seemed in order. Consisting of thirteen tracks which roar at ears with a ferocious multi-flavoured brew of sound and aggression, the release is a fiery brawl merging thrash, hard rock, and varied essences of metal. The album rampages with imagination and voracity, crawling rigorously over the senses and passions with raw adventure. There is much within it which is arguably familiar but plenty which is vigorously individual as the album riots with thrilling effect.

Reverted began in 2010 and it is fair to say they have made a more than attention grabbing impression. They have backed up the promise showed by live performances with Sputter the Worms, a release which pulls feet and emotions into active submission early on and refuses to let them relax until it has finished its creative charge. The title track thrusts its muscular weight and body through ears first, though its entrance is relatively reserved with thick riffs and pumped beats making a less than forceful coaxing. It is a magnetic start all the same which increases its bait with a great whining acidic flame of guitar which triggers a hungry rampancy in the gait of the track. The bass of Luis L Valle and guitar of Daniel Ruiz stomp with a prowling menace and rasping riffery respectively with the song in full stride whilst the drums of Ozzy Preciado thump with intimidating skill. It is a richly engaging proposition completed by the excellent vocal tones of Tony Vega, his gruff but clean tones ably backed by those of Preciado. Like a mix of Metallica and Fuckshovel, thrash and punk pleasing additives to the heavyweight rocking going on, the song is a masterful opening persuasion.

The potent start is soon backed up by the similarly impressive Magledonia (Harvest of Sin), another brew brought on a thrash bred Sputter The Worms Artworkappetite. The track swaggers and ripples with antagonistic confidence and sonic bait, guitars and drums enslaving attention so the bass can stalk the senses as vocals sprawl with their menacing narrative. With a vein of classic and hard rock virulence to its encounter, the song romps with a straightforward but appetite sparking success before making way for Don´t Try to Steal Me from the Inside. Valle instantly steals early control of thoughts and song with his throaty lines before the rhythms of Preciado explode in highly agitated invention and the track crowds the ears with a predatory intensity. Groove and thrash metal collide perfectly within the song but also scorching flames of melodic and alternative rock add their spice to the exciting mix, with the vocals as the sound unafraid to vary and play with their delivery.

Both the outstanding Dispose of Heartaches and the new single Die My Saint ignite imagination and pleasure further, the first bursting with a devilish intent forging punk and thrash into a psyche rock and nu-metal mesh. The track exhausts and exhilarates the passions, stealing early best song honours though it is soon rivalled by its successor, an urgent aggressor with absorbing twists of sonic endeavour amidst another richly packed flavoursome design. Psyche and nu-metal colours the sinew driven encounter whilst the rhythmic frame is an unrelenting insistence with anthemic persuasion. The pair provides the first major pinnacle of the album, probably the highest peak though plenty of tracks like the following Pulse stand tall alongside their might. A growl erupts in the vocals and sound of the song, intensity driving forward with bestial rabidity to match the barbarous rhythms and the ever predacious bass provocation. There is a grunge flame to the cleaner stretches of the song though proving again the diverse ground and textures the band explores across the album. Admittedly there are familiar sounds at work too, that Metallica feel never far away, but Reverted mix and come up with an overall sound which holds its own in freshness.

The acidic entrance of Tolerance makes a dramatic lure before a mix of progressive rock and groove metal merges to enthral thoughts, the track littering its pleasing bulk with punchy energy, rising crescendos, and abrasive expulsions. It is another potent enticement which as its predecessors welcomingly lingers. It also in many ways closes the most immediate part of the album with the following Stained Soul andonwards, the album places its most adventurous and involved songs though it certainly does not relinquish its grip on appetite and passions. Stained Soul holds a slower gait than previous tracks but with intensity still high fills the vacancy with a focused melodic rock craft, though that is still courted by the rapacious intent the band revels in which ensures the song is no less a threat and aggressor than others.

The gentle caress of Insanity takes longer to persuade than most but with its emotive strings, warm melodic rock centre, and passionate grumble the track easily secures a greedy appreciation whilst the more power ballad like Forsaken with a definite Hetfield and co feel pleases firmly without lighting fires, the same which can be said about Stairs of Guilt. Neither song grips as tightly as others but shows the expansive power of the band in sound and songwriting which certainly excites.

   Sputter the Worms closes with firstly Time, a track which glides through a weave of styles and. As the previous two it fails to spark a full ardour but furthers the impressive skills and imaginative adventure of the band which are to enthuse over and anticipate creating greater triumphs ahead. Final song Bummer is a muscle driven slab of heavy rock with metal roots, a very easy to devour and enjoy straightforward protagonist.

Reverted is a band on a sure and striking rise in presence and creativity, with the potential to be something very special. They have a drama to their songs and an invention which defuses the recognisable elements also carried; the result one thoroughly thrilling ride.

The self-released Sputter the Worms is available now!

http://www.reverted.co.uk

8/10

RingMaster 17/04/2014

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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Discharger / The Uprisers Split EP

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If you ask us there really are not enough split releases around these days, not enough bands/labels really exploiting their potential in spreading the word and sounds of emerging and established but maybe still to be discovered bands. Rebel Sound Music has stepped up to the plate though with the outstanding link up of Dutch Oi! punks Discharger and US punk ‘n’ rollers The Uprisers. Consisting of four diverse contagions, the 7” single is an irresistible riot of uncompromising rock ‘n’ roll, one gleefully leaving an exhausted and impossibly contented glow over ears and passions.

Hailing from Amersfoort, Discharger has never been slow in unleashing anthemic and compelling encounters to ignite punk appetites starting with debut album Born Immortal in 2004. Our Hate Is Justified two years later and the following The Sword of Our Ancestors in 2008 reinforced the band as a truly provocative proposition whilst the 2012 album Desecrated Ground recruited another wealth of engaged attention and fans, with the band re-embracing their Oi! background they started with than the more metal rooted influences which marked its predecessor. The quartet with their new songs stay rooted firmly in their punk roots on the single though that is not to say that the band has neglected any of its adventurous intent in sound.

Everytime We Drink opens on a relaxed chord and melodic coaxing before lifting its sinews and knees to burst into a muscular stomp, enthralling grooves lacing the aggressive urgency of the band. Seemingly already a firm favourite with fans and newcomers to the band since its appearance on YouTube a few weeks back, the track roars and recruits with open anthemic revelry around a thumping rhythmic punctuation. A fiery rampage with more contagion in its walls than many bands breed in a whole album, the track ignites an instant greed in ears and appetite for the following No Place For Our Kind. Opening on an acoustic invitation, the song erupts into a rampant confrontation with infectiousness again dripping from every note and digging hook. The great gruff vocals and almost brawling stride of the song has a thick texture which is part metallic and part rockabilly, the combination reminding of Danish motorbillys, The Grumpynators at times. It is a thoroughly incendiary and riveting anthem, quite irresistible and quite brilliant.

Discharger gives a high benchmark for New Hampshire’s The Uprisers to match, but it is no challenge as they rival their companions in Printsound and contagion. Emerging from the ashes of The Radicts, the band sees the reunion of Todd Radict and Rodger Shosa of The Bruisers, the pair having played together in punk band Five Balls of Power in the eighties. The band opens up their contribution to the release with a reworking of an old song of The Radicts. Led by the captivating vocals of Britney Noyes which have more than an essence of Poly Styrene meets Wendy Wu to them, Everybody’s Got A Reason takes a mere breath in time to draw a firmly attentive reaction with its opening thump of beats and classic rock flavoured guitar tempting. Keeping to a controlled stride with strikes of rhythms and guitar around catchy hooks, the song makes a tasty infectious appetiser for the band’s main course, the outstanding Ghetto Blaster. A brand new song from the band, it captures thoughts and emotions right away with its old school/modern punk bait, the track within seconds reminding of bands such as Penetration, 4 Nin Blondes, and Juliette And The Licks. Riffs and rhythms surge through the ears as devilishly as the vocals; every stride leaving a coating of anthemic toxicity which builds into a virulent seduction speared by sonic endeavour and melodically crafted hooks for the strongest bait. The song is punk rock at its purest insatiable best and takes tops honours amongst four quite magnificent beasts.

Whether the bands are intriguingly new to you or you just want punk rock in its strongest guises then the split between Discharger and The Uprisers is essential listening and owning.

The Discharger/ Uprisers split 7” is available now through Rebel Sound Music now coming in 200 Black vinyl, 200 Red vinyl, and 100 White vinyl options.

https://www.facebook.com/dischargerholland

https://www.facebook.com/theuprisersnh

http://www.rebelsoundrecords.com/

9/10

RingMaster 16/04/2014

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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Concrete – Subculture Street Troopers

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Hailing out of Austin, Texas, caustic punks Concrete unleashed one of the prize joints of Oi! punk last year with their debut release, the 12″ EP We Are All Reapers Here. Its acclaimed provocation is now backed by the release of the 7” single Subculture Street Troopers via Rebellion Records and Rebel Sound Records. Consisting of two confrontational contagious brawls to get your teeth deeply into, the single reinforces the emergence of a new roar and force in modern punk with more than a healthy seeding in old school voracity.

     Subculture Street Trooper is pure aural addictiveness from its opening anthemic whine of guitar onwards, riffs and bass adding their rich bait alongside the crisp drum pokes.  It is one of those instantly virulent songs which enslave imagination, passions, and memory with impossible ease, a potency only increased by the gruff vocal growls and united band chants around them. The song swaggers and strolls with a consummate persuasion before lighting a fire and exploding into a voracious charge of abrasive riffs and barbed hooks.  Bringing an essence of Angelic Upstarts to its grazing enticement, the track closes as it started with the rapacious stroll and an insatiably contagious grip Concrete-singleon the heart.

Second song Born To Never Lose does not have the same dramatic and intensive temptation as its companion but still bruises with a primal expulsion of hardcore aligned punk rock which allows no escape from its raw incitement. The production on the song is a little cloudy but it does little to prevent the thorough enslavement of the listener, in fact it only enhances the raw and uncompromising onslaught which embraces led by the great equally aggressive and unpolished vocals.

If their previous EP escaped your attention, Subculture Street Troopers is the perfect way to discover Concrete, a band with a sound which lives up to its name and a storm punk rock will be hearing a lot more of.

Subculture Street Trooper is available through Rebel Sound and Rebellion Records now on 100 Black Vinyl, 100 Gold Vinyl, and 100 Transparent Red Vinyl with heavy gold splatter.

https://www.facebook.com/CONCRETENATION

http://rebelsoundrecords.com

http://www.rebellionrecords.nl/

8.5/10

RingMaster 16/04/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Imbroglio – The Struggle in Pursuit

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There is an overpowering beauty in something which is intensively tormented and destructively passionate, equally a compelling attraction in the most vicious inner struggles of man and their corrosive shadows, and that beauteous temptation does not come any more irresistible than the new album from US metallers Imbroglio. Returning from an obviously potent hiatus, the band has unleashed the ravenous The Struggle in Pursuit, a breath-taking slab of creative savagery which will leave newcomers to the band reeling and bring existing fans their most richly absorbing and imaginatively consuming presence yet.

It was a surprise when the Ohio band announced it was going on a hiatus on the eve of the release of their previous acclaimed full-length Declared Self Hatred. It was something which was desperately needed as band founder and  guitarist /vocalist D.J. Gilbert revealed in an interview with Exclaim!, where he stated “I no longer felt a fire burning inside because with Declared Self Hatred I felt like I finally wrote my final piece, my suicide note. I knew I was on my way to the easy way out. I literally expelled every ounce of hate for myself on that record. So it was either put it on an indefinite hiatus for a while or just allows myself to self-destruct.

Initially with the intent of starting a new band when ready to return to creating music, Gilbert was persuaded by new band member Bret Newland (drums/vocals) that the project had to stay as Imbroglio; that whatever Gilbert wrote and performed it would sound like the band anyway. Original band member Josh Deeter (bass/vocals) returned to complete the line-up with the trio setting about making returning EP which they recorded with Bobby Leonard. Featuring the contribution of keys and synths on a couple of tracks by Devon Robillard, who had played bass in the band at the time of the Sleep Deprivation album, The Struggle in Pursuit takes little time in smothering the senses and imagination in aural causticity and lyrical ravages incited by the struggle in the pursuit of happiness in today’s social climate. The songs rage and stand defiant against the wrongs and obstacles in life but with a triumphant and provocative stance promoting a broad and personal freedom.

The inventive tempest of grind, sludge, and doom metal from the band is veined by their most exhilarating and rigorous experimental TSIP_Album_Coverexploration to date; exhaustive and captivating invention immediately paraded on opener Full Speed. As its title implies, the song races through ears from its first breath, rhythms thundering down upon the senses and riffs immediately abrasing and flailing everything before them. Vocals need little coaxing to sear the air with vitriolic suasion as the bass darkens the imposing and strenuous maelstrom further. It is a disorientating treat, sonic spirals of invention and searing toxicity enflaming the imagination and an already drooling appetite for song and release. The track continues to lurch over and rip through the senses with sabre flung sonic twists of sound and a rhythmic predation which intimidates and commands full submission to its inciting call simultaneously.

The outstanding start is matched by the thick intensity and equally rapacious antagonism of Approaching, the track soaked in a passionate rabidity and driven by an anthemic enticement within a maelstrom of noise and intrigue. The track roars and rages as it engages and recruits the passions, every second a ferocious protagonist and every twist a mouthwatering intrusion of cutting sonic endeavour and enterprise. There is little time to concentrate on a single moment, the voracious attack and invention of songs a turbulence which needs numerous exploits to  explore fully which this and the following Gravity are perfect thrilling examples of. The third song of the release barracks and engages thoughts and emotions from its first touch, riffs and rhythms tenderising the senses as the guitar spurts potent sonic toxicity throughout the provocative landscape. It is a riveting furnace of emotion and sound which reaches a new height when solemn darkly toned clean vocals duet with the coarse squalls of voice and sound beneath them.  It is a tremendous sprawling and suffocating embrace of harsh and invigorating endeavour leaving the body a broadly smiling wasted mess.

Day Break gives no time for a breather or respite as it leaps straight at the listener, drums puncturing every inch of the psyche into which the guitars and vocal lay their vicious irresistible bait whilst the bass looks on with a dark hearted yet seductive lure. There is a hardcore violence to the track also which only accentuates its almost visceral predation leaving emotions smouldering and senses bruised. Its primal insistence makes way for Desolation, another track where the title reveals all before any sniff of the suffocating ambience and emotional suffering can soak the ears. It is a glorious cloud of despair and intent; one speared and split apart by unpredictable sonic imagination and skilled melody inspired shafts of scorched light. A towering conclusion to a quite brilliant encounter, the return of Imbroglio has given metal a new proposition to wax lyrical over, The Struggle in Pursuit deserving all the acclaim destined to come its way.

The Struggle in Pursuit is out via The Path Less Traveled Records now!

10/10

RingMaster Review 16/04/2014

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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Narcs – Coast To Coast/Souvenir

NARCS Blur Faces

UK alternative rock band Narcs give one last reminder of the potency of their eagerly received debut album Two Birds, One Stone Later of last year with the release of a new double A-sided single. Consisting of the tracks Coast To Coast and Souvenir, it reinforces the strong emergence of a band which is brewing up a rather healthy buzz around itself. Completed by three live cuts from a live session at Leeds College of Music, the release shows all the potential which has marked the band out and made their album a thoroughly engaging proposition.

Hailing from Leeds, Narcs makes an immediately tasty provocation with their adventurously feisty yet relatively undemanding sound, Coast To Coast proving the point with its coaxing entrance and rasping melodic endeavour. It opens with a welcoming rhythmic incitement soon joined by fuzz kissed flames of guitar and expressive vocals. There is a slight stoner lilt to the sonic enterprise within the track but merely a choice spice as the song settles into a heads down rampant stroll before raising its elegant creative weaves again around the never deviating lure of the drums. It is not a forceful song, nor one which explodes within the ears, but it is a constant persuasion which seduces without restraint, especially when the group vocalise together before the more intensive if still reined in climax of the song.

It is a strong temptation of a song which you cannot escape making an Arctic Monkeys comparison to but as shown by the excellent NARCS Coast To Coast Clue RecordsSouvenir, the best track on the pair with ease, there is much more at play within the band. A distant scrub of guitar is soon boldly enticing the senses as a more psychotic breath wraps the song, the predatory bass and manically flirting backing vocals courting just as much attention. The song is a totally different beast in sound and intent to the first, the bass alone a leading protagonist whereas it was held in check in the first track. Yes that comparison offered by its predecessor has a place in this song but more so there is a richer essence of the demised Welsh band My Red Cell, the track snarling and brewing up a maelstrom of invention and psyched causticity to ignite imagination and passions in song and listener.  The track is quite glorious and with its companion has all the reasons why Narcs is highly thought of.

As mentioned the single comes with a trip of live session cuts, the raw sonic schizophrenic might of Sandchild impressing potently though matched as powerfully by the dramatic Collisions, and the long meandering captivation of Tall Grass; all three showing that Narcs is a band to be engaged live at least once.

Though Souvenir outshines Coast To Coast with ease, the pair of songs confirm Narcs as one of the exciting emerging propositions within British rock whilst breeding eager anticipation for their future endeavours.

Coast To Coast/Souvenir is available now through Clue Records

http://narcsband.com/

http://cluerecords.bandcamp.com/album/coast-to-coast

8/10

RingMaster 16/04/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

 

Cave of Swimmers – Self Titled

 

CoS

Originally self-released last year, the self-titled debut EP from Cave of Swimmers now has its deserved wider release with The Path Less Traveled Records, and an insatiably magnetic treat it is. Consisting of four irresistibly flavoured tracks which are unpredictable and compelling, the release ignites ears and imagination with a contagiously adventurous and dramatically enthralling encounter. Fusing the rich essences of varied metal and rock ventures into mouthwatering landscapes, band and EP provide one surprising and wholly captivating encounter.

Cave of Swimmers consists of Guillermo Gonzalez (vocals, guitar, synth) and Arturo Garcia (drums/backing vocals), two musicians hailing originally from Venezuela who relocated to Miami a few years back. The pair met in school but it was only nine years after their first meeting when Garcia git his first drum kit that the pair started making music together. They played in a few projects including a Rage Against The Machine cover band before Garcia moved to Miami followed four years later by Gonzalez. More years passed before the pair linked up musically properly, forming The Tunnel before renaming it Cave of Swimmers.

Their debut release instantly tells you all you need to know about the pair, their influences, intentions, and undoubted musical skills. From  CoS coverthe opening track Hangman, the band unveils a superbly textured and provocatively spices weave of styles and flavours ranging from seventies heavy metal and psychedelic rock to stoner and doom as well as a stirring progressive encrusted spicery. As the first song proves it is a riveting and refreshing concoction which hits the sweet spot time and time again. Song one instantly has attention at its will with eagerly coaxing rhythms framing expressive and inventive guitar suggestiveness. It is a heavy and melodically infused invitation which losing a little of its grip when relaxing into a less surprising stride, though it soon regains its potency with the outstanding vocals of Gonzalez. His voice soars and roars simultaneously, complementing and driving the sounds around him whilst his guitar, as the rhythms of Garcia, tie up any lingering doubts with anthemic arms.  As confirmed by all songs, there is never a moment to assume you know the destination of a track, a thrilling jazz/funk like salsa of Latin rhythmic temptation and melodic seduction tripping up expectations towards the middle of the first song before excellent guitar craft entwines ears and thoughts.

The outstanding start is soon matched by the initially bewildering Materia. A sinister atmospheric embrace coats the senses first, the breath of the moog synthesizer lying provocatively upon the ears as a rhythmic hurrying pushes the listener into the thick doomy arms of the song. It is a slowly tempered prowl which courts the imagination before being torn apart by the vocal flames of Gonzalez, his delivery verging on operatic and a shock to assumptions, a very welcome and absorbing jolt to expectations. The track continues to stalk with a noir clouded ambience and heavy footed muscular persuasion. It is an irresistible bewitchment, a beautifully thought out and presented drama which explores a brighter but still doom bred scenery. Keys and guitars cast further twists in the haunting narrative as they drop into a frightening textures and sonic mystery before reaching skywards with emotive invention to close the song.

The song Cave of Swimmers steps up next instantly employing open homages to the likes of Sabbath and Pentagram in riffs and melodic grooving whilst vocally they are again sparked by a heavy metal seeding. It is only part of the song’s colour though; it’s contagious hooks and winding sonic bait offering thoughts of Kyuss and Metallic in varying degrees. Inventive and persistently shifting in its gait, intensity, and pure imagination, the song escorts the listener on a breath-taking ride across scorching melody draped scenery and sultry sonic climates, closing out in a blistering vocal crescendo.

The strikingly impressive and immense infection of the release never abates across its length, the closing Catch ensuring the EP ends on the same lofty heights as it started on. The track arguably is the least adventurous of the four but still treats with stoner visited psychedelic temptations and the ever impressing vocal suasion, whilst samples and progressive tinkering only enhance the recipe. It is a fine end to a masterful and rapturous debut by a band with all the potential to make major strides and deposits in the world of metal. Make a note of the name Cave of Swimmers you will be hearing a great deal more of these guys we suspect.

Cave of Swimmers is out on The Path Less Traveled Records now!

https://www.facebook.com/caveofswimmers

http://thepathlesstraveledrecords.bandcamp.com/album/cave-of-swimmers

10/10

RingMaster 16/04/2014

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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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

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com