photo by Wullie Marr
This year has already treated us to some exceptional and passionate punk adventure through the outstanding new releases from UK Subs and Dirt Box Disco; the legends bringing not only their sound but equally the genre into a startling and exhilarating new peak and the ‘new kids on the block’ showing punk n roll can be a masterful contagion bringing riot and fun into an irresistible union. Now we have the thrilling new Goldblade album which stands somewhere in between the two, the release an exceptional thirteen track brawl which snarls and provokes thoughts and senses whilst unleashing prime punk rock irresistibility. The Manchester band has always challenged and stood tall before injustices and social destructions but The Terror Of Modern Life, their sixth album, just might be the quintet at their most potent and venomous yet, quite possibly their finest hour.
The Overground Records released album is a titan of hooks, riffs, and attitude, a combative riot of energy and passion which leaves a
deep mark whilst showing others how to be a potent inciting weapon against complacency and apathy, musically and socially. It opens with the mighty This Is War!, and instantly casts a web of belligerent and carnivorous bass corrosion over the ear. Bassist Keith Curtis immediately owns the senses, the barracuda throaty tone of his bass glaring eye to eye with the listener whilst aggressively seducing and intimidating. As the guitars of Peter Gorgeous and Andy Taylor sculpt out their share of the air with sonic precision and infectious flaming, the compelling canvass is set for vocalist John Robb to prowl and make his, as ever, enjoyably imposing and striking declaration. Complete with grooves and hooks which reap seeds in the same well of virulence as those conjured up by the likes of Buzzcocks and Dead Kennedys, and enslaving rhythmic excellence from Rob Haynes, the track ignites a fierce fire and hunger for the album with ease and makes a shout as one of the best punk songs in a long time.
It also sets a high bar for the rest of the release to emulate yet seemingly it is a simple test as the following Psycho Takes A Holiday and the staggering The Shamen Are Coming show. The first of the pair is a scorch of rock n roll with anthemic enthusiasm and undiluted melodic enterprise, its uncomplicated punk fuelled dance upon the ear as mischievous as it is energetic for two minutes of easy to ride and devour enticement. The second song is another startling highlight, a track which whips the passions up into a frenzy of rabid excitement. As soon as the opening scrub of acidic riffs, soon accompanied by the ever primal bass growl, lay their acerbic touch upon the ear greedy anticipation is sparked and sated impressively by a breath-taking mix of post punk and pure punk alchemy. Like a mix of The Adicts and The Diagram Brothers, the track twists and taunts the ear with scintillating flesh flailing sonic and rhythmic invention. As impacting as it is the scarring is subsequently soothed by the adjoining expression of group vocal harmonies and discord swept melodic caresses. Earlier it was said the opener was the best punk song in a long time, the fusion of all mentioned within The Shamen Are Coming ensures it stands as its equal.
The dub infested Serious Business swaggers in next with a loud whisper of Ruts to its courting, though as with all references they are mere colours to the distinct Goldblade flavour, whilst both We’re All In It Together and Someone Stole My Brain get the job done with straight forward accomplished craft, the first an uncomplicated old school punk bruise and the latter with another predatory tempting with again that delicious carnally bred bass spine making pure persuasion within sinister grooved riffs. With a maniacal hunger to its chorus and a compelling lure to the continual aural bulldozing offered, it is another immense treat which makes its predecessor, sandwiched between two such great songs, seem a little underwhelming despite its open strengths and appeal.
Through the likes of the all impressive Sick / Tired, They Kiss Like Humans, Act Like Machines, and the raw abrasion Guilty the album slips a little but only because of the excellence of the mountainous pinnacles it unearths. These and every song on the release are undeniably stirring and deeply pleasing assaults on the senses and thoughts but a few when placed beside a track like the immense and epidemically hooked The World Is Fucked Up Nowadays just have to take second place on the glory podium. This last song has a breath which leaves distrust and sonic malevolence on the tongue, but spiced up by impossibly tasty grooves which again would have made Shelley and Diggle drool back in the day, it leaves the strongest rapture making play with the emotions.
Completed by another furnace of ardour inducing punk majesty in the brilliant Hey You! Elastic Face, the ever caustic tones of Robb grazing up emotions whilst the barbed discord laced hooks fire up every other aspect of the listener, and the oppressive and threatening title track, a song which is dark, heavy, and intrusive like the world spawning its intent and ripples with essences of The Pack within its merciless consumption, The Terror Of Modern Life is quite brilliant. Simply it is an album which takes band and genre onto an explosive new anarchic plateau whilst fusing vintage punk and new uncompromising creativity into one frighteningly scintillating fury.
10/10
RingMaster 19/05/2013
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on a furnace of insatiable riffs and heavy handed rhythms wrapped in a sonic enterprise which twists its skilled creativity around the assault. Opening track of the Mausoleum Records released album, Temples of Ice, originally from the album of the same name, swaggers in with an expressive groove wrapping plundering of rhythms and a predatory atmosphere. Once Dolan unleashes his scowling tones upon the song the track surges with a thrash crafted hunger through to the senses, its switching gait as infectious as the melodic flames searing the ear from the guitars. It is a strong and enjoyable track which like all the subsequent re-inventions makes a valid declaration for their intent and presence.
have its distinct voice as a canvas for the recording and production for one week, Baumann with producer/songwriter Louis Jucker (The Ocean, Coilguns, Kunz) and sound engineer Christoph Noth, chose to employ a new conceptual approach of recording with the natural reverberation and throat of the building leading the composing and mixing process. Songs were written and explored only once within the walls of the XIth century church with its touch and voice bringing guidance and rich impressions on the recordings and album. For the recording a selection of acoustic instruments were used: piano, 6 and 12 strings guitars, cello, tuba, percussions, drums, as well as the original organ of the building amongst many other factors brought into the intricate and intently crafted preparation to make full use of the opportunity, imagination at large, and the acoustic beauty of the church itself.
toned ambience and grandeur heralding vocal harmonies offering religious whispers upon air of cavernous magnificence whilst a seductive falsehood deviously leads right into the hungry jaws of Fear. The track flexes its muscles with a slowly opening swagger, melodic caresses firmly igniting the senses whilst the shadowed more rapacious spine of the introduction intimidates and seduces with equal voracity. Settling into an even pace with the wonderfully raw vocals of Matthews stalking the ear and prowling the lyrical venom, the track ignites emotive connections and flames of passion especially with its sonic eruptions around the chorus and the returning breath of church bred provocation. It is a stunning track which sets up the rest of the album perfectly though also puts the following songs under pressure such its early benchmark.
imposing and riveting platform of caustic and invigorating rock in which to shell its restraints. Consisting of David B (vocals, keys, programming), J Browning (guitar), and Kristi Bury (bass), Calling All Astronauts has left a searing mark with their tracks since releasing their first two track single Living In The Shadow Of The Red Flag/ Someone Like You. The seeds of the band go back further though with J Browning and the band Caffeine, who he played in, being managed by David (ex-US:UK) whilst Kristi and David were also previously married to each other. Since emerging in 2011 the band has earned strong acclaim for their live performances which has seen them play alongside the likes of Echo & The Bunnymen, PWEI, Sigue Sigue Sputnik, and A Place To Bury Strangers whilst also headlining and selling out Alan Magee’s Death2Disco at Notting Hill Arts Club. A quartet of singles has also fired up greedy anticipation for this debut album within fans and the blogging media alone, an appetite which will be soon breathing heavily and intensely over the impacting triumph the album it shows itself to be. Two of those singles took the band to the No. 1 slot in the Twitter Music Chart to breed further excitement and dare one say impatience to the wait for the long time in the making Post Modern Conspiracy, but there will be no complaints, only feverishly devouring musical jaws upon its exhilarating body now it is here.
rich emotive tones of violin from Kirby and Ed Bruggeme, viola from Charlie Stock, and the seductive shadows from cellist Terezie Kovalova, wrapping the ear in a rapturous embrace which ignites open feelings. The string quartet is arranged by Kirby who consistently over previous releases with her imaginative arrangements has impressed and pushed songs into deeper impacting textures and evocative visions. As Cook begins the lyrical passage of the song, a new breath seduces the senses from within, the dramatic air and passional strength of the song enveloping with seductive and riveting grandeur but it is a majesty which has no sense of indulgence or self-importance. It is a wonderful version which stands boldly by the side of the original for these ears whilst as mentioned opening up a new shadow and life within the song.
energy. Red Light On opens up the brawl with heated riffs and concussive beats beckoning the ear around the snarling temptation offered with intimidating power by bassist Glenn Harrison. It is an immediate hook to the senses and lays an inviting canvas for the impressive vocals spread and shared between guitarists Tom Harte and Simon Haddock. Thumping rhythms and big boned riffs seize the air with strong craft and energy to taking the listener on a contagious and commanding ride, a charge which makes no demands but incites a full involvement with its muscular intent. With melodies and barbed hooks, not forgetting the scintillating solo, as striking as the rippling sinews framing them the song is a pleasing start soon surpassed by the excellent Year Of The Truck. 
death metal steeped in its origins. The brewing initial breath of In Pieces is the first engagement with the ear, the sinister ambience and gentle breath of the piece a dawning challenge soon exploded into a rabid crawl of sludge intensity and rapacious riffs. Once into its eager stride the track chews on the senses with exhausting hunger and equally depleting energy whilst the rhythmic onslaught of the drums brings bone to dust. It is a compelling and thrilling confrontation with the excellent gut spewing tones of Svensson as impressive as remembered on earlier albums and the track itself a primal aggressor to devour willingly and greedily. There is just one moan and that is with the excellent searing guitar solo which is found within a hollow almost cavernous setting within the song. It is obviously intentional as no other aspect of the track follows suit into the restrictive arms place around it but it feels odd here and on other songs where it emerges, and depletes the strength of the musicianship.
