Jesu – Everyday I Get Closer To The Light From Which I Came

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     Everyday I Get Closer To The Light From Which I Came, the new album from Jesu has been over two years In the making, partly for the passionate intent and adventure explored upon it and equally for the creative vehicles band main man Justin K Broadrick has been involved with. As always the musician has been heavily engaged with numerous projects since the release of previous album Ascension, most notably with the reunion of Godflesh as well as masterminding remixes for the likes of Mogwai and Cult Of Luna. The new album reveals that Broadrick has been no slouch with his own solo project and its evolution though, the Avalanche released Everyday I Get Closer To The Light From Which I Came seemingly with a fresh appetite for the exploration of even darker intensive emotive depths but transferring that somber flight into a magnetically reassuring and potently hued closer to home provocation which initiates self-appraisal and reflective thought in experiences and shadowed corners of the psyche.

The dark adventure starts with Homesick, a rapaciously draining expanse soaked in melancholic intensity, where from within gnawing away behind the melodic temptation, riffs soak the ear and thoughts in drone spawned predation. It is an enthralling mix of raw yet measured rabidity and shoegaze mesmerism which intimidates and seduces simultaneously whilst its consuming breath ridden by the mellow coated vocals of Broadrick, permeates every pore of thought and imagination. As across the whole album there is plenty going on within the riveting textures and depths of the song; a wealth of open shadows and secretive light which unveil their presence with further ventures through the magnificent opener.

Comforter is a thick almost tempestuous flame of ethereal enslavement, though with hungry intensity and a snarling touch to its meditative brawl of warmth. Like its predecessor the track is an evolving exploration with a shifting emotional narrative and sirenesque presence, and at times as menacing within its smouldering discord wrapped ingenuity. The invention of the track is startling and in many ways such its uncompromising twists and ideas should not flow as magnificently and poetically as it does. As the track takes the mind deep into its provocative crevices the suggestion that this is the finest Jesu moment to date is loud and as the album continues to impress it is hard to raise much in the way of argument.

The moody resonating bass croon and metronomic beats which open up Everyday immediately seduce, a deepening of that hook secured with the post punk seeded guitar sonic colouring which adds its bewitching voice soon after to the wonderfully repetitive stroll of the rhythmic inducement. It is more of a stalking really which vocals and guitar taunt and skirt with their My Bloody Valentine/Joy Division like acidic beauty. It is a masterful entrapment for the passions with every hue and flavour of bait needed to solicit the imagination and ardour.

Exceeding seventeen minutes in length, The Great Leveller is an epic passage in its own right within the colossal emotional examination of Everyday I Get Closer To The Light From Which I Came. Also featuring the bewitching skills of Nicola Manzan who provides a powerful stringed narrative across what seems a close and personal exploration for Broadrick, the orchestral guided evocation of emotionally immersive tides is a breath-taking landscape and sludge entrenched journey which only rewards as in a sense it suffocates the mind and soul into deep thought and investigation. The song is arguably overlong though it feels like its presence is far less than it actually is, but that is down to personal reactions rather than the track labouring at any point, a preference which would have conversely preferred Homesick to have stayed around longer. The extensive track is ultimately a masterful experience, in craft and effect which only elevates the album to another exhausting plateau of satisfaction.

Closing with the entrancing yet menacing Grey Is The Colour, another irresistible search of thoughts and emotions, Everyday I Get Closer To The Light From Which I Came is a sensational encounter which only time and numerous travels fully reveals all its remarkable depths and incitement. Broadrick maybe be back with Godflesh to stir up the psyche but right now there is here a more eager appetite for Jesu.

https://www.facebook.com/pages/Justin-K-Broadrick/

9/10

RingMaster 23/09/2013

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Vom Fetisch der Unbeirrtheit – Vertilger

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Extreme invention and imagination for extreme suffering might be the best way to describe Vertilger from experimental German duo Vom Fetisch der Unbeirrtheit, but that is just a chapter of the tale and experience which comes with its corrosively destructive adventure for the psyche. We have often said a release is not the easiest listen or experience to run with but this album might be the most uncomfortable yet, though throughout there is a siren call which demands attention and seduces thoughts breeding a startled appetite.

The follow-up to 2010 full-length Psychohygiene, the five track release cannot be viewed on one listen, nor 2 or 5 come to that; it needs an intensive time consuming investigation which even then for a great many will never emerge as a palatable proposition. Whether it ever entirely convinces is debatable but certainly there are aspects and moments within its brew of varied metallic and noise sculpted maliciousness which steals a hunger for the ingenious and frightening imagination offered. The promo accompanying the album talks of ‘the sexualization of the psychological trauma’, of the provocation of a fetish in the deeds and psyche of man, but to be truthful it was as confusing to thoughts as the sounds investigating them so to offer a fair or logical input to the theme’s impact on the release and lyrics which are sung in German is impossible. There is an open mania, a psychological bedlam across the music and songs which challenges preconceptions and the imagination though, and at times it has you wondering if maybe finding a passion for Vertilger can be equated to a ‘fetish’ at the end of the day.

The Temple of Torturous released album opens with Lachenvieh and immediately has thoughts and emotions running for cover, Vertilgerswarming riffs and scything sonic manipulation scuttling over and ravenously consuming the ear. There is a virulent aspect to the intrusion though, the guitars weaving a web of schizophrenic mastery which grips like aural velcro to the senses. Musically the perpetually evolving and twisting raw embrace of the invention is enthralling, bordering on hypnotic but that is soon tested by the vocals. It has to be said that after plenty of plays the delivery of the vocals, a fusion of desperate serpentine clad drama and Teutonic authority, still does not lie easy on the ear and for personal tastes the album with another style of vocal delivery or as an instrumental would have had greater success .  To be fair though they do add immensely to the deep searching intent and psychological mayhem conjured across the album which possibly with another vocalist would be lost.

The following twenty minute plus long Schabenbrut opens with a celestial spotting of the air before a bestial breath spews its malevolence across the magnetic expanse woven. The ‘enchanting’ start is soon lost in an industrial toxicity which scours the ear and beyond, laying waste to the earlier breath of the song soaking it in a caustic apocalyptic nightmare where needs and urges seem to steer the psyche. A tantalising yet brainwashing run of brief ever changing exhaustive sonic temptations employing everything from noise to jazz, heavy to avant-garde metal follows. The maze of sound is impossible to pin down but riveting though again the vocals temper the success of the confrontation but musically like its predecessor, the track is an insidious bewitchment which flirts with rapture.

Multiformale Leiberdimension is the best track on the album and arguably the most accessible which is maybe why it sneaks top honours. Another swarm of sonic provocation opens up its chilling embrace whilst a fearsome mechanical rhythmic stalking soon adds to the riveting beckoning. This time the vocals are spoken with an industrial effect offering a Rammstein like voice. It is a controlling cold authoritarian narrative which guides and directs the victim, suggesting control of one’s actions and intent is a false promise. The sounds are more restrained but again controlling, enslaving the body in a tight industrialised wrap which scores and smothers the senses whilst bringing a deceitful reassurance. It is a masterful provocation for the imagination and thoughts which other tracks also achieve at times but without the clarity, though to confuse and leave the mind lost in its own maelstrom is their remit.

Both Kadavermeer and Prothesensucht are extensive examinations of the listener’s sanity to complete the album, the first an eleven minute tempest which starts off with a comforting walk before falling into the hands of another mentally frazzling sonic and inventive pyre of sound and the other a near eighteen minute furnace of sound and passionate violence which finds addiction causing grooves and insatiable magnetic scorches of imaginable and ferocious adventure.

Vertilger through time has come to be a distasteful, deceitful friend who lures an appetite back time and time again, but you would not expect this to be the norm for everyone. Vom Fetisch der Unbeirrtheit is a band which shows no mercy or restraint though that is what ignites the passions ultimately. Vocals aside it is a demonic temptress of a release which should be approached with care and safety words, but should nevertheless be approached if brave enough.

http://www.voldsom.net/

8/10

RingMaster 23/09/2013

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The First – Take Courage

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With 2010 debut album Swimming with Sharks, UK melodic rockers The First stirred up a fair bit of acclaim and support for their lively and potent sound, a strong reputation garnered as equally through their energetic and raucous live performances. The band now returns with new full-length release Take Courage, an album which builds on that very solid start with a clutch of fiery well-crafted songs. It is an encounter which will only enhance their status and fanbase even though in many ways what is impressively on offer is hardly breaking into new avenues of adventure and originality.

Hailing from Wisbech, Cambridgeshire, the quintet of vocalist Benny Salter, guitarists Tim Crane and Ben Knowles, bassist Adam Masters, and drummer Rob Knight instantly leap upon the ear through the thumping invitation of opener There’s No Place, a start which soon evolves into a riotous brawl upon the senses with rhythms cutting off all retreat and guitars taunting with sonic enterprise. The song soon settles into an adrenaline driven flight of intensive pop rock with a strong punk breath to its rapacious intent. With great vocals from Salter supported by the rest of the band and the guitars carving bright acidic designs around the continuing to challenge rhythms, the song is a richly satisfying if expected blaze.

The single from the album Take It Back launches at the listener next and immediately raises the stakes of the encounter. Riffs tower The First TC COVERabove their recipient with predatory expertise whilst the rhythms whip the ear with precise and venomous skill, both elements fused into the dramatic temptation of the song and then wrapped in the tight melodic invention and contagious grooves which fight for airspace within the brewed aggressive maelstrom. Each receives their clarity though and combine for an incendiary explosion of adventure and excellence which in hindsight actually makes the rest of Take Courage play under a slight anti-climactic cloud.

In saying that the likes of the explosive Dare I Say I Ruined Everything and the provocative Monster leave nothing less than full satisfaction in their wake, it is just that they lack that killer touch, the dramatic spark to ignite the passions and lingering memory for their persuasion. The second of the two offers a strong flame of guitar carved enterprise within a sinew clad presence which takes little time in securing the submission of feet and thoughts, whilst the continuing to impress vocals, singular and as a crowded narrative, are equally as pleasing and potent.

Through the title track with its stirring anthemic choruses and melodic spires leading to those pinnacles, and the feisty Shark Attack whose thumping start gets the senses and passions embroiled in an intent to stomp, though the song then teases by relaxing time and again between building up those fighting crescendos, the band continues to incite nothing less than full attention for a satisfied appetite whilst William which features guest Elissa Franceschi, lays down an emotive landscape which increases its hold and seduction further once both vocalists unite in an intense tonic of a finale.

Love Regret Forgive Forget provides the album with a final anthemic enslavement for the emotions, its muscular and intimidating rhythmic and guitar caging a platform for the vocals and the passion of the song to explore their individual textures and depths. As infectious as anything on the album and not far from the heights of Take It Back, the song still shows little to sets it apart from numerous other impressive and skilled artists, something which the album falls under too ultimately despite its very enjoyable presence.

The evocative ballad Tonight Tonight brings the Destroy Everything released album to a more than decent if pale end; the CD of the release also offering the bonus song Enough Is Never Enough which though crafted with care and imagination and is certainly pleasing is a shadow of what came before. Overall though Take Courage is a thoroughly enjoyable album, just not one which ignites enough triggers for the passions to fully engulf its creative offering.  Listening to the heart drenched songs though you can easily see why The First is raising such positive and eager responses with a sound which will appeal to fans of the likes of Deaf Havana, Mallory Knox, and Lower Than Atlantis with ease.

https://www.facebook.com/thefirstuk

7.5/10

RingMaster 23/09/2013

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Megan Wyler – Through The Noise

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Following on from her first two successful and acclaimed singles, London based indie folk artist Megan Wyler unveils the massive enchantment of Through The Noise, her debut album. Consisting of ten elegant and evocative caresses, the release is a musically absorbing and lyrically captivating kiss upon the senses and imagination. One which leaves feelings and thoughts alive and contemplating the suggestive and reflective power of the songs and their passionate presentation.

The Nowever Records released Through the Noise comes closely behind the singles The Fraying, which also received an eagerly consumed dark dance floor remix courtesy of electronic legend Matthew Herbert, and the album title track before it. Devoured keenly by fans and media, Wyler gained the prestigious ‘Artist of the Month’ slot on the world’s largest folk music website, Folk Radio as well as intense media coverage, which the album can only increase upon. Through The Noise like the singles was recorded with multi-instrumentalist producer Adem Ilhan. Contributing also to the playing and also the writer of The Fraying from the release, Ilhan brings a subtle and understanding production to the songs on the album which ignites their raw beauty and breath into an enthralling and magnetic presence upon the senses. It is an organic touch to heart bred instinctive music and lyrical embraces which only deepens their textures and success.

Opening song The Fool immediately enslaves the ear and thoughts, the golden tones of Wyler a fresh gentle breeze upon the emerging artworks-000053681367-cqatlp-t500x500guitar bred ambience with acoustic strokes to the fore. The atmosphere of the song tingles to the touch, spreading its seductive and rising intensity through the sirenesque harmonies which Wyler soars the sky of the song with. The track is a delicious introduction to the album, the sounds of a busy world and mind adding whispers within the ever growing transfixing cloud of sound and warmth which makes an eager invitation.

The immense start is instantly repeated through the title track, slow dramatic keys stirring the air with evocative prods before Wyler once again brings rays of vocal heat to the banjo and key designed sunset. The sultry climate of the song and an undefined familiarity to the track only adds to its allure and stunning effect. The smouldering persuasion of the single is elevated and intensified in Can’t Sleep, a lullaby of melodic and emotive seduction which again holds a recognisable yet impossible to pin down tonic for the passions. A slow wrap around the listener, the song is the fuse to another elevation of rapture and potency of the album.

Both Everyman and Know You Know take emotions and imagination on a fruitful stroll through provocative scenery, the first with a shadow toned lilt to the guitars and tantalising tangy enterprise to vocals and melodies whilst its successor is a sandy floored wander through an inspired personal narrative of reflection brought with melancholic grandeur by the strings of Vincent Sipprell and Emma Smith. Both are magnets to the senses if without finding the riches of ardour earlier songs reaped, though those depths are soon explored again by the stunning I’m Sorry. Double bass drama adds further emotional shadows to the melodic consumption of the ear, the song another with moments of clear familiarity whilst creating a scintillating web and wind of stimulating beauty; guitar and vocals the lead to a flame of creative magnificence and an emotional musical tempest.

From this point the album seems to lose some of its potency, though each subsequent track starting with The Fraying are certainly impressively crafted and impeccably presented before the continuing to be happily satisfied appetite. A duet between Wyler and Ilhan with an acoustic wrap, the track is an appealing incitement but lacks the spark of previous songs, which considering its acclaim and success as a single shows the heights of the album.

Drown and Kelebek also fall short of finding that trigger, the ignition for the passions to emulate what emerges as the stronger first half of the album. It is all down to the individual though, every listener undoubtedly going to discover personal favourites and preferences whilst agreeing that from start to finish each and every song is a tonic for the ear. Zither brings the album to a close, the song a final intense whisper for the heart cementing everything about the songwriting and Wyler which is poetically spellbinding and impressive. Through The Noise is quite simply a beautiful album, a smouldering sun to enhance and explore every day with charm and evocative vision.

http://www.meganwyler.com/

8.5/10

RingMaster 23/09/2013

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Tankus the Henge – Self Titled

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Such the potent riotous seduction and thrilling devilry of Cakewalk, the first single from the self-titled debut album of UK aural mischief conjurors Tankus the Henge, you wondered if it was the taster for something spectacular or the lead into an album which would be an anti-climax compared to the excitement and hunger the introductory track spawned. With a loud and dramatic confirmation it is undoubtedly the former of the two outcomes, the eleven track feast of what the band calls Carnival rock ‘n’ roll is a pulsating, riveting triumph of musical and lyrical eccentricity, exhausting imaginative adventures, and shadow wrapped dark revelry.

With the line-up breeding the scintillating album coming together in 2011, the sextet of ‘six sharped dressed and bedraggled gentlemen hailing from some of the more eccentric parts of London Town’ has ignited a major appetite for their insatiably inventive and explosive sounds across the UK, Europe and into the likes of America, Albania and the Isle of Wight through their live shows, this year alone seemingly a successful ride of festival after festival performances. The sound of Tankus the Henge is seeded in the eclectic beds of reggae, blues, and funk to ragtime and gypsy punk, the result something unique to the band though they have been described as ‘Like The Clash from New Orleans’. Imagine a creative and passionate meeting of Cardiacs and Gogol Bordello with The Kinks and Cockney Rebel and the inventive rascality you suspect is a strong but still hinting flavour of the fun the band provides.

The album immediately seizes the hand and leads the listener into the embrace of a jazz flamed, dirty floored New Orleans speakeasy Tankus_coverwith Who’s Gonna Catch Ya, the melodic call of the trumpet from Jake Stoddart and sax of Louis Schultz-Wiremu heating up the atmosphere and setting the scene. Guitars and rhythms are soon strolling into the mix with a glint in their eyes as the excellent vocals of Jaz Delorean accompanied by his evocative keys unveil the scenic narrative. It is an addiction causing entrance soon enslaving the heart when the virulently contagious chorus reaps the submission of an already awoken hunger. With great vocal harmonies and back-up from the band to the gravel laced tones of Delorean, and plenty of delicious discord teasing across every aspect of the ridiculously infectious stomp, the track is an irresistible lure and persuasion into the album and instantly confirmation that yes the single was just the teaser to equally magnificent things.

The following Smiling Makes The Day Go Quicker opens with emotive keys alongside the expressive restrained vocals of Delorean. It is a gentle intriguing beckon which deepens with the beats of Will Stanley, which you sense they are waiting to trigger something, the fuse to an impending release of energy. The brewing evocative caress of the brass warm the ear further whilst all the time the emerging passionate fire of the song works away on the senses and imagination. It never explodes into the pyre hinted at but still creates a thumping and resonating joy of elevated passion and inciting pleasure, every part of the band and song merging into an incendiary and triumphant declaration before the greedy appetite. Its successor Hat has a more energetic intent but again is soaked in absorbing melodies from keys and brass, whilst the bass of Dan Mason roams the track with a mischievous presence behind the dual vocals of a dusty flavoured delivery from Delorean and the equally cleaner tones of either Mason or guitarist Tim Fulker, both contributing across the album but unclear who is joint leading this magnetic song.

Orange Is The New Black steps up next to seize the passions, its sultry stroll with tempting sixties Hammond keys through  Mediterranean spiced air a dramatic flight across provocative and elegant impossibly alluring skies. It makes the perfect appetiser for Cakewalk, the song still stealing top honours within heart and imagination. Swaggering through the ear with a mix of Ian Dury and early Squeeze to give a sense of its sensational enterprise whilst a lick of Mano Negra and Les Négresses Vertes punk folkiness also plays within its stride, the track is the scene of a colour drenched circus, Delorean the ringmaster to the contagion.

There is an exciting mix of sounds and invention across the album, emphasised by the likes of Lying and Recurring Dream, the first a gentle glaze of smouldering melodic kisses within a slightly darker reflective embrace, again a folk venture bringing evocation to the trip, this time with shadowed hues. The keys and sax wrap a mesmeric arm around the senses whilst the vocals offer their own tenderness within the at times wonderfully dark emotive skies, an ambience and texture to the presence reminding of Dizraeli and the Small Gods in their equally poetically emotive moments. The second of the pair stomps into a gypsy punk like encounter, the drums a rolling entrapment enslaving before the eagerly roaming guitar and bass dance their own steps within the smiling waltz of the keys. There is a XTC breath to the song at times to elevate its already lofty heights, but it is the Eastern European circus enchantment and pace that ultimately steals the heart.

      Life Is A Grimm Tale (Sometimes) is another major pinnacle, its Creature Feature like darkness and Germanic wanton gait impossible to refuse and leave alone even after the song’s conclusion. Sinister and lusciously tempting with Delorean bringing a sideshow like barker descript for thoughts, the track is a unrelenting stalker of rapture, its epidemically catchy and forcefully rioting swagger the perfect bait. Its waggish romp is followed by the slow burning Riddles, a hazy blaze on evocative persuasion and noir washed mystery, and the brilliant tale of The Deviationist Society. The song from a pondering melancholic string and key suasion expands through Morricone like sculpted western hated climes and soulful brass and harmonica sighs. It brings strengths to its melodic and infection drenched sinews as its reaches further into its imaginative and fiery story, the guitars and keys finding that lure the best sixties TV show themes had and the strings providing greater passionate tonic to the sizzling heat of the song.

The album is concluded by The Last Days Are Coming, the track a scintillating final blues and emotion encrusted New Orleans funereal march through to the full ardour the album has evoked within. It is a mighty end to a sublimely gorgeous release. Tankus the Henge is a devil bred puppeteer for limbs, heart, and soul. A band which has fused light and dark, seduction and sinisterly honed persuasion into one of the most thrilling and sensationally addictive releases this year. Roll up and enter the welcoming to the dark carnival of Tankus the Henge, you will not regret one second of its fantastic touch.

http://tankusthehenge.com

10/10

RingMaster 22/09/2013

Copyright RingMaster: MyFreeCopyright

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Exit Calm – The Future Isn’t What It Used To Be

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After a relatively quiet couple of years since the release of their debut album in 2010, UK rock band Exit Calm returned earlier this year with the well-received single The Promise and now fully step into view with the new album The Future Isn’t What It Used To Be. The nine track release of soaring epic melodies and matching textures continues on where its predecessor left off though finding a stronger emotive and compelling depth to wrap the senses and lose the imagination within. It is a skilfully crafted and beautifully imagined collection of songs, and though a release which ultimately does not ignite any real sparks and fires inside, leaves the listener with a healthy appetite and easily provoked satisfaction.

The South Yorkshire quartet of vocalist Nicky Smith, guitarist Rob Marshall, bassist Simon Lindley, and drummer Scott Pemberton, certainly stoked up a strong wealth of acclaim and hunger for their previous album and live performances which has seen them play alongside the likes of Modest Mouse, Echo & The Bunnymen, The Boxer Rebellion, and Soulsavers as well as lighting up stages at the likes of the V Festival and Tokyo’s Liquid Rooms. Embroiled in the inspirations of the likes of the moodier guitar led bands of the nineties, the sound of Exit Calm has a calming yet provocative effect on the ear and the new album is primed with plenty of fire hot impacting sounds. It is probably not too harsh to say that there is not a wealth of moments and songs which linger in the memory past their company but within their embrace the listener is immersed in some striking and potently enterprising adventures emotionally and aurally.

The first single from the album The Rapture opens things up, guitars conspiring to raise tingles with their resonating voices and sonic ec_album_covercaresses. The throatier call of the bass brings welcome shadows whilst the melodic and sonic flames lick with restraint but potency at the ear awaiting the entrance of the excellent vocals of Smith. With a scorching breath to the climactic spires of melodic and passionate intent, the song swamps the senses in a pleasing and heated hold of imaginative narrative and impacting reflective sound. There is an early U2 whisper to the track especially vocally which does it no harm, and a feel of My Bloody Valentine to its body that makes for a satisfying and beckoning temptation.

Both Albion and Fiction continue the strong start, the first a reserved but heated flame of melodic textures and evocative hues and its successor a wash of jangling guitar teases and bass shadows around a vocal and melodic expression which pulls in the essences of Jesus and Mary Chain into the band’s own distinct poetic sound. Though neither song reach the heights of the first, both cast an absorbing and magnetic lure over ear and thoughts, the second of the two almost finding a presence which leaves a mark on the memory away from its caress.

New single When They Rise adds a little Oasis like confidence to its energetic yet reined in swagger and with an Inspiral Carpets gaited infectiousness makes an obvious lure into the album for newcomers even if the track is not the strongest on show, that honour belonging with ease to Holy War which follows the quietly contagious and slowly persuading Higher Bound. The simmering ballad is ripe with tender and descriptive melodies which outshine the vocals but against the pinnacle of the album The House Of Love toned song has a fight to stand out. Holy War instantly has a drama and imposing presence to its entrance and progress, a guitar scripted blaze and rhythmic mystique making a sirenesque plea to the passions whilst the band offers an invention and entrapment which dances and incites the imagination. The melodically colour strewn song stands head and shoulders above the rest of the album and is the one time the release repeatedly makes a suggestive and vibrant return away from the record.

The Promise slips in to a sixties wrapped elegant glaze upon a shoegaze wash, though one which is unafraid to add some muscular tempting especially through the drums. This brings a Birdland toned fire to the smouldering though without the scuzzier raw aspects they were renowned for. Glass Houses equally grabs attention with an intense heat to its sonic ceiling under which guitar and bass around the fine vocals paint an emotive picture, whilst the closing Open Your Sky provides a final nostalgic tease with its opening melodic gambit raising thoughts of The Walker Brothers to evolve into an Echo & The Bunnymen sounding embrace with psychedelic flames kissing the surface.

There is no doubting that The Future Isn’t What It Used To Be is a fine and impressively crafted as well as presented release, but apart for one maybe two moments it fails to grasp and find a memorable hold on thoughts and passions away from its body. In its arms though the album is a satisfying pleasure which confirms if not stretches the already impressive status of the band.

http://www.exitcalm.net/

8/10

RingMaster 22/09/2013

Copyright RingMaster: MyFreeCopyright

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Tyranny Is Tyranny – Let It Come From Whom It May

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Stark in tone and stark in its regard to the world, Let It Come From Whom It May the debut album from US post noise rock assassins Tyranny Is Tyranny, is a corrosive breath not only upon thoughts and senses but the capitalistic hold of society and man; the band name taken from title of the fourth chapter of Howard Zinn’s A People’s History of the United States. As with most bands a tag only gives one or two levels and sides of a sound and certainly it is the same with the Madison, Wisconsin quartet. Throughout the seven startling and demanding tracks there are coarse whispers of post punk and doom rubbing their toxicity into the caustic mix to help provide an extensive and exhausting confrontation which wears down and consumes the body from top to bottom, inside and out, whilst simultaneously invigorating the self-same victims alongside enforced thoughts and contemplation.

Tyranny is Tyranny rose from the demise and collapse of United Sons of Toil, guitarists/vocalists Russell Hall and Jason Jensen emerging as an unashamedly confronting and uncompromising fury lyrically and musically, but a tempest carefully and thoughtfully crafted for maximum provocation and success. With bassist/vocalist M. Guy Ficcioto and drummer Ben Aldis alongside the pair, the band creates an oppressive web of stirring and cutting narratives within a senses sapping smog of sonic sludge and rhythmic challenging. It is a bleak and suffering encounter but deviously addictive and impressively accomplished, with a sound and presence which seduces from its first spiteful note to its last threatening breath.

Opener Manufacturing Truth makes a tempting entrance, guitars casting a slow melodic beckoning within a gradually intensifying atmosphere. Soon a sludge heavy blanket lies down upon the energetically growing riffs and awakening concussive percussion, the brewing union flaring with belligerent sinews and rabidity drenched vocal squalls. Elements of Part Chimp and KEN mode stir within the track as arguably does a taste of Black Flag but more dominantly it is a fresh and rapacious provocateur insidiously but welcomingly working upon and seducing senses, thoughts, and emotions.

The impressive start steps aside for the following Owned By Thieves, another song which makes its introduction with a slow and smouldering embrace. The track has a tender hand upon the ear again from guitar whilst a sonic uprising is just initially hinted at, an expulsion further incited by the roaming predatory bass. Strangely there is an indefinable familiarity to the track which teases throughout, at times distracting from the quality and depth of its persuasion as thoughts try to grab onto a suggested name to compare the sound to, ultimately unsuccessfully. It is an immense and enthralling continuation of the opening plateau stepped upon by Let It Come From Whom It May, and a level soon elevated by the outstanding Down The K-Hole. With riffs and bass gnawing upon the senses from its first seconds whilst a sonic hook adds addictive intrigue, the song immediately raises thoughts of early Killing Joke, that same intensive and tight primitive lure and savagery at restrained but potent work. The punk scourges which unleash their bruisings throughout accentuate the ravenous snarl and disdain, adding to a storm of intent and Prong like metallic brutality.

The best track on the album is soon followed by the equally imposing and thrilling instrumental The Haze Of Childhood; the piece an evocative slow soar through emerging menace and elegant key bred emotive caresses into a loss of once safe innocence and consumption of a stark, bleak horizon. It flows straight in its successor Apostasy, the song accepting the set premise and building upon its presence with gentle vocals and a post punk sinister glaze, the track initially parading an invitation not dissimilar to one Wire would offer. Into its full body the forceful persuasive growl and provoking pressure of the vocals and intensity make compelling declarations and impressions on the passions, and though the song does not ignite the fires of earlier songs it is arguably the most powerful and skilful in creating an unavoidable reaction within the listener.

The album concludes with firstly the contagiously repetitive and droning call of The American Dream Is A Lie, its lure a hypnotic seizure as its oppressive nature steals submission for its deceitful sonic promises, and finally the equally mesmeric Always Stockholm, Never Lima. The track in its forceful and sonically scrubbing of the senses induces a total union from the listener to its demands and control, its aggressive but devious enticements another thrilling venture within the album.

Recorded and mixed by Russell Hall and Jason Jensen at The Dock and at The House For Wayward Boys, Let It Come From Whom It May is an outstanding introduction to a band which you sense will make a major impact on noise and caustic political rock for a long time to come. The album is certainly stronger in its earlier presence but only recruits a full hunger from start to finish with its somber erosive incitement. Tyranny Is Tyranny tell it as it is with a noise spawned majesty which is as controlling and merciless as those it rages against, but in a very good appealing way.

http://tyrannyistyranny.com/

8.5/10

RingMaster 20/09/2013

Copyright RingMaster: MyFreeCopyright

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Her Dying Regret – Legacy

Her Dying Regret Promo 2013

Sometimes whilst listening to a band you just sense and get a hint of something special, even if the release or track you are in companionship with has yet to discover that unique element. That is definitely the case with UK metalcore band Her Dying Regret, though as their new Legacy EP shows that suggestion is much more than a hint or mild whisper. The second release from the Reading sextet is a stirring and exciting encounter which declares the band as one still in evolution but with such promise in their impressive release that you cannot stop thinking and assuming that this is a band poised to break into something quite magnificent.

Legacy follows an equally impressive debut in The Siren EP which came out last year. Its successor though shows a big step forward in maturity and invention whilst as mentioned showing this is still just a step in their progression rather than a statement of content. Consisting of vocalists Scott London and Tom Melville, coarse and clean respectively, guitarists Craig Mayor and Dan Osborne, bassist Ed Bujakowski, and drummer Tom Cox, Her Dying Regret has equally impressed since their first release with their live performances earning themselves a strong reputation and eager following, the sharing of stages with the likes of Entropic Tide, If Heroes Shall Fail and Fight For Tonight only enhancing their reputation. Undoubtedly Legacy is their finest moment to date and you can only assume the trigger to another influx of acclaim and passionate new followers.

From the evocative and nicely composed and sculpted if slightly underwhelming instrumental of Intro, the EP bursts into stirring life with Her Dying Regret - Legacy ArtworkAshes. The track immediately falls upon the ear with thumping rhythms and eagerly enticing riffs and sonic caresses whilst the vocals of London squall with passionate intent and might across their bows. Another shift of intensity beckons as the track finds a more savage eye balling for the senses, gruelling riffs and scything beats compelling and the melodic persuasion emerging around the caustic attack magnetically tempting. The chorus has a certain familiarity to it as the melodic charms of Melville add their appealing narrative, but not a flavour which dismisses or defuses the potency of the song. It is a striking and riveting full start to the EP which has an appetite grinning greedily for what is to come, and a hunger which is only accelerated by the djent twisted guitar stabs and richly hued vocals of both extremes..

The following All Judge, No Jury takes a run at the ear from a distance, building up its intensity to unveil a tempest of vocal ferocity and rhythmic maliciousness upon again impressively enterprising guitar work. Holding a definitely more rapacious attitude than its predecessor with ‘gang’ chants raging in its background at times, the track has a serpentine malice to it but wrapped in an absorbing and infectious melodic venture which evokes the imagination and emotions. Not as virulently gripping as the previous song it still draws in strong and keen attention even with the slightly clunky switch to a tender melodic aside at its close.

    The Shallow takes little prompting to ignite those earlier and still alive passions, its start a restrained stroll which waits for ear and thoughts to settle before swiping their peace with deliciously twisted grooves and torrentially brawling acidic vocals. The return of clean vocals, absent on the song before, adds another dimension to the track and it has to be said the union of both impressive vocalists is as major a lure as the skill and sounds of the rest of the band. The track leaps from idea to idea with craft and fluidity; intrigue a constant leash to keep expectations at bay. It is probably fair to say that there is not much strikingly new at large on song and EP but in the hands of the band and their imagination, familiar charms and weapons are given a new and invigorating lease of life.

The title track next sparks the passions, antagonistic breath coated vocals and virulent grooves raging but tempered by the ever excellent clean attack of Melville. The song only confirms that this is one of the most impressive vocal pairings around today, not only in presentation but use of where and when they stand and rub off each other’s strengths. Musically the song has a menace and dramatic adventure which once more triggers the imagination to add its own premise and flavouring to the extensively hued narrative of the sounds.

The Last Lie is an instant flow on from the previous song Legacy, another confrontation which lashes the ear with insidiously venomous vocals and threatening riffs skirted by equally merciless rhythms. It is a tremendous challenge but one which only excels further as the melodic and clean vocals explore shadows before subsequently those dark aspects fight back with a predatory and stylishly addictive rabidity. To its end the song is like a battle between both extremes, but a bruising union where both know they need and feed on each other.

The release is concluded by The Filthy Truth, a song which is more of the pleasing same in its creative and aggressive intentions but just fails to get a grip on the levels previously set, though it is still leaves hunger for the band raging. Legacy is an excellent release, a provocation which gets better with each listen as you discover more within its thoughtful textures, and the next impressive marker on the rise of a very promising and exciting band.

http://www.facebook.com/HerDyingRegret

9/10

RingMaster 20/09/2013

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 Howling Tongues – Self Titled

Brian Hall Photography

Brian Hall Photography

Having impressed immensely with previous EP Keep the Dust Down, Atlanta rockers The Howling Tongues return with their debut album to confirm all the promise previously tantalising the ear. The ten track album is a further evolution in the bands rise of sound, the previously ravenously raucous and scuzzy tinted approach given a polish and clarity which allows the emotive breath of songs to make an even bolder declaration. Equally the throaty bass almost grizzled bass persuasion has moved on though debatably not to greater strength, its presence again whilst pulsating less intensive and enthralling. Overall though it is a fiery release which continues to mark the quintet as one of the most flavoursome emerging southern blues rock ‘n’ roll bands.

Formed by guitarist Nick Magliochetti, vocalist Taylor Harlow, and drummer Tylor James in 2011 with the trio soon joined by bassist Zach Smith and keyboardist Thomas Wainwright, The Howling Tongues took little time in making a marked impression locally. An early EP and live performances bred a hungry response to their self-termed “no regret rock-n-roll”, whilst Keep The Dust Down thrust the band to an even greater and wider recognition.

Recorded with producers Stan Lynch (former Tom Petty and The Heartbreakers drummer) and Billy Chapin, their debut album is a rich 884501947114_cover.170x170-75and fire breathing encounter. Recorded mostly live and mixed to analog tape in 15 days at Sound Emporium Studios in Nashville, the album starts off with a feisty enticement in Gotta Be A Man, the big rhythmically boned track with scorching guitar enterprise and strolling gait an open continuation of the previous EP. Ridiculously addictive and  strikingly rapacious in its seizure of the senses and passion, the track has control of feet and hunger within a few sizzling seconds and never relinquishes its grip, even with a groove and hook combination which is straight out of the Ballroom Blitz songbook.

From the thrilling start things take a down shift in attack, the album as a whole turning to a more smouldering and slowly burning persuasive premise. Let Me Be shows it is not a bad move at all but for personal tastes more almost brawling energetic explosions like the opener and like those found on Keep the Dust Down would have lifted the album to even greater heights. The second song though has a sultry atmosphere which is easy to consume and an evocative touch which leaves a lingering satisfaction, keys and harmonies as compelling as the now almost expected striking guitar invention from the band.

Both Chainsaw and Strange Way To Say Goodbye continue the inviting offerings if without the same potency of the first two tracks. The first is a heavy yet respectful melodic rock beckoning with a certain swagger to its walk across the imagination whilst its successor comes rife with evocative and dramatic keys to stand as a broody ballad with the vocals of Harlow as expressively tempting as those powerfully calling keys of Wainwirght. The following Let It Fade also has a reserved approach to the ear which works so well but ultimately does lack that spark to explode within the passions. Again the keys and vocals are outstanding; their presence continuing the variety at play upon the album, but the tempered sound of the bass alongside suggests the band missed an opportunity to really score the senses, a darker more predacious lilt from Smith maybe unleashing a more virulent success to what is still a pleasing confrontation.

The gentle yet tall standing song The Sound makes a more than decent mark before the excellent I’m In Love wraps it in shade through its fizzing incendiary invention and melodically flaming sonic imagination. With an anthemic call and sinew clad body wrapped in the sixties tease of keys, the adventurous and continually moving track is a major highlight to rival the starter and set fresh fires burning in the emotions.

The closing trio of songs, the bluesy crooning Another Heart To Bleed, the emotionally simmering What’s It Gonna Take, and the acoustic southern country rock ‘hymn’ Too Many Times keep attention and appetite strongly engaged as they complete a fine and rewarding suasion of passion and imagination. As mentioned a lack of a storming blaze of contagion like a Makes You Tick or a Nagasaki arguably leaves the album short of really setting the heart ablaze but nevertheless The Howling Tongues has created an album which brings real pleasure to the day.

www.thehowlingtongues.com

www.twitter.com/howlingtongues

8/10

RingMaster 18/09/2013

Copyright RingMaster: MyFreeCopyright

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In Evil Hour – The World Bleeds Out

pic by Helen Templeton Photography

pic by Helen Templeton Photography

A snarling insatiably commanding beast of a release, The World Bleeds Out the debut album from UK punks In Evil Hour is a sensational blistering of senses and thoughts from a band who know how to craft virulently contagious and potently provocative songs. A blaze of essential fresh punk rock with a lyrical bite which takes no prisoners within incisive swipes upon politics, society, and the apathy and ignorance that pervades modern culture, the ten track release leaves a fully exposed and hunger driven passion in its wake, whilst In Evil Hour steps forward as another irresistible voice declaring that UK punk rock is again leading the world.

Formed in 2003, the quartet from Darlington takes seeds out of inspirations from the likes of AFI, Amen, Black Flag, The Stooges, Bad Brains, NOFX, Bad Religion, Sick of it All, and Rise Against to name a few, into their own flavoursome hardcore punk. It is a sound which is not unafraid to load itself with infection soaked hooks and riffs but as an additive to tempt rather than undermine the sinew lined directly evocative heavy punk attack they conjure. Released through STP Records, The World Bleeds Out is a savage yet anthemic confrontation which allows hope and temptation to be as rife and alluring as the aggressive and spiteful creative toxicity which stirs up and incites the imagination.

Opener Divide And Conquer stands eye to eye with the listener as the rasping growl of Alice confronts the ears skirted by crisp and a0645899867_2antagonistic rhythms and swiping raw riffs. The track is soon charging for the jugular of the senses with rabid beats from Mike whipping the song on whilst bassist Mark and guitarist Gareth create a vitriolic and persuasive mesh of caustic might. With anthemic vocals in league with an equally demanding instigator in the chorus, the song is an outstanding and powerful entrance into the album.

     Far From Home takes up the fury next with a splattering of rebellious beats sparking the rest of the song into an initial rage against the senses. It is a great start but one which is left behind once the song settles into an incisive stomp of rumbling rhythms ridden by the continuing to impress, with greater strength as each song steps forward, vocals of Alice. There is a Wendy O Williams essence to her delivery which only enhances the lyrical expression and song attack overall, something which the music seems to understand and find inspiration from, this track gaining ever increasing intensity and rapaciousness with every syllable expelled with brawling strength.

Both As Seas Rise and Where You’re Left continue the immense presence of the album if not quite to the earlier heights set, the first creating a sonic scrap with the ear in which there is only one winner, especially with the deliciously catchy swing and barbed melodic enticement through the guitar skills and vocal harmonies and calls. Its successor is a scorching flame of guitar scalding and rhythmic bashing again steered impressively and skilfully by the vocals singular and as a riotous union.

The lethal swipe of animosity that is Little Death is a fifty five second storm of magnetic viciousness, a hardcore blitz which thrills from its first uncompromising breath through to its last. It moves over for the mutually outstanding Help Me Out, an acidic spiral of heavy rock guitar teasing and taunting whilst the rest of the band adds their particular predacious craft and incendiary invention. A bruising rock n’ roll rampage which leaves the passions aflame with greedy appetite it provides one more stunning moment amongst a great many on the release.

The instantly compelling bass lure to The Terminal brings in another exceedingly agreeable altercation, the band arguably more restrained in its proposition though no less direct and imposing lyrically and in presentation. The bass continues to steal the show on the track, its finest and most potent moment on the album where at times it feels like it is given a back seat place in the production, whilst as now expected Alice draws attention with her striking presence which to be fair often puts most other aspects in the shade.

The excellent title track grazes up the senses and passions with its own individual exciting and imaginative spat whilst the brilliant I Lost Years, where bass and guitar find another plateau to tease a new rapture out with their impossibly addictive rough charms. A Dead Kennedys like hook steers the passions whilst the surrounding body of the song is a mix of Angelic Upstarts/UK Subs and Penetration/AFI. It is a terrific creative and raucous adventure cementing the depth and quality of band and album.

With Murder Murder closing up The World Bleeds Out with one final tempest of contagion drenched excellence, a blend of Bad Religion and The Duel coming to mind as it steals another wave of ardour from the emotions, In Evil Hour emerge as one of the most impressive emerging forces in punk rock, and not just in the UK. A classic album from an extremely impressive band, not much left to say.

http://inevilhour.bandcamp.com/

https://www.facebook.com/InEvilHour

10/10

RingMaster 17/09/2013

Copyright RingMaster: MyFreeCopyright

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