Carneia – All Tongues Of Babel

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With a snarl to every breath and an intensive predation to every note, All Tongues Of Babel is a sonic carnivore of the most ridiculously compelling kind. The second full-length from Belgian metallers Carneia, the album is a commanding, bordering on brutal, tempest of progressive rock adventure and metal fury reaping the essences of numerous other styles and flavours to forge a sound which prowls and subjugates the senses and imagination. It is a masterful and towering confrontation from a band which you suspect now stands on the lip of truly major things.

The new album is the successor to 2008 debut White Coma Light, the Offerandum Records released album a focus of widespread acclaim from fans and media alike which though it is our introduction to the band you can only expect it to build upon and take to new heights the reception for its impressive offering. Between albums the band has equally impressed live, sharing stages with the likes of Amenra, Cloon, Maudlin, Sardonis, Bulls on Parade, and Black Heart Rebellion, before settling down to create their new formidable juggernaut of aural exploration. Now consisting of guitarists Thomas Combes and Jille Vandromme (also of No more Faith), bassist Olivier Leerg, vocalist Jan Coudron (King Hiss, ex-Fenndango), and drummer Tom Vansteenkiste (Vermilion, No More Faith), the drums for the album though provided by Terence Gevaert, the band is poised to be on the end of some extensive and deserving attention, a just reward for an outstanding album.

All Tongues of Babel opens on an instant badgering of the ear as La Mala Hora approaches the listener by heavyweights riffs, a3333242331_2thick malevolent intensity, and a crisp rhythmic provocation which intimidates and seduces from its first breath. That lure only increases as a guitar taunts the ears with jagged cuts of sonic endeavour, its lone moment metallic bait ensuring the listener is heading into the predatory stalking of thoughts as Coudron opens up the narrative and his impressive pipes. The frontman has already shown his extensive strengths through the King Hiss EP Snakeskin earlier this year, and upon All Tongues Of Babel he only stretches his boundaries and potency to greater depths and heights. This track has a lot of common elements to the more rock based King Hiss but equally stands alone from most with its irresistible and anthemic blend of hard and grunge rock with groove and heavy metal, a progressive invention washing the slab of imagination to keep intrigue and surprises a torrential enticement. It is a stunning starter which continues to wrong foot and thrill across its eight minutes of evolving and bruising yet tender adventure.

The following Jerk is equally as contagious, another anthem bred storm of ingenuity sculpted by savage riffs and dramatic rhythms whilst again Coudron brings his grizzled and magnetic tones to bear with a squalling breath and unbridled passion, the man one of the very best vocalists in metal one would suggest right now. The track itself at times lurches between intent, sometimes lumbering with an oppressive weight and in other moments offering a more direct and antagonistic spite, but both sprung from the jaws of a predator which the song surely is.

Both The Box and The Alchemist ignite new waves of hunger for the album with their individual designs, the first a smouldering slowly dawning fire of a song, the throaty grinding prowl of the bass matched by the menacing heavy riffing which enslaves the senses for the sonic spirals of melodic imagination to sear their imprint across the sky of the song. Lifting its feet to a slightly more aggressive gait without losing the hypnotic repetitive bait of that bass persistence and similarly niggling riffing, the song winds its way deeper into thoughts and the passions with a breath-taking weave of sonic causticity and primal rock infection. Its successor is a raw bruising of a provocation, certainly vocally initially, whilst guitars and bass once more craft slavery out of incisive and underplayed riffing to which there is no escape. There is simplicity to many elements of the Carneia sound which seamlessly merges with their technical and inventive experimentation, both complimenting and driving the other side on, this track the perfect example; and especially appealing through that thoroughly irresistible bass sound.

Naked steers through stronger rock spawned waters, the emotive heart and pressure of the track not too far from the expressive passion of a Stone Temple Pilots or Gruntruck, though there is no lacking of that metallic rapaciousness either, the combination scintillating across its almost nine minutes of invention and expert temptation before making way for the brilliant Walk. An artillery of rhythms and riffs rifle through the ears and barrack the senses from start to finish here, again repetition a lethally addictive weapon in the mouthwatering premeditated and skilfully laid fury. It is hard to pick a best song on the album, all powder kegs of absorbing intrusive, but this certainly stakes a major claim but then so does the following title track and the closing Indifferent, as indeed all songs to be honest. The first of the two takes its time to ignite, the track seemingly sizing up its victim before launching an intensive yet respectful incendiary cloud of fiery rhythmic dynamics with matching riffs, both playing off each other organically as the song casts its spellbinding and intense exploration. Indifferent makes a creatively robust and emboldened finish to the release, though it is followed after a few breaths by a near on fifteen minute evolving ambient soundscape which just did not work or connect with thoughts.

Carneia is a band all should be veering rapidly over to for an investigation which will only reward, and though arguably a few of the tracks are overlong on All Tongues Of Babel, it is without doubt one of the year’s very best offerings.

https://www.facebook.com/carneiaband

9.5/10

RingMaster 05/12/2013

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The Toniks – Rise And Shine

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Listening to Rise And Shine the debut album from UK popsters The Toniks you cannot help at times thinking this is a band which has the misfortune to have missed their time slot in music history. Certainly they have a potent place in the now as their album shows but with songs ripe with sixties melodic and pop sensibility which sits easily within the pop mischief of Herman’s Hermits and the Englishness of The Kinks, and a new wave soaked infectiousness which is a close cousin to bands such as The Farmers Boys and Jim Jiminee, you can only imagine the Guildford quintet would have found a potent place those eras. In a never ending torrent of new and existing bands all fighting for attention, real and online, any band is in for a greater struggle than ever to just cross the gaze of fans though with Rise And Shine, The Toniks have given themselves a definite fighting chance.

The brainchild of vocalist/bassist Mark Taylor and guitarist Jez Parish, The Toniks has been making a solid ascent for quite a while now; their infection loaded pop songs gripping ears and emotions. With the current line-up of guitarist Tom Yates, drummer Colin Marshall, and Jessica English on keys alongside Taylor and Parish in place since last year, the band has continued to draw acclaim for their strong live performances, which recently has seen the band playing across Europe and in Canada. Since forming they have also gained support from the likes of Graham Dominy (Eurythmics, Razorlight, Imelda May) who provided them with free studio time after hearing their music. It has all added to a slow but potent rise which the album can only increase as it sweeps across greater numbers.

The band is no stranger to this site, The Toniks a constant on the playlist of shows from our associates Audioburger.com for the 1235338_10151581120132610_2076276580_npast few years. This meant that the album faced expectations but it is fair to say it pushed them aside to emerge an even more vibrant and irrepressible encounter than imagined. Produced by Dominy alongside Taylor and Parish and released on Smile Records, Rise And Shine goes straight for the feet and passions with its title track. The song is total contagion, from the moment the opening soar of harmonies and keys behind the mellow tones of Taylor stroke the ear it teases with a seducing wantonness which explodes into one of the catchiest tunes heard this year. Bred from the seeds of sixties pop, the song romps and strolls with a massive smile in its melodies kissed by brass spawned sunspots. The eighties reference is most apt and virulent right away as the starter has voice in league with its stomp and like the best pop songs, becomes an old friend within moments.

The following Won’t Let You Down is much the same in its individual character, guitars and keys coaxing the imagination as they craft hooks and melodies which sparkle as they tempt. The backing vocals of English along with Parish make a great compliment to the delivery of Taylor, her voices especially soothing and one hopefully the band employ more ahead. More restrained than its predecessor but still a catchy saunter to capture the imagination it easily continues the pleasing start as does next up You and I and Simple Things. Like the first pair they are songs very familiar to us but each finding a new freshness and energy to their suasion and presence through the new recordings and re-workings brought by the band for the album. You and I is a bouncy incitement of respectfully jabbing beats and cheery guitar swipes tempered by darker bass tones. It has a harder rock core to its bewitchment but one which submits to the inventive and sultry flumes of brass as well as the continually persuasive melodic weaves which lie around the addiction causing hooks. Its successor comes with a slower croon to its presence as well as a gentle caress vocally and musically. The bass stands potently to the fore of the song, its steady heavy presence seemingly given preference upon the song and actually works well adding variety to the simple but wholly effective melodic colour which engages the imagination and lures another belt of hard to resist involvement from the body.

After passing the charms of Weather quickly the album settles into a steady enticing with Figure It Out and Never Real, both songs a spark to fill the appetite further though a shade below the standards set. Going back to the first of these three, Weather is another ridiculously ear catching invitation to participate with and enjoy slice of pop which most will drool over but it has never found a place here, it one of those irritants which niggles though it is simply down to personal taste alone. Of the other two, the first builds from emotive keys and expressive vocals into a more than decent ballad which grows and expands as it plays out its narrative and the second a satisfying rock pop breeze, both providing healthy appetising treats to mull over and return to before making way for another highlight.

Secret’s Safe also hits the rockier depths of the band, a blues whisper to the guitars equally egging on the thumping rhythms and hard hitting vocals, though Taylor has a voice where snarls never rear their head to be honest. There is an essence of The Jam and The Motors to the energetic and rampant charge of the song, a pop punk quality which sets it to the top of the release, well until, after the thoroughly enjoyable and infectious There You Go, the outstanding Scapegoat steps forward. The scuzziest track on the album with a punk breeding to its creativity, the track is a riveting blaze of rock ‘n’ roll with all the contagiousness the band can conjure reaping the heat of the blues kissed guitar flames on top of barbed melodic hooks.  It is a magnificent track, The Tonik’s finest moment yet.

The closing Wonderful Then concludes the album with a classic pop song graced by mesmeric strings, the cello caresses especially delicious, and resourceful evocative keys behind stirring harmonies. It is a final reminder of the depths of the songwriting of Taylor and Parish and though you cannot talk of them in the same breath yet as Difford and Tilbrook there are some familiarities at times to the construct and melodic structures of songs.

Rise And Shine exceeded expectations to stand as one of the better real pop albums out this year. If The Toniks have yet to touch your ears their debut album is the perfect way to put that right.

http://www.thetoniks.com/

8.5/10

RingMaster 05/12/2013

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Chronolyth – Sovereign

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An insatiable turbine standing eye to eye with its victims whilst forcing them to undergo an intensive sonic examination, Sovereign the debut album from Australian metallers Chronolyth is a heavy duty adrenaline attack on the senses and passions. Unleashing a tsunami of violent riffery and equally destructive rhythmic antagonism, the eleven track goliath is a bestial storm of melodic death and groove metal which thrusts the passions into an intensive cacophony of skilled and predacious savagery but one brought with thoughtful craft and hungry imagination. Whether the album from the Brisbane quintet is offering anything new can be debated but certainly what they do reward the ears with is captivating and riotous anthemic temptation which is impossible to refuse or leave alone.

Formed in 2011 by guitarist Alex Nisiriou and vocalist Hamish McSorley as Stigmartyr, the band soon changed the name due to copyright issues, whilst its initial sound took on a heavier rapacious entity as the line-up went through major changes, arriving at that of bassist Jimmy Barrett, guitarist Ben Constable, and drummer Michael Gee alongside McSorley and Nisiriou. First single Bitter Reflection was uncaged in the November of 2012, drawing acclaim and strong attention from not only their homeland but within Europe too. An Australian tour earlier this year as well as a successful appearance at the Ye Gods of Metal ‘13 Festival has furthered their stature but the release of Sovereign is the key you suspect to an elevation of awareness  for the powerhouse of a band. Recorded with producer/engineer Nik Carpenter and mastered by the legendary Zeuss, it is dominate evidence of an emerging fury we will be hearing a lot more of and placing greedy attention upon.

The album opens with a smouldering orchestral bred charm as The Heresy (Crucify Your God) drifts into view, its body calm Chronolyth - 'Sovereign' HQand elegant until ready. Once settled it explodes through a gateway of punching rhythms and sonic stroking from the guitars into a furious rampage of serpentine grooves and annihilistic riffery matched by the voracious drumming of Gee.  It is an uncompromising fury but one sculpted with a weave of irresistible sonic hooks and intensive enterprise which instantly ignites a raging hunger for its sound. As is proven across the album there is no breaking into brand new fields going on but simply a virulently contagious tearing up of existing fields and invention into something primal and all Chronolyth.

From the first track alone thoughts of the likes of In Flames, Lamb Of God, and Devildriver flirt with thoughts which remain across the album, only flavouring but a strong spice which does  Sovereign no harm but does add that essence of familiarity which challenges originality. Nevertheless as the next up I Am Wrath and Condemned In The Throes Of Remorse shows it cannot prevent Chronolyth igniting the ears and emotions with its destructive invention. The first of the two grips from its first breath, chewing the senses into submission with a blaze of intensive rabidity from sound and vocals raging over a crippling network of rhythmic venom. Its air is muggy; the squalling delivery of McSorley matched by the viscous energy of the guitars and their caustic sonic wash but with a twisted appetite guiding grooves and melodic fire, the track is an irresistible and riveting spite. Its successor is also fuelled with a voracity which leaves the listener breathless even if certainly on the surface it is a little too close in sound to its predecessor to stand out clearly, and a couple of times listening to the album the pair has merged without notice until the later part of the second. That is a small niggle about the album, a similarity between some tracks without a certain concentration but again nothing to diminish the pleasure of the confrontation.

The first of the major peaks comes next with Whips And The Scorns, the instant the rabid throaty tones of the bass courted by the rampaging drums hit the ears it triggers a surge in the passions, one which is rewarded as the track finds the darkest devilry and addiction forging invention to oppress the eager senses within. Grooves and melodic sculpting are the purest primal seduction as is the barbarous rhythmic exploit which veins it, the song a prize in rancorous metal alchemy.

    Bitter Reflection follows to keep the album at its new plateau, a melodic invitation erupting into another merciless acrimonious foraging of its recipients but one unafraid to let the guitars cast a sonic fire of skill and imagination from Nisiriou and Constable, a heavy metal inspiration colouring their resourceful tempting. Its heights are not quite found with the likes of Age Of Fear and Defiling The Soul though both continue to increase the powerful persuasion of the album as does latest single Behold The Tyrant’s Fall, it an absorbing meeting of aggression and beauty where the band almost reins in their hostility, well in certain moments anyway.

Sovereign’s finest moments bring up the rear to stand toe to toe with Whips And The Scorns for top honours, Fallen Saviour eventually stealing the award with its scintillating ferociousness and inventive hunger. From the shadows it launches an epidemic of exhausting energy and rhythmic pugnaciousness woven together by a delicious pestilence of grooves and sonic seducing. Vocals as always stand astride the diverse causticity, spewing out the narrative with passion and eagerly devoured inhospitable truculence. The song is a brutal incitement which takes the album that extra small step into being one of the year’s best, the icing on the mountainous cake assisted right after by Silent Eyes, the track a relentless provocateur which burns slower than most in the passions but evolves into another of the release’s biggest triumphs.

Completed by the title track, one final bait of perfectly designed irresistible violent frenzy, Sovereign is an outstanding debut from a band we are destined to hear and feel much more from. Chronolyth has yet to find that unique sound and design but when they do it is hard to see what will stop their rise to the frontline of metal dominance.

https://www.facebook.com/chronolythband

8.5/10

RingMaster 05/12/2013

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Bitter Reflection (Music Video)

Aeolist – Self Titled EP

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Enveloped in a rapidly brewing buzz for their emerging presence and sound, UK progressive metallers Aeolist offers prime evidence as to why with their debut self-titled EP. A four track tempest of aggressive enterprise, malevolent invention, and incendiary imagination, the release not only captures attention, it enslaves it in a web of fiery intrigue and skilful sonic manipulation. The scary thing is that as impressive and thrilling as the promise soaked EP is, their sound still is not the finished article which makes the future releases, creativity, and horizons of the band mouth-watering.

A band still in its infancy, the Norwich quintet of vocalist Bradley Gallagher, guitarists Billy Phillips and Tom Ferguson, bassist Paul Willson, and drummer Toby Mills sculpt an exciting blend of technical and progressive metal with multiple flames from jazz to groove metal, blues to ambient rock, each track on their first release employing a potent mix which favours no particular style but embraces all. Aeolist has been compared to the likes of The Contortionist, Protest the Hero, and Between the Buried and Me by some, which is easy to understand as the EP uncages its ingenuity and though arguably the quartet of tracks are not exactly delivering anything ground breaking they all come with a unique breath belonging to the band.

With each song simply titled by rising roman numerals, the whole release is one immersive soundscape, each track though Aeolist.coverindividuals feeding into and inspiring the heart of the next. Equally the songs can be taken and are as effective alone but for the fullest intrusive pleasure the EP should be taken in one inciting mouthful for the fullest results. Opener I is an immediate creative fury upon the senses, riffs rampaging with unbridled lust matched by the rhythms whilst acidic sonic spirals from the guitars lash the air, all easily enticing an instant appetite for the encounter. The squalling caustic delivery of Gallagher vents exhaustingly from within the torrential consumption of ears and imagination and as the song steps into a slower evocative sonic drift, the band coaxes thoughts to add their own interpretation whilst the excellent bass sound from Willson and the roving rhythms of Mills craft an irresistible frame for the guitars to hang their inventive searing from. It is an impressive introduction to the release and Aeolist which continues to twist and writhe with passion and inventive voracity, every aspect and member conjuring an irrepressible and addictive adventure to unite in one scintillating opening.

The following II from its first breath carves out a predatory dark prowl and rabidity to its presence, one soon exploding into a savage confrontation littered with technical spite and temptation. A spreading of its intent and gait as in the first song ensures the track is a riveting exploit from start to finish and when it steps away from the hunt to bring a passage of jazz funk and grooved melodic wantonness into the journey, the song ignites another belt of hunger further accentuated when it returns to an even more bestial rapaciousness.

That unpredictable and skilfully blended ingenuity and richly textured flavouring makes as potent an impact in III. Again initial contact is a predacious onslaught, rhythms impossibly vindictive and guitars spiteful antagonists alongside the ever corrosive delivery of Gallagher. It is a thrilling tsunami of intensity and sound which as it progresses invites virulently addictive grooves and a wealth of continually shifting riffery, technical persuasion, and fearsome imagination to work on the ears, all drawing the listener towards the gentle yet haunted elegant finale of guitar which then bleeds into the final track. Though again it is a song which treats the listener to a landscape of passion fuelled, thought provoking creativity, the eleven minute IV impresses but fails to reap the same ardour and greed for its presence as its predecessors. There is a dark gloom to it and despite parading an evolving invention and weave of ideas feels dulled in comparison to the other songs and personally works better taken away from the EP. Despite that it still only adds to the cement confirming Aeolist as one highly promising and already impressive bands.

With the only other niggle being a lack of variety to the admittedly very good vocal attack of Gallagher, a diversity to match the sounds a future temptation we hope for, Aeolist’s debut EP is a masterful and potential soaked adventure. With you suspect a complete uniqueness waiting in the wings to truly set the band apart from those earlier mentioned, expect to find Aeolist forging some unforgettable alchemy ahead if their EP is any indication.

Get The Aeolist EP as a buy now name your price @ http://aeolist.bandcamp.com/

https://www.facebook.com/AeolistUK

8.5/10

RingMaster 05/12/2013

Menace – Too Many Punks Are Dead

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Receiving its debut vinyl release last month, Too Many Punks Are Dead the new album from UK punk inciters Menace is another to prove that not only is there fight in the old dogs of punk but there is a passionate and creative rabidity still able to teach the genre a thing or two. When you place it’s re-release alongside the likes of this year’s offering from UK Subs, Steve Ignorant and Paranoid Visions, and 4 Past Midnight to name just three, it has been a potent year from the ‘old timers’ as they all continue to inspire generations. Menace predated most punk bands, forming in 1976, their uncluttered direct sound a spark for the likes of Sham 69, The Cockney Rejects, and arguably the Oi! movement from within punk, though they never did get the full credit they deserved when in full rage and since, but as their latest album shows the band has lost none of its contagious belligerence with maturity and time, and certainly none of its ability to sculpt addictive riots.

August 1976 saw the line-up of Morgan Webster, Noel Martin, Charlie Casey, and Steve Tannett come together soon followed by their debut gig at the now legendary Roxy. The show was attended by Miles Copeland from Step Forward and Illegal Records who signed Menace straight away. Though fans flocked to the band and their sound, they were basically ignored by media and label for whatever reasons leading to them splitting in 1979 after the release of their single Final Vinyl which contained the classic anthems Last Years Youth and Carry No Banners. After the split members of the band went on to play in Vermillion and the Aces before with a keen hunger around for Menace, the band reformed in the late nineties. A couple of EPs for German label Knockout Records and two albums via Captain Oi! in 2001 and 2004 followed to strong acclaim as was No Escape From Nowhere of 2008. Recorded and self-released as the previous album, in 2011 on CD only the well-received Too Many Punks Are Dead is a thumping bruising of prime genre invention and animosity, which with its limited edition vinyl uncaging, the release restricted to a pressing of 500, with 200 black, 200 red and 100 white vinyl copies, reminds us again of one of the genre’s important bands, past and present.

The first side of the album barges the ear with the dirty rock ‘n’ roll of Thank God I’m An Atheist, riffs and rhythms a predatory incitement providing the perfect canvas for the vocals to unleash their antagonistic narrative. The heavy throaty bass sound is an immediate lure which steals attention throughout song and release, its rabidity the intensive backbone the band swings hooks, anthemic grooves, and chants from. The track is a formidable introduction soon matched and exceeded by the outstanding I Don’t Care. With a touch of early Damned to it as well as a rich essence of Ruts, the song is a virulently contagious riot rife with inventive hooks and inspiring enterprise not forgetting compelling aggressive seduction.

Both the title track and its successor United match and drive the album deeper into the passions. The first is simply a respectful roll call of punk greats no longer with us, an impacting homage and reflection on so many who have shaped bands and punk rock as a whole. With a musical wrapping which ignites the primal rocker in us all the track is a tremendous exploit igniting nostalgia and hungry satisfaction. The second of the two swaggers in on an infectious tsunami of rhythms to which the guitars align blazes of rock riffs as vocals whip up thoughts and passions. The bass again brings an extra lick of the lips for its heavyweight prowling and as a whole the song and band again draws and exploits the primal pleasure and anarchy in us all.

As My Very Good Friend brings the A side to a close it is hard to remember Menace sounding this good and predacious musically and emotionally since those early days. The last track opens with a slow female and male vocal croon alongside a lone guitar, their reflective stroking capturing thoughts for a following ska punk eagerness to stomp through the ear. The track veers more on the punk side as it saunters along but with a healthy flame of jagged guitar to tease and coax the listener’s appetite, the track is a thrilling mix of Angelic Upstarts and The Vox Dolomites but uniquely Menace.

The second side immediately seizes the senses in a fury of belligerent punk revelry with firstly the rapacious Party Animal, another ridiculous infectious anthem, and then the excellent toxicity of Get Out There, niggling grooves an incendiary temptation within the bruising and intimidating viscous sounds. The tracks continue the impressive presence and stature of the release, the pair lingering imprints on the memory and passions as is the outstanding Busy which soon follows equipped with   that instinctively resonating bass call and addiction sparking hooks.

Leave Me Alone is a raw eyeballing argumentative squall, an agonistic encounter which stands toe to toe with its intended and pulls them into a mouthwatering call to arms before passing them onto the enjoyable acoustically borne rocker We Are The Boys. Both songs bring the album to a thrilling conclusion though there is still room for a bonus track, the brilliant One Two One Two, vintage punk at its ridiculously anthemic and riotous best. It is a brilliant end to a cracking album and though there is not quite a GLC or a Carry No Banners on it, the Rebel Sound released Too Many Punks Are Dead has a wealth of tracks to show the emerging punks of today how to craft and unleash real punk rock whilst showing Menace is as influential and irresistible as ever.

http://www.menace77.co.uk/

9/10

RingMaster 04/12/2013

 

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Gaz Patterson – King Of You

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    Gaz Patterson will probably be a name most are unaware of at this moment in time but as debut album King Of You unleashes its enthused stomp and impressively accomplished swagger you have a niggling suspicion that this secrecy will not be a long running status for the British punkster. Creating a boisterous party of melodic and pop punk, the Bedlington, Northumberland hailing musician has made an introduction which captures the imagination. The album is not bursting with originality it has to be said but comes with vitality and a refreshing passion which only accentuates the promise bursting across the eight track storm of enterprise.

As soon as a big bass groan ignites the first seconds of opener Walking Backwards there is a sense of something potent waiting to seduce the ears, a hint soon brought into realisation as riffs flame around the ear and rhythms romp with sinews to the fore through the emerging track. As it hits its stride with the smooth tones of Patterson adding to the persuasion there is a familiarity to the song but one which only adds to the strong lure being laid before the imagination. Comparisons to the likes of Blink 182 and current Green Day have been placed upon Patterson’s sounds and as the track charges contentedly, it is easy to see why especially in regard to the former of the two.

The strong start is matched by the following Last Round, again the throaty voice of the bass standing out from the start whilst the guitar casts a skilled temptation within the pleasing encounter. Slightly more restrained but of the same breed as its predecessor, the track strolls with a purpose and appealing presence if without quite sparking a major fire for its resourceful offering. The same to some extent applies to the next up Broken Hearts On Parade, the track a brief rampant blaze of punk ‘n’ roll with a great fiery solo and combative rhythms.

Going Out My Mind is another pungent tempting of addictive hooks and magnetic melodies ridden by the easy on the ear vocals of Patterson whilst the bass provides its own irresistible vaunt to compliment the enterprise and inflate an already awakened appetite for the release. In many ways the tracks to this point have all come from the same well of textures and invention though with individual faces to their presences, but it is all shaken up pleasurably by the melancholic embrace of Elona. The slow smouldering ballad is an ambient emotive wash of acoustic guitar, softly delivered vocals, and a stringed caressing which is absorbing. With keys adding to its evocative plot, the track debatably is out of place on the album but a thrilling aside to the thrust of the album earning an acclaimed place.

The pinnacle of the album comes with the title track, the song a riff clad, rhythmic tempest of punk rock which from its first chord has mind and heart enlisted in its compelling adventure. An element of The Ramones adds its enthusiasm to the fever whilst an Offspring like bustle encourages the belligerent lyrical content, it all uniting for a thumping ride of a great punk song.

    See You In The End and Pieces Of Two complete the album in fine style, choppy riffs and cantankerous rhythms driving the first of the two directly into the senses, vocals harmonies adding to the punk pop purity whilst the closing track provides a lingering convincing of melodic rock which seals the success of the album and reaffirms the promise of the artist with another varied slice of enterprise.

     King Of You as mentioned is not going to take you down new avenues but instead explores existing ones with an energy and investigation which marks Gaz Patterson out as one to watch closely.

http://gazpatterson.bandcamp.com/album/king-of-you

https://www.facebook.com/GazPattersonMusic

7.5/10

RingMaster 04/12/2013

 

Copyright RingMaster: MyFreeCopyright

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Hysterix And His T-Rex – Changes – or, when love becomes misery EP

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Looking for a slab of senses stomping intrigue? Then try plunging into the promise drenched tempest of Changes – or, when love becomes misery, the new EP from German rockers Hysterix And His T-Rex. The three track release is an eclectic fury of dirty rock ‘n’ roll with progressive and metal tendencies which captivate and seize the imagination. The Dortmund quartet has already pricked strong interest with previous releases but now stalk a new level of craft and invention which makes the band one needing close attention now and in the future.

Formed in 2010 by brothers Sandro (drums) and Dino (bass) as a side-project, Hysterix And His T-Rex creates a sound which merges a sludge thick breath and stoner heat to metallic sinews and experimental adventure.  Debut single A Clowns Tragedy of the same year was followed in 2011 by Nils (vocals) and Sebi (guitar) joining the line-up. Last year saw the band’s first EP The Wayfare released, a four track piece of compelling if patchy invention, but a strong base from which Changes… has sculpted the band’s finest moment yet.

Changes opens up the encounter, a sonic call soon dismissed by a bulging bassline and prowling riffs framed by magnetic beats. 1463106_648494221839765_1529272345_nAs a groove opens its throat the song has already found a contagious grip which leads into a hardcore bred ferociousness with a viscous sludge antagonism. The track presses on the ears with skill and predatory intent, its body simple but wholly riveting especially as clean vocals replace the previous scowling roar, with both switching from here on in. With an additional grunge lilt and a metal spawned hunger to the rhythms and riffery, the song twists and lurches across the senses with pleasing craft. The song as the release has to fight the raw production a little but it cannot stop the qualities of band and track from making a strong persuasion.

The following Ring takes the sturdy start to another plateau of impressiveness, the track easily the best thing on the potent confrontation. From its first second the track chews the ear and rampages with fiery belligerence, squalling vocals raging over merciless beats and a delicious swarming niggle of a groove. The intensive start is dropped into a vat of doom leaden labour soon after but takes little time in re-emerging into that virulent addictive opening scourge of waspish temptation. A taunting rapacious enticement with vicious aggravation and scintillating uncompromising coaxing, it is an outstanding blaze of instinctive noise abuse and without doubt the pinnacle of the band’s invention so far, and hopefully an area where they will stride forth in direction in the future.

The closing Beyond The Waterfall opens like Wire meets Beehoover, a wall of muscle and intensity seizing command before opening its arms for a grunge/stoner melodic suasion to stretch the offering further. Merging with the harsher elements, the inventiveness continues to press home its advantage as a jazz/avant-garde venture steps into view, it again a moment which is soon evolved as band and song twists and flexes an imagination which only increases the intrigue and its riveting presence. Arguably there is too much going on to flow easily throughout and the cleaner vocals are weaker compared to the inhospitable delivery elsewhere but it does little to diminish the lure and pleasing argumentative conspiracy making a strong persuasion on thoughts and emotions.

Released as a buy now name your price on Bandcamp, the Changes – or, when love becomes misery EP shows the leap Hysterix And His T-Rex has made since the previous release, in songwriting and bold adventure to ignite a definite anticipation and hunger for what they conjure up next.

http://hysterixandhistrex.bandcamp.com/

https://www.facebook.com/hysterixandhistrex

8/10

RingMaster 04/12/2013

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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Night Wolf Presents: The Co Lab Vol.1

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The first in a proposed series of collaborations, Night Wolf Presents: The Co Lab Vol.1 is a magnetic and eclectic adventure for thoughts and imagination provided by a vibrant journey through electronic climes bred with potent essences of hip hop, dubstep, R&B, classical elegance and more.

The project and release is the brainchild of composer/producer/musician Ryan Wilcox aka Night Wolf with the intent of collaborating with a wealth of emerging producers/composers and artists. Hailing from Milton Keynes and Luton based since a child, Wilcox started out drumming in rock bands before concentrating on his own music. Alongside his solo work Wilcox formed Harmony’s Descent with Mike Ziegler aka Centrist from Dekalb Il, the pair’s songwriting and music themed by all aspects of life, from anguish and loss through to happiness and love. Earlier this year saw the release of the Watts The Time and Moonlight EPs, both featuring Centrist, and now the again Fly Productionz Ltd along with Cygnus Music released The Co Lab Vol.1,  brings another varied and captivating encounter from Night Wolf.

The release opens with Move It On featuring German singer songwriter Elsadie Smith and J.A. from Luton trio Soul Rhymaz. Pulsating beats and equally full electronic caresses make the first embrace guided by the dark tones of J.A.; it is a mere moment though as the seductive tones of Smith wash over the ears, her graceful delivery gaining greater potency as the r&b narrative weaves around the senses. It is an elegant and mesmeric temptation with the merging of vocal differences as accomplished and bewitching as the sounds around them. It is a very decent start to the EP if one which pales against some of the following triumphs.

The first of which comes through Work Rate which finds both J.A. and Leo Soul from Soul Rhymaz as well as Liv The Pilot joining the haunting yet tantalising emotive croon. Crystalline melodies dance over the ear from start to finish, a celestial ambience adding to their sparkle but equally there is a sinister breath to the lure, one not far removed from the threatening tempting provided by the soundtrack to Halloween. Plainer vocals make a great compliment whilst the mellower delivery only adds extra warmth to the scenic musical canvas. It is an excellent trigger for the imagination and passions with only one moment where it felt like the cycle of music had come to an end midway and stutters as it returns to the start to roll again to query.

Sucker Free is the pinnacle of the release, its tribal stomping over an energetic hip hop vocal devilry irresistible. Again it is J.A. providing the vocal incentive as the song flexes its electronic muscles and rhythmic tantalising whilst sexy funk naughtiness sways and dances within the hypnotic romp. It is a masterful slice of imaginative bait to catch and spark the passions into a lively and eager hunger.

The following Enemy List is a simmering slow burning success, the smouldering heat and melodic allure of the song taking time to convince but with numerous excursions of its gentle and emotive expanse covered in the impressive tones of Greek singer Gregory Style, emerges as another strong encounter, if still one failing to find the same rich appeal of its predecessor. The guitar strokes provide the biggest highlight of the appealing song but sandwiched between what came before and the following Downgraded it had a tall order to fill, though its attempt is admirable and an easy to return to presence. The closing song which sees Centrsit with Night Wolf is another peak on the EP, a delicious melancholic instrumental lighting the emotions and thoughts, its emotively incendiary washes of strings and classical depths finding a sirenesque enticement.

The song completes a thoroughly enjoyable and emotionally inciting release. It is an unexpected treat to be honest as its style and predominate flavourings are not the usual spices for this musical palate, but one with which you can only see Night Wolf recruiting a wealth of new followers whilst inspiring existing fans to drool greedily.

www.facebook.com/nightwolfuk

www.soundcloud.com/nightwolfuk

8/10

RingMaster 04/12/2013

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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Challenges and instinct: an interview with Dave Curran of Pigs

Dave Curran

Amongst plenty of raging creatively incendiary triumphs to have bruised the year, the Gaffe EP from noise rock band Pigs stood out with ease, its trio of tracks a thrilling rapacious bridge between the band’s acclaimed debut album You Ruin Everything and the bands coming follow-up release scheduled for early next year. Consisting of Unsane’s Dave Curran, Jim Paradise from Player’s Club, Freshkills and Hellno, and renowned producer Andrew Schneider (Cave In, Converge, Made Out of Babies, Unsane, Keelhaul), Pigs confront the senses and imagination with a unique and instinctive fury of intensive sonic weight and antagonistic adventure. To find out more about the origins of Pigs, the member’s numerous and constantly commanding projects, Cheap Trick and more, we had the pleasure of talking with guitarist and vocalist Dave from the NYC band.

Hello Dave and welcome to The RingMaster Review, many thanks for taking time to chat with us.

Firstly can we get you to tell us about the beginnings of Pigs, how you all met and the spark to form the band?

Jim Paradise and I had known each other for years from playing in Players Club together.  In 2008 I had demo-ed 20 or so songs playing guitar, and let Jim hear them.  He then suggested we start a new band.  Pigs was born.  We started out as a 2 piece then hired Bob Russell on bass and Eric Cooper on guitar.  Bob could unfortunately not tour because of his work, and Cooper moved to Texas.  Enter Andrew Schneider… Andrew and I met while he was recording a Keelhaul record at his studio.  I asked if he would record the next Unsane record and join Pigs on bass, he said yes and yes!  He’s been with us ever since.

You were heavily involved in other bands at the time of coming together, and of course continue to be, so did Pigs simply come out of filling spare time between projects or was it an idea long in thoughts and the waiting?

I had some down time and wanted to start a new project where I played guitar again.  We all clicked from the onset and decided to keep at it.

Initially the band was a quartet and now of course a trio; how has that leaner set up enhanced the band if at all?

10 million dollars divided by 3 is better than 10 million dollars divided by four?  Not sure if it’s better or not, it’s just the way it wound up.

You have just released the outstanding Gaffe EP, a three track incendiary bruising which for us feels like a natural offshoot of your 599359_727999003883154_249750389_ndebut album You Ruin Everything whilst pointing at an incendiary evolution in process. How does it feel from the inside?

I like the EP.  There was no conscious effort toward any evolution; I suppose that’s just how things go in general.  I like challenging myself, as do the other guys, which hopefully leads to a more interesting end result.

How has your sound moved from the first album, is there any aspect which you feel has found a particularly distinct step forward?

I’d like to think our sound would simply progress every record.  It’s something you have to work at but when it’s fun it should be no sweat.  We always throw around tons of ideas and keep the ones that strike as interesting and, more importantly, don’t sound like anything we’ve done before.

Does Gaffe present a fair representation or promise of what your current writing and sophomore album will hit us

Sure!  Hard to say though…  There will be some surprises…

How do songs come about in Pigs?

It depends, some I write at home and bring ideas to practice for us to work on.  Often we just write together.

Are there situations where ideas maybe thought up for your other projects have found a perfect home with Pigs or in reverse, ideas created as Pigs you felt would work better in your other bands?

Nope.  All Pigs songs were written for Pigs.

How much time is there for Pigs in comparison to your other projects; is there an element of urgency to everything about the band, a need to explode in every aspect just to fit things in or is it a more relaxed situation time wise?

We’re all fairly busy when we’re home, but we always make time for writing and touring.  It’s just a more focused schedule but nothing terribly stressful.

Does the band in some way give you a creative freedom maybe less accessible in your other projects and bands?

We all went into this with no structured plans for Pigs at all.  We basically keep songs that feel right to us.  Then again I’ve never felt musically stifled in any other projects I was in.

pigsAs mentioned earlier Gaffe is three song storm containing two original and one cover. The new songs have, as well as an evolution in sound as talked of, a more defined voraciousness to their creative ‘scourge’ and intensity. Something you feel also?

Well, 2 songs are covers actually.  Cheap Trick and Betty Davis ‘If I’m in Luck’.  But why not!  Voracious and Scourgey as all hell!

You mentioned there the Cheap Trick song, a brilliant cover of Elo Kiddies, a song with for us where Cheap Trick meets Alice Cooper meets KEN mode. What sparked your choice of the song and how did you approach it to make the track something with a unique Pigs feel?

I’ve always wanted to cover that song since I was a teenager.  It wasn’t going to happen with Unsane, so it seemed appropriate. I don’t think there’s a secret formula to feel of it, we just learned it, tuned down and played

You have just completed a European tour with one of our favourite bands, French noise metallers Sofy Major. How did that go?

Terrible, those guys are jerks…  Ha!  Not at all, great band, great guys.  The tour was very fun, can’t wait until the next one.

…Any memorable moments?

All of them.

What comes next for Pigs, can you give any hints or secrets away about the next album?

New record in the late spring – early summer of 2014.   Whistling solos, tell all your friends…

That’s it for me except Melvins tours.  Andrew has a bunch of recording coming up as well as the re-opening of Translator audio soon!

Once again thanks Dave for sharing your time with us. Any final thoughts or words you would like to leave us?

No problem.  I suppose ‘Goodbye Cruel World’ would be a final thought…

Read the review of the Gaffe EP @ http://ringmasterreviewintroduces.wordpress.com/2013/10/16/pigs-gaffe/

www.pigsnyc.com

Pete RingMaster

The RingMaster Review 03/12/2013

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

Sons of Huns – Banishment Ritual

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Riff clad and groove shoed, Banishment Ritual is one of those albums which is so hard to tear yourself away from once it has its eager and rapacious hooks deeply entrenched within the ears and passions. Sculpted by Oregon trio Sons of Huns, the eleven track release is as virulently contagious and thrillingly magnetic as any stoner/heavy metal confrontation to come along over recent months and though its originality can be argued and debated the album is a ridiculously easy to devour magnetic treat. Since 2009, The Portland band has been firing up and building a keen and potent home fanbase since forming but now with the release via EasyRider Records of the riotous Banishment Ritual, expectations are simply rife with the expectation that the band will soon be recognised and cooed much further afield.

Consisting of guitarist/vocalist Peter Hughes, drummer Ryan Northrop, and bassist/vocalist Shoki Tanabe (who has recently departed the band to be replaced as touring bassist by Aaron Powell of Belt of Vapor), Sons of Huns has already earned a major reputation for their live performances which has seen them grace numerous Portland festivals and stages supporting the likes of Red Fang, Andrew W.K., Danava, and also comedian Brian Posehn. The band’s 2011 self-titled EP drew potent acclaim as did the 7” single Leaving Your Body, but you feel as debut album Banishment Ritual stomps and ravages through the ears like a sonic terrier on heat that everything before was mere foreplay for the real thing.

The title track opens up the storming exercise in persistent dramatic riffery and rhythmic entrapment with an eager swagger and Cover Artfiery breath if not the rabidity and aggressive attention grabbing shown in later tracks. A warm blues squall wraps the guitar enterprise whilst the vocals have a strength and expression which matches the sonic intensity and melodic tantalising veining the track. It is a compelling accomplished start which lays down the appealing canvas for greater things to play upon starting with the following Argenteum Astrum.

The second track is a delicious flame of sci-fi inspired adrenaline coaxed stoner rock ‘n’ roll, a merger of Motorhead and Red Fang with the sinews of Black Tusk rippling throughout its contagious charge. The band is equally unafraid to twist and shift things around within the charge, a slow melodic croon teasing the senses midway in for a mesmeric enticement that tempers and compliments the sturdy riffery and thumping rhythms. It is the first of a few pinnacles closely followed by the mighty seduction of Heliolith, a track where grooves entice places which should never be felt up in public and riffs cage thoughts of escape with resourcefulness and irresistible addictiveness.

The dual assault of Horror In Clay and I’m Your Dad bring the album to another peak, the first with a blues crafted energy and rampancy which flirts with the passions through evolving gaits and inquiring sonic imagination whilst its successor, the best track on the album is pure undiluted bruising rock ‘n’ roll. Part early Queens Of The Stone Age and part Black Sabbath with a spattering of Trucker Diablo, the song emerges as a unique and exhilarating blaze of voracious enterprise to ignite a greater rabidity to the already spawned hunger for the album.

Following the decent but out of place amongst the other tracks instrumental Waking Sleep, Sons of Huns unleashes another incendiary device for the passions with the intensive infection of Planet No. 9, another track where grooves are as epidemically inciting as the riffs and rhythmic confrontation. With strong vocal harmonies to aid the always enjoyable delivery of Hughes and Tanabe, the track storms the barricades with charm and insatiable energy aligned to aggressive endeavour and addiction forging adventure. Seriously challenging for best song on Banishment Ritual it gives a tall order for the rest of the album to live up to.

Both the smouldering lure of Lord of Illusion and the garage rock escapade of instrumental Rollin’ the Dice make a fine if unsuccessful attempt, the pair as many of the tracks breeding a psychedelic air to their stoner and blues emissions, whilst Super Kanpai Rainbow steps up to the plate with an impossibly infectious temptation of garage punk and metal merged into a psychedelic psyche taunting with sonic colour as vibrant and transfixing as the imagination spawning its intriguing and thrilling offering.

Completed by final stoneresque fire of Oroboros, The Sword meets Led Zeppelin to give a whiff of its heat, Banishment Ritual is an outstanding release which makes a stronger persuasion with every encounter.  Maybe not strong on originality but towering in every other aspect, it is an outstanding full length debut placing Sons of Huns towards the frontline of stoner/blues metal.

http://sonsofhuns.com/

8.5/10

RingMaster 03/12/2013

Copyright RingMaster: MyFreeCopyright

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