II II II : A Conundrum On My Coffee Table

Something wicked this way comes, an exceptional experiment of sonics, sounds and adventurous sensibilities to engineer the deepest ardour. Plenty of releases excite and thrill the senses but just a few ignite a fire of passion and deeply rooted rapture for the sounds they offer. One such rarity has just been unleashed into the world by II II II. The project from former Mishkin vocalist Ben Davy is sensational and its debut release without doubt one of the most enthralling and intoxicating pleasures of 2012. The A Conundrum On My Coffee Table EP captures the imagination in every aspect, its innovative weaves and inventive teasing an invigorating breath of fresh air which like the band name inspires thought, intrigue, and a hungry anticipation which is quenched with staggering ease.

Being a massive fan of the now deceased Leeds band Mishkin, the excitement of hearing from Davy with the EP was immense and

Ben Davy

arguably placed higher expectations on the impending release than any other new record might have to prove itself against. It was child’s play for the release though, its six tracks leaving hopes as just inadequate musings when placed before their creative triumphs and exhilarating sounds. Fusing  blend of mathcore, metal, jazz, and rock, the release is an experimental tempest which offers essences of Faith No More, Mishkin, 6:33, Mike Patton, Dog Fashion Disco and much more, all honed into a unique and compelling encounter. The tracks are slight sonic swipes, colourful aural blades which barely worry a third minute but are rigidly magnetic in the time they take to transform the emotions into a compliant subservient.

Dog’s Lost His Bone swaggers in with sultry melodies and bruising basslines over firm rhythmic slaps to immediately pull all focus in its direction. A tempest of delicious enterprise and aggressive sinews the track is a storm of scattergun like energies and sounds honed into deliberate patterns and senses manipulating structures. It is glorious, an evolving beast of sound which ignites every corner of mind and heart. The track reminds of Guano Padano at times especially their recent collaboration with Mike Patton, whilst offering the ever shifting weaves which marked Mishkin and the technical mesmerism of a Karnivool.

From there things just venture into arguably further elevated areas of psyched investigation and musical excellence. Firstly the psychotic HITPTYGWYDIYL exposes the nerve endings with its wanton melodic caresses and scything rhythmic malevolence, the track a piece of aural sculpture which teeters on insanity. It like the first song is just irresistible, a brief unpredictable expanse of taunting and challenges bringing the richest of rewards. If the likes of Polkadot Cadaver give you a buzz, this track as the release will have you feeling like a teenager on your first sexual quest.

No Condition and Memories follow with their own individual ingenuity, the first a tirade of white hot sonics and argumentative riffs with a smouldering seductive centre and expressive challenging gest, and the second a flash of thought exploiting invention which leaves nothing less than heightened pleasure in its wake. In addition to the previous mentioned references the release inspires there is a sense of the maniacal mischief of 12 Stone Toddler to this pair of songs bringing yet another refreshing and inspirational flavour to the whole experience.

The release is completed by the ravenous craft of The Key To Denial and the serpentine Shingles. The former is a sizzling encounter, a face to face with the devil in aural form, its sonic tongue licking over the senses with insidious sexual greed to leave you tingling whilst grinning in sheer pleasure. Like all the songs it caresses and investigates the body like an insatiable lover whilst all the time stretching and twisting their prey with their venomous desires.  The latter is even more dangerous behind its jazz lined melodic brilliance, the passage of almost corruptive challenges and dazzling invention just breath-taking and magically intrusive.

A Conundrum On My Coffee Table is pure excellence, a release coming in the closing days of December which sets the highest standard for 2013. The EP is an essential investigation and a must get with its name your own price offer on the II II II Bandcamp Page… so go on off you go.

http://ii-ii-ii.bandcamp.com/

https://www.facebook.com/pages/II-II-II/100277240054308

RingMaster 30/12/2012

Copyright RingMaster: MyFreeCopyright

Fen: Of Losing Interest

From initially being an intriguing and pleasing presence in the ear to becoming a persistent and incessant returnee long after its departure, Of Losing Interest the new album from Fen is a thriving infection gone wild. Given the chance and deserved attention the album becomes a niggling treat for the psyche with its contagion of progressive melodic enterprise, insatiable rock n roll hooks, and mesmeric shadows. It is a release which expectations assumed would be decent going by recent history and reality shows is something far more impressive and deeply pleasing. It is an essential investigation for all which just falls short of making album of the year claims.

Of Losing Interest is the fifth album from the quartet from British Columbia which formed in 1998, and the second for Ripple Music. Previous album of 2010 Trails Out Of Gloom was the introduction for many of us to the sounds of the band, the critically acclaimed album a melancholic progressive weave to unsettle and ignite the senses. The new release is said to have taken its breath from further back in the history of the band, its heart returning to the more metallic and heavier aspects of early Fen. If that is so is for those acquainted with their first trio of albums to confirm but Of Losing Interest is certainly a robust and energetic beast as eclectic as you could wish and with muscles rippling and twisting with eagerness. It does not neglect its progressive imagination either and delivers lyrics and sounds wrapped tightly in the darkest shadows the band loves to frequent.

The album brings together a band line up first assembled in 1999 of vocalist/guitarist Doug Harrison, lead guitarist Sam Levin, bassist Jeff Caron, and Nando Polesel on drums. The foursome combine upon Of Losing Interest to offer nine tracks which thump the senses into eager submission whilst hypnotising them with a technical prowess and melodic invention which often leaves a shortage of breath in its wake. It inspires and thrills constantly to make the near forty minutes in its company only ever rewarding.

The album opens with Riddled and immediately ruffles the ear with explosive metallic riffs. It then settles into a melodic gait with the vocals of Harrison weaving his tones and words with a sure elegance whilst the guitars stroke the atmosphere with gentle imaginative invention. The beats of Polesel are strong though give the impression of a beast just waiting to burst from the cage the gentler stroll of the song allows whilst the bass of Caron stalks and prowls with menace and attitude. As the track evolves it throws of its ties to create a storming attack of sprawling riffs and inciteful rhythms.  It is an outstanding start which immediately shows the intent and turn of direction in the sound of the band.

The title track saunters in next with further addiction making sounds and intent. Bringing a Tool like craft into a fusion of melodic enterprise and barbed hooks which would not be out of place in Soundgarden or early Bush compositions, the song lights up all the right spots inside and to be honest as enjoyable as their previous album was there is already the strongest feeling that this is where the band need to be, the sounds and songwriting so imaginative and vibrant.

Every song borders perfection but some rise to greater heights than others for personal taste, the first being Nice For Three Days with its bruising charm. It is an impactful distillery of bristling energies and caustic melodic rubs which leaves one gasping in delight. Imagine the feistiness stripped from the likes Mondo Generator and Foo Fighters and given extra volts of Kyuss attitude and you get Fen on this excellent song.

The explosive multi faceted The Glove takes one to greater plateaus next with its slightly Dog Fashion Disco spiced shifting interactive play for the senses. The song is an exploration of greedy riffs and teasing melodic manipulation which excites on every level.  Drunken Relief and the closing Snake Path again leave one with raging fires of pleasure inside, the first being a dark weave of creative lyrics and oppressive yet incendiary sounds. The song one is magnetic, its shadowed heart nightmarish whilst fully compulsive. The final song leaves one wonderfully agitated with its unrelenting catchiness and irresistible energy. It is arguably the least involved song on the album but as deeply infectious and warmly inviting as any.

If the likes of Tool, Incubus, Porcupine Tree, Soundgarden do it for you than Fen and Of Losing Interest is a must. The album offers so much more though that all will find plenty of pleasure within its walls, it is melodic rock at its best.

https://www.facebook.com/fenmusic

RingMaster 13/08/2012

Copyright RingMaster: MyFreeCopyright

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Kyshera: Made In China

Let us not beat around the bush about it, the new album from South Wales band Kyshera is simply exceptional, a kaleidoscope and maelstrom of ideas, invention and intrusive imagination that provokes as strongly as it thrills. Made in China leaves one on a lofty high whilst deep in thought with its startling and captivating sounds, challenging intent, and unique ingenuity.

     Kyshera (pronounced K-eye-she-ra) are a trio who refuse to conform in life and musically without that becoming a uniform in itself, they are in their words “anything that is otherwise indefinable”. This makes for a release that is completely unpredictable and deeply diverse but without falling into indulgences or a disconnected mass of invention. The album and songs have a seamless flow which at times wrong foots and leaves one open mouthed but still fully engages and makes one part of the schizophrenic soundscape. Following up their debut album Paradigm, vocalist/guitarist James Kennedy, bassist Matt Warr, and drummer Phil Smith, have created a masterpiece of ingenuity that takes one through a multiverse of thought, complex and simple ideas, and music that stirs up and inspires fully. They and their lyrics are deeply political which challenge personally, socially, and confront, all brought with accessible yet equally provocative sounds.

Released via Rising Records, Made In China is an album that connects instantly but holds a depth and thick wealth within that makes each visit a new and rewarding experience. From the opening Terrorists the band hit hard but with definition and glorious senses shuffling invention. Beefy riffs and sturdy rhythms pounce immediately to give the perfect wake up call to the immersive melodic jazz lined manipulations that follow. A continual side stepping into distinct and unique areas keeps the song a brewing challenging mesh of feisty intensity and melodic enterprises that scorch and caress equally. The result is a track that takes the essences of the likes of early Incubus, Faith No More, An Entire Legion, and Dog Fashion Disco into the politic and aggressive steel of Circus Of Dead Squirrels. The song is magnificent and one of the best so far this year, something the remainder of the album eagerly and mightily challenges persistently.

The following steely and caustic instrumental The Game destructively twists the senses inside out leaving them open for the rollercoaster of enterprise that is Sex & Drugs & Rock ‘n’ Roll. As if you were searching through the wavelengths on a radio of ideas the song flickers with seemingly disentangled sounds and diversions which all flow perfectly within an overall warm mellowness that still stirs up emotions continually.

Each song is thoroughly compulsive and blindsiding, the examples of the majestic and threatening Sugar, the distressed surface and effect lined Germ, to the irresistible groove metal spiced Mannequins and the wondrous rock Superstar, leaving one wondering and thrilled.  The second of these songs is mighty, a stunning track that brings its ominous atmosphere through beautifully crafted melodic beckoning and emotion poking sensibility, it is brilliant a seeming fly in the ointment but giving the opposite reward.

Every song is a conjuration of well thought out and realised imagination but also evidence of the skill and ability of the band in songwriting and its realisation. From the infectious and immense voice of Kennedy and his striking and emotive guitars, the magnetic basslines of Warr which can maraud, plunder or mesmerise with equal control and unfettered eagerness, to the beats and rhythms of Smith which takes one on intense intrusive journeys or tender beckoning strolls with pure accomplishment, the trio own the heart and soul with sure quality and innovation.

The latter part of the album is just as fulfilling and emotion teasing as the first with songs like the at times surreal and magnetic Messiah Mask, the 70’s rock spiced title track, and the imposing homeric closer Ants leaving one breathless, bedazzled, and urgently eager for more.

Made in China is staggering, an album that deserves all the acclaim it gets and more. Kyshera may not want to or do conform but there is no escaping the mass uniform of adulation that will surely come their way with the album.

RingMaster 26/04/2012

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Chopstick Suicide – Lost Fathers and Sons

If you ever fancy having your ears blistered and senses twisted inside out and stretched from pillar to post, then Turkish mathcore band Chopstick Suicide are eager and ready to do a very satisfying job with their new album Lost Fathers and Sons. A band that is as new to you as to us I am sure, Chopstick Suicide have come up with a tasty release that intrigues with fine unpredictable invention and pleases with a vibrant vein of dark humour and intent. The band fuse numbing heavy riffs and bulky intensity with jazz infused melodic ingenuity and head spinning discordance. Think Dillinger Escape Plan with a twist of Everytime I Die and Dog Fashion Disco and you get a feel for their distinct manipulations. The eight track album is challenging and a test upon the ear at times but it is thoroughly rewarding given time and room to violate.

From Istanbul the band formed in 2008 releasing their debut EP Recycle Your People in 2008 and first album Loserville two years later. A change that saw the current line-up of vocalist Mert, guitarist Yagiz, bassist Cem, and Alican on drums in place, released the Small People, Broken Glasses EP last year and now follow-up its strongly received  attention with Lost Fathers and Sons via Turkish label Peyote Müzik. One still feels with this release that without a slice of luck they will remain an underground name due to one assumes a limited exposure the label can give the album worldwide but once heard it is hard to imagine many not taken a shine at the very least to the sounds it offers.

The album goes for the jugular from the off with Everyone Sleeps But Me, the track winding up the senses until they snap with an eager groove, disruptive rhythms, and storming stuttering riffs. The guitars grin with a wicked glint as they twist the nerve ends with manic delight then chuckle as they surprise with some inspired jazz flavoured infusions. The vocals from growls to rough group harmonies work wonderfully alongside the decisive nastily hypnotic sounds and though when Mert slips into a cleaner approach there is a loss of strength to his delivery the song is deeply agreeable.

This is a great and powerful start to the release that is soon equalled by the following song The Chalk And The Matter. With even more intensity and mass the track marches through the ear with chugging riffs to evolve into an unrelenting battering of boisterous rhythms entangled with scorched melodic guitar jabs and a mesmeric jazz funk interlude. The maelstrom of sounds as on every track verges on lunacy and what a deeply pleasing wild ride it is.

The likes of the ravenous Shores Are Not For Vacancies, the wonderful barely controlled Television Television, and the belligerent As I Lay Fail, all continue the impressive level and leave one gasping for breath under the pummelling and unique invention the band thrust through the ear. The album will not work for all; those wanting an easy journey will run for cover shaking heads but for those with adventure to their tastes Lost Fathers and Sons is one stirring experience.

The album does not come without flaws though not majorly damaging ones. At times the release hangs almost too far over the ‘throw everything in the pot’ line to diminish the effect a leaner song would have offered but there is nothing that deeply detracts from a great collection of songs. The other aspect that does not quite work is the clean vocals of Mert, as a growling vocalist he is supreme and when he merges that into a smoother grizzled attack he is excellent too but straight clean vocals are not his forte as shown notably on Your Average Hero. Hopefully they will stick with the coarser attack in the future or bring another voice in for any clean elements they infuse into the songs.

The release ends on the wonderful punk riot of Kolpa, a straight punk /hardcore unbridled bomb of fun. It does not really fit with the rest of the album but is simply a bedlamic bundle of eagerness that has one grinning broadly especially the closing electronic repeating of the name Lene Lovich.

Lost Fathers and Sons is great fun and an accomplish work of musicians who have an ingenious and slightly insane creative ability to excite and pleasure. You may not have heard of Chopstick Suicide yet but go change that right now with this excellent album.

www.facebook.com/chopsticksuicide

Ringmaster 28/03/2012

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