WVM – The End Is Only The Beginning

    The End Is Only The Beginning is the upcoming album from multi-instrumentalist, songwriter, performer, programmer, and visual artist WVM and also the EP which is an appetizer to the imminent album. We are taking a look at the five track EP and it has to be said that the album simply cannot come soon enough. Bringing together a stirring and enthralling mix of industrial, metal, gothic rock, and fiery electro, WVM has created a sound and release in The End Is Only The Beginning which incites only the hungriest appetite and passion. It is a tremendous force of invention and invigorating creativity which is as accomplished and as happy to caress and seduce as it is to ravage and violate, both extremes greedily welcomed when fused together this impressively.

The EP we assume is the recording debut of the Los Angeles based artist, but is a release showing the craft and touch one would expect of someone well-endowed in experience and know how on how to bring the strongest potency to his armoury. Whether his history is one of numerous endeavours or actually is his first appearance in any form, the stature of the songwriting and its stunning realisation is immense. Mixed by Sean Beavan (Nine Inch Nails, Marilyn Manson), whose private studio Blue Room Studio WVM was given access to for the recording of the vocals, the EP can be best described across its length as Nine Inch Nails meets Gary Numan and The The with additional flames from Marilyn Mansion, Depeche Mode, and Fear Factory, individual tracks offering different permutations.

The opening pair of tracks on the EP immediately exploits the appetite for muscular enterprise and resourceful melodic persuasion with expressive and riveting creativity. When Universes Collide, one of three tracks featuring Josh Freese (Nine Inch Nails, A Perfect Circle) on drums, instantly chews on the ear with raptorial riffs and exhausting rhythms before expanding its sinews to allow the emergence of scintillating electronic washes and equally excellent vocals, the tones of WVM clean and expressive yet with a steel to match the forceful sounds. Into its stride the track is a mountainous march of epic atmospheres and impacting intensity which engages an anthemic breath to its incendiary presence. It is an adrenaline coursing encounter in contrast to the slower more deliberate prowl of The Echoing, though both tracks are equal in their potent impact and invention. The melodic and vocal embrace of the track has a smouldering heat to their contact whilst the heavy stance of the track alongside a Ultravox like electro inducement, consumes with a weight which devours and rewards with mutual greed.

The outstanding Black Sun makes its entrance upon electro affected vocals and a brewing ambience which is warm yet provocative of something larger to come. What does rip from its expanse is a thrilling weave of electronic elegance and ingenuity forged to a heavy rock spine complete with metallic lures and hooks. Across its sizzling twisting invention and unpredictably shifting stances, the track reminds of John Foxx era Ultravox with the ravenous energy of Pitchshifter and further magnetic sonic temptation of Celldweller, whilst the guest appearance of Chris Vrenna (Nine Inch Nails, Marilyn Manson, Tweaker) on drums only drives its vigour deeper.

For A Better Tomorrow steers its presence towards electro pop with a definite eighties lilt, though again the rhythms and vein of the song still holds intimidation and weight to charge up the desires of any metal favouring fan, the beats of Freese showing no interest in taking it easy on the listener. The melodic caress of the synths is bewitching and with the compelling menace courting its charms, the likes of Trent Reznor, Numan, or even Thomas Dolby spring to mind.

Closing song Escapism, again with Freese adding intense bone to the sublime industrial encircling of the senses, roams around and preys on the passions with the strongest NIN influenced presence on the release whilst aligning those flavours to its own carnivorous snarl and persistent sonic taunt. It is an exceptional end to a tremendous EP in quality and endeavour. WVM is on the path to great things one can only surmise with this outstanding release whilst the full album of The End Is Only The Beginning cannot come soon enough.

https://www.facebook.com/WVMOfficial

http://www.wvmmusic.com/

9/10

RingMaster 15/03/2013

Copyright RingMaster: MyFreeCopyright

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Dark Energy Discoveries: The Cosmic Light EP

    The Cosmic Light EP is an intriguing two track release by Dark Energy Discoveries which combines the shadowed corners of dark electro and industrial with the shimmering radiance of electro pop and warm ambience. It is a deathwave fuelled encounter which challenges and mesmerises in equal strength and mystery and leaves a certain desire to know and hear more.

The little info which seems to exist about the project declares that ‘A clan of inter-dimensional beings have joined forces to explore the ever-expanding reaches of existence through the intersticed galactic portals of the Ravener and record those Distant Wisdoms they uncover. They will encounter strange, enthralling worlds and realms of science, magic, and arcane knowledge. This team of abnormal sages is known throughout and beyond time and space as Dark Energy Discoveries.’ Now for personal tastes this poetic kind of story only raises more options to ignore than investigate but it would certainly be a mistake in regard to Dark Energy Discoveries. Their EP is a free release to lead into  debut album Distant Wisdom and as said an intriguing as well as magnetic invitation into the band itself.

The title song emerges from a brewing ambience of crystalline ambience complete with heated melodic brilliance and compelling electro resonance. Once into its stride the track expands to embrace the senses with firm heady beats and a consuming dark wash of emotive breath wrapped in the continuing golden electro persuasion. The dual vocals are the first element to ask questions of thoughts and reactions, the clean smooth vocals accompanied by a restrained yet caustic malevolent delivery offering a black metal vein to the now enjoyably imposing piece. To say the track is Ultravox meets Cradle Of Filth with Ghost In The Static and God Destruction in attendance would not be that far from the mark even if still vague in revealing all that is going on within song and release. It is a compelling track which lingers and continues to tease thoughts long after its departure as does its companion.

Beyond The Ashes is a gentler caress though no less impacting in sound, imagination, and in the craft to inspire uncertainties, delight, and questions. The harsher vocals this time have a more spoken narrative to haunt alongside the once again impressive clean delivery as well as the glowing electronic shards and rays of aural flames and sunlight. As its sister track, the song immerses ear and thoughts in a soundscape of glorious sonic colours and vibrant shadows which float across and around the heat of the piece.

The Cosmic Light EP captures the imagination with ease and leads to a keen desire to keep close attention on band and their forthcoming album.

Check out and grab the EP at http://soundcloud.com/darkenergydiscoveries or http://darkenergydiscoveries.bandcamp.com

https://www.facebook.com/DarkEnergyDiscoveries

7.5/10

RingMaster 27/03/2013

Copyright RingMaster: MyFreeCopyright

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Kasket: August Fades EP

The August Fades EP from Kasket is a mesmeric three track piece of soundscape and ambient beauty. It does not seemingly pick on particular specifics for its pieces of music but draws on and explores the essences of things to fire them with his distinct imagination. Eclectic of sound and ideas, the songs within the release ignite thoughts and personal imagination whilst providing a soundtrack to inspired individual thoughts and visions of the listener. The release is magnetic without being wholly infectious and impactful without being forceful, simply engaging pieces of intelligent and inventive composing brought with skill and vision.

Kasket, or Charlie Baldwin as his parents named him, is a 22-year-old Brighton based musician who uses and explores electronic music as texture to his ambient compositions, his approach unafraid to bring a raw presence alongside captivating melodic touches and whispers. From a musical family, his father a world renowned jazz guitarist and mother and brother also playing instruments skilfully, his early career saw him playing drums alongside such R&B/Jazz luminaries as Geno Washington and Ralph Salmins as well as with Gary Husband, Mo Foster and David Hentschel. All the while he was writing his own music, exploring and evolving it until he found the sound he was happy with.  His first release came with diaMind records in the shape of the well received Torn Letters EP, to be followed with the equally successful 4her EP via Screwloose Records. August Fades is the next step as his music moves forward and is released by the legendary Apollo Records on September 10^th.

The three tracks which make up the EP are all impressive but the opener Fallen steals the show. It starts off like a percussive mix of wind chimes and water features all with an oriental lilt to immediately captivate and send the mind into new avenues. Baldwin loves to fuse electronic energies with live percussion and drums, sounds he has found, and synth woven beauty. This track is the perfect example of what his intent musically is and how successful he is at its realisation. The song swarms and envelopes from ear to heart taking in thoughts and emotions. It transports one to an elegant and mystical world which has a familiar and warm heart ensuring an almost siren like kiss upon the senses with a vibrant and lively endeavour. With vocoder spawn vocals the song pulsates and vibrates with a heated shimmer and enthralling gait to leave one full immersed within its striking world.

The following Mia feels dulled in comparison to and alongside the opener but taken alone is an emotive and provocative R&B laced piece of music. With a cinematic flavour which could see it guide any teen angst/emotional and reflective movie scene, the song again lights up thoughts and ideas, the release as a whole the instigator of stories rather than a narrative.

The closing title track opens with an industrial presence which from initially feeling like it would take a cold and maybe apocalyptic avenue emerges as another heated piece of electronic caressing. Its touch is ruffled and presence edgy but it is soaked in hope and warmth to steer the shadows away from the core of the song, banishing them to its limits and expressive atmospheres. Like the opener it is a more potent instigator of feelings but still has to bow to the might of the opening song.

August Fades is an impressive release which plays beyond the ear to involve and employ all the senses and thoughts available. It is imagination at its most compulsive and captivating whilst Kasket is a composer and artist one only wants to hear a lot more from, and surely we will.

http://www.facebook.com/kasketmusic

RingMaster 08/09/2012

Copyright RingMaster: MyFreeCopyright

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Makoto: Another Generation

Photo by Ben Beech

A notable exponent and innovator in drum and bass Japanese producer Makoto Shimizu, better known as simply Makoto, releases his first EP on Apollo Records in the mesmeric shape of Another Generation. The four track release is an imaginative and soulful electronic piece of composing which lights up the senses from beginning to end. It has a distinct heart and inventive breath which without fail inspires thoughts and imagery at every turn.

It has to be said we have no real knowledge or previous understanding of drum and bass or the technical elements which Makoto utilises and explores so well but as just music the release leaves one with strong and vibrant emotions and for us how music makes you feel outweighs how it is made so that is what we will share.

Makoto since his debut album Human Elements in 2003 on Good Looking Records, the seminal imprint of legend LTJ Bukem, has created acclaimed and inspirational soul and jazz flavoured sounds and the new release is no different. The tracks on Another Generation are living and evolving pieces with individual hearts and energy. The EP is electronic contemplation brought to life, a dawning energy which envelops and feeds the imagination.

The release opens with the title track and instantly switches on firm attention to its magnetic gait. As the track brews and emerges into its full height the beats scurry over the ear with incessant persistence, an irresistible itch which within you find the deepest pleasures. The melodies swarm and stroke the ear with dazzling elegance, their crystalline sunspots mini explosions within the ear which collect to form an ambient instigator of emotions. They make one think of and feel good times in the now and ahead, though the closing wave of the song carries a slight but noticeable shadow.

Summer Nights follows and brings a marvellous journey of atmospheric warmth. Once more the beats leave their persistent footprints upon the senses whilst the synths ignite the skies with glowing melodic invention and heated enterprise. The jazzy flight of the song with its soaring caresses takes one in to the deep balmy climes of the darkening hours, the departing sunset leaving last strokes of pleasure before evolving into a brand new world of thrilling energy. Close your eyes and the track is like listening to the night on fast forward, its life flowing at an industrious pace.

The release is completed by the arpeggio study 73 and the inciteful Skyline. The first is a short and shimmering piece of sound, the keys ebbing and flowing with an enthused yet meditative presence. It again fires up the senses into a realm of warmth to lead into the mixed emotive touch of Skyline. At times the piece has one amongst the skies sweeping within rays of light and in other moments a haunting and sinister mood wraps itself around thoughts and impressions. The great thing about the tracks on the release is though they suggest and represent the intentions of their author they leave a freedom to find our own colourful landscape to each journey.

As mentioned we have no depth to our understanding of the genre which forms the nucleus to the creativity of Mokoto but we know what we like and what brings a fire to senses and thoughts. The Another Generation EP does that skilfully and with class.

http://makoto-music.com

RingMaster 09/08/2012

Copyright RingMaster: MyFreeCopyright

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Conformist – Paid To Fake It

Paid To Fake It from UK electronic conjuror Conformist is one of those treats which is near on impossible to describe, a tall order to give a representation of to others in words, and ridiculously easy to be infected by. The album is a wonderfully schizophrenic patchwork of sounds and a raging maelstrom of energies and textures which leaves one on the edge of sanity and deeply enveloped in a consumption of for want of a better word, brilliance.

The Cardiff based Michael Simmons, the man behind Conformist, first lit our fires with his single Savages Go Modern!, the track which also opens up the album which is released August 6^th. The track drew great attention and acclaim as well as strong radio play and coverage which the album is sure to reinforce and explode. Simmons is a master at manipulating and layering sounds and samples into perpetually evolving aural creatures. He uses unexpected and startling noises in unison with samples from the likes of cable TV shows, shopping channels, talk shows, pornos, and the lower end of TV, to create destructive and constructive not to mention provocative mental intrusions. It is more than just cutting and pasting these things together though, his mastery ensures the pieces come alive and breathe with individual intent and attitude to create an overall journey of stark reality and suggested crumbling futures. The great thing is you can interpret things to your own thoughts and visions, so if the intent of Conformist evades recognition at times there is an equally impactful personal premise forming in its absence.

Savages Go Modern! riles up the senses from the off, its apparent disentangled elements fused perfectly into an edgy cluster bomb of magnetic blisters. From punk scuzzed guitar scrapings to post-dubstep baselines the track triggers imagery and thought whilst laying an infectious canvas to unleash the body upon.

It is an outstanding start instantly backed up by the spitting industrial ambience of Big City Buzz Band and the senses distracting punk fuelled Ladybug Ladybug. Both tracks are immense and build on the excellent opening with their own individual distressed soundscapes. Think the likes of Throbbing Gristle, Aphex Twin, Mindless Self Indulgence, and The Art Of Noise and you get a whisper of what triumphant goings on erupt within the walls of Paid To Fake It, but you can also add flavours from anything from Pere Ubu to The Fall or Pop Will Eat Itself to Ministry to the expansive palette the album explores and corrupts beautifully. The release plays like a further mutated soundtrack to an Eraserhead no more so than on the second of this pair, its presence a prowling expulsion to falsehood and safety. It is a glorious sonic mind fuck to willingly submit to and let shatter the world and its balance spiralling.

If you look under the industrial tag and genre there are a lot of bands which really are just abrasive metal/rock bands at most but something like Paid to Fake It for us is a truer entrant to that sphere. It distils and then further corrupts the sounds of life and an estranged world into an apocalyptic like honest distortion which offers irresistible contagion with a festering underlying truth. Tracks like Post Death Sales Spike and its manipulative deceitful world and Mr Grosse and Mr Playfair with its arcade/computer game trickery expose and assault the ‘misadventures’ of modern society to inspiring effect. Of course as mentioned things are individual in interpretation and it is that quality as much as the sounds which make for a powerful involvement.

Further highlights like Schrodinger’s Cat and Panic Buying continue the album as a mesmeric and disturbing treat. By the end one is breathless with a torrent of ideas and thoughts raging inside. Paid To Fake s outstanding and though it will not be for everyone it is essential listening to all who need something more than a good tune. It is experimental and unsettling as well as forthright and wholly satisfying. Conformist is an artist who understands and soundtracks the real world better than any other.

http://www.conformistmusic.co.uk

RingMaster 03/08/2012

Copyright RingMaster: MyFreeCopyright

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Torpedo – Black Chronicles Vol.3

Having been previously impressed by the first two releases in the series the anticipation for Black Chronicles Vol.3 from Torpedo was keen upon news of its release. Once more bringing the dramatic instrumental sounds of Torpedo Beatz into a union with the rhyming and MC skills of varied rappers the release continues the impressive levels and inventive sounds as found on the first pair of instalments.

Serbian musician and composer Torpedo Beatz has a distinct almost cinematic style to his composing, his pieces bringing an often haunting and always enthralling feel and emotion to the songs. The new collection of tracks is no different, his music bursting with tension and magnetic melodic invention to compliment and explore the hard hitting expression of  emerging lyrical and rapping talents from around the world.

Some of the highlights of previous volumes of Black Chronicles has come with the pairing of the composer with the excellent and always powerful American rapper Wrath. The new album sees the track Requiem For A Sell Out repeat the team up and success with the featured addition of Maniak. Off of a slowly dawning opening with the words as belligerent and combative as you could wish, the duel vocal attack punches forth intent and strong views whilst the music wraps around them with a glowing and tight grip. With a slight Twizted feel to the piece Wrath and Torpedo still leave most in the shade when they combine.

Another impressive artist who is introduced on the album for the first time is Dark Guerrilla Chato and his Dark Guerrilla Chat crew. From Orange County, Southern California, they bring four powerful standout songs to the album. The first Wicked Violenze with a Halloween tinted horror sound pulsating behind the aggressive and angry attack is a strong first meet without lighting any flames of passion but it does not take the following Revenge, Dark Melody, and Barbarious long to hit the deepest spot. The first of the three immediately offers a growing menacing atmosphere from the music to encompass the malice spitting rapping and intimidation within every syllable. It like the first song from the crew is a notable entry without leaving deep scars but the remaining duo fix that aspect with sure intent. Dark Melody the best track on the whole album, bitch slaps the senses with concise and malicious rapping whilst the music scythes through the ear with dramatic breath and sonic borne melodies whilst Barbarious bruises with further hardcore lyrical directness and almost niggling melodic enterprise from Torpedo. Like the team up with Wrath this is a union one hopes to hear a lot more from in the future.

The three tracks with Lemmy MC, a crew from Rottenburg am Neckar in Germany, are a lighter affair than those with Dark Guerrilla Chat, though still with an abrasive attitude to leave a good antagonistic taste in the ear. Musically the songs Hard 2 Da Core, Horrorcrunk, and Battle Continue are shaped to the distinct rapping and vocal attack bringing a blackened carnival like feel, its air and energy dangerous and caustic. The tracks though not quite finding the strength of those already mentioned, leave one eager to hear more and fully satisfied.

The release is completed by Pali Andjeo with Serbian crew 2B4 Time who also featured on the previous volume of the series, and instrumental pieces from Torpedo which as always seem to light up parts of the senses and thoughts which most bands and artists fail to discover.  The 2B4 Time track is a slowly enveloping brew of distressed ambience veined with good vocals skills and imaginative sounds whilst the solo compositions could grace and soundtrack any dark hearted cinema treat or intensity driven emotion.

Continuing the established quality of previous releases, Black Chronicles Vol.3 is an excellent album which shows some of the best of the underground rap talent around the world alongside the inventive imagination of composer Torpedo. If you are looking for some fresh and different from rap and hip hop flavoured music than this album is an essential investigation.

Free download of Black Chronicles Vol. 3 @ http://www.trablmejker.com/emisije/35/2379

RingMaster 30/07/2012

Copyright RingMaster: MyFreeCopyright

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These Reigning Days : Living It Up

Made up of musicians with a pedigree which places the trio on an immediate accomplished level before a note is heard, UK band These Reigning Days has in its relatively short life been on a definite and steep rise. Formed by Dan Steer the former frontman and songwriter of The Quails, the band opened up their live aspect barely six months ago by supporting Metronomy and with the acclaimed release of their debut single Changes alongside, the Devon based three piece took no time in waking up and drawing strong attentive ears their way.

Releasing second single Living It Up, the band easily concretes and improves upon the impression from their debut of a more than solid unit capable of fusing strong melodies and intelligent songwriting into one infectious atmospheric sound. The new single lights the touch paper to the belief and promise that the band is well on course to becoming a major force in UK music, whether sooner or later it seems a must and with the talk of their impending debut album confidently laying claim to brilliance it could be the former.

Completed by bassist/vocalist Jonny Finnis (Numb) and drummer Joe Samsone (Morph), These Reigning Days create sounds to energise the ear through a blend of indie rock invention flavoured by mesmeric electro touches which without standing directly out tease and bewitch within the as on Living It Up, anthemic surging heavier sounds. Produced by Yoad Nevo (Pet Shop Boys, Duran Duran, Girls Aloud, Goldfrapp) the song is an expansive and enveloping weave of passion and stirring energy which leaves a lasting welcome impression long after its departure.

The track opens with the emotive tones of Steer cupped in the hands of elegant atmospheric keys and a building expressive ambience. It soon opens its arms to offer a muscular intensity evolving into a rampant and pulse racing energy but just as your expectations steady for the crescendo the song slips into its emotional shadows again to wrap further around the senses. With beautifully crafted continual switches between the slower impassioned grace and the lively almost feisty energy the song is a deliciously unpredictable yet undemanding pleasure.

If the album has songs even more enjoyable than Living It Up then it is sure to justify the high claim coming before it, if they are simply comparable to this single it will be a release which will enchant and excite multitudes and see These Reigning Days leaping to the fore front of UK indie music.

www.thesereigningdays.co.uk

RingMaster 26/07/2012

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Music Review Unsigned presents: Various Artists – PURE Vol.1

A few decades ago as punk and indie music rose to their heights you could not turn around without coming face to face with a compilation album showcasing new and unsigned bands certainly around the UK. Every city from Brighton to Sheffield and Liverpool to Belfast had an album or series of them to bring underground bands forward into a spotlight. That trend diminished over the years but there hopefully seems to be a new brewing resurgence in the concept if the growing number of albums already this year introducing emerging independent talent from around the world is to go by.

    Pure Vol. 1 from the music website Music Review Unsigned is the latest and a tasty morsel of new indie flavoured sounds and artists to treat and inform our ears it is indeed. Bringing forth twelve rising bands and artists the release is a nicely varied and eclectic mix which offer plenty of new vibrant sounds for most individual tastes and a consistency of quality which inspires enthusiasm for the direction of indie music.

The album is top and tailed by the two best songs on the album but the tracks in between are no fillers either. The album opens with the stunning When the Sun Sets from London based band The Mouth of Ghosts. The quintet ignites the air with balmy electronic caresses and a heated ambience to leave the senses enthralled and in rapture especially with the striking and gorgeous vocals of Alla Seydalieva. Taken from their latest EP of the same name the song is an emotive kiss brought with a strength and power to leave knees weakened. Fusing the moodiness of Portishead and the subtle pop of The Sundays to the dark shadows of Deftones the track is immense and leaves a tall order for the other contributors to match.

The final track on the album from Israeli band 3/33 are certainly up to the challenge and set the senses and thoughts racing with their song Rainy Day. Starting with a strong yet not immediately grabbing mix of slow dawning crystalline melodies and a gentle yet shadowed breath the song relentlessly envelopes and permeates with secretive intent. As muscular arms spread their welcome the track starts rippling with a passionate intensity and discord tinged cascades of guitars and vocals to raise the pulse rate. It is a mighty song reminding of Echo and The Bunnymen and The Cure around their A Forest and Pornography days. As with so many of the artists on the album the band and song ensure that eyes and ears will be closely paying attention to their sounds ahead.

The songs in between these two are just as impressively strong which is generally rare for a compilation just through personal taste alone but it has to be said not one song left a feeling of being underwhelmed or drew less interest, all instigating the urge to investigate. Without going into each song individually though and to leave some mystery for you to find out we will give a quick mention for some other personal favourites which excited with a little more passion.  These moments came with the excellent Reverie from UK alternative rock quartet The Dusk, This City by London duo Kissimmee, and the Bamboo Party song Warning Signs. The first of the trio again brings an air of eighties with its post punk/electro mesh filtered through a feisty rock energy and easily marked the Cheshire quartet as another band destined to make a big impact at some point whilst the pair of Leigh Alexandra and Drew Wale which make up Kissimmee powerfully offer up a big sound drawn from rock and pop punk which is openly impressive. Starting out with a flavouring of The Pretenders the song evolves into a full and flowing melodic charge which easily sits beside the best Paramore song. The latter of the trio Bamboo Zoo is an Irish quartet which lights up the air with an irresistible manipulation of teasing and magnetic guitar jangles, outstanding vocals, and blood pumping contagion.

As said though all songs are remarkably strong and easy to return to from the likes of the folk toned songs from Paul Brennan and Parallel, the rock punch of The Wall Street Thieves and Rosetta Fire, to the stirring sounds of Robb Murphy, A41, plus the sensitive strokes of Junah.

Available from http://www.musicreviewunsigned.com/mrupure.html Pure Vol. 1 is an album which leaves one in no doubt the healthy state of new music worldwide.

RingMaster 25/07/2012

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Shrikes: The Ruiner Of All Things Good EP

Shrikes is a band which quite simply defies labelling or any straightforward comparisons, their sound and creativity from a world and mindset of its very own. Their exciting debut release The Ruiner Of All Things Good EP is borne of this uncharted land, an unrelenting maelstrom of ideas, sounds, and distinctly different flavours which in most hands just would have no right or ease being alongside each other. Shrikes though is a band with invention and imagination found in so few and their EP one of the most exhilarating and inspiring releases heard in a long time.

With the demise earlier in the year of the outstanding Great Imitation there was a heaviness left in many hearts. The return of frontman James Scott-Howes though has not only filled the gap with something completely new and unexpected but with something which is even more impressive. The additional great thing about the undisputedly excellent release is it offers an equal and immense promise of even more orgasmic musical moments ahead.

Each track on The Ruiner Of All Things Good fuses an electronic/hip hop core into unpredictable and perpetually evolving aural breaths and directions brought by their own mouth watering uniqueness to ensure nothing merely matches expectations instead leaving those limitations to others to exploit. At times the sounds and ideas are as lethal and destructive as the inspiration for the band name whilst in others they enflame with a grace and disrupting discordance to leave safety nets redundant. For those who need a sure footing in their music Shrikes may be a challenge too far but life is nothing without adventure and intrigue and this release has it all in abundance.

The biggest highlight in a release of nothing but heights to give vertigo sufferers nightmares comes in the mighty form of Applauding With A Handful Of Snapped Fingers. From a glittering caress surrounding the forceful tones and aggression of Scott-Howes the track spreads its arms with a warm discordance coated sound and vocals. Scott-Howes is as unique as the music, his tones challenging notes wonderfully finding and stretching their limits to bring weaves of textures and energy around his spoken and more regular hip hop delivery. The song itself as on the release as a whole, envelopes the senses through shadowed atmospheres and ambiences, its course choosing sinister and insecure avenues to flourish within which most other bands do not see let alone venture. As the track surges with the added weight of punk attitude and metallic muscle to the sonic experiment the sense and awareness of something truly new emerging grows and strengthens.

The dark and disturbed Mare Aux Sange sets senses and synapses on full alert at the beginning of the EP, its disorientating ambience and corruptive intent intrusively provocative and suggestive whilst Third Eye Pinioned teases and envelopes the ear with an initial slightly industrial macabre before taking a breath to step in a acoustic melodic presence which has a distinct inviting hook. The song then explores and ripples with multi flavoured majesty again combining diversity and expressive ingenuity. As mentioned it is hard to truly represent with comparisons the sound the band create but imagine a brew of hip hop, eighties melodic prowess as of The Jam with slithers of Senser, World Domination Enterprises, and Great Imitation and you get a slight whisper of what Shrikes conjure.

Completed by the brief and arguably least successful track Milk With Knives, well in comparison to the other songs, and the tantalising I SAMSA, the EP is pure excellence and quite possibly the start of something special for UK music. The latter of the two tracks is one where a more direct comparison or influence can be offered up with a sound which reminds of Pop Will Eat Itself whilst with all the others songs combines to make the EP something all should pay attention to.

As much as Great Imitation will be missed by many Shrikes will and possibly already does transcend their promise with The Ruiner Of All Things Good. It is a release so remarkable that surely only the shallow and mundane will fail to response to its stunning and explosive glory. Lyrically and musically it leaves one open mouthed and wanting more and more and with its release as a free download from http://shrikes.tumblr.com/ makes a play for most original and striking EP of the year so far.

RingMaster 24/07/2012

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Era Hex – New Aeon EP

One of the brightest flames in European industrial metal in the past couple of years has come in the muscular shape of German band Diehard. They easily marked themselves as a band destined to have a say on the future of the genre with their album When Illusions Gone, an acclaimed release whose tracks found eager attention and airplay with the likes of The Reputation Radio Show. Comprising of Alexander Morte (Vocals/guitar) and Vic Torys (keys) the band has been quiet over recent months though Morte is always a perpetually creating storm as shown by the recent release of the debut EP from his excellent electrocore project Red Code: Revolution. The reason for the apparent step back into the shadows for the band has now come to light with the outstanding and impressive New Aeon EP from Era Hex.

Era Hex is the evolution of Diehard. It is not a band spawn from the ashes of its predecessor as Diehard did not die but the natural and impressive progression. Morte and Torys return with a heightened brew of their dark industrial sound, a fresh corrupting blend of death metal and electronic blood distilled in a symphonic air. The music still has that sharp consuming industrial air but it has grown and matured into its own unique hungry entity and one has to say it is something rather special as declared by New Aeon. Whilst still Diehard the duo added drummer Sascha ‘Quazar’ Pratnekar (ex-Deathronation, Necropsy) to their ranks and it was as the trio started writing songs and the realization that something new was emerging that the band changed their name to Era Hex.  Soon after the threesome became four when bassist Jochen (Svarta Faran) was recruited and the band found its whole.

The EP is made up of three hungry and stirring tracks rippling with invention and imagination without losing the power and intensity they are known for. The music it has to be said is strikingly elevated in quality to what came before and it was pretty mighty then. The opening track Era Hex gives immediate proof to that thought with its twisting crisp striding riffs bursting through the ear off of an initial atmospheric symphonic air. The production is cleaner than previous releases from the older incarnation of the band which allows the adventurous electronic aspects to erupt and light up the death march of intensity and blackened guitar work much more and to great effect. Vocally the delivery is a mix of death and black metal interplay full of malevolence from the darkest heart and is at times contrasted magnificently by the symphonic caresses from the voice of Torys. The overall effect is a song which leaves one enthralled and eager for more.

Off to a great start the release soon backs it up with the manipulative and sinister title track. With the vocals brewing a storm of spite and venom within a weave of warm synth conjuration the song intrigues the senses with incendiary sonics and waspish riffs which squeeze the synapses tighter and tighter as they prey upon the ear. The song evolves throughout adding more and more textures to its weight including a mesmeric Eastern flavouring to its blackened and scorched melodic breath whilst the intensity lies heavier and more firmly upon the senses.

The release is completed by Till The End, its herald on epic sounding chimes the lead into a majestic melodic atmosphere speared with predatory riffs and hypnotic intrusive rhythms from Pratnekar. As the track crawls permeates every corner it infiltrates the ear with scurrying sonics which whip skin and synapses with relish to bring an extra persistent and niggling treat within the corruption of malevolence. The song is the best of the trio as well as the most experimental though all stretch and explore with imagination their boundaries and hearts.

The New Aeon EP is not only the welcome return of artists which previously excited and gave some important moments for the ear to enjoy but also the beginning of something even more powerful and special. Given the evidence of the release it equally feels like Era Hex is ready to emerge from their previous respected standing to become a new force in European metal.

https://www.facebook.com/erahex

RingMaster 11/07/2012

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