Ventenner – Distorture

Ventenner

Sculpting a collection of startling and emotionally stark yet seductive soundscapes which combine for one immersive and compelling dystopian landscape, UK band Ventenner has unleashed one of the year’s most compelling incitements with new album Distorture. A release and experience which leaves the senses beleaguered and imagination ablaze from start to finish, it is a mouth-watering intrusion of aural drama taking the listener on a gripping and invasive journey into not only the heart of the album’s own narrative but their own shadows. It is an extraordinary proposition which persistently crafts and frees intimidating seductions and contagiously raw rages with every imposing twist and evocative turn, and simply gets better and more emotionally vocal over time,

The successor to the well-received This Is The Reason album of 2012, Distorture arrives after a movement in not only sound but the shape of the 2007 formed London band; Ventenner once the solo project of Charlie Dawe (vocals/synth) growing into a quartet with Jonno Lloyd (guitar), Ben Martin (bass), and Luke Jacobs (drums) now alongside him. The move has resulted in the new album exploring a more guitar driven investigation against the previous predominantly synth and electronics fuelled approach of the project. Released via Sonic Fire Records, Distorture presents a cacophony of industrial and post punk seeded noise aligned to chilled textures and melodic invention against barren yet mesmeric atmospheres. That though is still only a glimpse of the creative shadows and colouring presented by the sonic paintings confronting ears and thoughts.

The adventure opens with Rise, a raw and portentous ambience bringing the track into view before the instrumental casts a rhythmic enticement which is as challenging as the atmosphere brewing up around it. The electronic starkness is gently corrosive bait but tempered by the intrigue clad riffs which soon line-up to ignite the imagination. It is a dramatic introduction to the dark creative emprise ahead but just a teaser as swiftly shown by the outstanding Six Blood. A predatory stroll breaks out from the song’s first seconds, its gait cloaked in mellow and slightly monotonic vocals as well as grouchy riffs which cast a grizzled hue over the gripping scenery of the track. Nine Inch Nails meets early Pitchshifter, the song is a fascinating entanglement of textures and tones, a kaleidoscope of erosive sonic hues, compelling monotony, and emotional turmoil twisted into an addictively captivating tempest.

The following Wave is just as enslaving for ears and passions. Again a chilled terrain is walked by seemingly disinterested yet persistent riffs and vocals before exploding into incendiary roars which sear the senses and inflame the imagination. It is a demanding suasion of Gravity Kills like temptation and Die Krupps bred fury yet something wholly unique and pressingly bewitching. Its oppressive angst and fiery climate is followed by the openly different yet magnetically similar Unaffected, another abrasing furnace of sound and intent which takes the listener gently by the hand before throwing them into a turbulent pit of sonic rage and passion. There is an underlying tempting though, melodic and rhythmic, which nags throughout the tempestuous offering and has its loudest say in the passage of restrained emotion and sound which provokes before a climactic finale.

The instrumental title track gnaws on the senses next, its cavernous shadows and tones drawing on Killing joke and Wire seeding as a sonic haze haunts and provokes the emotions. It is an intimidating web of noise and intent which continues into the hidden depths and dark corners of Skin Ritual. Again Wire springs to mind, its bleak breath and enticing slithers of melodic coaxing engrossing, especially with the additional female vocals aligning to those of Dawe. It is a strenuously mesmeric encounter which smoulders and ripples with emotional temptation and electronic incitement like a hope fuelled dream within a suffocating sleep.

From that somnambulistic flight, Begin Again offers a raw and corrosive embrace which is ignited by the virulently infectious military exercise of the drums. Simultaneously crawling over the senses and exposing body and thoughts to a dervish like assault of inescapable rhythmic captivation, the predominantly instrumental track is a mystique lit fall into a bedlamic state of sonic and emotional antagonism. It is an uncompromising and exhaustive yet reassuringly rewarding seduction which is surpassed by the outstanding Metacell whose rhythmic temptation is also driven by an irresistible virulence. A rolling swagger of drums jabs is soon joined by a predatory voracity of riffs and vocals, their charm carnivorous and touch hostile yet courted by a magnetic stride of beats. It makes for a deep rooted addiction, much like the album, and provides another pinnacle of what in many ways is a resourcefully psychotic release.

Both Fallout and Cast assault and transfix ears with a creative voracity within deceptively minimalistic structures and temptations. The first is a seductive croon prone to sonic outbursts crossed with passion drenched rages and its successor a haunting caress of the senses brought by an emotional causticity. Both tracks test and spark reflective reactions with their absorbing ingenuity. Neither though can match the glorious deep shadows and intimate provocation of Undone, a song soaked in melodic beauty, classically seeded keys, and seductive elegance. It is a sonic sunset which engulfs the imagination before making way for the similarly enthralling closing track Shade, its title telling you all you need to know about its tone and emotions, if not the sweeping beauty and melodic majesty within its temptation.

It is a mighty end to an album which enslaves the imagination and passions from start to finish. Reaping the seeds of old school post punk austerity with a more modern industrial rapacity, Ventenner twist them into something scintillating and emotionally epic verging on disturbing as evidenced by the brilliant Distorture.

Distorture is available via Sonic Fire Records now @ http://sonicfire.bandcamp.com/album/distorture

http://www.ventenner.com

9/10

RingMaster 01/09 2014

Copyright RingMaster: MyFreeCopyright

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DeadAudioSaints – The Purge EP

 

DeadAudioSaints Online Promo Shot

Imagine the raw energy of early Therapy? and the industrial snarl of Pitchshifter aligned to the passionate fire of Reuben with the virulent melodic seduction of Queens of The Stone Age, and you get a keen idea of the explosive thrust and creative tenacity to the contagious sound of UK rockers DeadAudioSaints. Theirs is an aggressive yet warmly anthemic incitement which across debut EP The Purge, leaves you feeling like the prey to their musical intent and focus of their inventive persuasion.

Formed last year, the trio consists of the brothers Danny (vocals/ synth) and Corey Jones (bass/guitars /synth) with childhood friend Tyla-Joe Connett (bass/programming). Their most potent inspirations the band lists as 30 Seconds to Mars, Placebo, Marilyn Manson, Rob Zombie, and Queens of The Stone Age though to be honest apart from the last they are very low whispers in a sound which is not sculpting new templates to follow but definitely providing a fresh and striking not forgetting distinct voice to British rock music. Their first grab at nationwide appetites has been recorded with Matt Eliss (Skarlett Riot, Black Spiders) and The Purge EP swiftly sets out all the reasoning to make DeadAudioSaints a band to pay close attention to now and ahead.

The release opens with current single and title track, from its first breath a song which scorches the senses and incites the instinctive rocker in us all. A sonic tease turns into a simmering wail across a predatory bassline and matching 51EgX2CUlnL._SL500_AA280_rhythms, their instant stride n imposing waking call to the imagination. The song is soon a blaze of hungry riffs and antagonistically appealing vocals caged by the increasingly potent rhythmic provocation. With senses binding grooves and an industrial metal swagger, the terrific track is an incendiary brawl of sound and bounding enterprise which leaves you only wanting more.

It is followed by Tear Apart which also makes a dramatic entrance with rigorously strolling riffs, a flavour of early Marilyn Manson unmistakable, and equally rugged beats crowding ears with muscle and intensity. It is not a savage demand though with another dose of infectious hooks and grooves playing with the passions whilst the vocals of Danny and band add to the irresistible invitation of the imaginative track. Less urgent than its predecessor, the song still unleashes a hefty weight and pace to its enticement to ignite body and emotions.

The Game is a darker encounter, its emotion and presentation shadowed to reveal another creative landscape in the band’s sound. The song almost stalks ears and thoughts, its intensive emotive narrative matched by the raw and dark tones crafted by bass and guitar and coloured provocatively by the dramatic keys. It is a slow burner compared to the previous tracks but a song which still captures the emotions without reserve if with a less lingering bait than the other exploits of the EP.

There is a great caustic air to the next up Don’t Like You, a fusion of punk voracity bringing a stronger roar to the stirring and addictive contagion of its romp. The bass finds a delicious growl to its tempting whilst the rhythms again charge with strenuously flexing sinews. It is a brute of a song, guitars and vocals flaring with creative endeavour and passionate energy, everything combining for an addictive proposition, though straight away shaded by the closing rampage of Taking Control. If the last was a brute then the closer is a carnivorous beast, bass and drums again laying down a seriously compelling and voracious canvas upon which a weave of Pitchshifter like abrasing and Therapy? bred relentlessness erupts in a fire of creative toxicity. It is a scintillating tempest of sound and energy, a torrent of invention which ebbs and flows in its assault yet never relinquishing the strength of its melodic enticing and giving it moments to uncage a venomous brilliance. Electro rock, punk, hard rock, and alternative metal all rolled up into one, the track is a severely gripping storm and the pinnacle of the EP whilst with the title track impressively bookending an explosively thrilling release.

Raw in all the right places and elegantly creative throughout, The Purge is a maelstrom of sound and ideation which suggests that DeadAudioSaints has a very healthy and rewarding future; certainly our ears and hearts will on the evidence of their debut.

The self-released Purge EP is available from September 1st through all stores including http://www.amazon.co.uk/gp/product/B00L6NTJCA/ref=as_li_tl?ie=UTF8&camp=1634&creative=19450&creativeASIN=B00L6NTJCA&linkCode=as2&tag=uberoc-21

www.facebook.com/DeadAudioSaints

9/10

RingMaster 31/08/2014

Copyright RingMaster: MyFreeCopyright

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This Burning Age – Supplication and Devotion EPs

Band Pic 4

This month sees the release of the Devotion EP from UK rock band This Burning Age, the second of a quartet of EPs to be released over the year every three months which will culminate in a full 12 track album with extras. Following the Supplication EP which came out in April, the new encounter continues the impressive incitement bred by its predecessor. Bringing things up to date in this already impressive series of releases we look at both EPs as the Birmingham quartet continues to craft a potent presence with their alternative electro rock endeavour.

This Burning Age was initially a solo project created by vocalist/songwriter/guitarist Friday around five years ago. Debut album A Muzzle for the Masses subsequently appeared before the musician in wanting to take the project into the live arena expanded its line-up with the addition of guitarist Jon Farrington-Smith, bassist Dave Bennett, and drummer Christian Jerromes. Still driven in all aspects from songwriting to artwork by Friday, the band infuses a wide expanse of styles and flavours into its electronic/industrial bred canvas which makes certainly each track on the EPs an imaginative and attention gripping proposition. Each release is an exploration of sound and enterprise musically and lyrically where the themes of broken and twisted love are investigated and embraced.

The Supplication EP opens with Disappeared, a song lyrically inspired by the Dylan Thomas poem Do not go gentle into that good night. An initial flirtation of electronic enticing is soon reinforced by a teasing guitar and EP01 - Supplication - 7016x7016pxdarker bass coaxing, the web immediately awakening the imagination and keen anticipation for what the song is to offer. It is not long it is gripping ears with fiery grooves and atmospheric intrigue whilst its electronic bait continues to embrace and tempt the senses. There is an instant Nine Inch Nails air to the track and as its potent chorus expels its fiery breath, of Gravity Kills. Equally there is a heavier rock and metal infusion to the invasive and compelling intensity which fuels the strenuous atmosphere, even in the track’s more restrained moments. It is a powerful and potently captivating start soon back by Your Will Is MY Kill, whose entrance with its industrial stalking also fires up an eager appetite within seconds. A track about “sado-masochistic and destructive love from the perspective of a disturbed dominant male character”, it strengthens its first wave of coaxing with a post punk-esque predation and antagonistic urgency which rages and seduces in equal measure as the song reveals its heart and inventive rabidity. Though not a brutal encounter, there is a bruising weight and exhaustive fury to the track in presence and invention which steals the breath and lights the imagination even more voraciously than the previous track.

The Tom Gittins produced release is completed by Want, a song slowly caressing ears from its start with piano and vocals, both offering a Bowie like whisper. The track is all the time brewing up a vivacious climate though which brings courteous synth rock suasion to its evocative narrative. That gentle tempting eventually expels a fiery and raucous sigh for a climatic finale to the song and though it is the least gripping of the trio of songs it leaves the EP engaging senses and thoughts with a lingering strength.

EP02 - Devotion - 7016x7016px - 300dpi - 11-06-14     The tracks on second EP Devotion continue from the first in premise with “eulogies to hope and redemption, from despair and disconnection, to mutually destructive passion. “ It makes its first move with the explosive There Is No Hope Except For That Which You Give Me. From a vocal enticement the track ebbs and flows in its intensity but sears ears and imagination with a blaze of ingenious temptation and feverish passion. Vocally it is the best track of the two releases yet, a resonance to their expression working intently with the sonic endeavour and melodic seducing within the volatile rhythmic and energetic rapacity of the track. There is a Pitchshifter like edge to the track too which prowls riffs and syllables throughout the riveting tempest.

The following Hollow suggests a mellower experience with its first wash of melancholic piano and though the song builds a crescendo of energy and melodic drama it does not veer away from that reserved elegance for the main of its evocative narrative. Though the song is another to miss the benchmark of for example its successor, it offers intrigue and a spatial elegance which is undoubtedly captivating, drawing thoughts and emotions to immerse in its emotive prowess with an unerringly successful creativity and adventure.

The EP is concluded by Nothing, the best track of the sextet released in the series so far. Its incendiary bait of riffs and hooks from virtually its first move is insatiably contagious, guitars and bass showing they are in no mood to let ears and imagination slip from their grip at any point in the track as beats frame and cage their exploit just as infectiously. Society 1 comes to mind whilst as Friday vocally prowls ears a returning essence of Bowie comes to his expression. The track itself is a feisty almost hostile taunting which enslaves and provokes body through to thoughts relentlessly for the most thrilling engagement across the two encounters.

Though not every track lights a fire in the belly as the opener for Supplication and the brilliant closer of Devotion, both EPs leave the craft and invention, not forgetting enthralling sound of This Burning Age a gripping proposition to devour greedily. Roll on EP three…

The Supplication and Devotion EPs are available now on CD via 5th Day Records @ http://thisburningage.bigcartel.com/ and digitally at most online stores.

https://www.facebook.com/thisburningage

 

Supplication EP 8.5

Devotion EP 9

RingMaster 28/07/2014

Copyright RingMaster: MyFreeCopyright

 

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Deadliner – Wardenclyffe

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    Enthralling, unpredictable, and persistently inciting the senses, Wardenclyffe the new album from industrial/electronic project Deadliner is a quite masterful and transfixing evocation of sound and imagination. Consisting of twenty tracks, or episodes within the life of the album’s themed central character, the release is a riveting encounter providing one of the electronic triumphs of the past year and surely of this. Released via Juggernaut Media Group, the album is an adventure fuelled by evocative electro alchemy from an artist who a relative secret in his presence is bold and large in his music.

     Deadliner is the project of Chicago musician Steve Christie, a man who is also renowned and prolific in the field of remixes. Formed a few years ago, the band has released a wealth of provocative and inventive releases, each an investigation based on impacting moments or people within human history. Wardenclyffe is inspired by inventor Nikola Tesla, the album title and theme inspired by the laboratory tower in New York where Tesla spent much of his adult life and conducted experiments in wireless transmission. Previous releases have explored and employed varied styles and sounds in their bodies and Wardenclyffe no different with its tracks fusing industrial and electronic persuasions with more than a glancing touch of classically seeded elegance. The result is an album which can bewitch and intimidate in any given moment but mostly it just ignites the imagination and emotions into casting individual narratives aligned to that of the composer.

     Available digitally with the deluxe version containing an additional six tracks, Wardenclyffe needs no time to warm up as it immediately immerses senses and thoughts in the irresistible grasp of opener The Eidetic. Gently whipping electro pulses engage first with industrial swipes intermittently also making their intent clear. Behind them a brewing sonic mist builds an electric ambience whilst rhythms place a keen and firm hand on the ears to cage their attention. Into its full height and slow coaxing stroll, the track magnetises thoughts and awakens a hungry appetite with an additional Numan-esque breath to its imposing but respectful presence. It is an immense lure and start to the album rapidly backed up by subsequent tracks.

     The highly stimulated electro dance of Transmitter and the gentle emotive breeze of The Radiant instantly reinforce the strong entrance of the album, the first a repetitious and galvanising canter of infectiousness and its successor a warm billowing wind of smouldering sound with climactic outbreaks of rhythmic tension and fiery melodies the further it stretches its venture. Though not as impacting as the first, both build a high plateau for Wardenclyffe which is never fallen below on the rest of the album but often surpassed as with the next up World System. Everything about this song increases in voice; volume, intensity, and energy rampant and rapacious offerings within an increasingly building drama and intimidation. Listening to the track you feel like a small body in a large and voracious sea of sound.

     The likes of the vivaciously charged Remote Field, the melodically cast and atmospherically chilled Bremsstrahlung, and the melancholic Stationary Waves with another Numan like essence to its suasion, keep the release inciting the emotions and imagination throughout with their absorbing narratives whilst punctuating their lofty highland further pinnacles are offered by Polarized and Static Coupling. The first of the two is an intriguing and sinister wrap around the thoughts, its body carrying an intimidating causticity at times which is tempered by a floating melodic endeavour and thought colouring enchantment whilst the second breeds an animosity and defiance in its rawer sound and the guest vocals of UCNX, this the only track with a vocal incitement. Both are darker and more challenging than other tracks bringing more diversity to Wardenclyffe and predation on the senses.

   Further major highlights show their majesty and temptation with The Decay, its brilliant opening introduction enough to enthuse about alone. With a discord kissed quirky twang to its initial notes the song steals the imagination which is then fed a glorious expanse of melodic and sonic weaves, the track having a taste of John Foxx to its absorbing and emotion galvanising stretch. Soon after the melodic reflection of The Lichtenberg Figure equally sparks rich responses from mind and heart, its melody crafted wash of guitar and synth thoughtfulness quite mesmeric though soon swamped by the muscle flexing presence of Cathode. Massive bulging beats and sinew strapped hooks dominating the fiery encounter to thrilling effect, and as with the previous World System it feels like Christie has turned up volume and intensity to sculpt the most potent drama with impressive effect.

    The expressive emotion of the piano sculpted The Believers and the virulent intoxication of The Doldrum leave the album again on the highest level whilst the closing Discharge washes ears and imagination with a stately and emotive finale of craft and melodic beauty. Every song on the album is an unreserved temptation those mentioned and those left for you to discover, never a moment upon the album uninspiring mentally and thrilling musically. Deadliner is a proposition still in the shadows for most but after Wardenclyffe works its way through the world, it is hard to imagine that remaining the case. It is simply a dynamic and superbly textured inventive adventure all electronic fans need to immerse within.

http://www.deadlinermusic.com

https://www.facebook.com/pages/Deadliner/278708955490201

9/10

Ringmaster 14/02/2014

 Copyright RingMaster: MyFreeCopyright

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Electric Breathing – Sweet Violence

cover

     Going straight for the throat from its opening moments and never removing its antagonistic bared teeth from there on in, Sweet Violence the new album from German electronic predator Electric Breathing is one of those scintillating releases which you do not really realise just how good it is until lying in its wake, reflecting in your own fevered waste. The ten track fury is a breath-taking, senses violating tempest of industrial, techno, and harsh ebm goodness or should that be pestilence? Nevertheless it is one invigorating voracious fire of sonic contempt and carnivorous passion soaked in a melodic toxicity you just cannot switch off from.

    Electric Breathing is the solo project of Göttingen artist Maik Grohs, and Sweet Violence his fourth full-length rampage into the psyche. Since starting up in 2006, the band has captured strong, if not yet widespread, attention for its unorthodox sequencing and unrelenting aggression. The new album takes it to another level, merging that predatory stance and invention with an urgent techno seeded energy, the result an invasive proposition which snarls and seduces with rigorous voracity in both. Released via Juggernaut Music Group digitally and for the first time for the band, on CD which is limited to just 50 copies, Sweet Violence attacks the world and its political agenda with the tenacity and aggression of a tornado.

     Blindfold kicks off the storm, low lying atmospheric coaxing and shards of electro tempting merging into a flume of sonic persistence for a restrained yet imposing invitation. Soon the song is striding with rhythmic muscles pushing air and intensely heated flames of electronic persuasion searing the senses. The pressure is increased once the caustic tones of Grohs unleash the start of a vitriolic narrative, his delivery varied as if from two sources and as magnetic as the nagging sounds around him. It is a rousing of the imagination and passions providing an exhaustive and inventive confrontation to devour with greed.

   As soon as the opener departs a teasing electro beckoning marks the arrival of Suck It Dry, again a song which is in no rush to explode in the ears but keen to offer a menace and pressure to keep an already bred hungry appetite awake and impatiently waiting. There is a harsher industrial intent to the track which is tempered by the melodic acidity spearing the prowling thrust of the encounter. Having pressed and niggled submission into place, the song than explodes into a contagious toxicity of imagination and sound which is as anthemic as it is inventively twisted. It launches the album up another level, a height reinforced right away with the following title track. The third song from a great agitated and unsettling opening stretch relaxes into an incendiary antagonistic stance with sounds and lyrical incitement to match. Like its predecessor the track easily recruits the listener into its anthem like attack, thoughts and emotions forcibly engaged and willing from start to riotous finish.

    An insidious vocal attack leads the thrust of No Sense, No Solution, No Way Out next; rasping serpentine squalls and spoken malice drenched provocation driving the sonic web of intrusive rabidity through the ears.  The track also unveils a sirenesque vocal call to seduce the imagination mid-stream into the torrential flood of riveting electro spite. Not as strong as the previous trio, the track certainly ignites a greed for its offering whilst its successor Brain Reset exploits that need with its bright and vivacious electronic waltz within the clutches of a hostile industrial climate. Again using that irresistible vocal bait within its enthralling enterprise the track leaves satisfaction overfed if passions like its predecessor not quite inflamed.

    That early plateau is unreservedly returned to with the next couple of tracks, first up through the demonically sculpted seduction of The Devils Whore. Warning calls and industrial sirens punctuate the incendiary sonic cyclone whilst scorching acid bred melodies entwine around the ferocious animation of song and energy. There is also a punk like brawl to the heart of the proposition which only increases the depth of it textures and malignancy. It is a scintillating conflict but soon left in the shade of Lord’s Prayer. From its first vibrating bounce of rhythmic enticement the song unleashes a mouthwatering twisted and persistently shifting intimidation of sound and vocal rancor, but within a stimulus of transfixing invention and unbridled experimentation. The song never stands still, every second leading into new ventures which barely get repeated across its sensational and imagination drenched charge. It is easily the best track on the release despite being amongst so many which would easily steal the spotlight in any other release.

    The only draw-back about the sonic alchemy that is Lord’s Prayer is that the still impressive and pleasing MK Ultra and Psycho In Me have too much to contend with as a comparison and ultimately suffer, though both, and certainly the first, also lack the spark and toxicity to launch the emotions as those first few songs. All the same both are ravenous protagonists with vitality and invention which grabs attention with an inspiring craft ensuring a full recommendation is the only course.

     The album comes to a close with the violence and ominous conclusion of Beautiful Sacrifice, the track a savage yet enchanting mesh of sonic beauty and rhythmic barbarism. Exhaustingly unrelenting with a pulsating fermentation of anger and venom within a bloody melodic blizzard, it is a towering end to a thoroughly compelling and destructive triumph. Sweet Violence is addictive and anthemic musically and in its invention; undeniably one of the early major releases in electronic/industrial music. Electric Breathing is a project which you know will only get stronger, a thrilling thought.

https://www.facebook.com/pages/Electric-Breathing/165582646816546

http://music.juggernautservices.com/album/sweet-violence

9/10

RingMaster 14/02/2014

Copyright RingMaster: MyFreeCopyright

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Jensen – Zero One [Redux]

Jensen_2

    Early last year UK electro punks Jensen made their striking entrance with the impressive Zero One EP, a three track seductive abrasion which instantly drew keen focus upon the band whilst suggesting greater things would loom across their horizons. Almost a year later and the band has unveiled Zero One [Redux], a fully re-mastered update of their debut with two additional tracks. Things may not be driving forward as rapidly as one would have imagined certainly on the recording front but as the new EP shows artistically and skilfully the project is not losing any of its potential and magnetic resourcefulness.

     Born from the demise of the impressive Ourfamous Dead, Jensen is the studio project of the previous band’s founder Andrew Reeves. Ourfamous Dead was a force which was no stranger to acclaim whilst earning a strong reputation for live performances which saw the band alongside the likes of The Blackout, Funeral For a Friend, and Gallows. Their last single Claws At The Door was the band at its height but Reeves was not happy with the sound and maybe its direction so bravely bringing it to a close he threw himself into exploring the ideas and explorations rising up inside him. Revisiting put aside older tracks he had written, Reeves was soon sculpting the flavours and imagination he wanted, with the exciting Zero One EP the result. Recruiting the talents of Vier Jennings, Simon Green, and Robin Speight also from Ourfamous Dead to create a live band, with early 2014 the launch pad for the band to hit stages, Jensen recently signed with Armalyte Records with Zero One [Redux] the first offering to tempt whilst Jensen work on their debut album.

   The band opens up the EP with Ghosts, a track which emerges from a blistering sonic wash to smother the ears with a Redux_CD_FrontCover_Finalcompelling and confrontational squall of noise punctured by the passionately shouted vocals of Reeves. His delivery successful battles against the tide of sonic abrasion and a web of electro noise which smothers and seduces as irrepressibly as the contagious chorus. It is a raw and caustic brew which never takes it easy on the ears, the electro punk feistiness and bristling embittered energy giving no respite from its riled tempest or the agitated acidic and emotive ambience wrapping it all. Nevertheless the track only enthrals and captivates throughout this stormy treat laying down melodically crafted electronic bait at its heart which is irresistible.

   The Corrupter follows and instantly is a different kind of beast from the same creative litter. With a darker heavier breath and imposing intensity, the song surrounds and probes the senses with thumping rhythms and corrosive riffs drenched in electronic provocation and smouldering persuasion. Finding a more industrial coarseness than its predecessor, the track has a fiery corrosive resonance which, with the again effected and expressive vocals, provides a magnetic grazing which recruits the imagination as fully as the melodic fascination and rousing incendiary presence of the excellent provocation.

    Continuing the diversity Stars next provides a primarily electro rock persuasion which is less temperamental sonically than the previous tracks but no less engaging and enjoyable. With the vocals getting a clean production this time which for personal tastes works much better than when coated in additives, the track pulsates and bulges with inventive essences and spices. Industrial and punk add their tempting to the mix making up an electronic embrace complete with chafing guitar and melodic acidity. It completes the re-mastered songs from the original EP release and definitely all benefit and excel with the new touch and expressive aspect placed upon them.

    The extra tracks on the EP are provided by the enjoyable Have A Ouija Board remix of Ghosts by Scottish maths/electronica retro-futurist duo i!, which closes up the release, and before it a blazing cover of the Duran Duran classic Wild Boys. It is as inflamed musically as you would suspect going on the evidence of the earlier songs, and is bursting with metallic rapaciousness and a scuzz kissed almost pestiferous edge to the electronic stomping and abrading riffery to leaves you wanting more and actually improves the addictive original.

     Released on the 27th January, Zero One [Redux] not only re-confirms and pushes the promise already shown by the band, it makes the anticipation for Jensen’s full-length debut a rather impatient one. Still in evolution it is hard not to be excited about the Leeds band and what they have in store for us ahead.

www.wearejensen.com

https://www.facebook.com/wearejensen

8.5/10

RingMaster 16/01/2014

 Copyright RingMaster: MyFreeCopyright

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Alexanred – Non-Stop Non-Stop

alexanred pic

Just in case in the Christmas rush you missed the release of the debut single from Alexanred, we thought we would give you a nudge to one contagiously addictive track. Non-Stop Non-Stop is pure industrial virulence, a pulsating infection soaked song which pounds the senses with anthemic temptation and captures the imagination with arguably not ground-breaking but fresh and magnetic irreverence. It is not a release which will have your thoughts and emotions stretched and lost in contemplation but unashamedly a song which skilfully and mischievously goes straight for the primal and rhythmic beast inside with a bait of tub thumping rhythms and coarse electronic wantonness.

Formed last year Alexanred is the creation of Aleksi Susi, guitarist/synth player of Finnish industrial metallers 2 Wolves. Listing influences which include the likes of Rammstein, Lacuna Coil, Type O Negative, Cradle Of Filth, Paradise Lost, Septic Flesh, Rob Zombie, Prodigy, Autopsy, Nile and more, some which you could almost guess from the single, Alexanred makes an undeniably impressive entrance with the Inverse Records released Non-Stop Non-Stop. It is never wise to make a full judgement of a band upon one song, every artist more often than not having one acceptable gem inside them whoever they are, but it is hard not to anticipate and suggest richly promising and thrilling things to come from the project ahead.

Still from 'Non-Stop Non-Stop' video

Still from ‘Non-Stop Non-Stop’ video

The opening seconds of the song alone incite full attention; they maybe clad in a simple rhythmic lure and a restrictive pulsing electro rub but there is immediate intrigue and temptation which takes hold. Barely another moment passes before the track is in full muscular stride, synths stomping with devilry dripping from every note as vocals taunt from the surrounding shadows. Once Susi makes his full vocal appearance the sounds show a restraint to allow his almost whispered provocation to wash smoothly yet sinisterly over the senses. Soon though, the song is thrusting out its imposing chest within a riveting rhythmic caging, exploding into an anthem of sound and epidemic vocal incitement to confirm the seduction of thoughts and emotions.  As mentioned the track is not really setting new boundaries but with a raw threat and empowering intent to its vocal and rhythmic barracking, and a virulent toxicity to its electronic suasion the single is pure irresistible temptation.

Like the bastard inventive son of a union between Rammstein and Rob Zombie, Non-Stop Non-Stop is the perfect appetiser to band and their horizons, something it is hard to wait for with patience.

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10/10

RingMaster 08/01/2014

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