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.

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Supplication EP 8.5

Devotion EP 9

RingMaster 28/07/2014

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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

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Electric Breathing – Sweet Violence

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     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

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Jensen – Zero One [Redux]

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    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

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Alexanred – Non-Stop Non-Stop

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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.

http://www.facebook.com/AlexanredFinland

10/10

RingMaster 08/01/2014

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Tapewyrm – House Of Cards

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Barely has the New Year had time to open its eyes and UK noise master Tapewyrm has crushed its arrival in a tempest of spiteful corrosive hostility with the House Of Cards EP. Consisting of five sonic scourges which fry the senses and obliterate the psyche, the release marks the closure of the first creative act of the project whilst possibly hinting at the new opening scene of its intensive imagination. It is vicious, merciless, and definitely not for everyone but for those finding beauty in aural destruction the release is a fascinating and riveting end of a chapter for a sonic protagonist who has already made a lingering deep scarring mark on noise and industrial provocation.

Tapewyrm is the studio project of Oxford musician Michael Drayven which from its emergence in 2010 took little time in drawing eager attention from the following year. Two digital demo EPs marked the cards of fans, media, and industry alike, before the release of debut CD Misanthropic Noize last year cemented and sparked new awareness for the presence of Drayven’s sonic infestations. The release was a masterful and disturbing intrusion which bred fear or rapture and House Of Cards is no different in effect, potency, and quality; just more demanding and punishing in many ways and if it ticks your boxes, ridiculously captivating.

The title track opens things up and instantly has the senses under a tsunami of sonic vitriol and industrial debris. The track intimidates and scores the ears within seconds but equally there is a haunting nightmarish temptation which partially distracts from or tempers the thick rasping tempest to seduce attention and imagination. Featuring the disturbed almost childlike vocals/utterings of Tiffanie Wells from Beinaheleidenschaftsgegenstand, the insidious coaxing is an unrelenting oppressive washing of the psyche which incites and scores thoughts and emotions into spellbound submission.

The following Chasing Ghosts is said to hint at the new direction of Tapewyrm in its second era and there is certainly a shift on the evidence of the piece which tantalises and catches the imagination. Like a moment from the soundtrack of Love Story if played out in the belly of a hell set industrial mixer, the excellent short sonic narrative is an emotive caress by inventive hands with the coarsest skin and hellishly intriguing. Its taunting is followed by the outstanding Careless, another permeating of the skin which infuriates like a sonic itch and seduces with a virulent addictiveness. The rhythmic stalking of the track niggles with an insatiable hunger whilst within the cloud of noise contagion melodies dance and blossom with a sexual wantonness and absorbing elegance. The impressive and enthralling encounter is like attempting to listen to a joyous carnival procession through the thickest swamp of tinnitus whilst a jackhammer nags mercilessly away face to face.

The release is completed by two remixes of tracks to be found on the previous Misanthropic Noize album. Firstly there is the Ruinizer remix of Save Yourself, a track which twists and rotates with a vibrant and understated presence but still licks potently with every repetitive note and electro clad sonic expression. It is succeeded by the Dirty K remix of Rebirth, a harsh caustic smothering of the ears which erodes and grates the senses to whimpering submission but holds back enough to create an addition forging aural treat.

From the Juggernaut Media Group released House Of Cards it is hard not to add a little impatience to the anticipation of what comes next from Tapewyrm as you sense it will be something to shake and disturb mind and emotions. This is a project which will leave a great many cowering and running but if noise is your masochistic treat than here is one raw and minimalistic fury which just has to be investigated.

https://www.facebook.com/Tapewyrmofficial

http://music.juggernautservices.com/album/house-of-cards

8.5/10

RingMaster 07/01/2014

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IIOIOIOII – Sun

IIOIOIOII

Earlier this year the Rising Sky EP from US industrial/electro project IIOIOIOII set the imagination away on a warm mesmeric flight bred from its expansive atmospheres and spellbinding synth pop seduction. Equally it stirred up anticipation for and high expectations of the impending album from the North Carolina artist. On a day many hide in the shadows from, Friday 13th of this month will see the dawning of said album and an insatiable tantalising of melodic elegance and consumptive aural caresses which confirms and then crafts to greater heights all the promise and assumptions spawned by its predecessor.  Sun is a masterful casting of eighties synth pop and seductive electronic textures which enthral and flirt with ears and emotions from start to finish, a provocateur  who is new to the senses but holds a familiarity which makes easy allegiance to its infection seem like destiny.

IIOIOIOII (pronounced I.O.), is the solo project of Charlotte musician Christopher Gurney who since the release of the Rising Sky EP has come under acclaimed attention from fans and media alike. The quality of the four track release sparked something in people and its chosen genre, its seeds and poetical melodies seemingly cultured from an older era but evolving into a fresh and transfixing presence which adds almost classical warmth to the current climes of synth pop. Released as the EP via Juggernaut Music Group, Sun provides a glowing understanding soundscape and incitement for thoughts and emotions which with nostalgia and invention an equally tempting fuel to its enterprise leaves an already eager appetite for the artist full and still greedy.

Rising Sky is the first caress, senses spotting melodies gently coaxing in attention as a sinister industrial/electro rub shadows IIOIOIOII - Sun - covertheir enticement. It is an instantly engaging encounter which enriches its lure the further into its evocative depths the song moves. As the welcoming yet also slightly dark tones of Gurney call from within the predacious heat, the song arouses thoughts of eighties bands B-Movie and Modern English. It is a mesmeric start which holds an intimidation but it is held in check by the magnetic elegance of the melodies and the persistently infection laced lure of the song.

The impressive start continues with Weapon, again light and shadow entwines in a dramatic melodic embrace. With an enveloping tantalising ambience stalked by sinewy rhythms, the song simultaneously prowls and seduces the senses and imagination, flowing crystalline melodies making spellbinding bait to which defences are immediately attracted, especially as a Visage like electronic narrative coats the delicious enchanting and intrusive toxicity. The song immerses the senses in a provocative bathing, one which is reassuring but also emotionally exploratory; a trait just as ripe within its successor Stardust. Like those before the song has no urgency in making its full intent known, instead slowly dawning in all its aspects and emotional castings. The evocative slow stroll and celestial kisses from within the melodies sparks another delve in to eighties synth pop, the crafting of Paul Haig coming to mind as well as a darker presence which has whispers of Nine Inch Nails to it. Absorbing and virulently infectious within its reserved yet fully flighted soar, the track pulls the passions even deeper in to the riveting narrative of the album.

For Do You Know Gurney uncages a serpentine malevolence to his haunting vocals, a move again opening new shadows and enticements within the album which the following Falling boldly stretches into even darker realms whilst persistently lighting the way with irresistible melodic and electronic weaves. Gurney’s vocals on the second of the two provide an almost venomous breath to temper but also stretch the glassy beauty flowing easily over the ears; a kind of Frank Tovey meets Mr. Kitty persuasion. Though admittedly the pair nor the invasive but beguiling Spotlight which emerges next manage to ascend the heights of the opening trio of songs, all with sumptuous ease increase the bewitchment from and hunger for Sun.

    We’re Still Alive steps forward next with a steely intent and stance to its contagious croon. Like a new sculpting of the haunting invention of Trent Reznor and the chilled imagination of John Foxx, the track is another merciless majestic tempting of the senses and emotions whilst both New Sedations and Echo, the first a feisty discord drenched slice of creative bedlam and the second a ghostly smothering which induces fear and rapture, increase the drama and intrigue of the album. Gurney on the pair again shows with varying success he is unafraid to push his vocals to places they may not be wholly comfortable with but constantly it only adds to the appealing portentous air of songs and release.

After the veering on doomy presence of Goodbye, the album is completed by remixes from Dreams Divide (with Stardust), Revenant Cult (Spotlight), Art Deko (Rising Sky), Garten der Asche ( Spotlight), and Machinista (Stardust), all in their individual ways discovering and extending new aspects and traits to their chosen sources, though truthfully none find the unfussy triumph of the originals. Nevertheless they provide a fine closing stretch for a release which reinforces and forges greater promise within IIOIOIOII; the dangerous beauteous temptation unveiled one rewarding trap to fall for.

https://www.facebook.com/IioIndustrial

8.5/10

RingMaster 11/12/2013

 

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