Deadliner – Wardenclyffe

    cover

    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

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

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

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

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

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

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.

http://www.facebook.com/AlexanredFinland

10/10

RingMaster 08/01/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Tapewyrm – House Of Cards

cover

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

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

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

 

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Mr. Strange – The Wonderful World Of Weird

Mr. Strange promo

Just to prove that insanity can be the sweetest potent seduction The Wonderful World Of Weird is here to exploit and uncover the darkest secrets of your mind whilst travelling the exotic and dangerous mental halls of its creator Mr. Strange. The former frontman of the UK’s greatest still to be truly discovered musical mutants The Shanklin Freak Show, though he is still healthily involved in the band, Mr. Strange voraciously stalks the senses and emotions with his fourth album. It is a release which soundtracks a bedlam of sound and adventure from a quite maniacal imagination.

The Isle Of Wight hailing songwriter/producer/vocalist/musician began his musical exploration as ‘The Mad DJ’ in 1998 before emerging as Mr. Strange in 2006. He founded circus rock/steampunk band The Shanklin Freak Show in 2003, guiding the band as songwriter and vocalist up until starting an extended break from performing live at the end of 2011. Alongside The Shanklin Freak Show albums including Act II – The Light Fantastic of 2009 and Welcome To The Show of 2011, a few other projects, and producing a couple of albums by Global Citizen, Mr. Strange unleashed his solo musical rapaciousness. Sounds From The Asylum came first to be followed in 2011 by the releases of The Fall and Freakshow, the last a 38 track retrospective album chronicling the songs that he wrote under the Shanklin Freak Show name  which included new, unreleased, and re-recorded or re-mixed tracks. Now the sanity puppeteer steps forward again with the magnificent temptation of The Wonderful World Of Weird, the finest Mr. Strange musical and mental examination yet.

With more flavours than a giant box of Jelly Bellies, the album is a dramatic and exhilarating flight through the darkest yet 555928_584429381594861_1695733989_nmagnetically and vibrantly compelling mind of the fictional character of its creator, employing everything and anything from industrial and steampunk to gothic rock and progressive metal, and that is just scratching the surface. With many of the tracks co-written with Gary ‘Stench’ Mason, The Shanklin Freak Show guitarist and provider of the majority of the guitar invention across the release, the album immediately lures in senses and imagination with the opening spoken narrative leading in the title track. It instantly intrigues as the scene setting premise strolls into the irresistible stomp of the song. Rhythms bounce around with a heavy mischievous gait matched by the electro and bass taunting whilst the guitar casts lines of sonic and melodic bait which is pure infectious toxicity. Best described as Dr. Jekyll meets ICP as early Marilyn Mansion helps Victor Frankenstein create aural life for them to toy with upon a set designed by Willy Wonka, the track is a delicious fascination and the first irresistible hint of the lunacy to come.

Creating the World is an expansion to the landscape previously crafted with a gentle psychedelic ambience washing the dawning scenery. It is a mesmeric, almost meditative soaring of harmonies and guitar elegance with rubs of dub and scratching teasing the riveting flight. The seducing continues right up to the doorway into the Psycho Surfing-A-Go-Go, one of the major pinnacles upon the album. Again as between numerous songs, the narrator lays down an invitation before the surf rock contagion drops its shoulders and swerves through the ear with irrepressible virulence. The grooves enslave the passions within seconds whilst the rhythmic dance only builds a cage for rapture to breed within as fire kissed keys add smouldering lures to the hot and epidemically addictive romp of sonic lava. The song is one of the best heard anywhere this year; a beach party in the mind of Hunter S. Thompson hosted by The Cramps and The Bomboras with Two Wounded Birds, B52s, and The Revillos adding extra entertainment.

From the dark sinister realm of The World’s Dark Heart, Mr. Strange lurks in the steampunk/industrial graced world of Metropolis 2984, a track which equally extends some classic metal and psyche sculpted imagination to its captivating persuasion. There is a swing and energy to the track which infects feet and emotions but equally an underlying dark tone beneath the celestially soaring harmonies which suggest more 1984 than Fritz Lang. Again the album and artist has the listener in a tight grip of pleasure and suasion, though it never slipped from the first breath of the album to be fair, which tightens with firstly Clockwork Man and explodes through Fire. The first of the two stalks the ears with the drama and theatre of a Tim Burton vision sculpted by the melodic ingenuity of Danny Elfman, though it has to be noted that every song despite the references sound like no one but Mr. Strange. This masterful manipulation of the senses and passions is soon left in the shade by its successor, the track another major peak in nothing but highs. The song is the closest to a Shanklin Freak Show tune that the album gets, its sexy tango pulsating mouth-watering foreplay for the beats and funk bred keys to add intoxicating spice to. There is something familiar to the hooks and stomp of the song aside from the earlier comparison, but it is indefinable and wholly galvanic.

Through the noir shadows of Don’t Stay (Where the Dead Ones Lay) with its jazz smooching funk lined temptation and the excellent gothic majesty of White Rabbit, the song reminding of The Damned at times, The Wonderful World Of Weird intensifies its resistance free toxin whilst the electro swing heart of Exile and the psychedelia soaked gothic tempting of Anti-Christ only spark further flames of lustful submission to the call of the release and its psychotic beauty. Every song is a wanton temptress in whatever guise and sonic clothing they frequent, and though admittedly hopes and expectations were of big things from Mr. Strange on past successes, the album left those assumptions insultingly short of the brilliant reality.

Completed by the classically crafted Journeys End, an enchanting epilogue if not to the levels of what came before, The Wonderful World Of Weird is pure certifiable aural manna. The CD version also has a track exclusive to its version, a very enjoyable cover of the Dr. Steel track We Decide. The able shows that there is only one Mr. Strange and his form of weird, one you can charter a sensational cruise through via our favourite album of the year, The Wonderful World Of Weird, that is if you are brave or eccentric enough.

http://www.mrstrangemedia.com/

10/10

RingMaster 28/11/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

The Vaya Project – Happybleak

happybleak front

Canadian band The Vaya Project is one of those presences which seem to remain a secret when so many less able and imaginative bands find a spotlight to shine on their work. This is not that the electro/industrial/ experimental project has lacked success but it is fair to say that wider picture of awareness has so far eluded it. New album Happybleak  is a tantalising and enthralling expanse of gripping  attention grabbing compositions which leave imagination and passions alight, and satisfaction so full it might just be the spark to change that secrecy.

The Vaya Project is the solo project of London, Canada musician/producer Jeremy Chaulk, who has equally set standards with his electronic project Kilurx, TVP RMX, as part of industrial dark metallers Project Juggernaut and plenty more. The  band has arguably been the vehicle for Chaulk’s most experimental explorations and  Happybleak is no exception, the album a striking mix of fiery sounds and electronic investigation though probably the most accessible release from the project yet. Consisting of four brand new songs, a quartet of tracks from the never released Dead Iris EP, and a set of four taken from the Ink Sonata sessions (Ink Sonata the recently released Project Juggernaut album), the new release is the perfect doorway into the music and invention of Chaulk and The Vaya Project at its most potent yet.

With most of the tracks predominantly instrumental, Happybleak provides evocative scenarios for the imagination to tease and be teased by, thoughts exploring their own visions with the pieces of music adding the spark and spice to each eclectic landscape. FTN opens things up, heavy pulsing beats resonating in the ear within an almost schizophrenic sonic causticity. As a contagious electro allurement adds its scorching presence to the mix, the track evolves in to a feisty, bordering on violent instigator for the dancefloor.  With rhythmic bait not even the dead could resist, the track is a scintillating apocalyptic kissed, industrial seeded slice of voracious inventiveness and the ideal entrance into project and release.

The following Methuselah brings an instant sinister and darker edged presence which is at odds with but compliments the previous devilry. Within the danger and intimidation lined walls of the track, scantily dressed melodies converge on its core, their leading spark a breath of warmth moving the piece into a mystically embraced and mystique soaked elegance which enchants and mesmerises the senses. Its emerging beauty is swallowed and given another fusion of temptation through Beautiful Agony which features Elle Hermansen (Ellemusic). One of two tracks with vocals, it is a wonderful slice of electro pop, the seductive vocals of Ontario singer songwriter Hermansen (who also adds tones to FTN) sirenesque within the embrace of equally fetching and fascinating melodies.

The thumping pulse of ReSex grips attention next, its metronomic lure an irresistible grip which enslaves attention whilst synths breed their own form of galvanic enticement. Like its predecessor the track is more electro pop than any other flavour, though also spiced with an irrepressible toxicity which appeals to all forms of electronic endeavour. Its successor Chasm is the other end of the spectrum, a darker predatory scourge of sonic pestilence achieving the same effect, total absorption of the imagination and emotions. A raw and unpolished breath frequents the walls of the composition, its touch harsh and stark but within this chilled environment a defiant funk lilted seed flourishes and thrills.

That ingenious blending of opposites is a frequent success in tracks, the likes of Luna Muerta and Jazmine, though with less open contesting aspects also merging differences for one provocative and richly satisfying encounter. Both tracks venture through undiscovered yet seemingly familiar landscapes, the first finding essences of Yello and Dalek I Love You within its coarser climes whilst the second of the two is a slow cascading of crystalline and glassy melodic and sonic light upon an expanding discord washed, noir clad mystery, and quite mesmeric.

Three of the next four songs are ones familiar to followers of Chaulk but in their reworked guises have never sounded better. Both the intrigue spawned mysterious Cactuz, a track destined to soundtrack the darkest spy movie, and the disturbing psychotic Pixel Army have found a clarity and potency which finds them at their most formidable and compelling whilst the insatiable rhythmic and energised appetite of Parasite leads the feet and emotions into another breath-stealing dancefloor stomp. Within the trio Fukakanuk provides its own inciting and charismatic tempting for body and imagination, its sturdy almost bludgeoning beats the skeleton for a sonic scarring and rapaciousness to hang from, as well as an impossibly infectious slavery which emerges as the track expands its diablerie.

The album is closed off by Dead Iris which features Roseblack. The song is another stylish and well-crafted song but for personal tastes does not match the dramatic quality and adventure found elsewhere upon Happybleak. The album is a fascinating journey for imagination and emotions, a thrilling bold collection of creative exploration which deserves to find the widest attention.

https://www.facebook.com/ChaulkMusic

9/10

RingMaster 21/11/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Gary Numan – Splinter (Songs from a Broken Mind)

Gary Numan 4

Little introduction is needed for Gary Numan, a man who has easily been one of the most influential artists to musicians, bands, and a wide range of genres over the thirty five years or so since emerging in 1978. Admittedly the media has not always been in the same place towards him as fans but his inspirational influence is undeniable as the likes of The Prodigy and Nine Inch Nails to Queens Of The Stone Age, Fear Factory and Marilyn Manson to Kanye West, as well as a vast array of other industrial, electronic, and gothic rock bands constantly show and admit. With early and impacting pinnacles coming from Replicas (as Tubeway Army), The Pleasure Principle, and Telekon, Numan’s twenty albums have ebbed and flowed in success and quality, but for the most they have stretched to varying effect his and music’s walls and inventive nature. New and twenty first album Splinter (Songs from a Broken Mind) is no exception certainly, a thrilling and inventive provocateur definitely, and an album which we would suggest recaptures the strongest influential heights of the man’s unique style of potent imagination.

Produced by long standing collaborator Ade Fenton and featuring guitarist Robin Finck, Splinter (Songs from a Broken Mind) is the follow up to 2006 album Jagged, though there has been the  2011‘straight-to-the-fanbase’ release Dead Son Rising in between. The album is soaked in shadows and suggested demons, the release coming from what the Los Angeles based Numan has admitted has been a dark period for him; equally though it crafts and sculpts a web of infectious and irresistibly magnetic pop bred persuasion which leaves extremes of thought and textures a compelling emotive landscape. Mentioned earlier was the fact that Nine Inch Nails has taken inspirations of Numan into its creative expanses and upon the new album it shows it has been a two-way street as essences of Trent Reznor’s sounds can be heard as an instigator upon Splinter (Songs from a Broken Mind). The album is not breaking in new ground or pastures for industrial and electronic rock it is fair to say, but undeniably presents itself as one of the best electronically bred, atmospherically spawned albums for a few years and Gary Numan striding back to his best.

The Mortal Records album opens with the outstanding I Am Dust. Big imposing electro beats and strokes flex their sinews from the splinter-522b6d4638e7aopening seconds, their intimidation wrapped in intrigue and even greater enticement once those uniquely recognisable tones of Numan begin the song’s narrative. Commanding and riveting, the industrial smouldering soon has imagination and passion recruited to its drama whilst the evolving synth dance toys with and ignites a contagion which in turn sparks a predacious hunger for what is to come. The melodic breath of the track has an eighties swagger which recalls the likes of Blancmange whilst that starker shadowed presence taunts senses and thoughts to even greater temptation.

From the outstanding start Here In The Black draws on darker intensive shadows to create another mouthwatering pinnacle to continue the immense beginning. Darkly whispered vocals prey upon the climactic build of the track, its heart inspired by its creators struggle with depression and its sounds a constantly consuming and intensive weave of unsettling provocation and delicious melodic toxicity. The crescendos of energy and fully flighted enterprise comes with a virulent seduction coated in a pop catchiness which lies within the intense presence of the song but makes a sirenesque call which is open and irrepressible addictive.

The following Everything Comes Down also has its seeds in a darker rapacious premise and sound, its slowly breeding atmosphere and intent a continually shifting and engaging provocateur which is matched and developed by the pulsating and emotively driven music. The melodic soaring across the infectious chorus takes thought back to those previously mentioned early albums whilst the chilled almost suffocating creative wash feels NIN cultured. The song equals its predecessor to accelerate the appetite further and deepen already the thrilled pleasure.

Both The Calling and Splinter drift into deeper challenging depths, the first entwining its electro tendrils around a cavernous ambience whilst its cinematic epically honed atmosphere floats across the imagination, both danger and beauty willing instigators to dramatic scenery. It is a track easy to submerge within, to reflect upon and script one’s own testament, a tale which constantly colours the artist’s canvas or its recipient’s own thoughts and captures the imagination fully if failing to ignite all the flames inside which the previous tracks stoked up. Its successor is equally impacting and inventive within its absorbing presence and in its ability to coax out individual visions and saga within the listener. Sultry Eastern textured female vocals and stringed chants lay down initial bait within the exotic climate before Numan works his persuasive alchemy vocally and sonically. The song smoulders and seduces from start to finish and with each listen leaving a stronger and longer lingering influence and enslavement. The sweltering climes of the song are tempered by the melodic grandeur and synth cast beauty but ultimately the song is a wash of heat which again shows that Numan is still a master to be inspired and spurned on by.

Lost is another simmering burn of an encounter which transfixes ears and thoughts, though the ballad is pale against the song before and next Up Love Hurt Bleed. The first single from the album, the track is industrial electro pop which throbs and stays within the ear with unbridled virulence though as always shadows are not far from the surface. There is a familiarity to it which makes it wholly accessible if lacking surprises but as a temptress into the album it is an epidemic of allurement before which voice and body cannot resist adding their support.

Numan pushes his vocals pleasingly in the heavy reflection that is A Shadow Falls On Me and the threatening yet enchanting Where I Can Never Be. It is not a dramatic move but a gentle emotive exploration and expelling of nuances which enriches attention and matches the fiery adventure within the songs. Both tracks take their time in making their declarations, the second of the pair a blend of suffocating intensity and mesmerising melodic mystique, and though neither forge the grip of other tracks both leave a irrefutable passion for album and more.

The album is completed by We’re The Unforgiven, a track crafting an industrial emotional wasteland, the brilliant Who Are You, and the closing ballad My Last Day. The penultimate song is one to exhaust the dance-floor even with its mid paced gait. With more twists and swerves than a bat at night and as dark, it is a magnificent reminder of the different styles Numan can employ into his electronic invention whilst the closing emotional caress basks in potently hued atmospheres and a prowling ambience which reveals more of its writer and inner thoughts.

Splinter (Songs From A Broken Mind) is an outstanding album, not one loaded with instant slices of addiction causing contagion but a release superbly and instinctively textured to take the listener on a rich imagination fuelling journey through the craft and emotional ingenuity of Gary Numan as well as levels of intensive enjoyment presumed lost since those early days of his impressive career. An unexpected  triumph in many ways, this is an album destined to be devoured very greedily over coming weeks and beyond.

http://www.numan.co.uk/

9/10

RingMaster 13/10/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Tactical Module – Into Exile

a3502574178_2

Having been seduced by previous album World Through My Sight from UK industrial band Tactical Module, there was a definite anticipation and expectation upon its successor Into Exile. The new release’s predecessor was a slow burner of a persuasion but one which made the securest potent convert of the passions for its aggressive symphony of electro enterprise, punk attitude, and industrial intensity. Into Exile is no different except that it makes a more immediate impact and its core ingredients and invention comes with a greater intensive snarl and uncompromising confrontation. It is an enthralling and challenging release which has reaped the impressive seeds of earlier releases and sounds to hungrily explore their sonic blossoming with greater craft and imagination.

Hailing from Poole, Tactical Module is the solo project of Michael Davis, a musician who since creating the band to unleash his creative imagination within has earned and garnered strong constantly deepening praise and acclaim through his releases. Using inspirations from the likes of Nine Inch Nails, Ministry, KMFDM, Godflesh, Gary Numan, Skinny Puppy, Killing Joke, and Depeche Mode in his invention, Davis after numerous EPs and remixes made his first strong wide mark with the Dead Zone EP of 2012. The release triggered greater awareness and appetite for his sounds which were soon feasting greedily upon the single Where Angels Rise and earlier this year the impressive expanse of World Through My Sight and the Resurrection EP. Receiving its first CD release with Into Exile, Tactical Module has sculpted an album which is more diverse and adventurous than the previous releases, and they were no slouches in experimentation, and an encounter which employs decades of industrial/electronic whispers into one invigorating magnetic incitement.

Released via Juggernaut Media, Into Exile takes little time in bringing attention and imagination to bear on opener Awaken, its emergence through a sizzling sonic haze chilling yet thoroughly tempting. Brewing up a greater menace to its climate, the song has complete control of thoughts and senses, especially when the predacious guitar tone unveils its metal spawned restrained yet voracious causticity, matched by the confronting vocals of Davis. A definite Gary Numan spice glazes the invention whilst organic beats cage the fired up passions further, herding them into the fierce electro embrace. It is an excellent gripping start not quite matched by the following title track. The song is certainly alluring; its ebm breath stalked by a great electro twang which spears the evocative ambience but there is a spark missing compared to the first which debatably might be down to the track evading the metal bred antagonism. Nevertheless it is a pleasing continuation of the strong start and evidence of the variety of ideas and sound upon the release.

Outer City Limits soon picks up the earlier baton of strength with its instrumentally stalking flight of coarse textures and electro beauty, both combining for a voracious journey through dramatic and suggestive climes. From providing the imagination with a sinew clad impacting plaything, Into Exile then reveals more of its emotive heart with Breathless. The song is a fizzing electro plaintive with angst drawn vocals cursing agony over the acidic sounds. Like the second song it takes a firm hand on ear and thoughts without challenging other tracks on the album for the passions but all the time deceptively it is working away and though face to face impact is less startling it is a moment which returns at will even away from the release.

Both Cypher 2.0 and Downpour urge limbs and emotions to take part in their electro waltz, the first with a pulsating veining of jabbing rhythms. A real plus for the song and album is the use of live drums which brings an organic pulse and frame to the album setting it apart from most others instantly, and with the crystalline fire spawned electronic pulses and stabs from around the ever satisfying and shifting vocal delivery here an irresistible instigator. Its companion is a rhythmic raptor, beats prowling and stomping with ever switching rabidity whilst the electronic teases and kisses come with their own sense of menace and salaciousness. There is a punk essence too which is a mere hint, as on other songs, but there waiting and probing vocally and musically alongside a Pitchshifter like primal suasion. The thrilling duo are backed up by the more than decent Hellfire, a cantankerous fire which merges moments of slightly underwhelming electronic bait with addictively thrilling aggressive almost corrosive metal and guitar voracity. That punk element is back here, a Spizzenergi nag pleasing thoughts whilst, and not for the first time, the electro calls bring Fad Gadget into the mind, and in even greater potency upon Unbreakable. With a post punk/metal esurience and attitude to its presence, the song is another pinnacle upon what ultimately is one exciting and inventive release.

    Into Exile comes in digital and CD format, both with unique remixes. The former format finds the Back to Hell, Back to Reality Mix of the title track by D.E.P, which gives the track the flame arguably missing in the original, the Destructed mix of Downpour by Detuned Destruction, and Corroded Master’s Harlot Mix of Breathless, both inventive takes without matching the originals. The CD offers the G-Mix look at the title track which certainly takes it into a new adventure, the Knife Fight remix of Breathless, and another by Defeat, with both formats seeing the Ruinizer Remix of Awaken, the track becoming a nastier predation and antagonist to the album version.

     Into Exile is an exciting and richly rewarding provocateur, a release showing the ever evolving and increasing strength of Davis’ songwriting and its striking realisation through Tactical Module.

https://www.facebook.com/TacticalModule

8.5/10

RingMaster 05/10/2013

 

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com