The Idol Dead reveal their ‘Dark Little Hearts’, on 5th May‏

The Idol Dead Online Promo shot

 

UK ROCKERS THE IDOL DEAD RE-RELEASE STUNNING NEW ALBUM!

 

Leeds rock crew ‘The Idol Dead’ spit out a heady amalgamation of infectious Rock ‘n’ Roll and spiky punk which tips its hat to the likes of Guns ‘n’ Roses, Foo Fighters and The Wildhearts. Pinning sledge hammer riffs against gargantuan choruses backed by thunderous drumming, The Idol Dead are poised to bring their sound to the masses in the shape of their blistering new album ‘Dark Little Hearts’, which is rebooted on 5th May, through the band’s own RAAA! Records label.

Born out of a mutual love for blistering riffs, The Idol Dead sport a varied collection of influences stemming from Rachael Stamp, Foo Fighters and Sex Pistols, to David Bowie and Queen. It’s no wonder that, given their eclectic tastes, the 5 piece offer something different – their own brand of big booted rock n roll!

Formed in 2008 and consisting of Polly Phluid (Vocals), Nish Gonsalkorale (Drums,) KC Duggan (Guitar), Tim Jeffs (Guitar) and Dan Sugden (Bass), the five-some soon became the best of friends. After honing their live set, the quintet began to play throughout the UK and swiftly earned a hearty reputation for delivering explosive live performances. The band have gone on to share stages with the likes of Killing Joke, Sebastian Bach, Buckcherry, Evil Scarecrow, Blackfoot, Warrior Soul, Molly Hatchet, Hatebreed, Pitchshifter, Laika Dog and Spear of Destiny, to name just a few.

The Idol Dead also have a strong DIY ethos which led them to form their own label, Raaa! Records. The label spawned the release of their debut album ‘Die on my Feet or Live on my Knees’, which was totally self-funded. However, the band decided to utilise the pledge platform for their sophomore album ‘Dark Little Hearts’, and within six weeks, they had what they needed in order to complete the album. Needless to say, The Idol Dead were simply blown away by the dedication and support of their fans.

Now with ‘Dark Little Hearts’ recorded and prepped for a national release, the sky is the limit. The band’s album certainly delivers on all fronts. From the urgency and cut throat riffery of ‘Blue Skies’, to the buoyant vigour of ‘Hey Girl’ and the radio friendly melodic brilliance of ‘I’m Drowning’, the five piece have everything in line and are set to battle it out for their place as one of the new breed of Brit Rock bands set to break in the UK!

 

Check out The Idol Dead live: 21st March – Sitwell Tavern, Derby; 30th April – The Duchess, York; 3rd & 4th May – Noize Level Critical, The Maze, Nottingham; 9th May – 360 Club, The Library, Leeds; 24th & 25th May – TBFM 5th Birthday Bash, The Snooty Fox, Wakefield; 31st May – The Riverside, Selby.

The Idol Dead Cover Artwork

www.facebook.com/theidoldead

October File – The Application of Loneliness, Ignorance, Misery, Love and Despair – An Introspective of the Human Condition

Ester Segarra

We have had a soft spot for UK protagonists October File ever since the unleashing of their How to Lose Friends and Alienate People EP and the soon following debut album A Long Walk on a Short Pier in 2004. It is a seemingly instinctive connection which has only increased over time and reached another pinnacle with the release of their new full-length The Application of Loneliness, Ignorance, Misery, Love and Despair – An Introspective of the Human Condition. A mouthful in name and an inspiring incitement in body, the Candlelight Records released album takes the imagination and passions on a tempestuous adventure throwing voracious riffs, rabid rhythms, and bordering on insidious grooves into evocative explorations of emotions and experiences. A concept album based on the aspects of its title in regard to the human state and its response to certain incitements, the nine track investigation is quite simply a riveting confrontation of highly flavoursome and esurient metal.

Formed in 2003 by guitarist Matt Lerwill and bassist Steve Beatty and finding specific inspiration in band such as Killing Joke, Amebix, Godflesh, and Gang Of Four as well as others within rock, punk, industrial, and underground metal, October File has created a presence which is distinctly uncompromising and unafraid to push its boundaries as shown by the new release. Completed by vocalist Ben Hollyer and drummer John Watt, the London based quartet soon left a deep mark through their opening album and even more so with the following Hallowed By Thy Army EP of 2006 and acclaimed second album Holy Armour from the Jaws of God a year later, the second of the two featuring Killing Joke frontman Jaz Coleman. Arguably even more rigorously potent live as on record, the band has savaged numerous festivals and a wealth of venues as well as touring with the likes of Killing Joke, Prong, Ministry, and Fear Factory over time. Third album Our Souls To You was unveiled to similarly potent responses and reviews on 2010 but with The Application of Loneliness, Ignorance, Misery, Love and Despair…. the band has sculpted and uncaged their most dramatically antagonistic and provocative exploration yet. Recorded with producer Jamie Gomez (Cathedral, Ulver, Altar of Plagues, Electric Wizard), it is a challenge armed with the all the intensive qualities and enthralling brilliance to feverishly ignite ears, thoughts, and emotions.

First track I Fuck The Day opens within a restrained but troubled melee of voice and brewing aggravation driven by a harsh guitar tone. It OctFile_Digi_Front_2014_old_logois a sonic portent which taunts as it encloses ears, building its oppressive coaxing until ready to unlock the tumultuous intensity and corrosive fury pent up inside. This it does with a tirade of rhythmic enslavement, vitriolic riffery, and a savage bass presence. This ferocity is soon led by the ever drama fuelled scowls of Hollyer, his delivery passionate and threatening. Just when you think you have a grip on the storm though it dips into a melodic detour, an elegant and emotive shift within a raw atmosphere. It is an intriguing movement before the track returns to its destructive sonic intent.

It is a tremendous start but soon left in the shadow of both Heroes Are Welcome and Reinvention. The first of the two thrusts its hungry sinews and rapacious energies at the senses from the first second, inviting grooves spiralling from within the impacting ferocity. The weight of the rhythms and riffs is as forceful and compelling as the intensity of the song’s heart, its presence like a mix of Mastodon and Prong in body and October File in sound. The synapse firing groove of the track is also delicious bait which simply accentuates the lure and veracity of the track, though it turns out once its successor steps forward to be just the appetiser for even more addiction crafting chastisement. The best track on the album, Reinvention lets the guitars score and abrase the senses first, softening up their victim before twisting out a groove which makes Ebola seem lightweight in virulence. The track soon has body, imagination, and soul crusading down its venomous landscape with greedy submission, its repetitive toxicity reminding of early Therapy? whilst the rhythmic manipulation of the senses and vocal poise of Hollyer leaning the way of equally early Killing Joke. It is a blistering escort for thoughts and emotions not forgetting passions into the inventive and evocative narrative of the release.

Following song, The Water takes longer to release all of its persuasion than the previous songs but ensures the journey is a riveting and thought stretching pleasure. Lasting over eleven minutes, the track slowly stretches and ambles from within a thick cascade of watery evocation before flexing its lumbering muscles and strolling causticity into a doom seeded march. Again that Coleman and co reference rears its unmissable head but only a flavour which accentuates the power and imposing majesty of the release. Chugging with incessant rhythmic hunger and breath stealing creative rabidity, the song consumes and seduces with the appetite of a deliberately stalking tsunami clad in epic dark intent within ruinous immersive depths.

The acoustic persuasion of Upon Reflection brings a break in the musical onslaught if not the emotive weight of the album, guitar and voice a potent spark before the exhausting Elation soars in with major intensity and a sonic endeavour winding tightly around the already rapturous appetite for the album. The order of these two songs may be reversed as the Bandcamp stream for the release had then the other way to the promo sent through to us.

As The Clouds Meet The Horizon pleasingly swamps air and senses next bringing a tidal wave of caustic almost pestilential seduction within a fierce rhythmic frame, grooves and hooks biting hard and digging deep for exhilarating expression and enticement. As with all the tracks there are twists and turns to the persistent repetition cored drive of the song which spellbinds and skilled guitar play which simply bewitches.

The album is closed by the equally thrilling All Rise All Fail, a track which sonically swaggers like a professional assassin and rages like a wounded bear, and finally the exceptional To Be Watched Upon. If the previous track was an angered animal, the last song is a bestial force of sound. Rhythms and riffs prowl, pound, and gnaw with incisive jaws whilst the bass discovers it’s most carnivorous voice yet. Danger and intimidation drips from every note as shadows and savage climates lurk ready to pounce and tear body and heart asunder. Leaning towards ten minutes of primal provocation, the sensational song is a charnel house of sonic acrimony drenched in venomous enterprise.

Released on 26th May, The Application of Loneliness, Ignorance, Misery, Love and Despair… is easily the finest and most dramatically imposing October File storm yet, a predator of sound and passion which leaves the majority of other bands and releases floundering in its turbulent wake.

http://octoberfile.bandcamp.com/

http://www.octoberfile.co.uk/

10/10

RingMaster 25/03/2014

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

 

Tribazik – Data Warfare

 

TRIBAZIK

    Describing the sound of UK band Tribazik is easy, early Killing Joke meets Pendulum with healthy doses of the raw power of Pitchshifter, the fiery electro snarl of The Prodigy, and the rhythmic swagger of seventies band Red Beat, except as is loudly evident on new album Data Warfare, it is only part of the scintillating recipe. Forging something unique and irrepressibly contagious through the merging and rigorous gene altering of alternative rock, psychedelic metal, industrial, techno and much more, the London based trio rampage through the imagination like a sonic tornado, organic electro and rhythmic teasing entwined with hungry rapacious grooves and psyche igniting invention. It is a glorious pulsating confrontation which has already brought the band eager and potent attention though you suspect that will be nothing in comparison to the acclaim once the album reaches out and out.

     The band is the brainchild of Jerry Kandiah (vocals/guitar) and Hedge Seel (drums/samples), two musicians with a rich experience in metal based bands and having their own sound system on the underground rave scene. Linking up the pair explored styles which lit their own passions with a new and boundary pushing invention, the first results including the track Yang To Yin which caught the attention of Killing Joke bassist Paul Raven. His invitation to support his band led to two European tours alongside Killing Joke and Jaz Coleman guesting on a track from Tribazik’s Andy Gill (Gang of Four) mixed debut album All Blood is Red in 2009. Following its acclaimed release the band was then permanently joined by Syan whose previous band Interlock had released the critically acclaimed album Crisis//reinvention in 2004. The recording of the new album was hit by the death of the band’s manager Gary DS but such the force and energy to the breath-taking tempest you can only feel they used the loss to drive their creativity and passion in tribute to the man. Self-produced and mixed by Youth (Killing Joke, The Orb, The Verve), Data Warfare is a sumptuous kaleidoscope of sound and imagination, an inventive fury which transports the listener into lyrical skirmishes looking at ‘the imminent hostilities facing the human race’, and broiling sonic soundscapes woven with aggressively stirring imagination and voracious creative energy.

     A cyber enticement starts things off as Too Dead To Care emerges from an electronic cocoon to incinerate the air with a a2136431759_2furnace of sound and riffs before settling into a deliciously agitated yet perfectly poised enveloping of the ears. Immediately that Killing Joke and Pitchshifter reference coaxes thoughts as electro driven rhythms and pulsating energy fuses with the ravenous guitars. It is a senses dominating introduction to the album, one bold in its invention and unafraid in its dramatic and persistently evolving provocation.

    The intense and breath-taking start has lips of anticipation being licked and soon satisfied as Atom soon followed by Life Force Energy parade their ingenious contagion. The first of the two flirts with and peels away the surface of the senses with a skittish almost acidic electro irritant whilst behind riffs and rhythms carve out a formidable and incendiary canvas for the vocals of Kandiah to paint the lyrical narrative. His tones are very Jaz Coleman like across the whole release which only accentuates that Killing Joke resemblance, but never to the detriment of the adventure and distinctive Tribazik presence. The second of the pair from another subdued but sinister intro erupts into a blood pumping and exhaustive consumption of the senses, riffs growling with every heavy note and the beats of Seel reinforcing the tantalising damage with sharp and incisive animosity. As now expected it is just one facet of the enterprise escorting the emotions into a near rapture, melodic swarms and thought provoking craft washing and twisting around the uncompromising pulse and heart of the track.

     Without allowing the listener a breath unless they use the pause button, Tribazik keep the riveting creative pressure on with 12th Disclosure and Sonar Sumeria, the first a sonic bred incident filled experiment wailing with aural warning signs, caustic sirens, and perilous intimidation all filtered through a dangerously magnetic swamp of techno radiance and industrial predation. It is a masterful seduction taken to even greater heights by Sonar Sumeria, a celestial journey through rave spawned, psychedelic coloured, sonic romance. Throughout a vociferous energy equally brews up resulting in a sultry and elegant evocation which Pendulum would have loved to have sculpted.

    The album continues to fire up the passions and greed in an already gluttonous hunger as firstly the restrained but predatory Hacktivism with its unrelenting electro bait and metallic rabidity seduces and abrases the senses. Just as keenly a virulently addictive groove brings slavery to the imagination before the rhythmically toxic Spacetime Collapse takes over laying a wonderfully wanton and irresistible hand on the emotions as spirals of unpredictable transfixing ingenuity expand the already dexterous invention. With an additional dub coating to its expanse reminding at times of Ruts DC, the song provides another pinnacle on the lofty range of the album before the dark and menacing presence of Bloodline Crossbreed infects and magnetises an admittedly ready to drool over anything appetite for the album. Arguably not as colourfully imposing as previous tracks but with an evocative melody enriched ambience merging with the intensive atmosphere it is on the frontline of intriguing, sophisticated alchemy.

   That deliberately sculpted and thoughtfully layered turn of the album continues through the final two songs, though no song lacks invigorating intelligence and artful ingenuity in its makeup. The melancholic yet vibrantly rousing Absence Of Proof comes first with female calls lighting the surface of the emotive exploration lyrically and musically whilst the closing Tools Of Mass Creation delivers a world of sonic emprise all of its own, it a resourcefully elegant and vivaciously daring flight of moving imagination. The pair makes a mentally and emotionally mesmeric end to an exceptional encounter; Data Warfare a sensational dawning of Tribazik and their time to take the rock world by storm you suspect and hope.

http://www.tribazik.com

10/10

RingMaster 21/02/2014

 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

Monstre – Self Titled LP

 

Monstre @ Fête de la musique 2012

    With more flavours than a Cornish ice cream parlour and twists than a snow boarder on an Olympic half pipe, the debut album from French rock band Monstre is a startling and scintillating beast of a release. The self-titled ten track encounter challenges and treats the senses from the first second, a constantly evolving mix of metal and rock in numerous guises all colluding to infest the imagination and passions. With a suggested depth of potential that is still to be fully untapped by the band as their album thoroughly captivates and thrills from start to finish, Monstre is one of the most exciting propositions to tantalise the ears in recent years.

     The creation of Toulouse duo King Pilo (vocals/guitar/bass) and Seb (drums/backing vocals); the album was recorded in November of 2013 at the Meskine Records Studio with its release at the start of this year. List your favourite metal and rock styles and most likely Monstre will be employing their essences in the multi-faceted and voraciously inventive release. More unpredictable than an orgy in the dark and just as rabidly enterprising, the album works on the primal and creative wants of all with a rhythmic alchemy which leaves you exhausted and drooling alongside a sonic kaleidoscope of ingenuity which simply dazzles and enthrals.

    The album opens with Obey, the jaws of bass an instant intimidation on thoughts as the guitar lays a slow glaze of causticity coverover the senses. With vocal harmonies grazing air as expressively as the stalking sounds, the track subsequently expels a sludge toned weight and intensity on its recipient. Whilst circling and probing emotions with its lumbering and incisive predation, the track’s lyrical incitement as across most songs is a minimal but equally imposing and effective lure helping create a towering entrance for the release.

    The following Green Fish not only builds on its predecessor’s presence but thrusts the album to new heights with its fusion of noise and psyche rock aligned to menacing alternative metal. As in the first the bass has an irresistible savagery which immediately sets the passions beaming, but it is just part of the wonderfully toxic bait building a web of virulence. There is an early Killing Joke potency to the song but also slithers of invention which suggest bands like Melvins and Faith No More has added spice to the band’s artistically informative years. The track is a glorious slice of intrigue and adventure for the imagination, a tantalising and chilled enticement soon matched by the instrumental Mother. Revisiting a sludgy textured prowl with that metallic snarl of the bass and equally ravenous riffery amidst a sonic voracity, the track is an epidemic of rhythmic seduction and inventive endeavour.

    Both Prick and Less taunt and light up the ears, the first coating everything from rhythms and riffs to vocals and sonic weaves in a rapacious breath. The guitars scythe and sculpt a riveting maze of provocative ideas and textures whilst the bass scowls and leans heavily on the senses as the drums pummel their tender flesh. It is an absorbing and incendiary mix offering a Gang Of Four compulsion and Fugazi liking attitude and combativeness. Its successor provides eight minutes of cantering sonic hostility and rampant incessant rhythmic incitement, the track’s first half an instrumental taking of the imagination and its latter stretch providing a great vocal enticement and grunge bred expression to the relentlessly anthemic charge of rhythms. Both songs are formidably imposing and irrepressibly magnetic upon thoughts and emotions continuing the impressive stance of the album.

     Drunk blends a grunge and stoner persuasion into its hungry design, a Nirvana kiss smooching in some of the song’s punkier moments whilst the following What U Say takes that same punk essence and immerses it in a more hard rock brawl with again a Gang of Four post punk tempting. Without strolling along the same plateaus as set by previous songs, both tracks providing a healthy feeding for a greedy appetite before Song One thrusts its muscular and sonic grunge/rock swagger through the ear for another contagious trap for the passions.

    The album is brought to a close by firstly the niggling pressure and charm of Nothing, a track with a provoking adventure and inventive voracity which reminds of Wire at their most transfixing, and lastly by the persistently shifting Welcome, a song which between a top and tailing Middle Eastern seduction which is very similar to that of The Cure’s Killing An Arab, immerses the ears in every essence of sound it can conjure for a fluid and inspiring soundscape of incisive metal and heavily boned rock ‘n’ roll. The pair of tracks impressively concludes a tremendous album and introduction to Monstre, a band with all the imagination and flare to rise into the strongest spotlight. The anticipation of that is full and sure whilst pleasure now is fat and bloated on the excellence of Monstre.

https://www.facebook.com/pages/MONSTRE/285147271524380

https://monstremusic.bandcamp.com/

9/10

RingMaster 19/02/2014

 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

Canaya – Sealed Within The Walls

canaya pic

    Like being caught between the eyes with a sledgehammer and then brought back to consciousness with a voraciously brutal seduction, the Sealed Within The Walls EP from British metallers Canaya is a real beast of a proposition. It is a merciless and compelling slab of ferocious confrontation infused with a riveting and absorbing wealth of inspiring riffs and potent grooves, a towering heavy weighted triumph from one of the UK’s most impressive if still ‘undiscovered’ metal bands.

     Featuring ex-members of Tangaroa, Executive Distraction Tasks, Hot Prophecy and Nerve Engine, Canaya was formed in 2010 and soon drew acclaim and eager attention with debut EP Alignment Of Dying Planets that same year. Live the Leeds quartet of vocalist Simon Wright, guitarist/vocalist Owen Wilson, bassist/vocalist Chris Wilson, and drummer Andy Richards have also wasted audiences, performances amongst a great many including Damnation Festival, Brew Records, Big Spaceship, Brainwash, and British Wildlife and with bands such as Narrows, Keelhaul, Knut, Coliseum, Humanfly, Melt Banana, Hawk Eyes, Brontide, and Lavotchkin, all increasing and reinforcing the powerful emergence of the band. The video of the single Dios Muerto found heavy viewing and support on YouTube, leading to the attention of Ginger from The Wildhearts who invited Wright to provide guest vocals on his album Mutation. The Hyde & Seek released Sealed Within The Walls is the next thunderous incitement from Canaya and possibly the trigger to the widest recognition, it is hard to imagine any other outcome.

     Opening track Levitating Casket, the new single from the release, instantly storms the ears and senses with a concentrated 1797464_581774275248163_604048507_nand intensive barrage of punches from the drums and broad sonic swipes of guitar. Each has a fearsome weight and intent in their power which the bass only empowers with its imposing predacious intensity. It is a striking start which spreads into a sonic causticity with animosity drenched vocal squalls from Wright supported by the two Wilsons. Continually twisting its attack with grooves and hooks flailing the senses amidst the infernal rampage of riffs and energy, the track is a tempestuous and mouthwatering onslaught, and as contagious as it is disturbingly venomous, the song soon has attention and imagination sealed within its corrosive embrace, both eager to fall deeper into the roaring invention and malevolence.

     The unpredictability and imagination of the first song is replicated by next up Award Winning Bastard, a distinct character with more sonic voracity than its predecessor but equally as captivating and incendiary upon the senses. You almost feel synapses and emotions withering within the tracks scorching sonic persuasion and rhythmic pummelling, but with another irresistible distraction from the band’s adventure and ingenuity only instinctive hunger prevails under the avalanche of sound. For something so vicious and brutal it is hard to believe the contagion of the songs is so virulent but it is and just as impressively repeated in the following Monarch Of Sin. Standing tall and muscular from its first seconds of rhythmic provocation and corruptive riffery, the song takes a less forceful approach in comparison to previous tracks but is just as dramatic in its enticement. A smouldering melodically fuelled acidic casting is aligned to a cleaner vocal delivery, the union almost Killing Joke like at times, and sandwiched between a heavily weighted predatory stalking brought by the bruising intensity and ravenous metal ferocity. The song is a savage and ruinous yet bewitching encounter, a temptation elevated by the Converge like fury of group vocals at the song’s finale; it and track a glorious tempest.

    Committed rages next and features John Sutcliffe from Humanfly within its scintillating exploits. From the first rapacious swagger and torrent of guitar invention the track secures greedy attention which it’s subsequent rampant riffing and transfixing rhythmic antagonism, not forgetting brawling vocal combination. The song swings and lurches from one explosive and thrilling point to another, infection and toxic animosity unrelentingly igniting it’s too brief but outstanding presence. The best track on the release, amongst only major triumphs, the song gives a big test for the closing Audio Porn to live up to. Raw and abrasive within an evocative melodic crafted enterprise, the song easily rises to the challenge providing release and listener with another individually startling expanse of inventive vehemence and exhausting adventure. It is a mighty intrusive end to a severe and masterful incitement for ears and passions. Influences for the band are cited as bands such as Black Sabbath, Metallica, Pantera, Mastodon, and Gojira , a list you suspect the name Canaya will eventually be added to as an inspiration for others. They and Sealed Within The Walls are right now collisions you simply need to stand in front of to bend and bask within.

www.facebook.com/canayauk

www.canaya.bandcamp.com

9/10

Ringmaster 15/02/2014

 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

Nonagon – The Last Hydronaut

the-last-hydronaut-600

Carving out a noise which simultaneously torments and seduces the senses, US band Nonagon is an encounter which challenges and rewards with an equal intensity and vitriolic craft. Their third EP The Last Hydronaut takes no prisoners, its offering demanding and invigorating with a squall which blends stretches of punk and garage rock with noise and post punk/post metal irreverence. To be honest the six track release and songwriting of the Chicago trio defies any exact definition of their violations but that is just the start of the enjoyment and potency of the release.

Nonagon was formed in 2003 by drummer Tony Aimone (ex-The Blue Meanies, J. Davis Trio, Taylor), bassist Robert Gomez (ex- Der Lugomen and of Martian Law), and guitarist John Hastie (ex- Jumpknuckle). The band released the No Sun EP in 2008 and the People Live Everywhere EP last year, the first a more punk driven causticity whilst its successor shows the beginnings of the varied corrosive endeavours which ignites The Last Hydronaut. The new release sees the band taking another step forward, it’s uncomfortable and compelling presence a fury of unconventional and uncompromising uniqueness as destructive as acid and as thrilling as a magnetic storm.

Opener Razing All Boats instantly ignites ears and emotions, its initial crowding of the senses a tempest of sinew driven rhythms, bass predation and antagonistic riffing. That starting scourge never changes across the track but with the squalling vocals and niggling groove irresistibly capturing the imagination, the song makes a constantly riveting and dramatic introduction to the release. The throaty bass prowl and unpredictable rhythmic caging reminds of early Killing Joke in a union with The Fall whilst with the scowling punk vocals across the grazing riffery the song aligns a mix of Converge and at times Melvins. It is an excellent rage soon matched by The Pfister, another virulent torrential abrasion which teases, taunts, and tantalises with a multi-flavoured acidity. The bass makes the early call before sonic guitar scrubbing disguised as a groove employs its excellent toxicity upon senses and emotions. The vocals help create a presence which recalls eighties band The Three Johns whilst the melodic intent of the barbed groove with discord an enthralling bedfellow adds elements of The Fire Engines to the outstanding confrontation.

For those old references the EP and sound is a refreshing wind of modern inclination which King Corky takes to another depth of potency with addiction forging niggling grooves and guitar temptation. Less immediate than its predecessor but no less intense and dramatically contagious, the track creates a daunting consuming web prowled by the excellent bass courting of the ears, its crawl and enticement as rapacious as the equally predatory drum exploits which builds an enthralling frame for guitars and vocals to spurt their fractious sonic brawls from.

Both Elvis and Affinity Fraud increase that intensity previously taken to darker places to even heavier testing heights, the first with a rigorous almost destructive presence whilst the second of the two twists and turns with a scalding and scathing invention of melodically drenched sonic hunger. Though neither quite lives up to their predecessors, the experimental invention and hunger to push their boundaries is undeniably fascinating and gripping, the second at times almost bringing whispers of pop punk to bear within its sour laced pungent enterprise.

The final track Hydronauts completes the excellent release with more of the same adventure in a new appealing guise for the EP, vocals and guitars acerbic bait inside a continually arresting and incendiary rhythmic ingenuity. The Last Hydronaut will not be an easy listen for some and noise manna for others. For us with repetition and spellbinding droning as much a bewitching antagonist as the rhythmic conjuring and sonic tempestuousness, the EP is a gripping and exhilarating trial for nerves and senses.

http://www.nonagon.us/

8.5/10

RingMaster 22/10/2013

 

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

 

 

Tyranny Is Tyranny – Let It Come From Whom It May

cover

Stark in tone and stark in its regard to the world, Let It Come From Whom It May the debut album from US post noise rock assassins Tyranny Is Tyranny, is a corrosive breath not only upon thoughts and senses but the capitalistic hold of society and man; the band name taken from title of the fourth chapter of Howard Zinn’s A People’s History of the United States. As with most bands a tag only gives one or two levels and sides of a sound and certainly it is the same with the Madison, Wisconsin quartet. Throughout the seven startling and demanding tracks there are coarse whispers of post punk and doom rubbing their toxicity into the caustic mix to help provide an extensive and exhausting confrontation which wears down and consumes the body from top to bottom, inside and out, whilst simultaneously invigorating the self-same victims alongside enforced thoughts and contemplation.

Tyranny is Tyranny rose from the demise and collapse of United Sons of Toil, guitarists/vocalists Russell Hall and Jason Jensen emerging as an unashamedly confronting and uncompromising fury lyrically and musically, but a tempest carefully and thoughtfully crafted for maximum provocation and success. With bassist/vocalist M. Guy Ficcioto and drummer Ben Aldis alongside the pair, the band creates an oppressive web of stirring and cutting narratives within a senses sapping smog of sonic sludge and rhythmic challenging. It is a bleak and suffering encounter but deviously addictive and impressively accomplished, with a sound and presence which seduces from its first spiteful note to its last threatening breath.

Opener Manufacturing Truth makes a tempting entrance, guitars casting a slow melodic beckoning within a gradually intensifying atmosphere. Soon a sludge heavy blanket lies down upon the energetically growing riffs and awakening concussive percussion, the brewing union flaring with belligerent sinews and rabidity drenched vocal squalls. Elements of Part Chimp and KEN mode stir within the track as arguably does a taste of Black Flag but more dominantly it is a fresh and rapacious provocateur insidiously but welcomingly working upon and seducing senses, thoughts, and emotions.

The impressive start steps aside for the following Owned By Thieves, another song which makes its introduction with a slow and smouldering embrace. The track has a tender hand upon the ear again from guitar whilst a sonic uprising is just initially hinted at, an expulsion further incited by the roaming predatory bass. Strangely there is an indefinable familiarity to the track which teases throughout, at times distracting from the quality and depth of its persuasion as thoughts try to grab onto a suggested name to compare the sound to, ultimately unsuccessfully. It is an immense and enthralling continuation of the opening plateau stepped upon by Let It Come From Whom It May, and a level soon elevated by the outstanding Down The K-Hole. With riffs and bass gnawing upon the senses from its first seconds whilst a sonic hook adds addictive intrigue, the song immediately raises thoughts of early Killing Joke, that same intensive and tight primitive lure and savagery at restrained but potent work. The punk scourges which unleash their bruisings throughout accentuate the ravenous snarl and disdain, adding to a storm of intent and Prong like metallic brutality.

The best track on the album is soon followed by the equally imposing and thrilling instrumental The Haze Of Childhood; the piece an evocative slow soar through emerging menace and elegant key bred emotive caresses into a loss of once safe innocence and consumption of a stark, bleak horizon. It flows straight in its successor Apostasy, the song accepting the set premise and building upon its presence with gentle vocals and a post punk sinister glaze, the track initially parading an invitation not dissimilar to one Wire would offer. Into its full body the forceful persuasive growl and provoking pressure of the vocals and intensity make compelling declarations and impressions on the passions, and though the song does not ignite the fires of earlier songs it is arguably the most powerful and skilful in creating an unavoidable reaction within the listener.

The album concludes with firstly the contagiously repetitive and droning call of The American Dream Is A Lie, its lure a hypnotic seizure as its oppressive nature steals submission for its deceitful sonic promises, and finally the equally mesmeric Always Stockholm, Never Lima. The track in its forceful and sonically scrubbing of the senses induces a total union from the listener to its demands and control, its aggressive but devious enticements another thrilling venture within the album.

Recorded and mixed by Russell Hall and Jason Jensen at The Dock and at The House For Wayward Boys, Let It Come From Whom It May is an outstanding introduction to a band which you sense will make a major impact on noise and caustic political rock for a long time to come. The album is certainly stronger in its earlier presence but only recruits a full hunger from start to finish with its somber erosive incitement. Tyranny Is Tyranny tell it as it is with a noise spawned majesty which is as controlling and merciless as those it rages against, but in a very good appealing way.

http://tyrannyistyranny.com/

8.5/10

RingMaster 20/09/2013

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

Healthy Junkies -The Lost Refuge

hj

Our attention was first given a tasty prod by UK melodic punksters Healthy Junkies back in 2011 by their track Manifesto taken from debut album Sick Note, its impressive enticement soon backed up once discovering the singles Copycat and Trash My Love. There was a certain promise and persuasion about the songs which made you suspect that the band had even greater moments and triumphs up their sleeve. The release of new album The Lost Refuge proves that that hope and assumption was more than valid, in fact such the exciting invention and presence of the release it shows maybe a depth of underestimation was at play too.

The seeds of the London based band came with the meeting of Parisian vocalist Nina Courson and guitarist Phil Honey-Jones at the venue Punk in Soho in 2009. Each in different bands, they found a mutual love and sharing of inspirations which fired up their individual creativity, influences that included the likes of Iggy Pop, Nirvana, The Doors, Blondie, Killing Joke and Sonic Youth. Linking up they were soon joined by drummer Adam Lewis and bassist Tjay Tarantino. Lewis recorded the two previously mentioned singles, and also plays on one of the tracks on The Lost Refuge, before leaving with Steve Nightmare taking over the sticks. From their first gig at an all-day punk festival in Brighton in 2010 the band has gone on to play with great success numerous shows across the UK including headlining the new band stage at the 2012 Rebellion punk festival and this year having their new album’s launch party again at the Rebellion Festivals in August, a show which saw Danny Fury (Lords of the New Church, Sham69) on drums and Dave Renegade on bass in a changed line-up since the recording of the album.

Signing with STP Records for the release of The Lost Refuge earlier this year has given Healthy Junkies a stronger platform to launch the stp1album from, though you can only feel it would make its mark such the quality and devilish temptation. The release opens with Resistance, riffs and harmonies teasing around the firm rhythms to fully engage the ear before the song hits its stride. With sonic lures riding the senses alongside the strong vocals of Courson, the track makes a satisfying introduction if a slightly underwhelming one, especially when compared to previous songs and the suggested heights they offered ahead. Nevertheless there is little wrong with the song just a lack of a gripping bait or spark to ignite thoughts and emotions.

There is no such problem from the second song on though, the album unleashing a mischief and contagious invention which now confirms and extends those earlier hopes and sets fire to the passions. Spoilt Brat offers a restrained chug of a persuasion initially as the dual vocals work their temptation. The thumping beats and moody bassline flicks more switches as the song erupts into a thrilling blaze of aural and lyrical attitude which takes hold of the emotion’s shoulders and leads them on a pop punk lilted stroll of undoubted quality. The band reminds of eighties pop punk band The Photos as the track dances on the ear which only adds to the pleasure. It is instantly followed by the excellent Play Me and its coaxing of grazing riffs and jabbing rhythms. Once in full flow with hooks and melodies laying deep barbs in the passions, the track is a fiery stomp with a blues flame to the solo and seductive licks to the vocals, especially in the restrained moments before the song bursts into sonic crescendos.

From one major pinnacle the album steps into another and the magnificent Scam Update. Coated in a definite Penetration like confrontation and old school punk urgency yet with a melodic indie breath, the track is an enthralling and magnetic glory, the little twists of ska punk strokes and grungy intensity imaginative manna. It probably takes the best song award though it does change with each listen as the likes of the next up pair of If You Talk To Her and Swansong as examples, challenge each and every time. The first of the pair casts a sinister cosmic wash over the listener before a pulsating bass tango avails the song of its charms amidst the cracking rhythmic cage set by Nightmare. In full flight the song is a sonic thrill with a whiff of wantonness and surf rock to its invention and scent of sultry melodic sex to its dance. A scintillating and irresistible provocateur it is soon matched by its successor and its cantankerous vaunt, its rhythmic slavery as inescapable as the vocal enticement and the near on psychobilly guitar mystique which strokes the imagination before launching into a raw and rewarding riot. It is another major highlight in so many.

The fun and decent enough cover of La Vie En Rose is followed by the pleasing prowling sleek Cat Story, with Lewis on drums, and Mad Parade with its hungry riffs and throaty bass call seizing the ear tightly for the playful keys brought by Honey-Jones to whip up another rise of appetite especially with the musicians equally impressive guitar ingenuity. Old school pop punk with a muscular heart and steely frame, the song is another deviously potent suasion and yet one more exciting treat.

The quality and triumphs just keep coming, the likes of the bewitching and elegantly forceful Shine A Line and the charismatically riveting and rapacious Witches Of Lust unleashing in their own unique ways more punk alchemy to enslave the passions. The album as a whole is diverse and inventively distinct from song to song, the final pair of the pop rock shaped Coz It Sucks and the magnificent Sex War with its dub scythes of invention stoking the fires as melodic pop flames to fly whilst the vocals of Courson and Honey-Jones create a sizzling duelling attack. Ruts meets Dangerous Girls with Pauline Murray at the helm, the track is a mighty end to a robustly thrilling album. Healthy Junkies have come of age and you only sense they will get better. A must investigate release!

https://www.facebook.com/pages/Healthy-Junkies/128020360589230

9/10

RingMaster 12/09/2013

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