Generation Graveyard – Lonewolves

Generation Graveyard Online Promo Shot

Preying on ears with the primal snarl of early Killing Joke, the punk fury of Amen, and the raw salacious bloodlust of Frankenstein Drag Queens from Planet 13, UK metal punks Generation Graveyard has become one of the eagerly talked about new protagonists of the European horror punk scene, and it is easy to see why with the release of new EP, Lonewolves. The band’s official debut release, it is a predatory assault on the senses and a stirring incitement to thoughts and emotions. It is hard to say that it is going to be the most startlingly original thing you will hear this year yet the London quintet unleash their venom and antagonism with a blend of flavours and impassioned vitriol to stand apart from the crowd and excite with undeniably ferocious potential.

Since its conception in the latter part of 2009, Generation Graveyard has earned a strong and impressive reputation through their live performances which has seen the band share stages with the likes of Misfits, Anti-Nowhere League, The 69 Eyes, Black Breath, Viking Skull, Warrior Soul, The Defiled, and most recently supporting Breed77 on their full UK tour. Fusing rich essences of hardcore, rock n roll, black metal, and crust into their metal punk voracity, the band’s next big step hits potently out in sound and lyrical intent, casting hostility amongst things at life and urban isolation, society and social upheaval, and substance dependence. As suggested Lonewolves is not reshaping a scene but it does make it impossible to ignore or resist the band’s fury.

The release immediately stands intimidatingly over ears, stirring thing up with caustic riffs and short sonic taunts whose acidic discontent is punctuated by occasional thumps of rhythms. The entrance of Abominate/Desolate is a Generation Graveyard - Lonewolves EP coverslow enticement which almost preys on its recipient before opening up a broader wash of guitar incitement around a sturdy stride. Once the drums start rumbling along with beats which seem to coax further the already impressive vindictive bass flirtation, the track takes to full hostile flight within its still stalking gait and the similar stance of vocalist Max’s grizzled growls. Dark addictive grooves and surges of scarring riffs continue to flourish within the brawling presence of the song, but it is the almost deceptively menacing bass and spiral of melodic guitar enterprise which leave the lingering impression of the strong and potent starter.

Things kick up another gear in attack and pleasure with Human Hive, the song scurrying urgently through ears from its opening breath and teasing attention with heavily poking beats within a maelstrom of sonic causticity. There is a more open contagiousness to the song than within its predecessor, a lure providing a dangerous and virulent seduction. Sonic groans and ravenous riffs stalk throughout the track’s rippling body, adding intimidation to the web of infectious persuasion and adversarial endeavour honed into one gripping confrontation. With Max offering a Casey Chaos like combativeness to his tones and the guitars an unrelenting and varied squall of abrasing enticement littered with thick hooks, the track ignites an already open appetite with ease.

The Empty strikes next, again a song making an initial quarrelsome impression veined by sonic bait clad in riveting invention and enticement. The track stomps and bustles with attitude and impatient ire, eager to start a fight or incite a riotous commotion. It is a pleasing and easy to embrace slab of unfriendly provocation but lacks the spark and quite simply the addiction forging qualities of the previous pair. Nevertheless it is another strong lure into band and release before the incendiary punk storm that is Deletist savages ears. It is as raw and as vicious as it gets on the release, every note and syllable a raucous enmity whilst the rhythms just puncture the body with their verging on malevolent antisocial attack. Like the last song it lacks some of the lures of certainly its successor but counters that with pure venom and hardcore punk voraciousness.

The title track takes over to steal best song honours, its Misfits like opening the doorway into the epidemically anthemic roar of the song. Rhythms and riffs spare little time to size up their victim, jabbing and raging respectively with the hunger and rabidity of a restless social uprising. Hooks and grooves play incessantly with the imagination whilst the group calls to stand up and roar simply provide the icing on the ridiculously thrilling cake. It is a great finale to an increasingly impressing release though certainly on the CD there is also a bonus track, the Stereo Juggernaut remix of Human Hive which offers a more than decent stomp to fling limbs to.

Lonewolves is a dramatically healthy and intensely promising introduction to Generation Graveyard, one easily showing why the fuss from those in the know towards the band. You feel though that there is much more to come and be explored within the band ahead than shown on the excellent release, which makes their future rather exciting.

The Lonewolves’, EP is available through all stores on Monday 21st July.

http://generationgraveyard.bigcartel.com

https://www.facebook.com/GENGRAVE

8.5/10

RingMaster 20/07/2014

Copyright RingMaster: MyFreeCopyright

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Godflesh – Decline & Fall

GF_D&F_FRONT

There are some bands you always find a soft spot for in the vast ranks of likes and thrilling encounters which accost the senses and imagination over a lifetime, and Godflesh is one of the most impacting and self-sustaining examples. The prime provocateurs of not only industrial but metal full-stop, the band even in the few years they were ‘AWOL’, continued to incite and inspire personally and emerging propositions, their influence constantly openly audible in new bands and sounds. Now the UK band has unleashed its first new material in 13 years through the carnivorous ear seduction of the Decline & Fall EP. Birmingham duo Justin Broadrick (Jesu, Palesketcher, Final) and GC Green has twisted the richness of their early sounds with the experiment intrusiveness of latter inventions to give birth to an exhaustingly primal and vindictively fresh predator. The four tracks making up the release are ravenous tempests of industrial toxicity, metallic hostility, and punk rabidity, a brew which simply steals the passions just as the band has done so many times before.

Also acting as a potent teaser for the band’s new album A World Lit Only By Fire, due out this Autumn, Decline And Fall as well as rigorously casting out a new net of virulently antagonistic enticement also holds a nostalgic strain of bait most notably in opening track Ringer. As well as unearthing past memories of the band’s earlier forages into the psyche there is a raw but definite early Killing Joke repetitious tone and bait to its carnal charm. A sonic wash disturbs ears first, brewing up a portentous air which heavily cascading rhythms and bestial riffs pounce upon with greedy ferocity. The beats stamp with a military like enmity and precision whilst the bass of Green brings arguably it’s most primal and tenacious malignancy of sound yet. It is a delicious and glorious savaging which prowls imperiously alongside the feverishly caustic scrubs of guitar and the loathing fuelled monotones of Broadrick, the years having seemingly only increased his scornfully raw and imposing tones. The track is pure primal evil, a contagious tension soaked malice to devour greedily.

The following Dogbite immediately infest ears and psyche with sonic squalls which seductively sway with wanton designs whilst the bass brings its own salacious swagger to the emerging animus. The track has its own unrelenting gait to its predecessor but equally suffocates and consumes with a base fury which resourcefully blazes with cold flames. Repetition is one of the most instinctive addictive tools in music, along with discord, and there are few who can swing that bait so potently and seductively as Godflesh. The track crawls over thoughts and emotions with the gnawing patience of a dog, every chewing snarl and intensive lick of sonic persistence an irresistible incitement.

As impressive as the EP is to this point, it touches perfection with Playing With Fire. The track is simply an inescapable epidemic, its harsher industrial climate and alienating sonic web pure destructive and addiction spawning manna. We mentioned new bands being influenced by the duo but here alone you equally know and recognise the well which the likes of bands such as Fear Factory and Prong drank inspirationally. That mentioned discord is a passion igniting flavouring around the vocals whilst again bass and rhythms frame the maelstrom of sonic vendetta and enterprise with sheer grudge clad might.

The title track brings the release to a close, its viscous feud of sound a corrosive abrasing sculpted into another magnetically inspiring and senses grinding, almost cathartic challenge. The least dramatic in its attack and incessant in its confrontation, the track is the most inventively tangled weave of fascination on the EP but also the least gripping, though to be fair it still chains imagination and ardour drenched passions without mercy.

If the Decline & Fall EP is a hint of the album to come we are in for something special once again from Godflesh. We admit we might have a slightly blinkered appetite for the band and their sounds over the years but it cannot disguise the impressive and blistering might of the new release, or the impatient anticipation of the impending full-length.

The Decline & Fall EP is available on Avalanche Recordings now and @ http://godflesh1.bandcamp.com/releases

https://www.facebook.com/pages/Justin-K-Broadrick/118373041529126

9.5/10

RingMaster 11/07/2014

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Servants of the Mist – Gross Knowledge of Genital Mutilation

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Sludge and especially doom metal has never been strangers to despair and pain, nor hate come to that, but there can be few releases which consume and fester in the psyche with the sheer hostile weight and excruciating intensity as that found within Gross Knowledge of Genital Mutilation. The new EP from US metallers Servants of the Mist, it is a leviathan of ruinous abrasion and sonic pestilence which bears no mercy or respite in its bitter oppressiveness. The four-track proposition is without doubt not a welcoming listen or one attempting to lure in a wide spread of appetites but if sludge of the most demoralising and perverse order is your kind of bait than Gross Knowledge of Genital Mutilation is a definite exploration to brave.

Bred in Florida, Servants of the Mist emerged in 2010 through guitarist and main songwriter Ed Tobar. A clutch of personnel ensued before long-term vocalist Richard Smyth, Jr. joined the band. Musically the project was immersed in the more traditional doom sounds of Black Sabbath and Saint Vitus though also bringing different ripe flavours into the mix. Early demos helped spread awareness of band and sound whilst the sharing of stages with the likes of Jucifer, Ulcer, After Death, and the Tardy Brothers only reinforced the emergence of the band. More line-up changes occurred over the couple of years from forming before late 2012 going into the next year saw Tobar and Smyth JR. enlisting drummer RJ Howley, bassist Kenny Nguyen, and Jason Kleim on keyboards into Servants of the Mist. The band’s sound was also evolving, a thicker droning seducing its invention which subsequently led to a shift within the band of Nguyen to second guitar and Kleim to bass to exploit and further this turn. The results impressively emerged in the well-received and monstrously evil sounding Suicide Sex Pact EP, the base and seed to the just as hostile tsunami that is Gross Knowledge of Genital Mutilation. The new release also features the latest addition to the sextet, keyboardist Brian Schille, and the band’s heaviest, most vitriolic presence yet.

The torment opens with Sadism & Suffering, a brief introduction of portentous intrigue and atmospheric haunting cast through unnamedsamples and sonic persistence. Though arguably not openly leading into or hinting at the beast of sound to come, the piece has thoughts and emotions entwined with its dangerous and challenging presence before the following Undeserving steps up to demand and seize all attention. A wall of penetrating sonic animosity fills ears and senses first, guitars and keys venomously seducing and permeating the psyche whilst the bass offers its own lethal lure. The mere seconds feel like a month of sufferance before the lumbering rhythmic gait of the track shakes the earth and riffs slam upon the senses like a monolithic predator. The gateway to the darkest, deepest malevolent pit spreads its legs to expel a consuming flow of organic and ruinous intensity into the slowly twisting maelstrom whilst the jowls of its bestial intent, devours the imagination with scourge like rapaciousness. It is a heady and exhaustive proposition but one which ebbs and flows in its attack for ears and emotions to embrace the sonically blistered melodic veining which emerges between the raw vocal causticity and insidious emotions.

Just too long at almost twelve minutes for personal thresholds, the track is a compelling savagery which is emulated in a distinctly different guise by Commit Suicide. Bursting from another potent sample, the track is a bruising, uncompromising slab of punk infused sludge rioting. It has a definite familiarity to its groove and contagion, an indefinable one admittedly but a presence within its brutal enticement which at times suggests Nirvana, Killing Joke, and Eyehategod. It is a gripping stomp with murderous intent which grips the passions tightly before passing on for the title track to submerge senses and psyche in its disturbing provocation. The last song emerges from another disturbed ambience as bred in the opener before sluggishly unwinding tendrils of sonic toxicity and suffocating aural despondence. It is a masterful funereal death march, an intensive devouring devoid of hope and light but exuding a rabid beauty which can only seduce the souls of the wretched and the emotionally distorted.

Gross Knowledge of Genital Mutilation is at times a trial and in other moments a fearsome seduction, but perpetually a unique scavenger of emotions and fears which reinforces Servants of the Mist as one of the rarest and inescapable predations within extreme metal. Only the fearless and deranged will tackle the EP but their rewards come in just as weighty an offering as the violation.

The self-released Gross Knowledge of Genital Mutilation is available now @ http://servantsofthemist.bandcamp.com

http://www.facebook.com/servantsofthemist

8.5/10

RingMaster 24/06/2014

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The Idol Dead – Dark Little Heart

The Idol Dead Online Promo shot

If you missed out on the initial release of Dark Little Heart at the tail of 2012 from UK rockers The Idol Dead then stand ready to leap on board with its reboot this week through the band’s own label RAAA! Records. It is a feisty and fiery slab of rowdy and bruising rock ‘n’ roll but one with all the insatiable charm of a lady of the night and the contagious strength of the common cold. The Leeds hailing quintet merges glam and hard rock with a voracious breed of punk resulting in an invigorating and immensely enjoyable rampage of sound and enjoyment. Admittedly its first contact courtesy of the opening song left a promising and pleasing suasion but one which left reservations in regard to its originality and finding a spark to ignite more than simple satisfaction. They were short lived concerns though, the second track bringing a voracious bait before the imagination which set thoughts and emotions on fire. Certainly the album stays away from forging a really distinctive new proposition, thoughts of The Wildhearts and Backyard Babies an undeniable comparison, but Dark Little Heart emerges as one rebellious stomp of rock ‘n’ roll which simply hits the sweet spot.

The Idol Dead began in 2008 and soon made a rapid impression on the local rock scene. Their reputation for explosive live performances went before them as the band played throughout the UK, sharing 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 along the way as well as enjoying great responses at numerous festivals. After the well-received Shooting Star EP, the band’s debut album Die on my Feet or Live on my Knees on their own label marked the band out and drew strong responses but it is through the crowd funded Dark Little Hearts that you feel that The Idol Dead will find access to a much wider attention and fevered spotlight. Inevitable line-up shifts along the way have seen the band adapt and grow so that the five piece of vocalist Polly Phluid, guitarists KC Duggan and Tim Jeffs, bassist Dan Sugden, and drummer Nish Gonsalkorale now show themselves to be a potentially explosive proposition within British rock.

As mentioned at the start of the review, opening track Blue Skies provides an appealing encounter but is somewhat underwhelming in its The Idol Dead Cover Artworkpersuasion due to there being little surprise or unpredictability to its otherwise potent presence. Certainly the passion and craft of the band is an open declaration whilst infectiousness is rife from the riffs to the thumping rhythms and from the impressive vocals to the united anthemic band calls beside them. In hindsight it feels like the band is playing safe to start things off, giving ears a well formed and boisterous yet easily accessible entrance into the album. The track is still a thoroughly pleasing offer though but soon left looking pale as the following song lights the fuse to a passionate and imagination stirring experience.

Six Feet Under is just glorious, from its initial flush of raw flame of riffs and inciting rhythms it is an instantaneous trap which has feet, senses, and imagination recruited with its punk ‘n’ roll bred contagion. Holding an essence of Misfits to its sinewed romp and passions corralling enterprise, the track drags out a hungry appetite for it and the album. Again it is fair to say surprises are scarce in many ways, though just the weighty temptation and resourceful triumph of the track alone makes a detonator to the expulsion of expectations whilst leaving thrills and spills rampant. It is a major highlight but one which itself is exceeded by the following Vampire. From an atmospheric intimidating ambience in the dead of night, the song erupts with scorching flames of guitar and moody rhythms matched by the dark throated bass. The vocals of Phluid equally have a sinister edge and leer to their tone which adds greater intrigue to the narrative of the outstanding song. The band finds an even more addictive toxin to the chorus and infection veining the horror punk like predation, sculpting a track even more immense and irresistible than its predecessor.

Both Dion and Hey Girl unveil superbly crafted and shaped bodies of hard rock bred enticement and though neither can match the heights of the previous pair, the songs feed compelling strides of rock ‘n’ roll into a hungry appetite. The first is much like the opener in that is has few moments of wrong footing assumptions but provides enough invention in its unrelenting catchiness to bring a wholesome appetiser to devour before the more substantial feast of its successor twists and rolls with its garage punk/hard rock fusion. The song takes mere seconds to have limbs and voice enlisted in its cause, giving them a vivacious ride of riffs and grooves with barbed rhythmic hooks before making way for the ferocious Bad Fiction. The punk sided heart of the band is an open brawl in the song, rapacious mischief and energy surging through riffs and adrenaline gifted rhythms. Vocally too the band snarls and incites but it and the sounds all come with a wink and a loud whisper of Generation X within the urgency and pent up roar which wants to rock rather than fight.

The pair of I’m Drowning, a captivating stirring ballad featuring the excellent guest vocals of Claire Cameron alongside the again strongly impressive Phluid, and the magnetic Bleed continue to keep imagination and emotions on their feet; both with a longer to convince persuasion but each evolving into easy to recommend highlights upon the album.

The closing stretch of the album is a little undulating but continues to thrill; the blues filtered You Don’t Know a sonic fire which misses finding the trigger which elevates other tracks so masterly and the closing Beautiful Disaster almost ending the album as it started with a less than imposing offering but a skilfully written and presented one which does enough to leave a contented listener. Between them though the band unleashes one final gem in the rabid punk spawned I Don’t Wanna, an unbridled charge of dirty and belligerent rock ‘n’ roll with all the lures and seduction to spring the inner punk in us all. It is a terrific provocation again proving the potential and already open quality of The Idol Dead.

With Dark Little Heart you are not going to find new pastures to explore but for excitingly accomplished and virulent rock ‘n’ roll, there are few around right now to impress more than The Idol Dead.

Dark Little Hearts is available on 5th May through RAAA! Records.

http://theidoldead.com

8/10

RingMaster 04/05/2014

Copyright RingMaster: MyFreeCopyright

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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

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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

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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

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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

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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

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