Heavy Hand – Northwoods Knives

pic Mike Olen

Remember that first instinctive tingle and thrill when discovering The Pixies? Well stand by as you just might be getting a healthy hint of that with Heavy Hand, certainly our gut instincts and emotions felt a similar fingering upon hearing the band for the first time through their new album Northwoods Knives. Now we are not claiming they are going to rise to such influential and dynamic heights as the Boston quartet but they certainly have the potential and unique invention to make a very hefty impact.

The Milwaukee trio of vocalist/guitarist Anthony Weber, bassist Isa Carini, and drummer Chris Roberts, bring essences of their experiences past and presence from playing in bands such as Like Like The The The Death, The Scarring Party, and The Silence into the distinctly unique sonic character of Heavy Hand. Formed in 2011, the band first drew attention with their EP Confusion is Body Parts of the following year. Their songs leap at the senses and imagination even if at times some barely hang around long enough for a snack let alone a full meal. Such their ingenious flavouring though they all draw you straight back into their mischievous web of creative revelry, and we suspect as for us it will be impossible for most to listen to Northwoods Knives only once in each sitting of their insatiable and deliciously twisted, post punk spiced, noise rock ‘n’ pop.

Opening track is David Bowie Wants to Steal Your Baby, its title alone enough to get excited over and spark a lick of the lips for the devilry to come. Less than a minute long, the track is an instant blaze of acidic guitar swiftly joined 10296960_586252141494327_5213763507857338502_nby thumping beats and the pungent tones of bass. That is enough to incite the senses but once the yelping tones of Weber tease and spill their tangy expression in ears the track is a full seductive trap. The track continues to bounce and squeal along like a mix of The Mai Shi and Hot Hot Heat with the eccentric invention of The Victorian English Gentlemens Club, that last essence making stronger whispers throughout the rest of the EP.

It is a glorious start swiftly backed up by the outstanding Winner Winner (Beer for Dinner). A gnarly bass riff sets up the immediately eagerly devoured proposition, its predatory bait irresistible and only enhanced by the crispy percussion and beats of the drums and the punk seeded vocals. The track is soon in full swagger as searing scythes of guitar temptation flash across the compelling stroll of the incitement. Also reminding of UK band Frau Pouch, Heavy Hand and song proceed to enslave an ardour soaked reaction before stepping aside for the more pop soiled Milwaukee Cum Dumpster. Hooks lay siege to ears right away within a cage of forceful beats aligned to another twist of the voice and enterprise of the bass. There are whispers of The Pixies to the song but soon lost as it twists and flirts with imagination through burrowing grooves and sonic toxicity within a virulently contagious enticement.

Hot With Dads Tiger Beat Nation, even if it is hard to make sense of the title, makes an openly obvious yet unpredictable persuasion with a tasty jangle of riffs and infectious hooks. We have no idea of inspirations to the threesome but you have to suggest maybe Melvins makes a nudge to their creativity going by the song’s unrelenting teasing and sonic magnetism. It is a glorious provocation but soon put in its place by the exceptional Secret of These Wedges. Imagine The Minutemen meeting eighties UK band The Fire Engines and you get a whiff of the heated alchemy at play within the brief and epidemically potent track. As at this point more expected, sharp hooks and barb littered riffs tangle for a merciless tempting which only leaves you wanting so much more.

Not quite as dramatic but no less addictive, the next up I Freed All Four Wizards croons and yelps musically and vocally to twist ears and imagination around its little finger, or should that be short body, whilst the following Motherfucking Bobcat turns a brawl of sonic assault into a climate of stoner kissed grooves and adventurous rhythms courted by a heavy throated bass prowl. It is a snarl of a song but with a raw melodic colour and feisty attitude combining to again light up ears and thoughts, it also lays a seduction impossible to ignore.

The closing pair of tracks ensures the release ends on a high, Urban Coyote first up bringing a more expansive and less striking impact than others with its noise smoked sonic narrative but it smoulders with raw charm and smart invention to match the heights and appeal of the punchier, more direct tracks on Northwoods Knives. Its successor Bend at the Waist is another bout of pure virulence, playing like UK’s Houdini in a salacious intercourse with Dope Body but distinctly and imaginatively all Heavy Hand. Binding ears in a passion fuelled rampage of riff irritancy and rhythmic agitation bounded over by the irresistible squawking vocals, the track is an exhilarating sonic fire to lose bodily fluids over.

Northwoods Knives is exceptional, one of the most exciting releases this year and as suggested maybe the doorway to bigger things for the band; if not certainly its incorrigible arms will drag hordes more into the peculiar riveting world of Heavy Hand.

Northwoods Knives is available via Latest Flame now @ http://www.latestflame.com

and @ http://heavyhand.bandcamp.com/

https://www.facebook.com/pages/Heavy-Hand/122042274581985

10/10

RingMaster 27/08/2014

Copyright RingMaster: MyFreeCopyright

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Conjuro Nuclear – Self Titled

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It has to be said that the band name alone sparked intrigue and anticipation in thoughts but once the first strains of sonic conspiracy from Conjuro Nuclear’s self-titled album wrapped its charms around ears and senses, that interest soon bred a hunger. The predominantly instrumental release is a blistering and caustically charming fusion of post punk and black metal which manages to simultaneously sound strikingly unique yet recognisable in its creative drama. It is a masterfully compelling proposition which maybe does not consistently enough set a blaze in the passions but certainly owns the imagination from start to finish for a just as potent success.

Formed in 2012 and hailing from Barcelona, Conjuro Nuclear is the solo project of Emesis. Originally a duo, the project released Luna llena y radiación (Full moon and radiation) last year to strong responses. Now Emesis alone, the band has unleashed its sophomore encounter, a release easy to suspect and expect to have the potency to push Conjuro Nuclear into the spotlight of a much wider attention. Consisting of eleven tracks which are like individual episodes in a united series of events yet not necessarily within a continuous soundscape, the album is a riveting and bewitching antagonist for senses and thoughts.

The title track is the first adventure to embrace the listener and immediately its dark noir breath is an irresistible lure for ears and imagination. Keys and beats link to build a shady atmosphere which the sonic suggestiveness of the guitar lights up with acidic coaxing. The track takes little time in building scenery of danger and unpredictable drama, its creative invention and sounds the rich colour to its eventful canvas. The track has the dark tones of an intrusive mystery and the exotic hues of a sci-fi emprise, and easily lures thought and emotions to its expressive and inescapable bosom. Production, as it is across the whole album, has a muggy/ sultry come oppressive feel which only adds to the intensive weight and texture of the sounds, which in turn thickens the thoroughly absorbing incitement.

The following Oscura lisergia is of similar breeding, a repetitive lone groove stealing the passions as a tempest brews and squalls around its infectious bait. Initially thoughts of eighties bands like Crispy Ambulance and Leitmotiv come to the fore, the prime sonic hook reminiscent of that era but the track is soon flushing a black metal causticity across the senses which smothers but does not extinguish that ever virulent enticement. It is a brilliant slice of hostile beauty which like its predecessor sets the album on the highest plateau immediately. Its lofty success is then matched by the elegant beauty of Atomización. Keys float across and call emotions from its first spatial breath, courting their instincts with a haunted but crystalline grace which again urges the imagination to cast its own designs.

The next up Divinorum is borne of a more malicious intent, its blackened storm of sonic abrasing and severe ambience a searing black metal animosity. Through it though, a spine of sonic tempting casts a contagious line, its sharp twang and citric flavour carrying reminiscent of a The Jesus and Mary Chain like lure. Raw insidiously spawned vocals make their most forceful appearance on the album too though they are submerged within the corrosive wash of the song to lack real clarity. The track broils ears with its ravenous presence and erosive breath, leaving them smarting intensively, though the psych rock/darkwave tenacity of Intoxicación brings an initial soothing before unveiling its own irrepressible and infectious toxicity of sound and energy. Though neither track matches the heights of the first few songs, each leaves an exhausted pleasure and appetite in their wake which the gripping Visiones tóxicas exploits further through its darkly lit melodies and even more damaging sonic rabidity. From the somewhat clearer atmospheres of the first few songs, the album definitely takes a blacker and voraciously shadowed turn across this stretch of tracks; severe corrosive storms the core violation though they always come littered with hooks and post punk grooves which flirt continuously.

     Coros radiactivos crafts a respite to the tempestuous flow of the album at this point, its crystal honed melodies and reflectively colourful keys simply tantalising. Its magnetic beauty is taken and laid into a more fiery rock embracing setting in Bosque de cráneos, the combination a constantly expanding and growing crescendo of passion and vigorous intensity. Elements of Sisters Of Mercy and The Mission seep into the persistently bubbling mixture, spicing up an increasingly darkening and imposing landscape of sound and imagination. It is a thrilling encounter but soon left short by the outstanding punk driven abrasion of Desechos tóxicos. Binding hardcore and old school punk inhospitality with black metal rancor and sonic venom, the track simply ignites ears and passions, especially when not for the first time on the album, a surf rock enticing shows its seduction.

The album is completed by the melodic poetry of Ecos de la noche, keys and emotional hues again painting a piece of music which immerses senses and emotions with beauty and invention, and lastly the nocturnal maliciousness of Sólo para locos. Using lyrics from The Steppenwolf, the track is a deathly black metal driven scavenging of senses and feelings, which again crawls over the psyche with a sonic toxin of post metal which has the raw causticity of sound and emotion of a band like Artery.

Conjuro Nuclear has created a release which is ridiculously compelling and scintillating. Certainly there are moments where tracks without an intensive attention merge into each other’s arms and the rhythmic side of the album does not impose anywhere as much as you would like and expect, but they cannot stop it being one riveting proposition. Conjuro Nuclear is a project to only get excited about.

Conjuro Nuclear is available as a name your price download @ http://conjuronuclear.bandcamp.com/album/conjuro-nuclear-2014

https://www.facebook.com/pages/Conjuro-Nuclear/145499728948249?fref=ts

8.5/10

RingMaster 05/08/20134

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The Hertz Complex – A New Habit EP

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Whilst it is not an encounter to instantly set the emotions on fire or leave the imagination awe struck, the A New Habit EP from The Hertz Complex quietly and relentlessly works away at the psyche to emerge as a rather tasty, potential fuelled proposition. It is a slowly burning but persistently persuasive release which puts the band on the radar with ease whilst brewing up a keen anticipation for the quartet ahead as they evolve and grow further into their enterprising sound. The band’s debut EP is as intriguing as it is deceptively infectious, its songs smouldering rather than blazing within ears but they leave seeds and hooks behind which from nowhere can take a hold of the memory.

Hailing from Cork in Ireland, songwriters Neil O’Keeffe (lead vocals, guitar) and Paul Keane (guitar/vocals) have formed an instinctive creative partnership which brings an organic breath and attraction to their songs as evidenced on the EP. Embracing the inspirations of their Irish roots and of bands such as The Chameleons, Joy Division, Whipping Boy, and Howling Wolf, the pair’s distinct twist of post punk with melodic unpredictability offers healthy bait with an imaginative coaxing. Relocating to the Deptford area of London, the duo linked up with Canadians Benjamin Balan (drums) and Chris Keelan (bass), the compelling rhythmic side to the lure of The Hertz Complex. With their live performances, including festivals and a headlining show at LA’s Whisky A Go Go, constantly drawing more attentive fans and responses, as well as the recent announcement that one of their tracks will be featured in a movie soundtrack, it feels like a big step is being taken in the ascent of The Hertz Complex, something A New Habit adds its persuasive weight to.

Maybe I Know starts things off and takes little time in enticing thoughts and appetite with its chilled but seductive charm. A shimmering sonic coaxing wraps ears first, its touch framed by punchy beats. Before long a guitar weaving 10418167_796654680353242_78278592038508633_nmagnetically flirts with the senses, dripping evocative hues as the bass adds its own dark colour. It is a potent welcome which only increases its pull once settling into a steady canter of crisp rhythms and spiralling sonic endeavour. Infectious melodies equally add their rich enticement to create a gripping canvas upon which the initially monotone kissed plaintive clad tones of O’Keeffe opens the narrative. It is a striking union, elements of Joy Division and at times Modern English swirling within the provocative climate being brewed by the band. Thoughts of Flesh For Lulu also make an appearance as the song increases the strength of its virulent suasion and enterprise. As the EP, it is not a song which explodes and has passions drooling but with its persistent fuzz lined sonic taunting and melodic web it is an encounter which beds deeply into the psyche for a long term friendship.

The great start is followed by the just as appealing and addictive Bassy. From its first breath, guitars are binding ears with entrancing acidic melodies and irresistible hooks, but it is through the shadowed throated tones of Keelan’s bass croon that the appetite is sparked into hungry rapture. There is an indefinable familiarity to the main sonic call of the song too which only works in the song’s favour whilst the slightly off kilter vocals add another intrigue sparking texture to the proposition. The track holds a restrained air to its intent, a hint of explosive incitement promised never realised yet again though it is a song which embeds in an awakened imagination for a lingering and welcome persistent presence.

Next up The Boxer Rebellion brings a broader rock ‘n’ roll intent to its keen gait and suggestive almost sinister breath. The vocals veer to a more strained delivery than elsewhere at times but also breaks into a varied punk kissed antagonism to match the evolving sound and adventure of the track. A song which merges elements of initially post punk with hard and garage rock plus that punk essence, it almost does not know what it wants to be but is still a fluid storm to thoroughly enjoy. It does not match the opening pair of songs but shows another range and depth to the sound and songwriting of the band as does its successor No Control. The song is a delicious croon of vocals and guitar, an evocative smoulder which lures in thoughts and appetite with increasing success as the rest of the band bring with their potent colours. Like the previous song it takes a while to fully seduce but given time makes for a persistence of reserved hooks and gentle melodies which entrench their fascination long term.

The EP is completed by the radio edit of Maybe I Know which is as good as the broader version but over too soon in comparison of course. A New Habit EP is probably not going to send you shouting from the rooftops to be honest but it has all the promise and exciting qualities to make The Hertz Complex a band to keep under close and keen scrutiny.

A New Habit EP is available now!

http://www.thehertzcomplex.com/

8/10

RingMaster 14/07/2014

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Teribal Anamal – New Creature

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Having found a greedy appetite for US post punks Teribal Anamal through their debut EP Anamala of last year, there was a hungry anticipation for its successor New Creature when it dropped through the post. It was a hunger swiftly satisfied and more as hopes and expectations were treated to an impressive slice of imaginative incitement. Between releases, the Brooklyn-based trio has grown and expanded their minimalistic post-punk/new wave sound, bred a new maturity to the songwriting which has in turn honed their previously diverse invention into a more focused but no less flavoursome enterprise. The eight track EP, or should that be album, is an unrelenting siren of post punk provocation with repetitious beauty, one to take the previous tantalising properties of its predecessor into stronger irresistible temptations.

Consisting of Stephanie (guitar/vocals), Ryan (bass/vocals), and Chalky (drums), the band has become a potent and feverishly followed proposition around NYC. Formed around two years ago, Teribal Anamal employ inspirations from the likes of Siouxsie and The Banshees, The Cure, The Pixies, Joy Division, New Order, The Wipers, The Kills, Nirvana, Sonic Youth, The Cramps and more into their constantly evolving sound. Between the two releases the threesome seem to have concentrated on a more singular post punk side to their ingenuity, though that does not mean the array of sonic colours and new wave coaxing has been left to the side. Instead New Creature drives a steadfast intent through its chilled unfussy course with riveting washes of melodic coaxing and mesmeric enticements. It is a striking and persistent suasion which leaves passions aflame and anticipation of the band ahead even more fevered.

The release plays like one massive breath of sound and endeavour, each track emerging from each other or atmospheric howls to flow seamlessly across the senses as if recorded in one potent stroke. It starts with the delicious teribal Anamal coverShuttlecock, a shimmering sonic landing the spawning for the expected intensively throaty bass tones of Ryan and the rasping sonic squalls of Stephanie. It alone is powerful bait but with the thumping and twisting rhythms of Chalky as well as Ryan’s mellow vocal expression, the song is swiftly an entrancing fascination which permeates ears and thoughts. There is a feel of The Three Johns to the track as well as the rhythmic slavery of Gang Of Four, but with a melodic hue to the entwining grooves of sonic vining, the track is distinctly owned by the band. The effects on the vocals and at times the resonance of sound only add to the thick potent lure which irresistibly binds the passions.

The Rub takes no time in unleashing its own thrilling toxins next, the bass conjuring its own chaining enticement before the grazing scrub of guitar play its cards as again smooth vocals and gripping rhythms dance with the senses. The fuzzy pressure and charm of the song continues to build across a hypnotic repetition at its heart whilst scorched melodies and a wonderful drone quality bring thoughts of Spizz Energi and fellow Brooklyn punks The Black Black to mind. As the first, submission to its call is instant as is the response to next up Sensory, a psyche searching exploration with its own web of ridiculously compelling hooks and attention seizing rhythms within a wind of sonic and vocal captivation. As with every song, there is simplicity to the encounter which sends rapturous tingles down the spine yet a net of almost cold invention which consumes and cages willing senses.

Both Uranium Son and Vulturious keep attention magnetised, though the first reminds that many songs hold similar bait in their core suasion thus at times requiring even closer inspection. This song lures emotions in with haunting siren-esque harmonies which swarm about the insatiable drive of the flaming main temptation. It is as addictive as it is meditatively disorientating, a claim easy to place upon its successor too. A surf rock breeze hinted at in the last permeates with stronger intent across the song, wrapping senses in greater virulence as discord majesty teases ears before Owls next idles in on a rhythmic lure. It is soon doused in discordance and sonic colour too, its croon casting an emotive post punk chill within reined in punk tenacity. Impossible to resist twisting hips and voices to, the track is another unavoidable cage of anthemic and instinctive exhortation.

New Creature is brought to a pungent close with through firstly Megavolts, the track cascading sonic bolts down on the senses as it settles into a sinew strapped stride of roaming sonic binding and rhythmic compulsion. The caustic air which glances over all songs is at its most abrasing and magnetic here igniting ears ready for the majestic distortion drenched glory of Gay Vikings In Love. Almost militant in its gait and anarchic in its stringent adventure of sound, the track is an immense end to a masterful release. New Creature is another major step forward for Teribal Anamal yet you still feel there is plenty left inside for them to unveil and discover. With great offerings like this we can bask in their creative journey while patiently waiting for the realisation of all their promise.

New Creature is out now and available as a buy now name your price release @ http://teribalanamal.bandcamp.com/releases

www.facebook.com/teribalanamal

9/10

RingMaster 04/07/2014

Copyright RingMaster: MyFreeCopyright

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OH CAPTIVE DROP THEIR NEW VIDEO!‏

Oh Captive Online Promo Shot

OH CAPTIVE RELEASE BRAND NEW STAND ALONE SINGLE !

 

Rising Bristol post-punk quartet ‘Oh Captive’ have nationally unleashed their debut EP ‘Advance Creature’ and they now charge forward with their brand new stand alone video single ‘Tricking Us’  which you can view now @

https://www.youtube.com/watch?v=8-MwVnpTwbY

 Hailing from the South West, Oh Captive produce innovative music that rails against the din of predictability and still rings true with compelling clarity. Sparking glowing comparisons to the likes of Coheed & Cambria and Twin Atlantic, Oh Captive have crafted a sound of their own.

Originally formed less than two years ago, Oh Captive cut their teeth with countless hours in grimy rehearsal rooms before BBC Devon Introducing beckoned in early 2013. By the year’s end, Oh Captive had shared stages across the UK with Sonic Boom Six, Straight Lines, Max Raptor, Sharks, Blitz Kidz, I Divide and Scholars. The foursome fully honed their songs in the live arena in anticipation for completing a debut EP that would prove to startle and sparkle in equal measure.

 

The post-punk outfit have just released their debut EP ‘Advanced Creature’, which has already picked up widespread national praise. Big Cheese Magazine have featured the band in their April 2014 issue with an exclusive interview and Rocksound have recently reviewed the record and have placed a track on their covermount CD. The EP has already notched up key online and radio support, notably from XFM.

Now with their brand new stand alone single in the shape of ‘Tricking Us’ (https://www.youtube.com/watch?v=8-MwVnpTwbY ), which is out now , the foursome are set to hit new heights, and with UK shows in the pipeline throughout the year, just watch them soar.

www.facebook.com/ohcaptive

 

Welington Irish Black Warrior – Vafancuneo

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Welcome to this year’s most rigorously exciting and insatiably compelling release, Vafancuneo. Ok it is probably too early to truly give the title to Welington Irish Black Warrior, the creators of the extraordinary release but there are no doubts it will be in the top handful of nominees come judgement time. Brewing a unique sound most closely described as post punk meets psyche rock with a veining of noise and experimental industry, the Swiss band has sculpted a new template for emerging noise driven bands. Their EP is sensational, a riveting and breath-taking, almost tribal incendiary device for imagination and passions to explode over, and certainly one of the essential releases of 2014.

Consisting of vocalist/guitarist Brynjar Thorsson, bassist Léon Jodry, and drummer Steven Doutaz, the Neuchâtel based trio came together in 2005, three music loving men who supposedly came together as a band to stop working in a watch making factory. Since that entrance Welington Irish Black Warrior has been on an upward spiral, notably releasing a self-titled debut album in 2012, collaborating with Kunz on the five track KUNZWIBW of last year, and spending a whole year writing music based on Alejandro Jodorowsky’s movie Holy Mountain, which they performed live in a church in front of the screen during a projection of the 2 hours movie. With a flood of shows, European tours, and festival appearances only increasing their stock, time is ripe for the band to draw the strongest spotlight, something Vafancuneo is potent bait for.

Recorded live by Alberto Dutto (Movie Star Junkies), mixed by Mano Moccia, and mastered by Louis Jucker (Coilguns, Kunz, The Fawn), 02_Front CoverVafancuneo is a virulent infestation of senses and mind from the opening minute of first track Hand on Stomach. The beginning to the song is a scattering of noises and splattering of rhythms but a mix brewing and merging into a united probing as it all comes into potent focus. A resonating throat calls out from the bass as the rhythms of Doutaz roam with a rampant appetite, both prowling and seducing the senses as distorted flames of guitar wind their riveting toxicity around thoughts. It is a thrilling provocation even before the joining expressive almost psychotic vocals tones of Thorsson complete the scintillating package, every aspect of the song a stark yet endearing poison writhing under the skin and into the passions.

The post punk conspiracy of the track is just as intensive in the following Jahzz, reinforcing thoughts of Wire and early Gang of Four hinted at for varying reasons in its predecessor. Jodry’s bass lies down the first delicious lure, its hypnotic suasion a predacious instigator to striding rhythms and sonic scythes of guitar. To those previously mentioned references you can also add Kabul Golf Club and unavoidably Joy Division as the track courts imagination and ears with its unpredictable and unrelenting web of sound and invention. There is also a sinister air to its aural narrative, a noir kissed ambience which colours the intriguing canvas and persistent single minded gait of song and hook.

It is already an irresistible encounter by this point but the album opens an even richer vat of temptation and tempting with Lac Orbu. The initial clutch of short grooves is once again an instant capture of a raging appetite for the EP before the track stirs up an agitated blanket of rhythms with stabbing guitar as the bass groans hungrily by their side. Vocals bring their distinct enticement to the psychotic dance next; a canter pungent with a contagion of repetition and rhythmic disorientation. Thoughts of The Fire Engines add to the suggestive spicery of the romp before everything is smothering in a sonic squall. Lines are blurred and air infused with raw ambience as the song moves towards its departure, the band again leaving assumptions as pointless as warm melodies trying to encroach into the creeping soundscape.

A pulsating distortion of sonic psyching draws the next up Fascination into view, its strobing soon matched by whipping rhythms and the anthemic vocals. The bass brings a stable shadow to the light show, its premeditated drawl holding the scattered bait for one massive and intrusive seducing. The jagged breath of the track scars the senses beautifully, seizing their allegiance automatically as the acidic flight of guitar winds enticingly almost wantonly around the imagination and emotions. A strong whisper of The Gaa Gaas also permeates the scaring of sonics and rhythms but as throughout thoughts of Wire come the closest to describing a little of the brilliant brew the band conjures.

A schizophrenic character grins from within Bankal 10/15; a fruity discordant twang casting its spell over the guitars as the bass again adds the more even gaited poise to the cacophonous exploits littering ears with scarring beauty. The breaking swagger and addictive swerve of guitar and song simply ignite another wave of lustful ardour in mind and heart, inspiring the return of feelings and bewildered yet hungry thoughts arguably not felt since the late seventies when many of the comparisons mentioned reigned. There is a definite nostalgic feel to the release but only as rich hue to something unique and of the corrosive now.

Vafancuneo closes with the just as tremendous Samba Suicide, a hive of waspish sonics making the first play for the passions before an infectious grinding of riffs and sharp hooks pounce with a pop intent. Probably the most accessible song on the EP, certainly the most danceable, the track evolves into a disorderly, unsynchronised adrenaline fuelled waltz, an atonal stomp which exhausts and exhilarates with equal success. It is a dynamic and masterful finale to a quite brilliant encounter. Welington Irish Black Warrior takes noise and discord and weaves them into the most insatiably gripping and antagonistically seducing pleasure possible. Their songs are genius and wickedly captivating, and once they worm under the surface impossible to shake off.

Vafancuneo is available now @ http://hummusrecords.bandcamp.com

https://www.facebook.com/welingtonirishblackwarrior

10/10

RingMaster 01/05/2014

Copyright RingMaster: MyFreeCopyright

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

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