The Males – Her Golden Blood EP

MALES BAND PHOTO

Dirty, fuzz lit, and pungently unfussy, the sound of UK noise rock band The Males is a proposition which just crawls under the skin and gets feet right through to passions dancing to its feverish tune. The band’s new EP Her Golden Blood tells you all you need to know about the emerging band. Consisting of three songs which are just as grunge/stoner fuelled as they are noise spawned, it is an encounter which does not make massive waves but ripples and smoulders very nicely to leave a lingering and raucously reminding indent in thoughts and emotions.

The Males was spawned from the creative coming together of guitarist Will Goldstone and vocalist/drummer Lewis Young at Bournemouth University during the mid-2000s. Eventually joined by bassist Ben Smith, the trio set forth as The Males and were soon drawing attention and eager ears towards their noise bred rock ‘n’ roll. With inspirations from the likes of Shellac, Black Sabbath, Jesus Lizard, Fugazi, The Melvins, the Misfits, Refused, Queens of the Stone Age and AC/DC spicing up their invention, the London based trio uncaged a self-titled demo in 2012, a raw and unruly incitement of sound sparking the imagination and a growing spread of fans. The single Wolves followed in the October of 2013 with a teaser from their debut EP, Golden Gates touching ears earlier this year. All has helped inspire keen anticipation for the new EP, an appetite easily and potently fed by Her Golden Blood and its potential drenched roar.

Opening track Cut Her Off from its first breath leads ears and feet into its immediate inescapable bait, punchy rhythms and raw riffing leading to addictive behaviour upon which sonic designs and the strong vocals add extra tempting. THE MALES EP MASTERThe song flirts with hints of bands, though the ones which most spring to mind and certainly not influences on The Males being as new as they, is Feud and The St Pierre Snake Invasion. There is an expectations feeding aspect to the song in some ways but also a more prominent refreshing energy and coarse rabidity. It is a tenacious encounter with caustic melodies, increasingly dramatic rhythms, and a glaze of sonic enticement simply luring the listener in further.

The track is a strong and masterful start to the EP which the following Golden Gates backs up solidly. It wraps tendrils of sonic coaxing around ears first, an acidic scuzz lined lure which is soon joined by weighty rhythms and an even bigger bass incitement, its tones bulging with devilish intent. The vocals again bring an expressive and eager revelry to the highly satisfying encounter though ultimately there is not quite the same spark of imagination to the body of the song as its predecessor. It certainly offers enough to intrigue and keep thoughts on their toes though, especially to the latter stroll of the track where it seems to find a more virulent persuasion with an irresistible groove.

The final song Hot Blood has an old school punk flavouring to its fiery waltz of moody basslines, agitated rhythms, and squalling riffs. It is hard to define who it reminds of but there is definitely a nostalgic tang to the track which colours its impressive enticing even more potently. The best track on the release, it is a compelling protagonist to imagination and ears, a track which hints at riots and brawls with its energy yet resorts to primal seduction for the main to ignite once again an already greedy appetite.

Her Golden Blood is not going to lead to declarations of The Males being the next big thing but it undoubtedly has the potential and weight to earn the band a stronger spotlight and reputation in their continuing ascent.

The Her Golden Blood EP is available now @ http://males.bandcamp.com/

http://themal.es/

8/10

RingMaster 21/07/2014

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Godflesh – Decline & Fall

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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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Dick Venom & the Terrortones – The MonsterPussy Sessions

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Still fresh from infesting our psyche with 7” single Invasion Of The Spiderqueen, Britain’s warped rock deviants Dick Venom & The Terrortones return with the just as salaciously compelling The MonsterPussy Sessions. The new EP provides five tracks of juicy sex encrusted rock ‘n’ roll soaked in the inimitable flavouring distilled and increasingly spiced by the Nottingham quartet. It comes with a new breath of individuality too, a stronger uniqueness which twists the inspirations from the likes of The Cramps and The Stooges into a richer vein of their own distinctive carnal devilry; quite simply it is the band’s finest slice of dementia yet.

Since forming in 2010, the band has been drenching audiences in live sweat and juices across the UK, recruiting eager bodies to their mischievous stomp of psychobilly, garage rock, and old school rock ‘n’ roll. Sharing stages with the likes of The Meteors, Bad For Lazarus, Demented Are Go, The Radiacs, Vince Ray & The Boneshakers, and Vince Ripper (ex-Alien Sex Fiend) has left a lingering mark just as their own one of a kind shows and releases. The RockinRollin VampireMan EP was the first to play havoc with morals and bland music followed more recently by Invasion Of The Spiderqueen. Now with a line-up of Wrex St.Clair and Dusty Vegas alongside the frontman, the band unveils an even more potent case of rascality and mischief upon the imagination for equally increased rewards.

     Valley of the AlleyAlligator Girls sets things in motion with a blues kissed flame of guitar coaxing and swiftly joining enticing rhythms, each a sultry lure on their own whilst together a captivating bait ready for the magnetic vocal Dick Venom & the Terrortones – The MonsterPussy Sessions prowling of Dick Venom. There is an immediate swagger to the song that recruits an instant appetite for its striding temptation and sex tinged horror kissed lyrical narrative. There is the heated and commanding stroll which is to be expected from the band but also a thrilling fire of a solo and a rhythmic shakedown into the song pointing to a new breath to the songwriting and aural tempting of the band. It is a masterful feet recruiting and passion igniting start to the release which is straight away backed up by next up BellySlam City.

The second song boldly walks in with its own individual striding and ear provoking incitement. Beats pounce with an eager reserve whilst the guitar offers an almost stabbing enticement amidst the rolling bassline. It is a simple but potently persuasive romp with the warped colouring of the band oozing from every limb igniting twist and creative shrug of its old school shoulders. Like Gene Vincent meets Lux Interior with The Pirates serenading both with trash rock revelry, the track seems to bask in the lustful hunger shown for its raw charms before making way for the dark seductive spicery of Crypt Tonight. Bass and rhythms throw out a net of rock ‘n’ roll shadows with virulent hooks whilst Venom canters over its canvas with his pouncing syllables and lustful expression. Again a garage rock blues bred toxin plays pleasingly with senses and thoughts as the release shows more of the richer maturity and diablerie coursing through songs.

The delicious garage/surf rock tempting of Dead DeadBeat Delinquent teases and thrills ears next, its prime hook an irresistible breeding of addiction to which fire cast riffs and dangerously hypnotic rhythms prey. It is a glorious roar of punk ‘n’ roll driven deeper into the passions by Venom’s bracing roguishness. The best song to come out of the band, certainly recorded, the track leaves psyche pumped and energy aflame ready for the closing No Good To Get Up To. The track seemingly is driven by its predecessor too, it’s thumping beats and high kneed entrance an agitated enticement of contagion and hot creative juices which spill into washes of sizzling soul infused squalls. The impressive burn of a track brings one exceptional release to a mighty and mouth-watering close.

Though there can never be another to rival The Cramps, it has not only been us who have thought Dick Venom & the Terrortones had the potential to be the British equivalent in potency and influence of subsequent sounds and artists. There is a long way to go before the band reaches those heights but The MonsterPussy Sessions shows that the possibility could definitely be a reality if further great impressive steps are continued.

The MonsterPussy Sessions is available now digitally and as a ltd edition cassette on Jailhouse Morgue Records @ http://terrortones.bandcamp.com/

http://dickvenom.com/

9/10

RingMaster 04/07/2014

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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

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Inlaze – Shallow

Inlaze

Still fresh around the gills, having formed in the last weeks off 2013, UK rock band Inlaze lay down a rather compelling introduction with new single Shallow. A feisty stomp of alternative rock and grunge with a just as healthy dose of punk and fuzz revelry, the song is a virulently contagious and riotously addictive brawl of sound with a temptress like seduction at its core. Like a cross between Feud and early Foo Fighters with a veining of Reuben-esque aggression and sultry Allusondrugs temptation, the band’s sound flames voraciously around ears on the single, sparking a just as keen fire in the passions.

Hailing from Wakefield in West Yorkshire, Inlaze consists of vocalist/guitarist Cauley Pritchard, guitarist Ollie O’Brien, bassist Joe Tabz, and Tom Whiting on drums. March this year saw the release of their debut two-track release Waste​/​Fall, a pair of songs which explored a more shoegaze mesmerism upon the band’s firmer rock canvas of sound. Both songs made a potent attention coaxing declaration to spark intrigued interest but it is Shallow which really ignites a hungry appetite for itself and the band ahead.

Riffs and rhythms cascade down on ears within the song’s first breath, jangling over and jabbing the senses for a feisty opening. The bass of Tabz is an instant lure too, its throaty growl contagious bait over which the chords and a3560078570_2melodies of Pritchard and O’Brien cast their acidic yet richly appetising colour. Pritchard’s smooth and energetic vocals equally flourish over the commanding rhythmic spine with the whole riveting mix forming a virulent persuasion for feet and emotions to climb upon. The song also has a raw breath to not only its production but its scuzz spiced touch which only accentuates the infectiousness of its presence, especially within the incendiary finale, it a riot of call to arms vocals and voracious urgency.

Shallow suggests that Inlaze is a band we should all be paying attention to, and we for one are not going to deny its insistence as we wait impatiently for the band’s next foray into ears.

Shallow is available now as a buy now name your price release @ http://inlaze.bandcamp.com/track/shallow

https://www.facebook.com/Inlaze

8.5/10

RingMaster 02/07/2014

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In The Whale – Nate & Eric

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This week sees the release of the Nate & Eric, a fireball of rock ‘n’ roll from US duo In The Whale. The album is actually the putting together of the band’s last two EPs and if they have escaped your attention this is an encounter you should urgently add to your collection of crucial sounds. As eclectic as they are ferociously contagious, the songs making up the release are encounters bred in everything from old school rock ‘n’ roll and punk through to blues, garage rock, and plenty more. It is uncompromising, honest, balls out rock ‘n’ roll, and quite simply irresistible.

Formed in 2011, the Denver band consists of Nate Valdez (vocals and guitar) and Eric Riley (drums and backing vocals), a pair which much like Canadians The Black Frame Spectacle, turn two sources of roaring instrumentation into a full-on rapacious beast of sound and energy. In 2012 In The Whale unleashed debut EP Cake, a well-received proposition which was followed by a just as impressive live presence, which has seen the band play with the likes of Murder by Death, Local H, Reverend Horton Heat, and Electric Six as well as The Airborne Toxic Event, Agent Orange, Bob Log III, The Pack A.D. and Slash. Second EP Eric hit ears in the latter stages of 2013 with its successor Nate being unveiled earlier this year. Now the last EPs come together to create one of the most inspiring and mouthwatering propositions of 2014.

Nate & Eric opens up with the Nate tracks, and specifically Robert Johnson. From its first breath a flame of energy and intensity hits image10-5the ears through intermittent strikes of raw riffs and punching beats beneath the equally imposing vocal call of Valdez. Bluesy air oozes from all aspects too before the track settles into a predatory dance of raucous riffs and anthemic rhythms to which the vocals burn and roar passionately. The track is like a mix of the previously mentioned Canadians, Reverend Horton Heat, and Eagles of Death Metal, and just as devilish as that mixture suggests. It is Devil music and unapologetically irreverent in its infectiousness and psyche twisting charm.

If the starter was mercilessly tempting than the following Wedding Bells should be labelled as dangerous, its initial southern psychobilly twang toxic bait to which the band erupts into a garage punk enslavement with impossibly addictive pop punk relish. For less than a minute and a half, the track stomps with nagging rhythms and agitated riffs, leading into a ridiculously commanding chorus; this all under the again gripping vocals of Valdez. It is a fiery mix that Valdez and Riley conjure; alchemy of sound sculpted with an adrenaline fuelled inventive voracity through simply one predacious guitar, an antagonism lit drum kit, and flaming vocals.

Both the hard rocking Lake of Fire with its again blues kissed rabidity and the feverish brawl of Grandpa Pete keep passions and ears greedy, the first a frenetic blaze of stoner-esque heavy rock with punk urges. Acidic melodies and darkly shadowed chords equally add their potency to the fire dance, hooks and grooves just as prevalent and mischievously compelling too. There is a little tint of Wall of Voodoo to the song, though admittedly for indefinable reasons whilst its successor is pure punk revelry with metallic appetite. Holding a touch of I Am Duckeye and Melvins in its barging garage punk tenacity and devilment, the track is pure aural addiction.

The Eric half of the album begins with On A Roll and immediately a scrub of blues guitar swiftly joined by muscular rhythms and honky-tonk piano covers the senses. As Valdez opens up the narrative everything settles into an ordered yet disruptive canvas of unpredictable rhythms and searing melodies beneath those dramatically expressive vocals. There is a rich feel of Queens Of The Stone Age to the riot but only as a potent spice in a loudly individual proposition. Its triumph is followed by the best track on the release, The Clash seeded Girlfriend. Beats set out a plain but gripping frame for both men to lay down their anthemic vocal call before the track explodes into a blistering punk temptation. The Vibrators meets Rocket From The Crypt with that Strummer and co blooding, the song is an incendiary trap to dive into head first for the greatest pleasure and lustful satisfaction.

The release closes with Sunbeam where again the pair step into a stoner landscape but this time with coarse rock ‘n’ roll and seventies garage rock scenery. It is a smouldering abrasing of sound and sonic tempting, keys again adding richer colour to the riveting and shifting terrain of the magnetic provocation. It is a glorious end to a sensational release, as mentioned one which if the EPs individually have evaded your sweaty hands, is a must have, do not dawdle purchase. In The Whale expels rock ‘n’ roll in its purest yet adventurous form, a furnace to get persistently and brilliantly burnt by; the proof is all there on Nate & Eric.

The self-released Nate & Eric is available now!

www.inthewhalesucks.com

10/10

RingMaster 27/06/2014

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Halfling’s Leaf – Westover

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After the irresistible bait put down by their excellent previous EPs, UK band Halfling’s Leaf has returned with not only a confirmation of their creative bedlam but a declaration of its new maturity and expansive schizophrenic ingenuity. The Stockport quartet has honed their distinctive and diversely imaginative sonic lunacy into a more concentrated yet no less boldly inventive proposition whilst turning up the aggressive rapaciousness which flirted with their earlier releases. The evidence is open and loud within Westover, the band’s new compelling and deliciously magnetic EP. Over six tracks, Halfling’s Leaf romp and stomp with propositions as ever impossible to pin down or label but fuelled with an even stronger inventive tenacity which sweeps greedily through their wide web of progressive avant garde punk ‘n’ funk devilry.

Formed in 2011, the foursome of vocalist Matt Franklin, guitarist/vocalist Mayo, bassist/vocalist Chid Seisay, and drummer/vocalist Andy Preece, soon grabbed attention with the Ain’t No Candy EP and gripped it tighter through the following High Times. Both EPs set the band apart from the rest, with especially the second release a potent lure to the media and radio shows like our own podcasts. The Daniel Buxton/ Halfling’s Leaf produced Westover is a whole new proposition though, a release which takes the seeds of the past and blossoms them into a startling and riotously captivating maelstrom of adventure and enterprise to surely push the band into a greater spotlight with that slice of fortune all bands need and here definitely deserves. Six more songs to fuel the imagination and incite the passions, Westover is a blistering warped dance to give insanity another shot of adrenaline.

Opener Sket launches itself at ears in a cacophony of bedlamic sound and vocal mayhem, instantly awakening senses and attention before a3462398769_2settling into a muscular stride with roving rhythms and sturdy riffs. That premise is immediately twisted with a sultry funk swagger within the forceful beats whilst vocals are equally steamy and fiery to match the metal and hard rock essences teasing the mix. The track continues to swerve and writhe with unpredictable endeavour before discovering a chorus which is pure toxic virulence. Essences of Mr Bungle and Red Hot Chili Peppers spice up the indefinable temptation but only to ensure thoughts are further away from finding a valid description to the sound and triumphant moment. A jazz bred psyche kissed diversion ignites the imagination next, before the bass restores some kind of order with its throaty composure, yet it is just the spark for even more delicious bewitchment as the band transforms into a mix of Oingo Boingo and the Cardiacs for a simply bewildering and seductive devilry. The track is a brilliant start but just the beginning of something quite special.

The following Faces immediately has its devil sculpted hips twisting like a dervish; the first maniacally flirtatious moments courted by jagged riffs and vocal stabs within agitated beats. The song is soon slipping into something more comfortable, a noir lit smouldering glide of melodic shimmering and harmonic crooning which envelops and seduces the senses naughtily whilst in its background rhythms and insanity collude in a caustic tango of predacious tenacity. Like a bastard son of Melvins and The Fat Dukes Of Fuck, the moment seizes feet and passions like a maniacal puppeteer, leading body and heart into another raucous exploit to scare the bland and ignite the deranged.

Smiler reunites thoughts with hints of Rage Against The Machine, which marked the last release, and also a bluesy heat which sears the senses with an absorbing stoner-esque flame within a cage of rhythmic intrigue. The track is more straight forward than its predecessors, but still hold a thick air of unpredictable mischief and contagious tempting which again has feet and thoughts dancing to its tune. It shows yet another side and quality to the band, a sinew honed might which is a challenge for any heavy rock band but equipped with a psyche spawned invention to wrong foot and spark true originality.

An unhinged relish soaks the next up Stop the Clock, the track a busy frenetic web of At The Drive In like abrasion and Fall Of Troy sounding squalling charm but filtered into an incendiary furnace of Halfling’s Leaf uniqueness and rhythmic examination. The bass nags and snarls away across the smouldering fire of sound relentlessly to light up another lustful reaction but it is the loco lure of the guitar and vocals which leaves the spiciest irresistible suasion before the glorious aural stew makes way for the similarly feverish Fair Play. The band is back in full warped funk mode here but of course with flames of melodic voraciousness and disorientated rhythms shooting from the punk infested core. Again it is hard to avoid sending hints of RATM to thoughts but also impossible to disguise the unique experimental hysteria which skilfully entwines and excitingly perverts things with unhinged majesty.

The release is completed by the exotically delirious Party Piece, a squirming orgy of sonic salaciousness and rhythmic taunting ridden by uncontrollable invention and a vocal bustle. It is one final chaotic rampage which shows more scenic detours and alluring landscapes than a mystery tour. A riveting joy to end another wonderfully unsettling and mouthwatering masterpiece from Halfling’s Leaf, it confirms why Westover belongs to the devil as well as providing the frightening realisation that as staggering as it is this band can only get better meaning our souls are certainly lost to their alchemy.

Westover is available now @ http://halflingsleaf.bandcamp.com/album/westover

https://www.facebook.com/halflingsleaf

10/10

RingMaster 25/06/2014

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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

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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SevenDaze – Self Titled EP

SevenDaze Online Promo Shot

UK band SevenDaze does not make an introduction with their debut self-titled EP which inspires a shouting from the rooftops about their emerging presence but they certainly grab plenty of attention with their six track entrance. Merging flavoursome essences of nu-metal and melodic rock with a punk causticity, the release tantalises and awakens an appetite for the band’s partly familiar and partly original sound. Formed in 2009, the Midlands quartet has earned a potent fanbase and reputation and it is easy to hear why through their first release, especially when songs like The Doubt stir up ears and emotions with a contagious and feisty weave of intensive riffs and rhythms aligned to virulent melodies and hooks.

Hailing from Birmingham, SevenDaze began with three school friends Kenny Jones (vocals), Brett Hill (bass), and Mike Cook (guitar). With Jamie Price Gould (drums) completing the line-up, the band was soon casting a keenly devoured live presence locally, moving out across the UK, with their Deftones, Linkin Park, and Finch inspired sound. Last year saw the four-piece hit the studio to record their debut, a striking and weighty slab of metal infused rock ‘n’ roll which is hard to ignore. Soaked in a raw production which does not give the songs the fullness they deserve but allows the songwriting and craft of the band to stand out and make its compelling declaration, the EP is a compelling entrance from a band you feel you have to keep a close ear upon.

Opener Unforgiven provides an immediate blaze of cantankerous rhythms and rapacious riffs entwined with acidic grooves and sonic bait. Soon joined by the solid tones of Jones, the track takes little time in filling ears and thoughts with a sizeable weight and pungent wall of intriguing sound. As mentioned earlier, it is not forging new discoveries but it is a sound and release which has little difficulty engaging with imagination and emotions through a captivating tempest of passion driven enterprise. There is a small but agreeable feeling of Rueben to the first track too as it flexes sinews and melodic ideation to give the release a very potent start.

That strong beginning is soon cemented by All About You and its rich temptation of seductive melodic coaxing and vocal incitement. SevenDaze Cover ArtworkSoon filling its walls with a lure of fiery sonics, commanding rhythms, and adventurous endeavour, the track sets down another impressive enticement. The mix of throaty bass tempting and guitar imagination sets keen ears whilst a sense of Spineshank spices up the not exactly dramatically gripping but indeed thoroughly enjoyable proposition before the rawer Crash Learn Burn adds its almost brawling incitement to the experience. Not quite matching the success of its predecessor, the track blends a predominantly understated roar with a melodic and lyrically persuasive coaxing which easily occupies attention.

The release hits its pinnacle with The Doubt, a track which from its initial sway of sonic colour and rhythmic patience makes a mesmeric suasion to seduce attention and a raise a greedy hunger. Like a mix of Alien Ant Farm and Papa Roach with strong whisper of Mudvayne, band and song twist and flirt with thoughts and passions relentlessly. The stalking rhythms of Price Gould frame the abrasing yet seducing invention of Cook whilst the dark predacious tones of Hill’s stringed prowl provide an evocative canvas to the unfussy but expressive delivery of Jones, he aided by some great raucous growls. It is an excellent track which though suffering a less explosive lull midway, reveals plenty more of the invention and potential of Seven Daze before making way for the just as persuasive Hard. More restrained in many ways than other tracks but with a melodic flaming which potently lights up ears and thoughts, the song brews an emotive balladry courted by a fiery energy, to further the intrigue and increasingly growing appetite towards the EP.

Ending with a more than decent cover of Adele’s song Set Fire To Rain, the EP is a dynamic and enthralling prelude to a suspected strong and successful career for SevenDaze. It does not quite bust into life as at times expected or hoped, apart from that one track, but is persistent in its magnetic and highly pleasing first enticement to warrant plenty of attention now and for the band ahead.

The self-released SevenDaze EP is available now.

https://www.facebook.com/Sevendazeband

7.5/10

RingMaster 23/06/2014

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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We Are Hex – W.D.M.R.S/Tongues 7”

Photo  Gregthemayor

Photo Gregthemayor

Providing two tracks which would soundtrack any occultist or pagan ritualistic dance with a toxicity even the exponents of those dark arts would fear, Indianapolis quartet We Are Hex unleash their new 7” single W.D.M.R.S./Tongues. The release is a glorious ravaging of the psyche and calling of the primal predator in us all, and one of the most virulently addictive and seductive releases in a long time.

We Are Hex has never been slow in ripping up the rulebook and infiltrating the senses with an infestation of their sonic irreverence and rhythmic antagonism, as shown by the likes of Gloom Bloom (2009), Hail The Goer (2010), and the Jon Spencer produced single Lewd Nudie Animals / Real Waco Lot Lizard of last year; just three of their uncompromising manipulative adventures. The band creates a gothic drenched death rock which just seems to get darker and thicker in its causticity and brilliance, but the new pair of songs has found a depth and plateau which leaves everything before it in varying degrees of shade. Both tracks are simple glorious, rapacious stalking of senses and emotions which leave the longest lingering and most deeply entrenched alchemy from the band yet. Ahead of a new full-length and continuing the striking legacy of their 7” unleashes, which includes the Jack White recorded Twist the Witch’s Titty, the new single is pure salacious joy and the reason the devil loves rock music.

W.D.M.R.S leads the persuasion, emerging from a sinister sonic mist of intrigue and menace as a portentous declaration marks our We Are Hex - W.D.M.R.S covercards. Named after sixties band Coven’s Witchcraft Destroys Minds and Reaps Souls, and featuring the guest tones of Jinx Dawson from the band, the song entangles ears and senses in a web of guitar temptation aligned to calls of torturous souls. It is intimidating bait which the rich throaty voice of the bass and a percussive flirting only accentuates before the body of the song leaps from the tempest to immediately grip the passions. Rhythms unleash their heaviest thumping suasion right then too as guitars entwine and score ears with minimalistic but resourcefully precise melodic toxicity. It is a gorgeous swamp of sound, a Siouxsie Sioux element touching the vocals of Jill whilst moonshine like whiffs of The Slits soaks beats and their imposing agitation. The song transports the imagination into the heart of sultry satanic scenery, a sonic clawing and rhythm driven hypnotism inescapable bonds holding thoughts and emotions, not forgetting swiftly ardour wrapped passions tight. With seventies bred garage pop and psychedelic whispers also adding their coating to the recipe, the song is pure aural venom and quite delicious.

Its success and immense seduction is swiftly thrown up another level or three with Tongues, the track two minutes of addiction causing ingenuity driven by rhythmic irritation and sonic nagging. It is simply brilliant, a carnivorous tsunami of tenacious melodic scorching and sonic animosity strapped to a rhythmic hostility and persistence which draws the deepest insatiable lust in return for its rampant enticement. Imagine Alien Sex Fiend and the Sex Gang Children in an illicit union with Stolen Babies and Morning Wood and you get an idea of the sheer ingenuity and virulent compulsion that is Tongues. Arguably the best song heard this year and last, it is a musical bitch with all the charm and voracity of a rabid burlesque dancer, something which applies to the sound of We Are Hex full stop really.

Sometimes you come across a band which consistently sculpts templates for others which in turn subsequently breed new depths of subservient allegiance towards them; We Are Hex is one of the most masterful and deviously riveting bands and if you have doubts we give the W.D.M.R.S/Tongues 7” as our proof and recommendation to go be infected.

W.D.M.R.S/Tongues is available via Latest Flame Records now @ http://wearehex.bandcamp.com/album/w-d-m-r-s-tongues

https://www.facebook.com/wearehex

10/10

RingMaster 17/06/2014

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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