Honningbarna – Verden Er Enkel

There has been a buzz about Norwegian band Honningbarna which has been hard to avoid going in to this review with their PR Company alone fervidly enthusiastic far beyond their paid agenda in the presentation of the band’s new album for coverage. Could they really be as impressive and exciting as admittedly a great many are claiming? Yes they are and then some. Their new album Verden En Enkel is a scintillating excuse for passions to riot and limbs to brawl, its unique and insatiable punk rock fire rich in potency and impossibly virulent contagiousness.  With dramatic flames of melodic fervour and hooks as barbed and addictive as any sexual favour, the thirteen track release thrusts the band into the heady heights of being the future of melodic punk and possibly the core elements of punk itself.

As fresh faced teens the quintet from Kristiansand took no time in grabbing intense attention with their debut self-titled EP of 2010 which was followed within three months by the band winning the Norwegian broadcasting’s annual unsigned band competition, Årets Urørt. The following year their first album La Alarmane Gå (Sound The Alarm) won Best Rock Album at Spellemannsprisen, the Norwegian equivalent of the Grammys as well as Honningbarna gaining a Best Newcomer nomination. Their rise has been strong and energetic to match their renowned live performances which have also marked the band as one of the most explosive and unmissable treats. The likes of Rage Against the Machine, Gallows, and The Hives have been slapped upon the band as comparisons and it is easy to see why but really they stand alone from the rest with only for us Russian punks Biting Elbows bred from the same distinctive imaginative well though you could probably also add The Fat Dukes Of Fuck too.

Produced by Swedish producer Pelle Gunnerfeldt, the Republic Of Music released Verden Er Enkel meaning The World Is Simple, is the first album to have a wider release infiltrating further afield within Europe and the UK, something which can only trigger a mass euphoria one suspects if our reactions are any gauge. It is a record which fuses every aspect of punk old and new with melodic garage rock ferocity and breath-taking energy. It is also as is the band, loaded with political confrontation at times though with them welcomingly only using their native tongue its content is lost on limited linguists like us but the snarl and bite in the delivery and sound does offers plenty to be provoked and inspired by. Honningbarna is poised to ignite rock music to a level which will take the name around the world, well certainly if quality and invention is any benchmark.

The album opens on the sensational lure of Dodtid, the twisted guitar beckoning a sonic lasso around the ear gripping with the intensity of a hornet. Exploding into a barrage of rapacious grooves all sonically sculpted within enticing rhythms, the track then steps into a slow breath of vocals and drum framing before unleashing the turmoil of sound once again. The vocals of Edvard Valberg squall and challenge whilst being ably accompanied by the group gang locked harmonies to post an anthemic hook within the brooding maelstrom at play upon the senses. Harshly metallic with a hardcore abrasive edge the song is a deliberate entrapment for which there is no escape or hiding from, especially its final lingering sonic lancing of flesh as it evolves into the fire of the following Ikke La Deg Rive Med. It is a bruising encounter with muscular energy and scything guitar sinews from Christoffer Trædal and Fredrik Justnes working their caustic charms whilst the beats of drummer Nils Jørgen Nilsen cage and enslave with skill and mischievous purpose. With elements of The Bronx and Red Tape to its stance and drive the track continues the impressive start with inspired ease.

Through the likes of the mighty Velkommen Tilbake where bassist Lars Emmelthun gnaws and chews the ear with stirring potency whilst the song itself just stomps all over the emotions with old school devilry, the thrilling Tynn Is with its arguably unadventurous, compared to other moments on the release, yet enticing gait, and the exceptional God Jul, Jesus, the album fosters the rapidly brewing ardour for the album with irresistible craft and imagination. The second of these sees the added treat of Valberg and his shadow inspired skills with the cello, bringing another stunning bow to band and release whilst the third of the trio is a rampant swagger of growling rapacious rhythms from bass and drums within a corrosive energy and magnetic  blaze of vocal harmonies and feisty passion engulfing hunger.

The album holds its truly momentous moments in nothing but highlights for the latter part of its presence starting with Fuck Kunst (Dans Dans), the lead single form the album. A slice of dirty incendiary rock n roll with riffs and thought poking vocal delivery to incite the strongest reactions and an imagination and devilry to spark their fullest greed, the track is the perfect lead into band and album though easily matched by next up Offerdans and the best song on the album Ned. Whilst the first of these two dances with the ear like a punk dervish, perpetually moving riffs and barbed hooks sharing target practice on the passions with unerring accuracy its successor is quite simply a complete tempest of addict making melodic spiky grooves and equally catchy riffs ridden by coarse confrontational but anthemic vocals. At its core and partially hidden there is a groove the Buzzcocks would have been proud of  whilst the overall plundering of the ear is vintage punk rock given a modern makeover for a new breed of riot.

Before its end Verden Er Enkel confirms its majesty through the bass carved rock scrap of Si Nei, the brutally addictive title track, and the brilliant closing psyche altercation of Gi Oss Kick. It is a stunning and delicious spat from a band who more than justify the claims wrapped around them from the outside. Honningbarna is poised to ignite the appetite and passions of not only punk but rock n roll in general and across the world. It all starts here.

http://honningbarna.no/

10/10

RingMaster 07/05/2013

 

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The Sea – High On…

There is always a twist of excitement when approaching a new release from UK rock band The Sea, fresh anticipation which has yet to be let down across their singles and especially their excellent album of last year, Rooftops. New EP High On… continues the immense satisfaction continually bred by the band though this time it offers their greatest moment yet in power, passion, and fiery invention.

      High On… is a muscular release which explores the rock and blues elements which was sniffed at on the eclectic Rooftops, though there is still a place for melodic charm and emotive enchantment. Like its predecessor the EP is unafraid to mix up its sound and ideas to keep intrigue and captivation as lively as the energetic storm which cores the release. Consisting of brothers Alex (vocals, drums) and Peter D’Chisholme (vocals, guitar, piano), the duo from  Newquay, Cornwall has leapt upon the passions of rock pop with an insatiable enterprise and fire which is hungrily devoured by their growing legion of fans worldwide. Since forming in 2007 the pair has ignited Europe, US, and Canada with their fevered stage performances, whilst drawing potent acclaim for their releases including debut single Love Love Love, first album Get It Back, and of course the mighty Rooftops, all like the EP released on their own Lusty Records label. The band has a desire and greed when it comes to music which translates into their thrilling sounds, a drive which sees them relentlessly gigging including sharing stages with bands such as Muse, The Kills, The Enemy, and James Morrison, and overcoming in 2011 a freak surfing accident which saw Alex breaking his neck. Surprising all, especially as he faced the possibility of being unable to even walk again, the drummer was back touring within months and as the new release shows is back more formidable and feisty than ever.

High On… finds The Sea igniting their passion for dirty rock n roll with influences of the likes of MC5, The White Stripes, and the Stooges, all essences which make strong whispers across the EP though the band undoubtedly trigger their own unique presence through it. It also sees the band stripping down their sound to one guitar, a set of drums, and impassioned vocal squalls, the result a fire as raucous and commanding as anything on their previous releases with their more expansive armoury, but with an intensity and contagion which with ease declares the release as the best thing from The Sea yet.

Opening track Letter Bomb takes mere moments to ravage the ear with towering rhythms from Alex and a blaze of sonic persuasion from the guitar of Peter. It is an incendiary start which though settles into a less demanding gait with picky riffs and tempered beats once into its stride still, it agitates and excites with a sinew of aggressive intent. The vocals of Peter equally flame upon their entrance to offer a scintillating glaze to proceedings whilst the combination with all elements burning eagerly for the chorus is a brawling treat leaving senses and heart wrung out with passion. At its heights there is also a definite Rage Against The Machine intensity to the breath of the song with the blues gaited guitar solo raising temperatures further.

The following Run steps back on the directness though still refuses to bring a calm gait to its encounter. It is a hard rock/blues inducement with a furnace of emotive fire swaggering through sounds and vocals. It does not quite live up to the stunning opener but with the guitar offering a sure temptation and the energy of the track merciless in its smouldering soaking, you can only bask in its impressive heat.

The EP is, as is expected from the band, a diverse creature even within this heavy rocking direction bloomed on the release, Number One a gentle rock croon musically and vocally which barely makes a minute and a half in length yet still raises hairs on the neck in its brief presence, another magnetic twist of sound. Its short stay is more than just an interlude and makes a perfect lead up to the best track on the EP, Get Up Stand Up Die. The song is a monster of a rock tune with again the drums of Alex caging and igniting the senses with a rapid storm of beats to start things off before the guitar lays a sturdy rub of coarse and infectious riffs into the mix. It is an explosive fury of contagious confrontation which leaves one exhausted and grinning from ear to ear, even if like its predecessor the track is too damn short, but then again the best punk rock tracks usually are.

Completed by another triumphant tempest of exhausting energy, massive beats, and vicious guitar enchantment in the ferocious treat Lost It/ Never Had It and the pulse pumping slow burner Wednesday Trap which is as near to a rock show tune you could wish for and get wonderfully away with, High On… is another sensational creative bomb of a treat from the best emerging rock band in the UK right now. The Sea is destined to the greatest heights but why wait when there is this mighty feast of sound to enjoy right now.

https://www.facebook.com/theseauk

http://www.theseasounds.co.uk

9/10

RingMaster 09/04/2013

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Mel-P: Anima Asylum

    This is a retrospective look at a release which though it has only just ventured before our gaze it was released almost a year ago. Thank sin it has stepped into view though as Anima Asylum is one delicious and incredible triumph of creative insanity and emotive mastery. The album comes from Mel-P; a French band that creates schizophrenic progressive metal which is staggeringly powerful and  borne from an inventive and majestic imagination which with its pure uniqueness ignites nothing less than passion in heart and mind. The release is just incredible, ten tracks of visionary invention which are aurally painted before the ear to incite the fullest emotive and visual experience possible.

From Le Mans, the band is a quartet of musicians who from their shadowed persona musically walk and investigate the darkest emotions and states of mind as evident on the album. There is little to be sourced about them but they are a band who formed in 2004 and take influences from the likes of Deftones, Watcha, Rage Against The Machine, Flying Pooh, Mr Bungle, Machine Head, Psykup, Fantomas, Threat Signal, Gojira and many more, and one suggests also have a healthy admiration for Parisians 6:33 too. Anima Asylum follows debut EP Nouvelles de la Jungle of 2007, and musically it and the band fuse the most compelling essences of progressive metal, experimental dub and electro, and washes of evocative ambiences into explosive canvases of beautifully crafted instrumental arrangements and derangements. The tracks wrap themselves around the senses tightly and magnetically, their passages fluid and organic yet sculpted with an understanding and craft which only enhances the delirium of free and imaginative creativity at untethered play.

The album starts with Anima I the first of three brief and disturbing ambient intrusions throughout the release. The opening one is a whisper of sonic corruption from menacing shadows with a chilling caress. It leads into Nyourk Reliquus, a mesmeric track with a loping gait driven by a smouldering weave of ska rhythms and a seductive melodic jazz like narrative. Here as for all the tracks each listener will explore and discover their own imagery from the unpredictable and disturbed sounds but feel and see they will. The piece is the first gentle touch of a shadow borne bedlam, its presence becoming animated in intensity the further into its mania it dives. The metal riffs and energy crowds the ear magnificently whilst the melodic manipulations spark fires within the brewing tempest which ends on a furnace of a climax. It is stunning and alone makes band and release something impossible to move away from.

It is not alone though as the likes of Otium and Sollicitudo unravel their psyche splendour and innovation to equal heights. The first takes one into a solitary confinement of thoughts, its initial defiant riled energy evolving into a calm yet blistered grace soaked in irresistible guitar enterprise before exploding into a contagious squall of confusion brought through scarring sonics and intimidating rhythms. Sollicitudo unleashes its own neurosis and nightmares in sensational style too. Again the band fuses light and dark into a provocative tapestry of emotive and musical grandeur beneath an imposing confining shadow which never lets a moment rest or lie without a challenge from a psychotic breath.

The intensive Cheewed Arbor emerges next to cast the heaviest presence of the album, an intrusive encounter the likes of Meshuggah would be proud of. The song again is just outstanding and another instigator of thoughtful reflection and imagery with a haunting mania to its fearsome presence.

The album continues to thrill and stretch the listener through the ‘off worldly’ Persequor, a track which is a mouthwatering venture into a realm seemingly offering an escape complete with an irresistible welcome brought through an infectious Specials like ska haunt, and Intermuralis with its persuasive Middle Eastern lures within a barren landscape, though the track is not empty in impressive sounds and invention.

Ending on Letabilis, a track which encapsulates every one of the immense attributes of the band in composition and its remarkable realisation, Anima Asylum is one of the most compelling and imaginatively ingenious releases in a long time. It may be a year old but it and Mel-P deserve as much attention as is possible, simply insanity at its creative best.

https://www.facebook.com/pages/Mel-P/47495839339

http://www.melp-music.com/

10/10

RingMaster 07/02/2013

Copyright RingMaster: MyFreeCopyright

Dead Retinas: Dead Retinas vs. The World EP

Sometimes a band comes along to ignite all the personal fires inside and leave one counting the days to the next musical adrenaline rush to come from their creativity. UK punks Dead Retinas is such a band and their Dead Retinas vs. The World EP, an invigorating burst of essential punk rock to fire up the engines of passion. The quartet create punk rock which is honest, aggressive, and vibrant: their sound steeped in the essentials of punk and fuelled by the energies of modern rock. The resulting experience unbridled pleasure.

The band consists of vocalist Sam Hendo, guitarist/vocalist Jack Thompson, bassist/vocalist CJ Smith who all knew each other since high school, and Lee O’Connor on drums. Originally called Hounds, until they found out about another band with the same name, the band took the Dead Retinas name from something actor Nick Frost said on the commentary track to the film Paul. To date the band has impressed with ease through the sharing of stages with the likes of Four Short Of A Miracle, Saving Syenna, The City Divided, ZsilentZ, and Falter to name a few.

Dead Retinas vs. The World is their debut release and a mighty powerful four track beast of an introduction it is too. It is punk rock at its best, confrontational, relentless, and heart driven. Their music recalls the best elements of bands such as Cancer Bats, NOFX, and Pinhead Gunpowder alongside the fire of Rage Against The Machine and Red Tape. It is all twisted into their own incendiary powder keg of bruising and explosive individuality as the band emerges as one of the best new entrants within punk for a long time.

The release ruptures the atmosphere from the start with Pure Gold, a track with heart splintering riffs and combative rhythms. The vocals hit every scorched and aggressive range perfectly to offer as much texture and rich diversity as the sounds around them. From the choppy greedy riffs, the uncompromising beats, to the growling guttural bass sound, the song corrupts and enthrals the senses for the deepest satisfaction. The band is also unafraid to bring extra treats in to the mix such as the burning guitar solo which simply flames away gloriously on top of already inspired raging inferno of addiction.

The following A 20 Note Ain’t For Coke finds a higher plateau to leap and explode upon with its infectious hypnotic hooked riffs and magnetic breath. It offers an old school flavour to bring thoughts of seventies UK bands The Lurkers, The Outcasts, and early Undertones to the fore whilst chewing away with a slight hardcore hunger. Brief and uncomplicated, the song is an immense blast of sheer instinctive satisfaction to leave one breathless and eager for much more.

    I’ve Got A Nerve brings a slight ska fusion to its muscular frame though it is mere spicery soon overwhelmed by the raw energy of the track. Arguably the less effective of the four, it is still a song to leave a benchmark for most other bands to aim for and ensure the appetite is still ravenous for more of the same.

The release closes with the excellent Hang The Bastards. It starts with just a delicious gnarly bass and thumping drums union, their predatory companionship alone boiling up an addiction like pleasure. Into its stride the song develops a scorched bluesy swagger which cores the punk aggression and vocal forcefulness, its groove hypnotic magnificence.  There is even a little tinge of stoner rock to the presence of the song, though its metallic intensity is, especially at its climax, RATM spawn.

Dead Retinas vs. The World EP is outstanding, one of the best debuts in a long time. If punk rock triggers the deepest rampages of joy within then Dead Retinas might just have you squealing with orgasmic delight.

https://www.facebook.com/DeadRetinas

RingMaster 12/09/2012

Copyright RingMaster: MyFreeCopyright

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The Apples – Fly On It

The best apple is always a crisp and juicy one which is exactly how you can describe the new album from a band with the same name. Israeli post-funk nine-piece instrumental band The Apples simply light up the senses with latest album Fly On It, which is unleashed on August 6^th. It is a collection of instrumental based tracks which twist and turn with relish whilst carrying a wicked glint in their eye to y thrill consistently.

The band and album brings sounds which are a hybrid fusion of jazz and funk with an enormous squeeze of multi flavoured essences veined with Middle Eastern influences. To be honest we do not have a great knowledge of this area of music but at times The Apples takes our thoughts and ears back to bands like Pigbag and Rip Rig and Panic whilst also bringing tints of the likes of De Staat, Les Negresses Vertes, and Mano Negra into view. The release is perpetually intriguing and exhilarating throughout to leave a permanent grin in the heart.

Released through Audio Montage, Fly On It was originally commissioned by Peter Gabriel’s Real World Studios for Bowers & Wilkins’ Society of Sound and was recorded over two days in Wiltshire at legendary studios Big Room. The setting and resulting tracks saw The Apples able to bring their explosive live sound and feel into the recordings bringing an irresistible energy to the album. Since forming in 2002 the band has gathered increasing acclaim with their albums Attention! (2006), Buzzin’ About (2008), and Kings (2010), not to mention their singles, EP, and a critically acclaimed version of the Rage Against the Machine track Killing In The Name. The new release is set to draw an even greater response one feels, its invention and vibrant creativity it is hard to imagine many not falling for.

The album opens with the stomping funk sounds of Preserve. Tribal with feisty rhythms and mischievous horns, the track teases and excites the ear with flickering melodies and beckoning near wantonness. Excitable and intent on exploding in every corner of the senses the song ignites a heated infection to set the release off to a great start.

The following title track ruffles the air with a sinister flicking of its tongue seemingly inspired by the trade mark Rage Against The Machine sound before opening up into an enveloping melodic atmosphere. All the time though the track winds up the senses taking them through darkened features and offshoots within the overall breath of the track which glows like a full sunset. It is another stunning irrepressible piece of music which leads into the vast soundscape of Sixth Stream.

This track is a musical world of its own bringing a slow prowl lit by Eastern promise and glowing fires of melodic imagination. Its journey is a fully contained episode to inspire evolving imagery and thoughts, a cinematic experience with an eccentricity which warms every pore. Nothing is expected or predicted on the album but this song especially is a wonderful mystery which reveals its heart note by note yet still able to offer more with each visit to its mesmeric terrain.

The brooding and pulsating funk soaked Thang and the fractious Rhinocerize keep things fully absorbing whilst the provocatively attitude dripping Looking For Trouble with its carefree belligerence, sets the heart racing with even more enthusiasm. It is the closing duo of Powder and Do The Car Horn which add extra heightened highlights to the release. The first is a swaggering weave of soulful beauty, the bass and keys prompting full engagement whilst the horns once more help build an atmosphere to fire up the passions.  The second of the two is the clear favourite from the album here, the busy, frantic, and at times niggling drive of the song overwhelmingly contagious. As the title suggests it is an industrious brew of heated mayhem and unrelenting energy brought with a wonderful cartoon/psychotic ambience to leave the most lingering pleasure on the album.

Fly On It is just wonderful and without doubt The Apples has created one of the great soundtracks for the summer if not the year.

http://www.theapples.net

Ringmaster 30/07/2012

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Subject Matter: Smash The Mould

Smash The Mould from Irish rock band Subject Matter is a feisty beast of a release which leaves one with emotions ranging from fired up through to slightly bewildered and uncertain but always it intrigues and brings an eagerness to hear more. The Dublin quartet create music that demands to be noticed and leaves an impression that is long lasting. Renowned for their lively and raucous gigs the album successfully follows suit.

Consisting of Paul “POK” O’Keeffe (vocals/guitar), Ste Brennan (guitar/vocals), Paul “Jim” Carey (bass/vocals), and Tommy Devine (drums), the band splatters the ear with insatiable riffs and energy from the off with the excellent opening track Funky Coloured Pitfalls. With a deep taunting bassline and flourishes of eager guitar the song erupts into a ball of pumped energy and enthused vocals, simply it is a fine blast of gut punching punk rock. It is a track that defies you not to join in and sets the release off to a great start.

The immediately following Give It To Me Straight brings more of the same punk fuelled rock sounds and within two songs one attention is firm not only on the songs but also the great bass of Carey, his belligerent riffs an excellent scowling and prowling presence within each song. The impressive What I Know easily confirms the fact straight after as well as reminding that you can not dismiss the guitars and rhythms neither, the band a unit whose strength is its sum parts. What I Know is one of the best songs on the album due to its eagerness to throw things slightly awry, its rhythms and vocals at times wonderfully at odds with the drive of the guitars. Again the song is an example of punk rock at its disruptive best and though it verges on chaotic and almost undisciplined at times it all adds to the strength of the track.

From this point the album is a bit hit and miss with the emotive ballad of Dressed To Depress one of a few songs that lose the focus gained previously, though one has to admire the adventure and unexpected turns the band bring to song and album. From that dip the band resurge back with the twin Rage Against The Machine flavoured Old Flames and Death By Monkeys, the first raw and caustic and the second a blues soaked crawl over the senses.

Though as mentioned mixed in consistency the likes of the garage rock/blues tinged Ground with again excellent bass work aligned to crusading riffs and strong vocals, See Thru Souls with its emotive depth and strong melodies, and another RATM lined Different Station, contribute much more than songs such as second ballad Keep Me With You and the formulaic rocker The Pass At Dark steal away.

Closing with the throwaway but fun O Nani Ama, the album is an enjoyable release full of promise for the band though one feels they need to find a more defined sound to truly emerge from the crowd. Subject Matter as they stand right now is a band who with songs like Funky Coloured Pitfalls and What I Know will easily make frequent visits to many ears.

http://www.subjectmatteronline.com/

RingMaster 18/05/2012

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Axis Mundi -Chapel Perilous

Axis Mundi is a band which has you smirking, open mouthed, scratching your head, and wondering what just hit you. Most of all the quartet from Hinckley, UK have you rocking like a bird on an electrified fence, vibrating, busting moves, and a shell shocked wreck by the end of the experience. Becoming well renowned for their live shows their debut album Chapel Perilous is the impressive result of the transfer of their live energy and mischief to the studio. The album romps all over the senses and pumps up the ear with eight vibrant violations headed up by an opening Disclaimer to cover their wicked little hearts.

Formed in late 2008 Axis Mundi have excited, enthralled, and surprised every step of the way. The year after starting, the band was rated as one of the top upcoming bands in the UK from a group of over 12,000 other strong candidates and they left venues like Indigo2 in London a hollow reflection of themselves with their riotous shows as their stock grew. 2010 saw them working closely with best-selling science author and New Scientist writer Michael Brooks during his election campaign against Hinckley and Bosworth MP David Tredinnick, the politics of the band striking a stance as strong as their irrepressible sounds, and there was the little matter of a 4 track EP Find the Others making waves too. Since its release in the twilight weeks of last year Chapel Perilous has thrust the band into brighter headlights as more fall under its stomping presence and unpredictable manipulations.

The album ‘a 9 track story of a series of real life legal and illegal experiments conducted into consciousness and perception’ hits the senses with unbridled mischief from the off, the Axis Mundi freakish blend of unrelenting acid house build ups and ear slamming rock riffs and vocals clashing in an irresistible cacophony of sonic blaze. Classed as psychedelic raverock the band tease and mislead the senses whilst mistreating and molesting them at the same time. They come at you from every direction with the misdirection of maniacal hysterical magicians, the ensuing maelstrom of sound across the album an unsettling pleasure and sheer fun. Imagine a cauldron of Pop Will Eat Itself, Manic Street Preachers, and Rage Against The Machine flushed through a vat of The Browning and infected with a healthy dose of acid house mayhem and you have Axis Mundi.

Goat Boy opens up the chaos, its provocative riffs stroking the ear roughly as guitarist/vocalist Gary Frewin sets the stage for the rampage ahead. His voice plays like a cross between James Dean Bradfield and Zack de la Rocha and adds a perfect edge to the all enveloping sounds surrounding him. As bassist James Midgley thumps in pulse energising riffs the synths swarm and slap with a loving hand. The song is infectious and heart pumping stuff closely matched by the following eager to engage Rich And Famous. With scrambling riffs and dazzling bubbling waves of synth lapping the ear the song reaches deep with a less frenetic intrusion than its predecessor.

Chapel Perilous has a strength across its length which many bands would yearn for but with two tracks the band out shine even themselves. First there is the romping stomp of Tales from the Galapagos, an early Faith No More flavoured feast of energy and siren spawn sounds. It sways and teases with a cocksure confidence that you cannot resist its charms as it investigates and ventures up and down varied rock and electro avenues. Alongside the opener it is the best song on the album, one of a trio as the pair are joined by Eden Alive! in jostling and flaring up the heart. With soft expressive vocals and thought invoking guitar and synth melodies the song immediately captivates, then when it explodes into full on electro bedlam with a chest beating fist pumping energised aggression it spawns sonic rapture. Like a mini rock opera the song encapsulates everything you need to know about Axis Mundi and their fine imagination and ingenuity.

With further great songs like The Limitations Of Thinking Things Are Real with a stroll and attitude as mischievous as a gang of drunk school boys, the metal fuelled The Fool, and the schizophrenic Blue Cunt, Axis Mundi have produced an album that attacks and lights up every pore with fast flowing and mesmeric invention. First time you listen you grin, the second you find the glories within, and the third you are infected for life, enjoy!

RingMaster 06/03/2012

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