The Suicide Denial: We’ll Go Down Fighting

We’ll Go Down Fighting from US rock band The Suicide Denial is a slightly mixed bag of infectious hooks and engaging striking melodies rolled off the back of stirring riffs and eager energy. It is a boisterous album that teases and excites with easily accessible sounds and agreeable intent but it also carries what seems like obvious and open flavours and influences within its songs. The result is a release that is not soaked in particular originality but bursts through the ear with familiar and easy to absorb recognisable aural pleasure. The outcome being a strong and excitable album that gets limbs, voice and pulse a playing from start to end.

The Suicide Denial began when Chad Gerbers previous band Korben came to an end. 2007 saw Gerber and Korben relocate to Montana from California as they went for the Midwest with a vengeance with plans for extensive touring. Needing a drummer for the venture the number of Chad “AKA 2012” McKinsey a college student, was passed on to the band. Recruited, McKinsey toured with the band until it broke up a while after upon which time Gerber approached McKinsey about the “Suicide Denial Project” he had been working on and the two decided to collaborate on this endeavour and what they called was its “Ghetto Sample Rock”. Using a small college studio at night the duo began work on songs and what would become their debut album I’m Sorry LA. Within a few months they signed to Divulge Records and the album was finished and produced, receiving a strong and eagerly positive response and acclaim across national and internet media, radio, and the public alike.

The band has thrived and steadily increased a fervent fan base across the US and into Europe, Australia and China. Something their latest album We’ll Go Down Fighting and its determined to please attitude will surely inspire even further. With a successful series of shows on the 2011 Vans Warped Tour the album came out to immediately register highly with existing and new fans with its thirteen slightly mischievous engaging songs. With the undeniable friendliness of the tunes and a sense of intimacy with some of the flavours it carries, the album which though at times is unstressed by originality leaps upon and pleases the senses far more than most other similarly fuelled releases.

The tracks rifle through the ear solidly, from the opening rock explosion of Mindless And Dumb and its Sick Puppies styled discontent and backing Aha spiced synth play through to the closing melodic joy of Your Hell and the great vocal blends within, the album makes  a case for and wins with its defence of the mission to excite and satisfy. As soon as second and best track We Go Down Fighting hits the air submission to the albums charms is a given. The track again with a Sick Puppies toned attack reminding of their track Gasoline is a raucous defiant triumph of self strength and intractability.

The album is diverse within its rock intent, from the slow emotive Radiohead spiced I’m Ok which is strong without being spectacular, the fine melancholic and dark Souls with a glorious bassline out of A Forest era Cure songbook, to the bluesy/grunge Nirvana tinged Robot, the release offers variety and gratifying flavours for the ear and deeper. It has to be said though that when the band raises the temperature as in the punk veined bursts of Shot Again and the Mucky Pup like Medicate plus obviously the previously mentioned We Go Down Fighting, they are at their height and truly expose what a great rock band they are.

Though a guitar driven band, the use of keyboards is a strong and impressive part to many of the tracks most notably in Insane. Though the track borrows a synth melody from Visages Fade To Grey the song is a delightful electro pop sway upon the ear that sweeps one up in its caresses.

Yes as mentioned We’ll Go Down Fighting maybe not the most groundbreaking or original album to pleasure the ear but the fact it does please and with such great satisfaction makes it and The Suicide Denial worth a huge amount of anyones time.

RingMaster 06/01/2012 Registered & Protected


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Baddies: Build

After being completely infected and charmed by their debut album Do The Job, the review of the Baddies follow up Build was never going to be anything less than enthusiastic in their direction though there was still a part ready to chomp down on any deficiencies found.  The first single from the new album Bronto indicated at the beginning of the year that things had moved forward with their sound but now we have Build to prove if it was so. The answer is that the instigators of kinky hooks, beautifully erratic rhythms, and melodies that play hop scotch on the ear have not only returned with another stunning release but taken their sound into depths and risen to heights that exceed already enthused hopes and expectations.

After the deserved and almost crazed response to their 2009 debut form a great many, and the UK band embarking on a schedule that took in an arduous tour schedule of 180 shows in 365 days across the world which included taking in 32 major European festivals, the quartet not so much took a break but slowed things considerably as they went into thinking about and creating the successor to their successful debut. Using Pledge Music to help raise finances for the release whilst remaining strongly independent and reaching closer to their eager fans, Baddies release Build on March 5th and surely destined to ignite an even bigger response, acclaim and adoration.

Do The Job was marked for the direct and spiky hooks and addictive prickly melodies within its songs with the likes of Battleships, Open One Eye, and We Beat Our Chests uncompromising in their intent to infiltrate and control limbs and senses, turning them into thirsty marionettes. Build continues this incisive attack, bringing more additive voracious lures and instinctive harmonic essences but now with a more refined and rounded shape that  is as effective but even longer lingering and insatiable. Basically the Baddies creativity, songwriting and sound has grown, spread and dare one say matured into an even more vibrant and impressive creature.

Whereas their previous album was riotous, Build consumes in waves of gentler expressive sounds but to no less effect or impressive wonder. Do The Job threw  grating quirky crunchy guitar jabs and punchy rhythmic kicks to the ear but Build whilst taking the best of those elements fuses them into soaring electronics and graceful harmonies with a flair that is musically poetic and steamy. The album bursts into life with the slightly familiar sound and territory of the excellent Rewire. A sweeping synth cradles one in the songs arms before the guitars leap upon and bounce incessantly around the ear. Vocalist Michael Webster and fellow guitarist Simon Bellamy litter the senses with kinetic and contagious stabs whilst the futuristic inspired electronic sounds dazzle and sparkle around them.

The stunning start continues with the Frankenstein Man Made Man, another song that simply whips one into a frenetic ball of enthused hunger for more and more. The track weaves between excited agitation and a laid back melodic sensual symphony to create something glorious yet an unbridled aural solicitation. The first two songs bring older Baddies into a new expansive version that is irresistible, the man and science theme of these and the album intriguing and pleasing.

Every song within the album is without exception pure quality, from the sparkling yet provocative Mind Machines with a Thomas Dolby like flavour, to the big pulsating rhythm punch of The Lightmen. The latter of the two with its tingling electrified flow driven by the roaming throaty bass of Danny Rowton, who is imperious throughout Build, and the inspired mountainous rhythms of drummer Jim Webster, has a Colin Moulding written feel of XTC as well as of Young Knives. The swell of great vocal harmonies, expressive lyrics and their delivery an expansive gorgeous journey.

The XTC sound appears again in Excess Energy to great effect, but despite these references Baddies are undeniably and wonderfully unique. They also are distinct in the diversity within their music, something openly obvious in the likes of the album’s forthcoming single Talk To Me Germany, the stunning Centurion, and the stirring These Animals. The first is a stoked burst of punk pop joy whilst Centurion is a pulsating electronic mesmeric light brought with a slight John Foxx/ Bill Nelson touch in its scintillating sparkle.

Bronto like the opener is the perfect connection between the older sound and the new hypnotic direction the band has spread in to. The song is as virulent as any song you are likely to hear anywhere, its electronic punked venom impossible to deny as it firmly grips with its hot thirsty urgency. It has a chest beating defiance that can only inspire one to join its intent and chorus in emotion and voice. Do not be surprised that once having heard the song it reappears in your head at numerous and any time, it is an infection with no known cure.

Closing on the captivating Star Surfing and its celestial majesty, Build is simply magnificent. Baddies have once more revitalised and given a new rousing energy to not only alternative indie music but music in general. If craft, originality, and inventive music which inflames your every day with warmth and rampant fun is the juice for your thirst, than Baddies is your first and essential option.

RingMaster 26/02/2012 Registered & Protected


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Funeral Whore – Step Into Damnation

With a formidable old school death metal muscle and black intent the debut album from Dutch band Funeral Whore is an impressive release that even without threatening to stretch the imagination or genre boundaries brings a solid satisfaction to its predatory sounds. Step Into Damnation released worldwide via Chaos Records marks the band as one to keep a keen eye upon with sounds that step through the ear with an aggressive nature whilst taunting and piercing the senses with grooves and grinds that unsettle and captivate in equal measure.

Formed in 2006, Funeral Whore has from day one driven themselves with the intention of creating traditional death metal as it should be steeped in the old school sound. Despite the releasing of a self titled demo, the Morbid Intensions EP, and the three track promo …for all Eternity, all receiving a good reaction, it was not until the return of original drummer Olle to the ranks in 2010 that the band found a point to really push on from. After going through a few drummers that did not or could not bring the sound the songs needed up to this time, the return of Olle to the band he started with Roy (guitar/ vocals) and Kellie (guitar) ignited an already impressive Funeral Whore to find its deepest intensity and creativity. Completed by bassist Tim who joined not long after the formation of the band, a split release with Profanal called Two Morbid Ways To Die and now their debut album Step Into Damnation shows the band is primed to make a distinct and forceful mark on death metal.

The album is a release that grabs the ear with a vice like grip though the intensity and aggression is not as violent and brutal as expected. Instead the band lie upon the senses heavy prowling riffs and doom soaked grooves that permeate every corner to greater effect. From the thunderous drive of opener Eternal Genocide through to the closing might of Buried In Hell, the album is a tenderising rampage across the senses. These two tracks though strong and very agreeable are both straight forward direct osdm sounds offered without any extra essences.  In between them the band expand in the other nine songs by unleashing grooves and varied ruptures in pace, intensity, and sound to keep the album constantly intriguing and less predictable.

The level across the album is high and consistent, each track staring into the eyes and flexing its muscles to confront the ear wonderfully but there are times when the band raise their own already high game to make the album a sure investigation for all death metal fans. Wasteland of Corpses intimidates with a prowling groove that stands over the senses like a hungry beast whilst the drums pick off the ear at will. The track immerses one in a thick fog of sound that is glorious due to the fact that though heavy and an unforgiving mass it still allows each integral part to be clear and potent.

Funeral Whore left their game even more on the brilliant El Salvador Death Squad, a song with a groove as sinister as it is infectious, and the consecutive songs of Pierce My Flesh and Threesome. All three turn the body into their punch bag but with at the same times enthusing it with melodies and incisive razor sharp grooves that inspire and permeate eagerly. The rhythms of Olle and Tim are always uncompromising and demanding without brutalising whilst the guitars of Roy and Kellie leave one breathless and wanting more of their venomous creativity. The vocals of Roy complete the monstrous tracks with a depth and sound dragged from the blackest pestilent lined pit, bile and malignancy dripping off every growl.

       Step into Damnation misses being  a giant of a release because despite  its great sounds and accomplished invention and musicianship it really does not offer anything particularly new, and though Funeral Whore do it far better and effectively than most  there is still a slight lack of unpredictability and originality that comes with it. Not many death metal albums are more pleasing though and that is the bottom-line as to why this should be listened to.

RingMaster 26/02/2012 Registered & Protected


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