The Savage Nomads: Tension In The Middle EP

After the acclaim that soaked their debut album Coloured Clutter, UK rock band The Savage Nomads return with the Tension In The Middle EP to justify previous opinions and inspire even more fervour and attention. Before the release the London quintet had set themselves up as one of the most exciting and promising emerging UK bands, the new EP takes that promise and turns it into a full reality. The sounds are unique, staggeringly imaginative, and wholly exhilarating, The Savage Nomads a band to fire up the heart.

With the likes of Mick Jones, Paul Simonon, Matt Johnson (The The), and Robyn Hitchcock adding their support and praise to the ever growing wealth of fans and media attention, the band has not looked back since their debut single The Magic Eye of last year. Consisting of vocalist and guitarist Cole Salewicz, guitarist Joe Gillick, bassist Josh Miles, drummer Billy Boone, and Aviram Barath on trumpet and synths, with all adding backing vocals, The Savage Nomads made a big impression when supporting Big Audio Dynamite, the band added to their Justice Tonight tour by the request of Jones.

Tension In The Middle brings the punk infused originality which ignited their album but with a more restrained and mellower intent, well if a subtler and more smoothly intrusive manipulation can be called mellow.  The energy within the EP may not be as boisterous and excitable as on Coloured Clutter but it is just as eager and deeply infectious, the band bringing an evolution which is thoughtful and openly adventurous whilst retaining the core and irrepressible heart of their sound.

The title track opens up the release with a shadowed atmospheric grace and emotive wash. The spoken vocals of Salewicz reflect and unveil their thoughts over the fine piano pulses of Barath. The song littered with the excellent beats of Boone floats with a riled smoothness over the ear, bringing group harmonies and incisive guitar charms alongside the throatier basslines of Miles. The song equally caresses and scrapes the ear like a mix of The Three Johns and Babyshambles with Salewicz adding a Mark E Smith lilt to his vocals.

The excellent Four Personalities steps up next to bring a variation and slightly livelier breath to that of the opener. Tall velvety bass notes at the start announce the arrival of the guitars, their slicing of the air accompanied by blistered trumpet melodies and artillery driven rhythms. After a riled crescendo it drops into a hypnotic vein of bass riffs and sonic guitar manipulations. The track offers to explode at various times but never quite does take that final step and the result is compulsive. With the distinctness of Jazz Butcher and the manic energy of The Higsons the track is a growing infection which leaves one breathless. It is not an instant engagement but give a deserved attention it emerges as a magnificent piece of songwriting and inventiveness.

An Empty Seat from Coloured Clutter is included on the album and again is pure magic. Full of feisty energy and eager attention seeking guitars it riles emotions and thoughts up into a bedlam of excitement and rattled nerve ends. The song is part Baddies, and part Wire with Andy Partridge seemingly at the helm, a track bringing a post punk intensity with modern unbridled creativity. It was a true highlight of the album and is so again though its companions more than match it in adventure and imagination.

Completed by the radio edit of Tension In The Middle and a clean radio version of An Empty Seat, the EP is as impressive as one hoped and truthfully expected from the band. It offers up an even greater promise with its stylish change in presence and a reassurance that UK post punk and ingenuity are in safe and instinctive hands with The Savage Nomads.

https://www.facebook.com/thesavagenomads

RingMaster 22/05/2012

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Beastmilk – Use Your Deluge EP

As the four songs making up the Use Your Deluge EP from Finnish post punk band Beastmilk  consume  and  permeate every pore it is impossible not to be taken back to the time when their sound first was seeded and spread its icy fingers and stark shadows. Comparisons placed upon the band include the likes of early Misfits, Dead Kennedys, and Danzig but as the far too brief a release took over the ear the trip back to the sounds of bands like Joy Division and even more so Leitmotiv and Crispy Ambulance was unmissable. Whether mere coincidence or actual flavours that influenced the quartet the EP ignited distinct passions assumed lost to time, feelings resurrected with freshness of the now. Simply Use Your Deluge is outstanding.

Beastmilk was formed in 2010 by British vocalist/songwriter Mathew McNerney, better known as Kvohst. Already renowned from his work with and in bands such as Code, Void, and Dødheimsgard, he pulled in friends guitarist Goatspeed, bassist Paile, and Arino on drums for the band. According to their press release they were to bring forth music that was a mixture of various acts like The Cure, Misfits, and Dead Kennedys. This they have achieved though there are many more and maybe more prominent flavours that stands out in their sound.

Released through Svart Records and following on from acclaimed self released two song demo White Stains on Black Tape, the band and the EP unleash their self proclaimed apocalyptic post punk upon the world with a deeply intrusive and satisfying contagion. The release swamps the ear and senses with an unrelenting intensity, a shadowed energetic breath and doom coloured melodic mesmerism. From the first compulsive consuming note to the last Use Your Deluge leaves one breathless and blackened, the need to immerse even longer in the thick smog of aural mass an addiction.

The EP opens with Void Mother, the track instantly swamping the ear with a dirty atmosphere and scuzzed guitars. As the dust settles the hypnotic bass and leading rhythms seize control of the ear allowing the guitar to roughen up the senses whilst the vocals of Kvohst sway and draw attention like a cobra, smooth and magnetic but full of power and intent. The track is very Danzig like with splashes of Play Dead and drips of Type O Negative added for taste. Aggressive and attentive the track is a stunning opener soon to be eclipsed by the following glorious track.

Children of the Atom Bomb picks up the already elevated reins of the release like a possessed entity. It rampages with a sure and controlled pace whilst delving into every pore with its consumption of black melodies and exhausting atmosphere. Reminding deeply of Leitmotive and their Caress + Curse EP, the track and its successor are overwhelmingly infectious. There is simplicity in the construct of lyrics and music that makes it so easy to be part of and impossible to resist being so. Repetition when used right and with thought is irresistible, a word that perfectly covers the Use Your Deluge EP as a whole.

The equally brilliant Forever Animal stalks and paces incessantly, another song that denies escape from its devouring rhythms and cold sirenesque pull. The bass conjures up riffs which are definitely as inspirational as those the Dead Kennedys excelled in and the comparison is understandable.

The mountainous closing Red Majesty is a prowling less eager track though no less impressive. When it raises its temperature it rages like a fire to then sit back and assess the damage with melodic glee and acidic smirking hooks. It is a venomous track and the one where you feel its aggressive energy blistering every vein the most. The droned resonance of the vocals of Kvohst is immense throughout the release and especially here bring a stunning companion and contrast to the coarse and caustic sounds around him.

Use Your Deluge is a classic with the fact it is only a foursome of great songs running barely fourteen minutes the negative. The need for and exasperation at not having more is overwhelming by the end, something hopefully that will be remedied in the near future. Released as a 7” vinyl only Beastmilk has given a true must have release, arguably the first of the year and sure to be just the first of many from them.

www.facebook.com/Beastmilk

RingMaster 22/05/2012

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Jess And The Ancient Ones – Self Titled

It is hard to be anything other than impressed by the debut self titled album from Finnish occult rock band Jess And The Ancient Ones. It is an album of immense depth, melodic splendour, and captivating majesty. Though not a release that had an immediate infection it slowly wrapped its skilled and evocative arms around the senses to bring a deep and lingering satisfaction and warmth, whilst its darkened atmospheres and emotive climes enveloped thoughts and emotions fully. It may have taken a couple of focused exposures to be convinced initially but the persuasion was absolute and the reward immense.

Formed in 2010 by guitarists Thomas Corpse and Thomas Fiend, the band was born with the instinct and intent to explore magical realms beyond the mundane. Completed instrumentally by third guitarist Von Stroh, bassist Fast Jake, drummer Yussuf, and Abraham on keyboards, the band take inspirations from the likes of Mercyful Fate, Roky Erickson, Iron Maiden and Abba to infuse their psychedelic rock/metal sounds for fullest effect. As powerful as their sounds are it finds a distinct elevation with the stunning vocals of Jess, her presence and voice stirring up already highly charged sounds with a sure and skilled breath. With lyrics drawn from personal occult experiences of the writers, the septet from Kuopio took no time in making a name and mark for themselves with the band being signed up by Svart Records in 2011. Their debut single 13th Breath of the Zodiac was released that October and sold out quickly with anticipation for a full length offering rising eagerly.

Prayer for Death and Fire is the first conjuration to explore and incite the ear, a superbly crafted composition with smouldering melodies from the keys and guitars surrounded by riffs and rhythms to draw out the deepest lying primal energy. Within a couple of minutes of the song Jess and the bass of Fast Jake steal attention away from the other corners of the song, his riffs rumbling and scowling with a bestial growl whilst Jess from a slow opening soars the landscape of the song with power and elegance.

A strong opening immediately surpassed by the following Twilight Witchcraft. With a psychedelic folk resonance to the creative weave the track is a playful yet sinister tease upon the senses. With a Wickerman feel to it, fanciful warm sounds in flight with a venomous purpose behind their rapture, the song is a masterful dark mistress with siren tendrils wrapping firmly around the body though the excellent guitar artistry and invention pervading every second of the song.

Though only consisting of seven songs the album is vast in mass and atmosphere. Each track has an epic element to them and none more so than the twelve minute Sulfur Giants (Red King). Though the song did not capture the imagination as much as the previous two it is impossible not to be enamoured with the unpredictable expanse of the song and its emotive energy. It also did not feel anywhere near its actual length, a sure sign of the enjoyment involved.

Ghost Riders canters in next, the irresistible grumbling bass groan and flitting guitar melodies making contrasting but obvious companions. There is a familiarity to the track though without a defined source which makes it easy to fall fully into. It also carries an eagerness which is impossible to resist, every element of the song a persuasive pleasure. The keys at times surprisingly reminded of The Stranglers with the near barracuda sound of the bass certainly added an extra depth to the comparison.

The album closing on the trio of 13th Breath of the Zodiac, Devil (in G minor), and Come Crimson Death. The first is an enjoyable pacing across the senses with male vocals making a more substantial companion to Jess than elsewhere, whilst the middle one of the three is a wonderful piano led creature, with a bustling jazzy swagger to it. It is an excellent track that shows the full strength and skill of the band in ability, songwriting, and diverse thought. The final twelve minute gem from its haunting start is a vibrant blend of harmonics, caressing melodies, and provocative imagery, a fitting end to a completely impressive album.

Jess and the Ancient Ones, band and release are musical alchemy at its height and a deeply pleasing pleasure to fall within. Released on CD and vinyl this is one devilment to eagerly lay down before and worship.

RingMaster 22/05/2012

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