Centre Excuse: In Your Mind

As soon as the brewing storm of electro punk energy and thumping rhythms accost the ear, the feeling that something special is about to unleash itself on the senses is rife. In Your Mind, the new single from UK sound rioters Centre Excuse, does not disappointment, their stunning release leaving no atom of dissatisfaction alive as its stomping and bruising encounter ignites the fullest deepest pleasure.

The trio from England’s smallest county Rutland, has left audiences and fans breathless from almost day one since forming on 2010. With their debut EP All Systems Go, the three piece of Teddy Lewis (vocalist, guitarist, synth) and brothers Jamie (guitars, bass) and Alex Rush(drums),  inspired a swiftly growing following and great responses to their inspiring blend of punk and rock drenched in the vibrant synth pop of the eighties. Their music is fresh and consuming but with a glow and blistered elegance which is hard to define yet delicious to taste and immerse within. The new single follows their last successful release, the Generation Z EP which itself continued the great acclaim and ardour spawn from previous singles.

In Your Mind is the most powerful and thrilling song yet from the band, its intimidating and feisty energy an aggressive variation from the aforementioned EP showing another strength and diversity to their sound. Whereas other songs in their continually impressing creativity bask in a captivating merger of post punk with electronic caresses and inciting rock urgency, the new single entangles the senses in a caustic maelstrom of punk and electronic acidic weaves. Think early Damned and Depeche Mode in a hybrid union with Zebrahead, and you get an idea of the wonder going on.

The track burns wonderfully as it rampages from its first note to last, the searing sonics of the keys as wonderfully harsh as they are mesmeric whilst the guitars scythe through to the senses with lean and rabid intensity. If that does not have ears and emotions blissfully on alert the explosion of rhythms and jabs drums on the senses from the drums ensures total capitulation, the bruises they offer worn like medals whilst their merciless punches reward as tremendously as the predatory tempest surrounding them.

The track is glorious and gets better with every listen. It is a song which elevates the heart rate and sends the blood surging through the body to match the intense energy unleashed and inspired in its recipients. If there is only one single you choose before the close of the year, this adrenaline driven impossibly infectious one from Centre Excuse should be it.


RingMaster 09/11/2012

Copyright RingMaster: MyFreeCopyright

Evanstar: I Won’t Regret

   I Won’t Regret is the stunning debut release from UK alternative rock band Evanstar, a single which despite the band being together barely long enough to raise a whisper let alone the riot of compulsive sound within their first introduction, is a strikingly impressive and enthralling feast of creative pleasure.

Only formed in September of this year, the Leicester based quartet of vocalist and rhythms guitarist Stuart James, lead guitarist Gary Yeates, bassist Mikey Yeates, and drummer Dan Farnell, instantly captivate thoughts and musical appetite with their rich and vibrant sounds. It is music which evokes emotions and passion, the band showing a refined craft to their blending of passion driven and boisterous energies with emotive and tender melodic imagination. Their influences are cited as the likes of Young Guns, You Me At Six, Deaf Havana, Foo Fighters, Alter Bridge, Stone Sour and more, that eclectic mix certainly offering a flavour of the sound the band bring but it is merely an expanse of spices which  the quartet merge into their own unique recipe.

I Won’t Regret announces itself with a glowing electronic sun, its crystalline radiance soaking the ear from the warm dazzling keys. As it soaks the senses the guitars begin to shape the song with scythes of riffs and sonic caresses. The initial gentle touch evolves into a stirring incitement as the beats become a forceful confrontation and the bass of Mikey brings a snarl to proceedings. Into the thick of its intensity the impressive vocals of Gary are expressive as the strong and passionate lyrics find a voice to share their heart. The thumping rhythms of Dan hold the senses tightly with their hypnotic strength whilst the guitars fire up the heart with a passion which is as unmistakable and invigorating as the energy and lyrical core of the song. As the track unleashes more of its smouldering emotive grandeur the track offers a mix of the inciting invention of Manic Street Preachers and the melodic washes of My Passion with the intense emotive depth of Mind Museum. It is a masterful and fiery experience which leaves one glowing in satisfaction and pleasure.

The single is completed by Living Nightmares, a song which shows Evan star can be just as mightily aggressive and direct as they were masterful in weaving skilful and impressive melodic sensations in the first track. Not that the track is lacking in provocative and heightened colourful harmonies and enflaming melodies, the song as heated and explosive in instinctive emotive force as in its predecessor, but here the raw and charged intensity with enslaves the appetite is a muscular and impacting show of the diversity within the band. It may only be two songs but already you feel Evanstar has much yet inside to unleash and great heights to rise to from an opening base which is immense and irresistible.

With I Won’t Regret, Evanstar has brought one of the most stunning debuts and introductions to ignite 2012, and for us their next release cannot come quick enough.


RingMaster 09/11/2012

Copyright RingMaster: MyFreeCopyright

Void Moon: On the Blackest of Nights

On the Blackest of Nights is one of those albums which does not truly light any fires, raging or otherwise, within the heart or its passions but still finds a welcome and contented place in the ear. Void Moon its creator, is a band which is openly accomplished and skilled in ability and songwriting, but arguably the album offers more promise ahead than a realised height of triumph in the now. But the album is a welcome and pleasurable companion to spend time within, even if the urgency to return is not as elevated as with many other metal releases.

Formed in 2009 by bassist Peter Svensson, drummer Thomas Hedlund, and vocalist/guitarist Jonas Gustavsson, Void Moon creates an undemanding melodic expanse of doom metal. It is not a sound which extinguishes light or labours with heavy intensive shadows, as there is perpetual melodic warmth which offers an escape from the desolation and emptiness inferred, but it is music to draw strong imagery from. The line-up is completed by lead guitarist Erika Wallberg who joined the band after the release of debut demo EP Through the Gateway in 2010. The album which is released by Cruz del Sur consists of re-recorded tracks from that demo and its successor The Mourning Son of the following year, the band evolving and revitalising those tracks to take their place alongside new songs on their first full length offering.

The tracks sees influences in the likes of Black Sabbath and Candlemass as well as Solitude Aeturnus and Hammers of Misfortune flavouring the music which transports themes of death, philosophy, heathen rituals and the teachings of Crowley through the ear. It makes for at times an evocative proposition lyrically which arguably the sounds do not always quite match or rise to. Despite that the album certainly engages throughout and reveals within its sombre presence some stylish play and impressive craft.

The album opens with Hammer Of Eden, a track which even now leaves indecision as to how good it is and how much it is liked. It is one of those songs which alternate between alienating personal taste and preferences to thrilling those same barriers with strong ideas and invention. The opening sweeps of classic metal guitar and plodding rhythms are decent yet uninspiring though the bass does offer a slight snarl. The track then slows even more to further raise eyebrows but then the already okay vocals of Gustavsson find a declaration and delivery which is unexpected and compulsive. Being extra critical the song feels like its cohesion of elements and shifting passage is struggling to stay together but it works and by the end the song has argued its case with a lingering satisfaction even if it never fully convinces.

The likes of the title track with its slowly winding sharp melodic breath, the intriguing and magnetic The Word and the Abyss, and the slowly stomping Through the Gateway, all capture the imagination without dazzling expectations. There is a thrash metal gait to many of these and the album which certainly keeps one fully engaged and determined to find out more. It is not an adrenaline driven aspect, its energy toned to lie with ease within the doom wrapped skies and intensity of the songs, but as in the latter of this trio it makes for an at times quite infectious lure.

Along with Through the Gateway, the track which stood to the fore was Among the Dying. It is a gentle and heated pleasure with a raw edge to the vocals which makes a firm compliment to the heated mesmeric melodies and caressing sounds. The song does dig into a feisty bag of energy at times to keep the track unpredictable and captivating and apart from the brief image painting instrumental Psychic Bleeding; it was the one time no persuasion to its glories was needed.

On the Blackest of Nights is an album without doubt is worth checking out especially if melodic metal lines your passions, but whether it will ignite greater flames than for us only time in its overall pleasing company will tell.


RingMaster 09/11/2012

Copyright RingMaster: MyFreeCopyright

Nominon: The Cleansing

Released though Deathgasm Records, The Cleansing is the highly anticipated new album from old school Swedish death metallers Nominon. It is a release which will easily satisfy and thrill all those waiting blackened malevolent hearts. Dripping venom and malicious enterprise, the album is soaked in the essences of the likes of early Morbid Angel, Dismember, and Entombed, but distils its own festering breath and black heart to stand as a release which offers something fresh and invigorating. No genre boundaries are worried or stretched it is fair to say but with something this devastating yet inspiring who gives a rotting corpse.

Since forming in 1993, the band has forged a heady and mighty onslaught of creative sounds in their perpetual corruption which has garnered strong acclaim and followings. From their Promo 1997 demo through the likes of debut album Diabolical Bloodshed of 1999, Recremation in 2005, and Monumentomb of 2010, to pick just a few of their releases, the band have built a mighty reputation and stature. The years saw difficulties for the band but with 2004 said to be the moment things truly changed and rose up for Nominon, the band raised their stock further with their releases alongside impressive festival performances and tours. Following two splits earlier this year with Kommandant and Graveyard, The Cleansing is unleashed to stand as one of the mightiest old school inspired releases this year.

Starting with the atmospheric intro Satanical Incubation, the title fully encapsulating the crumbling and sinister ambience within, the album explodes with bile grafted enterprise through In The Name Of Gomorrah. Driven by the striking rhythms of drummer Perra Karlsson and the guttural demonstrations of vocalist Henke Skoog, the track tramples through the ear with heavy intent and crippling intensity. The underlying groove beneath the scything riffs from the guitars of AntiChristian and Alex Lyrbo is compelling and alleviates some of the intrusive erosion which is permanently at work, though it too is drenched in the intent to ravage the senses and extinguish any remaining light.

It is a formidable start which is built upon impressively by the following likes of Mausoleum and Unholy Sacrifice. Both tracks consume the ear in a fury of bestial power and unbridled malevolence. The first is nothing less than a bruising entrapment of crushing rhythms and spiteful sonics alongside destructive riffs whilst the second exchanges a full on assault with rabid tenacity from the guitars and even blacker merciless poison from vocals and rhythms. The bass of Juha Sulasalmi stalks knowing it already owns your soul adding a further debilitating urgency and strength to an already corrosive presence. Alongside its successor the track is one of the highest peaks in many towering pinnacles within the album.

The title track is the other unmatched triumph. It is an instrumental furnace of rasping sonic energies, dizzying twists, and grinding enterprise from the guitars. Unrelenting from its first caustic expulsion to last, the track just leaves breathless disorientated wreckage in its scorched earth.

Abhorrent Parasites and Hellwitch both abuse the wounds caused from the previous encounters on the album with merciless intensity and insatiable fury from all departments, whilst the likes of Obliteration and Son Of Doom condemn the senses and thoughts to perpetual darkness and diminished hope. Like the album they are spiteful fires of vehemence and unforgiving attitudes within a ferocious intensity veined by imaginative and skilled intrigue which are nothing less than contagious.

With the vinyl version of the album also having the track Slaughter the Imposter exclusive to its body, The Cleansing is a deeply satisfying release which should have all death metal fans shouting from their rooftops.


RingMaster 09/11/2012

Copyright RingMaster: MyFreeCopyright

Hitchcock Blonde: Five Pounds EP

When Avenge Vulture Attack announced a reincarnation as Hitchcock Blonde it has to be admitted a slight groan escaped from within, accompanied by an audible air of worry. Would the sound follow the same route as the move from what was a snapping combative name into a more, though admittedly it carries its own intrigue and shadows, noir yet glamorous one? Would the great punk pop sounds with their impressive snarl which had captured our enthusiasm previously turn into an elegant fluffier form of pop music was the question and fear. Their debut release the Five Pounds EP now provides the answers and dispels those fears. Yes the music has changed but into a new compelling force which, yes has arguably lost the raw punk edge which wonderfully marked their previous releases, but has evolved into something just as enthralling and exciting, to make the release itself one thrilling contagion.

From London, Hitchcock Blonde consists of guitarist Drew Wynen, bassist Joss Nightingale, and drummer Ben Davies, speared by the enticing and striking voice of Ella Grace. It is a combination of skilled inventive musicians and elements which has already led the band to strong acclaim, an energetic and growing fan base, and to playing some of the top venues around the UK this past year sharing stages with the likes of The Eighties Matchbox B-Line Disaster, My Red Cell, Wrongnote, and The Mars Patrol. Comparisons with bands such as Band of Skulls, the Foo Fighters, and Skunk Anansie have been placed upon the bands though the quartet inspire other more accurate thoughts in that area whilst creating their own distinct presence and breath with songs which captivate and lead senses and bodies into a riot of infectious escapades.

Recorded with Tobin Jones (Cold Specks, The Twilight Sad), Five Pounds opens with the immediately engaging Baby Knows Best. Its initial breeze is a gentle caress rising to a crescendo of striking riffs and vibrant energy. The song then settles into a warm slow stroll with the wonderful vocals of Grace leaving extra heat with her expressive and full tones. Though arguably that previously mentioned snarl has now gone the track as it explodes into dramatic sonic explosions still offers a certain attitude from their previous guise, a bite which obviously will never abandon the creativity and heart of band and music. The song moves through unexpected and delicious breaks in pace and direction, brief seamless movements which flow perfectly and only go to make the song magnetic and impressive.

The great start is left in the shade somewhat by the brilliant Buzzkill, a song which holds many disguises within its pulsating and magnetic enterprise. It is another gentle and warm beginning with the guitar of Wynen playing the ear and heart like a harp, his play tantalising the aural taste buds and thoughts whilst the bass of Nightingale prowls around the sounds with a devilish yet unintimidating gait. As the guitar plucks with singular and hypnotic elegance, Grace offers her vocal seduction to leave one transfixed. Once immersed within its irresistible arms the song then erupts into a bristling and inciting energy safe in the knowledge you are going nowhere. The mini ‘riots’ are another shift within a song of great imagination and outstanding craft. Along its delicious body the song integrates the same elements again whilst offering further stunning delight through slow sparkling melodic kisses until it all sparks up into a fiery climax which leaves one breathless. The best song on the release, it is an excellent invention of elegant craft, unchained imagination, and controlled aggression.

Cutglass is a less provocative track, its crystal whispers next to eager rhythms from Davies is a skilful union whilst again the vocal smouldering of Grace bewitches the passions. It does not quite light up the fires as the first pair of songs but leaves one completely absorbed and satisfied with its more reserved yet potent emotive charms. The track carries a charge too which ignites its climax, an energy and intent which ripples throughout Sexy Like You, a piece of pop rock which sways and taunts with attitude and sweltering melodic majesty with a blues whisper on its lips.

The release ends with the sizzling energy and charge of Let It Go and the irresistible teasing of Animal, an exceptional track where the band venture into the punkish qualities which marked their early days. Both take one on a ride of infection and enterprise, the first a slice of sparking muscular pop with a touch of Metric to it and the second a lightly bruising piece of brilliance which comes from the same blood pumping rock n roll found within the likes of The Objek and eighties band Au-Pairs.

The Five Pounds EP is exceptional, a real pleasure to leave the heart excited and desperate for more whilst destroying those initial groundless fears. Hitchcock Band will be a band to shape the future of UK indie Pop rock and we for one cannot wait.


RingMaster 09/11/2012

Copyright RingMaster: MyFreeCopyright