Coilguns: Commuters


    We have always thought and declared Coilguns as one of the most important bands in rock music today, a group of musicians who are evolving a template for future extreme noise bands  to aspire to. Through their varied releases the Swiss trio has grown and evolved from something already special into a force of creativity which is as inspiring as it is destructive.  For all the great things to date it they all pale against the stunning might of their debut album Commuters, a release which makes our current sense of their importance seem inadequate.

Consisting of The Ocean members Louis Jucker (vocals), Jona Nido (guitars, bass, mini-moog), and Luc Hess (drums, bass), Coilguns conjure extensive intrusions which explore a merger of d-beat, grind, black metal, and a technical prowess which strips the senses whilst rewarding them with sheer corrosive pleasure. Though discussed as a project for many years the band found its seeds in the songwriting of Nido whilst alone in the US. Returning he recruited the other members and within weeks they left a studio with three striking tracks which went to make up the excellent split release with Kunz on Pelagic Records in 2011. The EP Stadia Rods followed the next year, a raw and devastating 30 minutes release recorded as a live confrontation in a day. After the following impressive and acclaimed split release with NVRVD also in 2012, Coilguns was at their height of power and invention, or so many thought but Commuters is the band at another incredible aggressively inventive level and just another step in their unstoppable rise.

Released on Pelagic Records on February 22nd, Commuters was again recorded entirely live apart from the vocals, each song in 02_Front_Cover_Webone take and it is this intensive attack which also helps alongside the immense songwriting, to give it the organic power and energy which sets the release and band apart from the rest. It is abrasive and intimidating but layered with textures and primal structures which are violent manna for thought and passion. The album also features invited guests including Keijo Niinima (Rotten Sounds / Nasum) who added  vocals for a track.

The release opens with the two parts of the title track, the first bursting onto the ear with stirring riffs and a towering rumble of rhythms and energy. Into its hungry stance the track expands into a tempest of incendiary sonics, persistent drum jabs, and a breath which scars and gnaws on the senses whilst the clean squalls of vocals lay their declaration with passion and aggressive intent. The track is an exhausting encounter which ignites every primitive and emotional response within and leaves a blissfully sore and breathless listener in its wake though there is no time to sit back and soothe the wounds as such as part two looms into view on military beats and a stroking acidic guitar caress. The spoken vocals engage thoughts and ear with their evocative narrative and there is an unsettled peace soaking the air though also a slowly brewing intensity which grows as the track and vocals conspire to consume and thrill. It is well into the second half of its eleven minute presence that you realise just how much the song has thickened in intensity and a kind of desperation is coating the vocal encounter and as the realisation sinks in the track frees its full corrosive magnificence to devour and burn the senses.

The sensational likes of Hypnograms with its insidious groove and mesmeric persistent seduction and the equally compelling Machines of Sleep bring a diverse yet similarly destructive facet as of the first songs to the continually evolving album. Both tracks are linked in venom and malevolence with the second the brutal merciless doppelganger to the milder mannered but still aggressively intimidating first sonic flame. To be honest there are not enough varied and strong enough superlatives to be found to describe the album at this point alone such the abusive and creative masterclass of perfectly designed contagious noise let loose so take it as read that from here on in Commuters just pushes the boundaries of band and extreme music beyond their limits with skill and startling imagination.

First single from the album Plug-in Citizens is a brawling furnace of intensity which enriches the already spawn rapture further whilst songs like the infectious and ruinous Submarine Warfare Anthem and the ravenous Minkowski Manhattan Distance featuring Keijo Niinima, thrust body and soul into a manic maelstrom of fierce ingenuity. The diversity and blistering quality just continues right through to the end with 21 Almonds a Day and Flippists / Privateers further pinnacles in nothing but powerful highlights.

Commuters is quite brilliant, an album which will be called a classic for decades to come, and right now Coilguns stands even more impressively as one of the most important bands in music today.

RingMaster 07/02/2013

Copyright RingMaster: MyFreeCopyright

Mel-P: Anima Asylum

Mel -P

    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 3175110943-1a 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.


RingMaster 07/02/2013

Copyright RingMaster: MyFreeCopyright

The Unripes: This Is Not America


    This Is Not America is an album which wraps hard rock, punk, and sleaze up into a pleasing ball of energetic rock n roll which easily captures the imagination, a release which knows what it is good at and presents those elements with a confidence and swagger which is quite magnetic. Released by Italian rockers The Unripes, the Street Symphonies Records released album has all you wish for in a rock album brought with style and accomplished craft.

Formed in 2005, the Modena based band made strong impressions locally early on and though The Unripes went through line-ups changes as a young band has continued to evolve into an impressive and accomplished band. The quartet of original members vocalist AxiA and guitarist Mike Pelillo alongside new members bassist Uncle Sappa (Midnite Sun and Sutuana), and drummer Sevens (a.k.a. Luke Setti of Trick Or Treat), have delivered a debut album which is bursting with hungry rhythms, assertive riffs, and infectious melodies and hooks which light up the ear.

Opener Track No. 1 is the immediate proof as it instantly engages on its appearance through an electronic breath and shadowed theunripes-thisisnotamerica-covervocals which pull one into the following storm of energy and passion. Into its full stride the song is a thumping stomp of fiery riffs and vociferous vocals over firm beats from Sevens. Its chorus is as anthemic and catchy as you could ask for and the bass of Uncle Sappa a growling beast which is impossible not to be fully enamoured with. It is a straight forward song but like the album knows how to make the strongest persuasion and give a comprehensive pleasure.

Next up Reload is the biggest highlight on the album, an impossible to refuse contagious lure to voice and limbs to join its aggressive and energy driven feast of sound and passion. The lead track from the album which also was chosen as the official soundtrack to the 2012 main event of Italian wrestling company IWC, the song is a fiery charge of rampant riffs and sonic flames upon firmly jabbing rhythms and a real muscular treat to party with.

Arguably the strength of the song ensures that the following songs like Get On This Rollercoaster and You Are The One fail to reach its heady heights but to dismiss them or any song on the album would be irresponsible as all are potent and highly agreeable slabs of rock n roll. The first of this pair is a feast of sturdy riffs and raptorial basslines behind strong vocal harmonies and inspiring melodic craft whilst the second is a power ballad which shows an emotive depth and diversity to band and the fine vocals of AxiA. Again the cantankerous bass sound steals the show but every aspect of the song is highly satisfying.

Throughout the album there are loud whispers of bands such as Motley Crue, Steel Panther, Black Stone Cherry, Zakk Wylde, and more and if there is any real negative about the album it is a lack of a distinct and unique voice to the obvious creative craft and invention of the band, not that it makes the enjoyment of the album suffer. With further highlights coming with songs like the voracious My Muse Is Called Rock’n’Roll, the sinewy  Damned Electric with its open heart and enterprise, and the irresistible Scream If You Wanna Go Faster, easily one of the favourites on the album, This Is Not America hits the right spot from start to finish.

The Italians are a band on the move and their debut album the perfect way to join their ascending rise. The release offers honest prime rock n roll for the masses courtesy of a band you will hear more of, The Unripes.


RingMaster 07/02/2013

Copyright RingMaster: MyFreeCopyright