Hype! : Hype


    Hailing from Zrenjanin in Serbia, Hype! is a band on the march and with their debut album about to set European rock music alight. Blending an incendiary blend of alternative rock, punk, and mischievous rock n roll, the band with their outstanding album is on the first step of a rapid rise of recognition, certainly if there is any reward for providing such an impressive and thrilling release.

Formed in 2009, Hype! takes influences from the classic rock and the punk fleshing of Seattle and Detroit in their prime. With a more than healthy wind of rock pop in the mix their sound is epidemically infectious with intimidating sinews coated ion the most delicious seduction. Openly accessible but still with a menace to all who enter, the album is the mightiest introduction to a band which is as honest as it is passionate and accomplished. Since forming the band has earned a strong reputation for their live performances which has seen them igniting numerous festivals including Exit, Warriors Dance Festival, and the INmusic Festival. The time is ripe for the band to step into the view of a much wider and further afield audience and they could not have made a more impressive first encounter than with Hype.

The Odlican Hrcak released album takes mere moments to set ears and senses on alert, the initial firm riffs and rhythms of Weird 862626_4790575076235_1416792272_nsetting the scene for the soon to join fiery guitar teasing and the outstanding vocals of Dragana Mijatović aka Gaga Lee. With a mutual snarl and melodic kiss to her tones the front lady oozes attitude and seduction with her delivery to bring the lyrics and heart of songs to life alongside the inspiring energy and creativity of her band mates. Into its prowling and accusing stride the track is a compelling instigator with loud whispers of Spinnerette and L7 to its presence, and an irresistible first engagement which is unafraid to switch tact and gait within its imaginative confrontation.

The single from the album Erase steps up next, the song retaining the feisty elements and tones of its predecessor whilst adding deviously addictive grooves and barbed melodic beckoning which remind of Biting Elbows at times. With a roguish bassline entangled by sonic hooks and acidic guitar wraps, the song romps with restraint but unbridled passion to continue the already in place infatuation upon the release, something the likes of What Do You Want From Me, Still Right Here, and Just A Boy only elevate. Though arguably the trio do not have the same impact as the first pair, all captivate with diverse and vibrant invention, and it is only the might of the other two which leave these slightly in their shadow. Still Right Here with its smouldering vocals and great throaty bass taunts from Miloš Kralj (also in Memlah) as well as air sizzling guitar craft from Pavle Kirćanski (Impurita) and  Dalibor Kurjak (ex-Gluve Kučke),leaves warm and excited emotions behind whilst the bluesy Just A Boy is simply a heated fascination.

From the Karn8 like joy of Same Stuff, the album hits its greatest heights with firstly Come Get Some soon equalled by Kill ’em All. The first of the pair is a maelstrom of agitated rhythms and slashing riffs thrust into a psyche rock riot of invention, sound, and belligerence. Offering a further Red Hot Chili Peppers/ SOAD like grooved interference caged by the sturdy rhythms of drummer Darko Kurjak (Partibrejkers, Memlah), the track is an irresistible infestation of noise rock imagination. The following Kill ’em All is a thumping pulse firing slab of melodic punk with Distillers spite attached to a Jimmy Eats World melodic craft, and again impossibly addictive, both tracks cementing the already seeded ardour with hungry relish and enterprise.

The magnetic Soulmates and the mesmeric Suicide with its smouldering elegance and enveloping shadows complete a truly impressive and breath-taking album. An explosive spectrum of imagination and varied flavoursome sounds, Hype is a release which sets Hype! as one of the immensely promising and invigorating bands to hit rock music in recent times.




RingMaster 14/03/2013

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Beissert: Darkness: Devil: Death


    Darkness: Devil: Death is an album where during its rampage through the ear inspires a varied mix of thoughts, at times some confused and uncertain, but by its end one thing is distinctly apparent, it is overall quite simply a thoroughly  enjoyable confrontation. The fourth release from German metallers Beissert, the album is a persistent tempest of groove, heavy, and thrash metal, which continually captures the imagination even during moments when its ideas fail to spark the same enthused responses bred elsewhere within its muscular onslaught.

Formed in 2005, the quintet from Dresden has forged a strong reputation, their self-released demo a call to arms [for failed ones] the same year, the first encounter with their formidable sound. The 2007 album …nothin’ left to luv! brought a wealth of flavours and styles into its aggressive breath whilst, like the new album, the Agonia Records released thePusher two years after, unleashed a darker and more intense breath to its forceful destructive invention. Darkness: Devil: Death in many ways is the blossom of the seeds sown in the previous two albums, its heart and venom the blackest yet but brought through a wealth of creative spicery and diversity within metal and rock. It also has that insidious tendency of brewing up its attraction in the shadows to suddenly hit thoughts during numerous visits that actually the album is one enthralling and deliciously tasty treat.

A constant storm of sound and intensity, the release opens with Thy Chthonic Cathedral, a track which brews up a darkened untitledatmosphere of impending shadows and energy before letting loose a riot of ear grasping riffs and bone snapping rhythms. Immediately grasping attention from its lazy stance the song begins to work its sonic alchemy on the senses with a tight serpentine groove with licking sonic flames surging around it and the impressive vocals of Bssrt. Coarse, clean, squalling, his delivery alongside impressive backing elsewhere ignores boundaries and definition to ravage like the varied sounds but all is rich in skill and stunning creativity. It is an impressive and pulse racing start easily matched by the following title track. DarknessDevilDeath is a bruising course of thrash and hardcore speared by scintillating spikes of classic and melodic extreme metal with vocals again rich in variety to inspire further impressed passion. At times the rhythms threatened to fall into chaotic disorder but the band hold a tight enough rein to let their randomness intrigue and leave the listener lost in thought and satisfaction.

Through tracks like Age Ov Darkness where the vocals are as manic as they are contagious, the fiery Zorn Der Geister, and My Path Shall Be Your Wrath, Beissert continue to expand their invention and intense ferocity with a soaking of changing essences, the latter of the three splitting the classic core of the song with nu-metal and charred ravenous grooves. Though the trio do not find the depths of enticement and triumph as do the opening pair, they still leave the listener greedily focused and ready to taste more, the latter of the three epitomising the album as a whole in that the more time spent in its company the stronger and lasting the persuasion.

Perm Trias steps forward as another invigorating highlight, the abrasive scowls of Bssrt and flesh searing grooves an irresistible temptation soon surpassed by the expanding intense grind of the song and the clean vocals, though at times they do push the limit pass personal pleasure point. One of the less dramatic and aggressive tracks it nevertheless hits the target with ingenuity and simple insatiable rock n roll.

Through the following I Am The Lore and Do What Thou Wilt the album drops into a bit of a lull though both songs have plenty to offer, the first especially with a White Noise era Anthrax like presence but against next up DXXXV they are warm up acts to its towering presence. The track gnaws the senses from its first rabid note, riffs chewing flesh and rhythms dissecting cartilage. There is a death metal malevolence seeping from the heart of the savagery whilst the guitars sculpt a melodic lattice of flames with sonic expertise to temper the primal devastation at work. The best track on the album it carves its place in the passions with malice and inventive vivacity.

Ending with the again Anthrax whispering De Profundis Clamavi with its spidery sonics and Die Diamantenen Tore Der Hoelle (Polaris), a track offering a stoner seeded invitation, Darkness: Devil: Death is an album impossible to ignore once bitten by its rapacious claws. It ebbs and flows at times in regard to lighting fires but at all times Beissert twist the screw of imagination and adventure resulting in a release which emerges as richly pleasing.




RingMaster 14/03/2013

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Argonaut: Self Titled


    From its first gentle kiss the self-titled album from UK indie band Argonaut never relinquishes its spell on thoughts and emotions not to forget holding an unbreakable grip on the ear. A shimmering sun of evocative ambiences and provocative warmth, the album immerses the listener in ethereal elegance and persuasive imagination whilst quietly enslaving the passions.

The quintet from London state influences as the likes of Sonic Youth, Garbage, Hole, The Pixies and many more, essences which whisper loudly from within the ten track release. To those you can also add the likes of Propaganda and The Sundays as a strong eighties wind blows from within their invention, as well as from the now The Mouth Of Ghosts. Argonaut holds their own distinct stance though despite the rich spices and over recent months has begun to truly catch the imagination of a widening awareness awaking to their creative sound. The band were signed up by Criminal Records for the release of their recent single and album, the band gaining interest on the London ‘toilet circuit’ whatever that means but surely nothing as seedy as imagination dares think up.

The album begins with the single Monet, a song which invites the listener into its arms with a brewing resonance with glowing bass 3517_483921028334663_2008247918_ncaresses drawing in fiery guitar sonics and the golden voice of Lorna Lyons, her voice a temptation impossible to refuse. Guitar spires light the magnetic ambience of the song whilst the infectious chorus seductively nuzzles the senses, the track itself working under the skin and submerging the emotions in a sunset of aural colour to reap the fullest ardour from its recipient.

The following Touch Electric opens up its sinews, the bass a grumbling prowl around the ear whilst electro cascades light the way for the guitars to flash and graze across the heart of the song. Occasionally a B-52s flicker winks in the pop tease of the song whilst within its scintillating coarse surface and almost childlike vocal tones the likes of Daisy Chainsaw mischievously peer out. With a grunge feistiness to its encounter the song instantly shows a depth to the songwriting and invention of the band and a continuation of their skill to enchant and enthral.

More Life and 2 Lights continue to show a variety and skilled invention from the band, the first a smouldering stroll through a weave of sonic beauty and melodic grace steered with raw energy and blistered intensity whilst the second works on the passions with a persistent bass lure and niggling guitar barbs. The vocals scorch the heart with their lush allure and all combined with creeping shadows skirting the finesse of the song, there is a Breeders/Belly enticement.

The latter part of the album immerses into an even deeper dreaminess with enveloping sounds which arguably elude reaching earlier set heights on the album or sparking raging fires inside but the likes of the delicious They Can Bury You, the haunting Spectres where Lyons is at her most Clare Grogan-esque, and the alluring Chemistry never fail to leave an eager thirst for more quenched.

Amongst these songs there awaits the further triumphs of Vintage Dress and the closing track Sleep Tight. The first is an entrancing sway which takes no time in offering influences of The Cure through the bassline which has cheekily been cloned from A Forest but is just irresistible so all is forgiven. The song itself saunters with beacons of melodic grandeur pervaded by encroaching shadows, the result a pulsating bewitching that holds the listener lovingly whilst gently passing over dark emotive tinges. The final song is also a darker companion but one which fuses shaded emotions with a compelling luminance. Like the most rewarding enchanting dusk that any day could offer the song allows the album to leave on a warm breeze which beckons an immediate return.

Argonaut with their album confirms that the buzz around them is more than justified whilst suggesting the band will reach greater more impressive heights over the near horizon. This is simply an album not to be missed.




RingMaster 14/03/2013

Copyright RingMaster: MyFreeCopyright

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