Roxanne de Bastion celebrates her debut record release with a headline London show

RoxanneRoxanne de Bastion celebrates her debut record release with a headline London show at St. Pancras Old Church

Roxanne de Bastion is geared up and ready to celebrate the release of her debut album, The Real Thing which was released on April 19th  on Nomad Songs.  She’s played at St. Pancras Old Church a few weeks ago, which proved to be a sensational show, and she’s set to achieve the same spine tinglingly beautiful feat once again on Friday, May 3rd, with a little help from support acts Alice Phelps and Robert Marr.

The singer / songwriter teamed up with producer Gordon Raphael (The Strokes / Regina Spektor) to record ten of her songs in Roxanne’s town of birth, Berlin, which will be played live in a special live performance, to celebrate the release.

Her first single ‘Red and White Blood Cells’ is available as a free download and has already been picked up by Tom Robinson on BBC6, John Kennedy on XFM, Q Radio as well asMTV and Radio Eins in Germany.

Gig Details:
Support comes from: Alice Phelps and Robert Marr
Doors open at 7:30, Music starts at 8pm.
Tickets: £5 at the door
Facebook Event: https://www.facebook.com/events/183429288472300/?fref=ts

Check out Roxanne’s latest video for track ‘Some Kind of Creature’ @ http://www.youtube.com/watch?v=gdkvtoBRpI0

The St Pierre Snake Invasion – Everyone’s Entitled To My Opinion

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    The St. Pierre Snake Invasion is one of those bands which has the capacity to ignite an immediate rapture and lustful hunger for their sounds, something they certainly did with us with the release of their debut EP Flesh a couple of years ago. It was a startling and synapse twisting slice of devilry, a caustic brew of punk, garage rock, noise, and insatiable mischief, though to tag their sound is as easy as scaling the Shard on the back of Katy Perry, impossible but sheer fun trying. Now the UK band return…finally…with its successor Everyone’s Entitled To My Opinion, a release which rips out the essences of the earlier EP and distills them with new imaginative additives for an even greater irresistible riotous slab of Satan spawn rock n roll.

The five track EP is quite sensational, realising all the selfish expectations and hopes placed upon the band and then some. The Bristol quintet band have unleashed their distinctive venom of noise since forming in the latter months of 2010, earning a devoted and passionate fanbase and plenty of acclaim through their wild and exhausting live performances as well as the first release, but the widest recognition still waits to be triggered, something Everyone’s Entitled To My Opinion has all the potency, sonic armoury, and big boy balls to achieve.

Call The Coroner opens up the release with immediate demands upon the ear and attention, which both willingly submit to as942206_642406229109685_548624207_n chunky scything riffs and a scowling banshee cry split the air. Rhythms lay in wait as the intro lays its net with the vocals of Damien Sayell scouring the senses in expressive and tortured tones, their earnest and slightly maniacal embrace as incendiary as the hungry sounds. Into its stride the chugging riffs from Szack Notaro and Patrick Daly abrase and seduce whilst the bass of Mark Fletcher prowls with menace from note to note, the combination with the magnetic rhythms of drummer Sam Forbes chaining up any chance of escape, a deliciously bedlamic yet contagious maelstrom of energy and sonic virulence.

The following Encore! Encore! plunders the ear with raptorial riffs and mutual offensive rhythms whilst the impacting squalls of Sayell scar the air with his romantic violations. The raining down of muscular and intensive slaps from guitars and bass offer a little respite in one moment of mercy as they step back for the escape of melodies and harmonies before taking charge again and completing the face to ear incitement. It is a riveting explosion of glorious filth in tale and sound which seamlessly flows into U.S.S.A., a punk fuelled bruising riot of industrial lime like sonic scrubbing. The track strains itself and the listener with greedy glee, the growling broody bassline and insatiable riffs an unrelenting scourge with the rhythms of Forbes the ringleader to total subservience before the alchemy of noise, with the vocals a rodeo cowboy riding the rapacious charge.

Hey Kids! Do The Choke Stroke steps up next to continue the eclectic force of the EP, its reserved chain gang/gallows hung intro bursting into another punk brawl with irresistible aural theatrics and epidemic infectiousness. Like many of the band’s songs it does offer up one issue…the thing is too damn short, just as the passions and limbs, not to mention voice, are casting their additional help the track leaves them a lone voice in a big all eyes watching crowd… damn them.

The closing Say No To Stop Motion leaves one final slice of brilliance, the scuzz coated epidemic of catchiness a last stomp to lose the heart to. It rattles the cages with attitude and sonic spite, something applying to the whole release, and provokes with suggestions of who the aimless ears of today’s media led appetites should really be listening to, as well as certain artists, climaxing the track. The song leaves a lasting swipe with the final forceful recommendation of The Fall, a band which is more than a potent whisper in their sound.

It is a brilliant end to an equally sensational EP, a release which goes far beyond the assumptions from an already biased heart. As mentioned it is hard to truly describe the sound of The St Pierre Snake Invasion but at any time across Everyone’s Entitled To My Opinion there is a mix from the likes of obviously The Fall, as well as Marc Riley and The Creepers, Gang Of four, Wire, Houdini, McLusky, Dope Body, Melvins and many other similar suggestions, though the band in as many ways does not sound like any of those either. A must have release from one of the UK’s most impressive and boundary splitting bands.

http://tspsi.co.uk/

10/10

RingMaster 30/04/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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The Old Wind – Feast On Your Gone

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    Feast On Your Gone, the new album from Tomas Liljedahl, the former vocalist of the legendary Breach, is a release which torments and challenges the psyche, emotions, and at times sanity. The seeds of the project The Old Wind grew in the mind of Liljedahl during a dark period in his life and mind, the project an avenue, in his own words “…to get these demons out of my system.”  It is a raw, ravenous, and cold consumption of the senses, a release which others might find an escape in too or just as easily find it sparks their own fight with the shadows. It is an impacting and corrosive confrontation, a caustic soundscape devoid of light and hope but equally it is hypnotically tempting, a dangerous challenge impossible to refuse.

The Old Wind initially a solo studio project for Liljedahl, with the artist writing and recording every instrument on Feast On Your Gone alone, soon provoked the need and realisation that the tracks needed to have a live declaration as well. Liljedahl brought in former Breach band mates Niklas Quintana (guitar) and Kristian Andersson (bass) as well as drummer Karl Daniel Liden and finally Robin Staps of Pelagic Records and The Ocean as third guitarist. It is a formidable cast for which anticipation and hunger for their live debut is immense, all instigated by the towering brute of a vicious album.

Stepping from behind a child’s spoken intro, opener In Fields immediately marks that this is not going to be an easy ride or a IMG_4607_smcomfortable listen, the overwhelming intensity of the guitars and rhythms prowling by a snarling predator of a bass sound instantly oppressive and intimidating the senses. The doom loaded gait of the track holds the emotions down for the coarse riffs and sonic fires to smoulder upon thoughts, the vocals of Liljedahl scarring with a maelstrom of spite and despair. It is an encounter for which the word intensive barely gives justice, the primal essence and breath of the track filling and twisting every atom and feeling daring to show its face within the listener.

The following I’m Dead suggests a less vile proposition at first though the carnivorous throaty leer of the bass is never less than dramatically intimidating and the atmosphere from the first note fanged. It is mere moments though before flesh and senses burn under the rapacious malevolence borne, the near funereal thick crawl of the track as invasive as it is expansive with the sonic abrasiveness feeding greedily on any weakness and emotive doubt before its tempest.

Through Raveneye and The Old Wind the ugly coaxing continues, the songs demanding and receiving a less than willing embrace from awakened shadows but one needed to be made before the enthralling leviathan of darkness. As they and subsequent tracks gnaw and savagely take control of the ear and beyond, it is very easy to lose track of which song is which, at what point in the provocation you are, especially in periods where the vocals leave the tortuous sounds to exploit  the darkness alone but this is not because tracks sound alike but down to the fact that the album is really one singular arduous nightmare being unveiled and dispelled. Certainly the tracks work individually but the reality of the full impact and massiveness of the work comes only in a full and continuous emergence from start to punishing finish.

As probably to be expected every aspect of the album is unquestionable, the textures and cavernous corners sculpted from the songwriting imperious through to the musicianship is second to none, the quality in sound as expressive and descriptive as the turmoil soaked vocals and lyrical evocation. It is hard to say that everything about the album is a joy to behold such its malevolent heart but in a time of so many sterile uninspired releases it creates a unique and grasping experience. As the final tracks in the sludge thick corrosive Spear Of A Thousand and the closing toxic instrumental Reign show though, happiness and joy has no place in this potent and painful ridding of inner devils.

Released via Pelagic Records, Feast On Your Gone is not for the faint hearted or maybe even those with their own battles to be fought, but it is a release which leaves long lasting ‘pleasure’ and permanent marks, a barbarous merciless treat.

https://www.facebook.com/Theoldwind

8/10

RingMaster 30/04/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Howl – Bloodlines

pic Andrew Fladeboe

pic Andrew Fladeboe

 

Following their for the main impressive debut album Full Of Hell of 2010, anticipation for the follow-up release from US metallers Howl as they hopefully built on the promise ignited with the first record was certainly fuelled by a level of eagerness. This was a band which showed a sludge/stoner/doom mentality and strength which suggested major things from them ahead. The release of Bloodlines via Relapse Records, certainly shows the Providence, Rhode Island band as having evolved and expanded their sound though maybe to the detriment of real clarity of their direction but then predictability has no place in music so there is no problem with the stance of the new album in that respect. It does though leave a sense of missing its target. Bloodlines ravages the ear with accomplished potently sculpted aggressive sounds and an undoubted passion but it fails to ignite the passions and fervour their earlier promise suggested possible,  it is simply a release which just has not anything truly new to say.

It should be said right away that Bloodlines is a thoroughly enjoyable and commanding confrontation, the release showing the band evolving and honing their immense power through their relentless touring ethic which has seen the band alongside the likes of Saint Vitus, Kylesa, Pentagram and numerous others. Recorded with producer Zeus (Hatebreed, Crowbar, Terror), the album is a muscle bound predator with intimidating rhythms, malevolent riffs, and devious sonic acid combining to be an undeniably satisfying aggressor. It has hooks which carve lingering moments and a prowling snarl that has the measure of the defences and appetite yet at no moment does the album light a fire, something its predecessor was more successful at.

Opening track Attrition makes a rich and attention grabbing entrance, the early flames of guitar a sonic beckoning upon chewing 4pnl_folderurgent riffs and firm rhythms. Into its stride the track prowls and stomps with sinews pressing the ear and vocals scowling like a bear in heat, Mastodon and even more so Black Tusk references rearing their head quite soon on. Bass and drums provide a sturdy cage around the enterprising guitar teases and sonic cuts, and by its departure the song has lit a definite appetite for the release which the following Midnight Eyes with its rampaging drums and scything melodic blades alongside persistently niggling riffs has the fight for. A carnivorous death metal breath marks its charging metal gait whilst the song twists and turns on its feet, a thick stoner persuasion emerging from the savage intensity before changing into a doom lined finale.

The Devildriver like Demonic leaves an exhausting and enterprising if familiar onslaught upon the ear with a sonic wind from the guitar spiralling within the brewed raptorial intensity, whilst the likes of the excellent Down So Low and the equally impressive With A Blade reach higher pinnacles for the album. The first of the two emerges from a chilling sinister ambience, a heavy malevolence in vocals and energy wrapping its leering presence around the ear with devilish intent within a mesmeric yet muscular stoner embrace. The track soon brings thrash elements in to press thoughts and emotions to their limits before returning to the almost crawling insidious invidiousness. The second of the two again finds a compelling union of nastily aggressive intensity and a melodic touch which sears with acidic might and craft. The tracks standout with their inventive intent and ready to shuffle up their pace, energy, and directions, though again neither dramatically or effectively unveil anything new of enough potency to open up ardour or feisty passion. Of War is one song though which is close to doing both things, and though it like the others is delivering recognisable weaponry, the track is an anthemic and contagious storm from which its Lamb Of God toned voice makes a familiar but tempting call.

The Mouth of Madness with its vindictive bass sound and the closing rapacious Embrace Your Nerve complete the album with strength and notable craft if failing to find the lure of the bigger triumphs on Bloodlines. Maybe it is being unfair to expect the band to immediately fulfil the promise previously suggested and without doubt the album is one which gets the job done and makes for a pleasing hour or so but the feeling of a lost opportunity and a tinge of disappointment does accompany the release. With emerging bands such as XII Boar and especially Desert Storm finding original and far more heady heights with their new album, Howl have some evolving still to do to persuade ears and passions to go their way.

https://www.facebook.com/HowlHeavyMetal

7.5/10

RingMaster 30/04/2013

Copyright RingMaster: MyFreeCopyright

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Voodoo Highway – Showdown

VoodooHighway1

The album Broken Uncle’s Inn when released two years ago set Voodoo Highway apart from many other similarly clad heavy melodic rock bands, its acclaimed appearance drawing excited responses from fans, media, and notable exponents of the genre such as former Rainbow/Black Sabbath/Gary Moore bassist Craig Gruber. It was a thrilling and hungry release which ignited strong interest of people beyond the confines of classic rock. The Italian quintet now returns with the follow-up and it has to be said that Showdown takes all the great things on the debut to greater accomplished heights. Again it offers so much to lure in and keep the passions of the widest appetites alive just this time with even more devious craft and magnetic enterprise.

Founded in 2010, Voodoo Highway has been showered with eager recognition, even being called “the new Deep Purple”. Their stage presence and destructive stage tendencies has left a trail of acclaim across Italy and their sounds the same throughout the radio veining of Europe, South America, USA, and Japan, with Broken Uncle’s Inn the focal point until now. Showdown is another big step forward, one which again can be argued is not setting new boundaries for classic rock but undoubtedly is invigorating it with a heart and energy it has debatably been long missing.

Released via Dust On The Tracks Records, the new album stands proud as it storms the ear with opener This Is Rock’n’roll, CD BookletWankers!, riffs rhythms, keys, and vocals rousing up the senses with anthemic might and infectious melodic temptation. It is exactly what its title declares, a riotous brawl of middle finger poised rock with flames of precise fiery guitar enterprise and equally transfixing organ weaves within a bruising yet passion igniting confrontation.  The track has a swagger and balls to the wall intensity which recruits limbs and voice for a full engagement, a triumphant and irresistible start to the release.

The following Fly To The Rising Sun with its heavy bulging basslines and thumping riffs continues the compelling call of the album whilst Midnight Hour builds on the already impressive start by soaking the ear in seventies cloaked melodic persuasion and an imagination capturing intensive groove flanked by the ever growling bass of Filippo Cavallini. It is an excellent piece of familiarity entwined within inventive mystique and compelling aural adventure, the guitar of Matteo Bizzarri, as throughout the album, continually changing the face of the song whilst the drums of Vincent Zairo snap the head back on a well-used neck with a firm and hypnotic provocation or beckoning, usually both simultaneously.

Both Could You Love Me and Wastin’ Miles secure thoughts and hunger with their accomplished bodies, the keys of Alessandro Duo’ especially making enticing suggestions in the first though he again is never less than mesmeric across all tracks, and the continuing to impress vocals of Federico Di Marco driving the heart of each song with masterful expression and passion. Neither reaches the heights of those before or of the following pair of Church Of Clay and Mountain High, but never have less than a strong grip on attention and the ability to satisfy. The first of their successors is the biggest highlight of the album, the song from resonating heady bass prods and ambience stirring guitars stalking and ravaging the senses with greedy riffs and predatory rhythm whilst keys and vocals light the surface with melodic blazes which smoulder and burn alternately. Playing with and upon thoughts and emotions, the track paints a colour rich picture with the lyrical and melodic narrative whilst the sounds soundtrack its arrival with skill and contagious imagination. Mountain High follows with similar intent, its sinews making a target of the ear whilst the keys and sonic endeavour eases the scarring. As with most tracks its touch is easy and from a familiar well but it just adds a warmer addictive hook to be caught upon whilst the ingenious extras like the gothic occult rock like wash of the keys in this song throwing an wonderful unexpected spanner in the works of assumption.

From this point in many ways the rest of the album does lack the same punch and attention gripping strength already attained but certainly tracks such as the insatiable Cold White Love and A Spark From The Sacred Fire only give full pleasure and high octane fuelled adventure. Completed by the very decent Prince Of Moonlight and two bonus tracks in the shape of Till It Bleeds and the ever brilliant Broken Uncles Inn, you have an album sure to exhaust the passions of all melodic rock fans. Showdown is an excellent storm of rock n roll which from within the art work wrap of graphic designer Storm Thorgerson, brings an impossible to resist rampage to the year, the claws of Voodoo Highway digging deeper than ever.

https://www.facebook.com/WhoDoHighway

8.5/10

RingMaster 30/04/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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