Electric Swing Circus – Self Titled


Electric swing is not a genre or sound to have made a previous invitation to our ears but if the rest of the scene is as impressive as the debut album from UK sextet The Electric Swing Circus, these hips are poised for a future of swerving passion. The self-titled release from the Birmingham swing troupe is sensational, a mischievous seduction which takes feet, senses, and heart by the hand and leads them on a non-stop dance of melodic rascality. Fusing 20′s swing with fiery electro beats with extra teases of dubstep, breakbeat and jungle, the band has conjured an album which has the cure for all ills, shadows, and musical frigidity, a thirteen track release that entices thoughts and body into a quick step of bone swaggering, hotfooting devilment.

Formed in 2011, The Electric Swing Circus took no time in taking up residency of the Hot Club De Swing and Electro Swing Club UK wide. Within three months their live performances and sound earned the band the coveted title of Best Live Act in the ElectroSwing Peoples Favourite Awards 2011, this recognition enhancing the almost instantaneous seduction the band has brought to the scene and continued to reap growing recognition and acclaim within as they continually light up venues and festivals. Add the fact that the video for their track Penniless Optimist since its release late 2011 has been swamped with over 100,000 views this is a band on a potent ascent.

Fronted by the ‘sassy Sisters of Swing’, Eleanor Rose and Laura Louise, the band combine the skills and temptation of Tom Hyland (guitar), Patrick Wreford (bass guitar/double bass), Chandra Walker (drums/keys), and Rashad Gregory (synth, samples and programming), with a delicious vocal temptation to spark the warmest spirited tease possible. The enterprise and frisky adventure of band and songs riding the senses and emotions with class and ravenous hunger igniting the listener and their bodies into a whirl of movement and pleasure, each and every song in their individual stances and devilry succeeding with fascination and imagination.

The album opens with a twenties tease, a vintage breath driving the initial sound before big arching electro beats and pulses a0145031471_2resonate from within the distant coaxing. The vocals of the girls court and glance the ear with shafts of beauty, their whispers soaring through the mystique and lush lure of the brief intro ESC. It is a gentle beckoning soon exploding into a riotous shuffle of melodic invention in the form of Bella Belle. Romping with crisp beats, a sizzling electro rub, and brass flames around the sirenesque tones of the leading ladies, the track is a mesmeric stomp which leaps around the senses like a mix of Molotov Jukebox, Art Of Noise, and the Andrews Sisters.  It is a song where if not even a toe is moving its flesh in time to the rhythmic suasion, paramedics are needed to check for signs of life.

From the excellent introduction the album continues to take the listener on a vibrant and invigorating stroll through melodic and passionate aural sport, both Swingamajig with its kaleidoscope of sonic colour and creative tempting and Big Ol’ Bite complete with roaming rhythmic fingers and provocative bass licks not forgetting sultry vocal wantonness, opening up varied halls of smouldering elegance and blazing glamour whilst the outstanding Valentine brings another level to twist and let loose rapid shoe enterprise upon. Opening with French vocal enchantment over an eager Parisian melodic sway both Eleanor Rose and Laura Louise lay down their strongest emotive beckoning before combining for an intense union coated by a dark synth lined electro caress. It is an impressive switch leading into a thrilling infection baited chorus which climbs up and down the passions like a lustful puppeteer, the alchemy bringing them out in full bloom to continue romping in the sweltering sun of the track. The stunning and unexpected electro mastery and ingenuity is another irresistible contributor to one of the best tracks not only on the album but heard this year and take a potent place alongside the equally enthralling and incendiary melodic twenties inspired revelation.

The album is a continuous treat of gentle kisses such as the emotive Harvey and energetic exploits of varying gaits such as from the atmospheric heat offered by Mellifluous and the rampant Minnie with its busy and rich tapestry of electronica and swing, the song a reimagining of Cab Calloway’s classic Minnie the Moocher brought in a jazz/dub like persuasion. Every twist and venture of the release is intriguing and deeply compelling with more tracks like The Penniless Optimist leaving no room for indecision about their glory. The song with wonderful throaty bass badgering and fizzing keys brews up its appetite and that of the listener to lurch into a heavy treading irrepressible waltz around the ear, its call and hook impossible to resist as feet and assorted limbs let alone emotions, jump on board with unbridled energy. As with most of the songs it is an irrepressible invitation and offers full clarity as to why it helped propel the band forward back on its first appearance.

Both the tender Put Your Smile On and the dubstep fuelled Ruby unveil further diversity and individual beauty, the latter an exciting unpredictable expanse of invention before the fire that is Little Phatty takes hold for one last course around the dancefloor. Its excellent blend of swing, jazz, and electro is a striking strut for passions and body which makes the perfect ball of energetic climaxing for the release before allowing the closing cover rendition of Everyone Wants to Be a Cat to bring a gentle relaxing sunset to the album. Well that is until midway the drums rustle up the energies for another contagious fling of grinning swing and electro taunting to leave the appetite lost in hunger for much more.

If you have yet to make acquaintance with one of the best bands around and a genre which just might hold the key to your passions, then to go to Electric Swing Circus and their the self-titled debut, this is not a recommendation but a command….what still here?



RingMaster 23/05/2013


Copyright RingMaster: MyFreeCopyright

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Cynical Existence – Beholder EP


With the creative dust of last album Come Out And Play still filling the air in the wake of its release in February, industrial/harsh EBM project Cynical Existence has decided it is time to up the ante and unleash new EP Beholder. Usually you would suggest a band should allow an album to drain all of the acclaim and recognition it deserves before tempting the world with the next release but such the fire and immense step forward in the new EP there is no such sense here. The six track release makes a scintillating companion to the excellent album but at the same time shows that the invention and creativity of Fredrik Croona has already found and explored a deeper darker plateau to take his project to new expansive realms.

As most are probably aware now, Cynical Existence began as a solo project for ex- Project Rotten founder/vocalist Croona who also is the former vocalist of dark electro/industrial act Menschdefekt. Initially just an experiment, the project fuelled itself with the aural invention of the man into a real musical proposition. The excellent 2012 EP A Familiar Kind of Pain instantly setting a place for the band at the head table of the industrial/ebm underground reinforced later in the same year by the following EP Ruined Portrait. It was Come Out And Play though which merged earlier tracks and more recent ones to set a benchmark by which we would grade subsequent releases from Croona. Now with the addition of Steve Alton of UK project System:FX in the studio on guitar in the line-up, Cynical Existence has not only met the bar but surpassed it whilst venturing into another striking depth of exploration.

Opening track The Mindless Filth in many ways is a bridge between releases, its contagious rigid beats and compelling electro

Artwork  by OneTwoTree Designs

Artwork by OneTwoTree Designs

weaves a resonating and thumping puppet master for limbs and emotions demanding dancefloor attention. It has a foot in the infectious commanding call of the last album and its wealth of insatiable board treading irresistibility but equally is set in what emerges in the new release as darker more intense shadowed textures. The variety of vocal from Croona hints at depths within song and release yet to be trodden whilst his synths light the way with acidic radiance and rhythmic temptation. It is a mighty start if arguably what you would expect in quality and direction from the man though he soon sets thoughts facing new ventures with its successor.

Mardröm, meaning nightmare in Swedish, lays down a web of sinister ambience and crystalline electro hints to tempt in thoughts and emotions, its atmosphere sinister and under a veil of shadows before sonic shafts of light break through their cover. Opening up its sinews to their fullest length the oppressive dark corners crowd in to accentuate the elegance and potency of the synths whilst the brewing dark forces seemingly at play with the vocals from Croona, sung in his native tongue, add to the black edged mystique and latent venom prowling the scene. The cleaner delivery alongside the regular rasping serpentine tone of his vocals and the caustic sonic winds which slowly embrace the ear bring further uncertainty to the dangerous atmosphere eventually making the persuasion, and add to the riveting intrigue of the excellent track.

The outstanding Hail To The King Baby takes over next and elevates things to yet another level of pleasure and invention. Initialising attention with computer game teasing and atmosphere, which continues throughout with samples from Duke Nukem also employed, the track is an unrelenting ride through corridors of impending walls and hidden intimidation, its ride twisting and turning down avenues of sonic and melodic enterprise. Imagine games where you are on a constant run and are persistently changing direction to face more options and suspected dangers, like life really, this track is the equivalent with its imagination.

The Beginning Of The End continues the striking height of its predecessor, firstly by knocking at the ear with a hollow like voice to its call and then by reaping the seeds of those earlier nightmares to breed a wash of rhythmic provocation and evocative melodic intrusion, the haunting consumption seducing and threatening every pore and thought whilst the beats tease and taunt the whole intimidation. The guitar of Alton equally riles up the situation to reward the listener even further within the thoroughly thrilling and incendiary incitement of emotions and fears.

The release closes with firstly Draining Me featuring Russian project Freaky Mind and lastly Wake Up Call featuring the guest vocals of Sindelle Morte of Scream Machine. The first of the two is like a rumbling storm in the distance, its throaty hunger residing in its electro honed skies but making known its intent through the rhythms and oppressing ambience, whilst the second is a doomy crawl with funereal breath to its mesmerising and enveloping intent. The mix of vocals between Croona and Morte works a treat, her shadow dwelling melodic whispers lighting up the darker tones of the narrative and its realisation.

It is fair to say that Beholder needs more time to make its full and lingering persuasion compared to previous Cynical Existence releases but in return for the intensive focus rewards in ways the others never dreamed of. It is an outstanding encounter which only excites anticipation for one hope what will be a deeper investigation of the dark plains started here.



RingMaster 23/05/2013


Copyright RingMaster: MyFreeCopyright

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Hells Fire Sinners – Confessions Of the Damned


As rampant and hungry as a single Katie Price (non Brits feel lucky not knowing who we mean), Confessions Of the Damned from hillbilly rioters Hells Fire Sinners is one of those bruisings you just cannot get enough of. Consisting of ten tracks which refuse to take a step back from vigorously seizing and rampaging across ear and senses, the album is a thrilling and devious instigator of and conspirator with the passions.

The Columbus based Hells Fire Sinners began in 2006 going through different members alongside the constant, vocalist and guitarist Alan Dude. Bringing together a blaze of rockabilly, punk, country rock and plenty more psychotic teased flavours, the band from a first show which according to their bio was in a ‘a piss smelled, burned out basement on the OSU campus’, have tirelessly exhausted the east coast with their energetic live show, playing for anyone who will listen. It has been a steady unrelenting ascent which finds a pinnacle with the excellent Confessions Of the Damned.

The Psycho A-Go-Go Records re-released storm begins with the outstanding Ninety Nine, a track which leaps for the throat gripping tightly whilst screaming through the ear with abrasive riffs, crisp rhythms, and the excellent expressive slightly scorched vocals of Dude, who is also not averse to throwing a great guttural squall into his assault. It is a direct and uncomplicated confrontation with a great emerging bass groove and fiery riffing all wrapped in a contagion which refuses to be told no as it takes feet and voice on a recruitment drive into its scintillating brawl. The song provides one of those starts to a release where you instantly think it is going to struggle to follow it up without slipping in standards such its impressive first engagement, but no such worries here as of A Little Gone A Little Crazy and Muddy Water Murder lay out their feisty temptation.

The first of the two is a cowpunk lilted stroll with delicious twang to the vocals and a greedy appetite to the roaming guitar enterprise both accompanied by the bass with its flavoursome prowl adding extra depth to the brief but again easily recruiting suasion, whilst the second reaps the essences of heavy metal to drive its adrenaline soaked rock ‘n’ roll for an intensive charge of high octane rockabilly. To be honest you can cast many spices as references to the song, all valid and all just showing the tasty tempest of enterprise it is.

As it continues to chew on ear and thoughts with attitude and at times middle finger raised belligerence, the release leaves stronger epidemically laced hooks in the passions to cement the need to regularly return to its raucous embrace. Every track spreads their irresistible toxin upon those barbs to ensure full subservience but of course there are some with more potency as with Psycho and Almighty Dollar. The first of the pair like the opener has an uncompromising intent to rile up the senses and take them on a dirt track ride of mischief and sinew clad devilry. With a murderous breath to its air and a sense of ruin coating its fingertips, the song stomps and swaggers to spark the fullest satisfaction and hunger for its psychobilly rustling. Following this glorious moment the second of the two puts on its country boots to open up a bottle of liquor fuelled riffs and melodic flaming which simply inspires another blaze of greed.

     Thick Of It walks the highest plateaus of the album too, it’s virulently catchy hook and searing sonic riffs a spicery of enterprise and invention which rages with veins of passion and is only surpassed by the opener and closing song Zombie Killer. The last track assaults the ear with a muscular hold whilst riffs assisted by talons of rhythmic rabidity rampage, though the song has the delicious skill of reining it all in and then unleashing the barbaric attack in spasms. It is an excellent track which perfectly ends an equally impressive album, its psychobilly core generously enhanced with some blues seeded imagination and blustery intensity for a scintillating tempest.

Hells Fire Sinners is a name which suits the band and their creative ferocity well whilst Confessions Of the Damned is the natural title for a collection of songs you can imagine the devil having a horn or two in. A must have release for all fans of rapacious rock ‘n’ roll.




RingMaster 23/05/2013

Copyright RingMaster: MyFreeCopyright

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BCD –Split Album


If you are someone afraid or reluctant to face your deepest fears through aural provocation than staying away from the BCD split release is probably your wisest move this year but if staring into the unknown and dealing with infernal incitement sounds like it is for you than this surprising and uncomfortable release might just be your gateway to invigorating adventure…or insanity.

The release features four bands which instigate primal and sonic hostility upon the senses to spark intimate, exhausting, and imaginative violating atrocities. It is not an easy listen, and to be honest at times leaves you wondering why you stood before its malevolence as you lay whimpering in your molten synapses and emotional debris, but throughout the trio of Dethcentrik, Corkscrew No 4453556, Imperfect, and B.A.M.H. offer more than enough rewarding enterprise and vitriolic temptation to want to suffer and feast on its menace again and again.

B.A.M.H. open up the release with the excellent haunting tones of Eternal Sin. The band is an electrogrind project from Texas around founder Kolton Primeaux and as their contribution here shows it is a project which uses ambiences in tandem with sonic destruction. The track starts with a discord teased piano invitation, its presence offering a sepia coloured atmosphere of old and sinister suggestion. It is soon speared by a caustic sonic lance of sound which opens up a fissure for a rasping harsh wind of melodic distress and concentrated rhythmic primal assault to lay out their caustic declarations. It is a viciously snarling encounter from this point on which is unrelenting in its ravenous chewing until its departure.

The following Zero Day walks the same portentous scenery as its predecessor, unveiling more of the distorted reality before crushing it under a tsunami of treacherous and carnivorous rhythmic hatred and sonic entrapment. It is painful and disorientating but like a drug tantalises thoughts and visions to make a play for clarity. Imagine Eraserhead the movie on LSD and you get an idea of what the invention of B.A.M.H. entails. The rest of their offerings bring their own individual bedlam with Raping Your Corpse featuring Nolon Lawrence especially standing out with its great guttural swinish vocals gnawing on the ear.

Imperfect, the electronica alias of Californian Adam Davis, offers just the one song in the corrosive electronic shape of The Wanderer and features BAMH within its blistered squall of sound. It is a song which leaves an undecided view on its intensive embrace, the stark harmonic mix of vocals with their acid burn of a touch and the equally scathing sounds working well in their own right but together make an uneasy union but maybe that is the intention. It is hard to tell and say if it was enjoyed or not but certainly it offers enough to want to check out more.

Next up Corkscrew No 4453556 bring something different again to the release starting with Fatal Armpit Job. The band started by Zabuba Nevresky in 2009 and basing their songs on Hermeticism, creates what is self-penned as experimental guttural dancecore, and after standing eye to eye with their opening track alone it is the perfect description of the pummelling confrontation. Nintendo electro spots poke the ear first as gently concussive beats and infectious dance seeded enticement explores the senses. It is soon overturned and swept aside as resonating predatory yawning leviathans of noise and intensity lay heavily upon the senses before just as quickly leaving themselves to allow the opening dance to end things off. The destructive middle part of the track reminds of the band The Devilzwork which is never a bad thing and leaves an appetite open for the following N.D.A.L. and Symphony of Ditto’s Carnage. The first emerges from a warning siren to ravage and torment with again a sonic tempest of synapse diseasing invention whilst the second is a caustic aftermath of what came before taking over the now exploitable wasteland beyond the ear. Both are mere breaths in length but add to an impressive experience provided by the band.

Dethcentrik is an industrial metal band which was formed in Colorado in 2009 by vocalist Stefan “Død Beverte” Klein, and guitarists Justin Torres and Michael Glass. Line-up changes were rife in the band and led to the project being put on hiatus before returning in 2011 with guitarist Gunner “Jackie T” Harkey alongside Klein. With an ever evolving sound since returning, the band hits this split with a wall of intensive destruction in their first track The Beast Escapes. It is a furious sonic hug which obliterates any peace still left in the air as its heart, the beast, explores avenues to freedom, eventually settling upon a more restrained but no less intrusive wrap of malevolence. Like previous tracks it has no mercy for the ear just as equally neither has the following Visitors, its own haunting danger and temptation coursing with sinister portents and threatening breath, though the danger is behind a constant sonic veil. Through the initially brutal and then suffocating Airlock and Factory Ghosts the band lay out more expanses of post-apocalyptic like scarring whilst closing track The Machine Continues To Churn is a final lingering savage ambience leaving deeper fears and provocative shadows.

Released by Død Incarnate Records this is definitely not a release for everyone but driven by extreme invention and creativity honed into a ferocious diversity brought my raging artistic minds, this split has plenty of rewards for those daring to face its turmoil.





RingMaster 23/05/2013

Copyright RingMaster: MyFreeCopyright

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