Various – Sea Monsters 3

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It was only a few decades ago that everywhere you turned there was a new compilation album of emerging talent, every city seemingly rife with bright fires on new invention and refreshing creativity from yet to be discovered bands and producing albums as proof. That seems to be a thing of the past now, or maybe just it is so much harder to draw them into the radar, but one series is definitely working hard to unveil the thriving local scene of Brighton and that is One Inch Badge’s Sea Monsters ‘Best of Brighton’ compilations. The late seventies/early eighties saw the excellent Vaultage compilations from the same city, a series of releases which brought to attention the likes of The Piranhas and Peter And The Test Tube Babies, and the Sea Monsters collections is bringing equally or potently even more impressive artists of today from out of the city into are eager ears. Volume 3 is the latest release and as full of quality and irresistible sounds as you could wish for.

Reviewing compilations, especially the size of the two CD/download Sea Monsters 3, is great but also difficult as it is impossible to highlight every deserving artist and on this twenty five track treat it is honest to say there is not one single lull in the depth and richness of tracks. It is an eclectic mix of sounds and artists too which would normally lead to times where you are looking forward but not with this album. We will bring to the fore favourite tracks on the album to fill this review but only on the assumption you accept that every track is worth your undivided attention, got that?

The first CD is opened by the quartet Kins and their song Top and Turn. The song is a busy and raw mix of electro and scuzzy whispering guitars around the excellent vocals of Queline Smith but there is elegance to its ambience which wraps tender arms around the quizzical tempest. It is a gripping start soon equalled and then surpassed by the brilliant sultry guitar crafted instrumental flame of Guiones de Escadrilla from trio Squadron Leaders. The song is a blaze of sixties toned psychedelic rock merged with even richer surf rock; imagine The Shadows starting out today with an indie intent to their craft and nostalgia in their heart and you get this scintillating track.

In close order both Traams and The Physics House Band light up the senses with the songs Peggy and Abraxical Solapse respectively. The first is a guitar crafted piece of garage pop and noise rock which sounds like The Strokes meets The Barracudas, the trio creating a catchy, compelling slice of punkish pop rock, whilst the second simply takes the imagination into a shadow lit piece of disorientating aura drama, the band twisting the song left right and centre and in on itself whilst creating a coherent experiment in sonic adventure. Again a trio (more than coincidence surely?), the band provides arguably the biggest highlight of the release though it is constantly challenged by the likes of Broker, yes another trio who carve out a hypnotic senses buffeting taunt of punk and post hardcore within a psyche punk confrontation with the song Pro Rata. It is a masterful encounter which lingers and teases long after the band’s departure. Coffee from Gnarwolves closes up the first disc with a caustic brawl of punk which maybe is not rife with open originality but suggests this is a band sure to find that unique voice and recognition ahead as it thrills ears and emotions with a battling intensity and persuasion … oh and need I say how many members there are?

The second disc also starts with a pinnacle in the excellent Rule Breaker from hip hop seductor Suave Debonair, not to be confused with the duo from Sacramento playing the same genre. Reminding of Honky, the track sways and swagger with attitude and intrigue, the sounds rippling with invention and the word juggling coming near to the craft and might of Dizraeli. The following Bar After Bar from Rum Committee also walks across the spitting provocation of hip hop, brewing up a swing, jazz, and dubstep chaser to its liquor lined narrative.

Stepping up soon after on the release Great Pagans with Teenage Sillouettes immediately followed by Plasticine and their song Hard Being Strange bring another feast of sound and imagination to feed the raging hunger already ignited by the release. The first band offers up a song filled with guitar led fuzzy warm pop filled within a scuzz littered rock surface, whilst the vocals lay another smouldering harmonic heat to add its glaze to proceedings. Its successor from Plasticine also takes rock music on a melodic ride though with a distinct character to its indie infection and the great slightly quirky vocals of guitarist Andrew. There is a familiarity to the track too but one which defies recognition and adds more to the pleasure.

The pop rock, slightly Green Day like, sound of Loose Lips and their track Dr Evil next bounces across the ear igniting passions and limbs into another thrilled exercise of contribution. It is an excellent piece of contagion which leaves you exhausted and with a needy urge to press play again, and for the record after a few four strong bands, the trios have returned.

The consecutive treats of Little Rope from Tigercub, a riveting stamp of grungy rock ‘n’ roll and virulent anthemic energy, and the soul romping Oh The Days from Almighty Planets stamp their exciting ingenuity permanently on thoughts and passions to demand and undoubtedly receive further investigation, though every artist on the release earns that.

Sea Monsters 3 is outstanding and just shows how much talent there is in one city alone awaiting your discovery. With the likes of 900 Spaces, Luo, Negative Pegasus, Thedealwasforthediamond, and Abi Wade adding their exciting promise and sounds to the equally intriguing offerings of DA-10 ft. Us Baby, Bear Bones, Phoria , Soccer96, Written In Waters, If Heroes Should Fail, Jacko Hooper, and Holy Vessels, this is one compilation only a fool would ignore. With something for everyone it is one of the best introductions to any band anywhere and there are twenty five of the buggers here, some not a trio too.

Stream the album @ https://soundcloud.com/oneinchbadge/sets/sea-monsters-3

Sea Monsters 3 track listing:

Top & Turn (Demo)         Kins

2. Red   Phoria

3. Fears                Luo

4. Aquarius         Soccer96

5. Guiones De Escadrilla                Squadron Leaders

6. Peggy               Traams

7. Natural Jazz   Negative Pegasus

8. Abraxical Solapse        Physics House Band

9. For My Sins    Thedealwasforthediamond

10. Ligeia              Written in Waters

11. Arras (ii)        If Heroes Should Fail

12. Pro Rata        Broker

13. Coffee           Gnarwolves

14. Rule Breaker               Suave Debonair

15. Bar After Bar               Rum Committee

16. Indigo            DA-10 featuring Us Baby Bear Bones

17. Teenage Silhouettes               Great Pagans

18. Hard Being Strange  Plasticine

19. Dr Evil             Loose Lips

20. Eleven Pairs of Wings    900 Spaces

21. Little Rope   Tigercub

22. Heavy Heart                Abi Wade

23. In Angers      Jacko Hooper

24. Fever             Holy Vessels

9/10

RingMaster 31/07/2013

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

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Death SS – Resurrection

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    Resurrection the follow-up to the critically acclaimed previous album The Seventh Seal sees the return of Italian heavy metal band Death SS and their compelling tales and sounds of horror soaked devilry. Formed by vocalist Steve Sylvester with its first recordings as far back as 1988, the Pesaro band has been an ever potent presence within Italian heavy metal and to a lesser degree the world. Taking, one suspects a more than healthy influence from the likes of Alice Cooper, and possibly inspiring again on assumption the likes of current bands such as Houston! and Superhorrorfuck, Death SS create a blend of metal and drama inspired by horror movies and literature and apparently also this time around the Italian sexy-horror comics of the Seventies especially in the album art work. Resurrection is at times a riveting excursion through crimson red temptation but also has tracks where inspiration is lacking for song and listener, something which suggests that many of the bands they may have sparked life within have since surpassed their own creativity. Despite that for the main the album is a pleasing and easy to return to riot of familiar fun.

For the first half of the Lucifer Rising / Scarlet Records released album, Resurrection is a bit hit and miss, the alternating tracks bringing death-ss-coverrides of horror rock and more straight forward heavy metal, and the former much more thrilling than the latter style. For the first time Sylvester produces a Death SS album and does a great if unspectacular job whilst alongside guitarist Al Denoble, keyboardist Freddy Delirio, bassist Glenn Strange, and Bozo Wolff on drums, he leads the stirring passions through a disjointed but appealing journey of rock ‘n’ roll. The album certainly gets better the further into its body you go too, finding a stronger consistency to the variation working its devilment.

Opening track Revived opens on a pulsating heartbeat with a sinister ambience soon emphasised by the vocals of Sylvester. This menace is accelerated by the joining throaty bass and wide rhythmic punches all scored by sonic guitar lashes. Into its thumping stride with a blanket of refreshing electro temptation, the song is a rampant stroll of horror rock which instantly brings thoughts of Wednesday 13, Frankenstein Drag Queens from Planet 13, and as mentioned earlier Superhorrorfuck. It is not bursting with originality but as the riffs and rhythms cast their contagious net around the senses and the vocals unleash their raucous grazing it is imagination capturing fun.

The following track The Crimson Shrine avails itself of a more classic heavy metal breath, riffs and drums a tower of sinews whilst the keys paint a symphonic picture upon the big boned canvas. The guitar work of Denoble is impressive and creates enthralling shards of melodic flames across the song whilst the additional female vocals temper things with grace and beauty, but the track is pale in potency against its predecessor and next up The Darkest Night. To be fair some of this is down to personal preference towards the two styles offered but it is an uneasy lie in many ways nevertheless. Its successor takes a mere breath before launching another muscular stomp of horror rock/power metal like persuasion. The electronic veins provided by the keys are like torches, lighting the thick shadows of the narrative which dance within the crushing frame of rhythms and hungry predatory riffs. Like the first song there is nothing unheard before but delivered in the accomplished and energetic style of Death SS leaves a very satisfied appetite.

The decent enough melodic charms of classic metal honed Dionysus lead into the rapacious growl and hold of Eaters, the track a bestial torrent of steely jawed riffs and mountainous rhythmic provocation driven by great vocal incitement, lyrically and in delivery. Again it is no coincidence that the song is a Cooperesque/Murderdolls like romp with lethal dangling weaponry disguised as guitars solo and bass lines to enslaved and tear the senses into bliss, and is the style exciting these ears.

The likes of the Ogre’s Lullaby, with its psychotic whispers and heavily laden vocal tempting, and the metallic swing/swagger of Santa Muerte both ignite thoughts and a little bit of greed for their sinew stretching and especially in the first, schizo charms, whilst The Devil’s Graal is a crawling provocative beast that leaves welcomingly entrenched sonic claws and dramatic teeth in the senses. As mentioned previously, Resurrection gets stronger and more perpetually appetising as it works nearer its climax, both the Manson like Precognition with its rhythmic juggling and carnivorous riffing and the bruising rock n’ n’ roller Bad Luck proof as they leave limbs and passions laying down an accompanying energetic escort. They make a thrilling conclusion to the album and compensates for the disappointment of songs such as the bland The Song of Adoration, certainly in comparison to this last pair. Wrapped in the great artwork of Emanuele Taglietti, an internationally renowned painter and author of all the covers of cult adult comics such as ‘Belzeba’, ‘Zora’, ‘Sukia’, ‘Cimiteria’, ‘La Poliziotta’ to name a few, Resurrection is a very enjoyable album even with songs which just do not ignite any heat for their presence included, and though there is nothing truly new here which has not been discovered and reaped elsewhere, it is hard not to like and want to return to.

http://www.deathss.com/

7.5/10

RingMaster 31/07/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com