THE HUNGER PACT ‘Cold Woman’ EP, out 28th October

The Hunger Pact Online picture
Pooling from a wide array of influences and spanning from the angular scuzzy riffery of Soundgarden and Queens of the Stoneage, through to the classic texturing of Santana and BB King, The Hunger Pact are a fresh and exciting take on great British Rock. With solid rhythmic sections, driving guitars, and captivating vocal lines, The Hunger Pact set loose their own brand of alternative rock nationwide this Autumn in the shape of their new EP ‘Cold Woman’, out Monday 28th October.
Formed in Reading, The Hunger Pact are led by talented and multi-instrumentalist Ed Rogers, who sings and plays drums and bass, along with Ed’s brother, Ollie, and best friend, James Pierce, suitably completing the line-up by handling the guitar work. Reared on a diet of Nirvana, Guns N Roses, Santana and Foo Fighters, and brought together by a strong affection for motorbikes, rock ‘n’ roll, whiskey, films, coffee and documentaries, the threesome take their craft seriously and their music is full of raw emotion, poetic stories, uncensored authenticity and emblazoned honesty. The band’s energetic, driven and authentic personalities are exposed in the music with a sense of intuitive musicianship rarely observed in similar bands.
After rigorous rehearsals, The Hunger Pact soon realised that they had the songs, the sound, and the lasting dedication to take their music to great heights. A series of successful shows in Southern plains followed, as the band began to rack up impressive support slots with the likes of Inme and Voodoo Six; the threesome continue their ascent as they embark on a UK tour this August.
To assist with their climb, The Hunger Pact released their debut record ‘The Hunger Pact EP’ in February 2013, which garnered great support from the underground. The three-piece now press on with the national release of their sophomore EP ‘Cold Woman’ and it encapsulates the essence of modesty with genuine songwriting and youthful energy. The EP starts with the title track ‘Cold Woman’ and it’s an engulfing slab of moody alternative rock with a bluesy flair that nods its head to Soundgarden and QOTSA. The driving and up-tempo groove-ridden ‘Alright’ is next up, as it swings back and forth with jack hammer drums and twisting riffs. The record then closes with the fuzzed up pounding beatings of ‘Alone Again’, which also firmly illustrates the band’s true guile and potent songwriting ability.
The Hunger Pact Cover Artwork

DIGITS ‘Acquiesce To Violence’ let loose on Monday 11th November‏

Digits Online Promo Shot
North East riff-tyrants Digits re-release their debut EP ‘Acquiesce To Violence’ and it’s a real belter. Sounding like the backwater cousins of Glassjaw, Hundred Reasons and Reuben, ‘Acquiesce To Violence’ is set loose on Monday 11th November and is available through all digital stores.
Taking stock after the demise of their former band, ‘Cut Glass Accent’, Chris Bradley (Vocals & Guitar) and Stu Latham (Bass) enlisted Craig Strawbridge on guitar and drummer Dan Cooper to form a new band; learning from their past mistakes, they aimed to deliver a compelling sound that would be absolutely progressive, experimental and accessible. At this point, Digits were formed.
Extensive gigging and writing soon followed, and by the end of 2012, Digits had completed their debut EP ‘Acquiesce to Violence’, which is slated for a November launch date and rammed full of sonic sledgehammer fists-in-the-air choruses and explosive rhythms that promise to melt your ears.
The EP instantly takes flight with ‘Acquiesce’ as it tips its cap to the low-slung groove of Deftones and the brawling rage of early Biffy Clyro. The recent single ‘Golden’ magnificently comes over you with balanced guitar scapes and soaring vocals before the up-tempo punk-flavored drive of ‘Visceral’ grabs you by the scruff of the neck. Lastly, ‘Violence’ closes the EP and balances melodic hooks with razor sharp riffs. Plug in and soak it up; these guys are set to rise!
Digits Cover Artwork

‘Nine Fingers’ the new EP from DOOMED FROM DAY ONE out Monday 21st October‏

Doomed From Day One Online Promo Shot
Surrey Slayers ‘Doomed From Day One’ nationally release their stunning new EP ‘Nine Fingers’ on Monday 21st October, through all digital stores.
Ascending UK noise chiefs ‘Doomed From Day One’ are swiftly ploughing through the ranks in the British metal scene and now set loose a burly slice of resourceful progressive Death Metal in the shape of their sophomore EP ‘Nine Fingers’.
Spawned from the depths of Surrey, and born at the end of 2009, Guildford riff slingers Doomed From Day One have quickly assembled an army of fans by constantly touring. And word is now rapidly starting to spread about the band’s intense live shows. Adding further weight to their cause, the ferocious five-some have recently supported The Black Dahlia Murder, Sylosis, Bleed From Within and Thy Art Is Murder, and the boys head out on the road again with Red Seas Fire and Fathoms this Autumn (see tour dates below).
Besides their noteworthy affection for and commitment to touring through the country’s highways and byways, Doomed From Day One have also garnered critical acclaim for their debut EP ‘The Wasted World’, chalking up lofty support from Metal Hammer, Kerrang!, Big Cheese and Zero Tolerance Magazine, as well as acquiring widespread radio airplay from Total Rock/Bloodstock Radio.
Doomed From Day One surge onwards again with the official release of their stunning new EP ‘Nine Fingers’ which immediately grabs your interest as the opening track and namesake ‘Nine Fingers’ takes you from hauntingly beautiful acoustics to pummeling guitars in a heartbeat. The pace continues with the guttural attack of ‘Cut and Hunt’, framed by sledge-hammer beats and blistering guitar parts. The magnificently proggy ‘At Graves End’ is next up, and it duly wraps its crawls around your ears to stunning effect. ‘The Promise’ is a blistering full frontal blast of Thrashcore, complete with a captivating interlude highlighting that DFDO can throw away the blueprint for any genre. ‘Dread’ further cements the bruisers place as real contenders as its amps up on the brutality, with deep growls that stem from the pits of hell. Finally, ‘In This Life Not The Next’ draws the record to a close as it displays the southern metalheads’ shrewd craft for shaping a gargantuan beast of a tune complete with thoughtful arrangements. This record will stomp its way through your cranium, leaving you with a sizable indent; Doomed From Day One will surely leave their mark.

DOOMED FROM DAY ONE LIVE: September with ‘Red Seas Fire’: 4th – South Sea Live, Sheffield*; 5th – Zombie Hut, Corby; 6th – Soundhouse, Leicester; 7th – Ivy Leaf, Sheerness; 8th – Intake Bar, Mansfield. October with ‘Fathoms’: 22nd – Scream Lounge, Croydon (EP Release show)**; 23rd – South Sea Live, Sheffield; 24th – The North Wales Inn, Rhyl; 25th – The Frog & Nightgown, Worksop; 26th – The Derby, Barrow In Furness.


*Without Red Seas Fire; **Without Fathoms.

 Doomed From Day One Cover Artwork

EMPEROR CHUNG debut album out Monday 14th October‏

Emperor Chung Online Promo Shot


Taking from the givings of past rock masters such as Queen and Thin Lizzy fused with modern classics such as Coheed & Cambria, Alter Bridge, Derbyshire five-some Emperor Chung are here to run rampant through the UK scene.
With a sound that boasts captivating vocals lines with infectious grooves and thunderous riffery separated by delectable dual-lead melodies, Emperor Chung are quickly making friends and have already garnered support from Scuzz TV and Team Rock Radio, as well as recently wooing crowds at this year’s Download Festival. The ascending quintet are also set to play the YNOT festival with The Darkness, Macmillanfest with Tesseract and more dates throughout the UK this Autumn and with the national launch of their self-titled album, out Monday 14th October, the band’s climb is infinite.
Hailing from Ilkeston in Derbyshire, and born at the tail end of 2011, all members of Emperor Chung previously served their time doing the rounds throughout the local scene. It wasn’t until they collectively formed Emperor Chung, that everything really started to click for the talented quintet. Intense gigging and rehearsals soon followed, and by the end of the year, the band had enough quality material to record their debut album. The rock crew will now release their debut self titled album this Autumn to a national audience, and it’s a real belter.
The record boots off with an explosive opener in the shape of ‘I Vow This Day’; already marked as a future single, the track is a powerful slab of alluring modern heavy rock that aptly opens proceedings. Next up, ‘To Bring Justice’ pitches Martin Jackson’s impressive vocal gymnastics against the dual-lead guitar melodies of Danny Beardsley and Richard Shaw. As the album moves on, the punchy riff assault of ‘My Next Foe’ showcases the band’s stout rhythm section as tub thumper Eddie Hodgkinson and Dan Hayes bond tightly, providing a colossal basis for the track’s soaring chorus to really shine. The weaving vigor and gritty ‘Pyramid’ is next, and it comes over you like an earth-shattering tidal wave. Their debut single ‘The Bloodline’ truly displays the band’s songwriting dexterity with its shifting dynamics and layered guitar lines that glide effortlessly with a killer refrain. While ‘Our Weaknesses’ takes the album forward with gargantuan riffs and luscious melodies, before ‘Free At Last’ closes the record with its captivating cadence and infectious refrain. From start to finish, Emperor Chung have crafted a truly engaging record that is enterprising, dynamic and jam-packed with killer hooks!
 Emperor Chung Cover Artwork

Pryapisme – Hyperblast Super Collider

Pryapisme - 1

Deliciously insane, that is all you need to know to be inspired to check out easily one of the most magnificent triumphs of the year. Hyperblast Super Collider from French avant-garde metallers Pryapisme, and I use that term loosely as truly who knows what to call their sound, Pryapisme is pure maniacal genius. It is a raging adventure which ignites every possible target from ear to heart as it heads straight for the soul with at times bewildering, often disorientating, and uncontrollably fascinating brilliance.

Hailing from Clermont-Ferrand, formed in 2000, and consisting of Nicolas Sénac (guitar, synths), Benjamin Bardiaux (keyboards), Goulwen Brager (bass, percussions, sax), Nils Cheville (guitar), and Stagnant Waters member Aymeric Thomas (drums, clarinet, machines) is about all that can be told about the band but then again it is all about the music which paints a thousand soundscapes, scenarios, and intrigues. Released via Apathia Records, Hyperblast Super Collider is the third release from the band, following Rococo Holocaust of 2010 and Tournoi des Legendes OST of earlier this year which was if I have put the clues together right the soundtrack to a NESBLOG documentary about 2012 EVO Super Street Fighter 2 Turbo Championship. Being new to the band I can only surmise their earlier releases are as frenetically inventive and schizophrenic as their new album but taking the evidence of Hyperblast Super Collider as bait they will be dived into soon enough to find out.

The first rule when listening to the predominately instrumental Hyperblast Super Collider is not to try and understand or interpret what Artworkis going on and the intent of the band, instead just let it invade and parade its scintillating tempest of invention and diversity. That will organically bring bedlamic paintings and nightmarish treats to life in thoughts and imagination, each individual to every person and different on every excursion for the individual. Listening to opening track Un druide est giboyeux lorsqu’il se prend pour un neutrino alone you certainly raise an eyebrow to ask whether the band itself is fully in control of things and their direction such the expanse of sound and flavours rampaging around the psyche. The positive answer is soon given such the craft and unbridled organic innovativeness flowing through the song. Pumping urges and beats assault the ear first before joining up with a Dog Fashion Disco like romp of energy and psychotic mystique. It is an instantly addictive beckon which brews up a constantly shifting presence from fury clad intensity to sympathetic classically toned elegance and back again, but each side step and drop of the shoulder to swerve from expectations unique to all before. The track seduces and piles upon the senses from its eventful start through to the thrilling end, dragging the listener into a blaze of manic imagery within the senses exhausting crazed dance, though the only dancefloor able to cope with this track is one littered with reality challenged meshugahs.

The following Boudin blanc et blanc boudin tempts with a less imposing but equally energetic waltz of electronic and creative unhinging, the song quick stepping across the ear with the feet of a drug addled rodent, its touch light and skittish but constantly a blur of movement and voraciousness. Again there is a dementia to the imagination employed sending the passions on a cascade through a blistering fevered flame of invention building to a finale which would suit any Broadway show…if created and presented by the residents of an asylum.

Through the scratchy Nintendo start of Random Jean Vigo and into its warped gypsy punk tease and subsequent haunted nursery room shadows and disconnected but affiliated clockwork movements building into an life intimidating predation pleasure soars whilst its successor La notion de chiralité de spin et d’oscillation de saveur des particules supersymetriques definissant un champs scalaire lors d’une transition de conifold en cosmologie branaire dans un modele ekpyrotique, the song a mouthful within any jaw, just bring more potency and depth to the rapture already spewing forth for the magnificent lunacy. The second of the two plunders thoughts and hearts with an exotic eastern/ oriental swagger to its invigorating and again mysteriously contagious ride, the sax of Brager a sirenesque temptress in league with just as wanton and skilful bewitching from guitar, rhythms, and every element you could imagine from a riotously infused feast of brilliance. There is childlike quality to the tracks which calls out, not in their composition or presentation but in the ability to let the imagination and invention go wild but keep it within a cage of understanding and infection fuelled logic, even if it is a wacked logic.

The pair are soon out shone by Lesbian bordello, the piece a certifiable stomp of irresistible sultriness and again salacious wantonness with a dance impossible to refuse. There is a definite Cardiacs meets Gogol Bordello wind blowing through the boisterous schizoid treat and though debatably the song is the easiest to access and most straightforward on the album it still overflows with synapse fusing invention whilst pushing deeper the eclectic sound and feel of album and sound. The same applies to the brilliant J’ai envie de te claque, the track a walk through the shadows of night with noir lit atmospheric corners screaming out their insanity and unique worlds through evocative keys and beautifully taunting vision painting strings from guitar and bass.

The mesmeric rifling of the mind that is Cochenille, membrane et volcanology with its aberrant croon and narrative firing up crescendos of creative frenzy enslaves the passions again with impossible ease, whilst the Nintendo-esque delirium of Jon-bon-jon-boutros-boutros-boutros-bovi-miou-miou and the dramatic Je suis venu, j’ai vu, j’ai sangouinu, which sounds like it should be the sociopathic inspired theme to a sixties spy/private detective show or film, ensures there are no doubts to lay against the declaration that this is one of the major highlights of the year and should be stamped with classic in deeply entrenched letters.

Closing with La nuit sur le mont-chauvelu an exceptional interpretation of a piece by Russian composer Mussorgsky, Hyperblast Super Collider is a sonic berserker of pure genius and incredibly detailed and fluid invention. Seriously challenging for album of 2013 Pryapisme is quite simply our new aural lust, a cuckoo in the nest of existing greatness but one of beauty and non compos mentis splendour.


RingMaster 22/08/2013

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Bête Noire – Shut Your Mouth


Of course everyone has spent a moment to wonder what a merger between Joy Division, The Pixies, and Eighties Matchbox B-Line Disaster would sound like right? But ponder no longer as UK band Bête Noire brings you the answer with their debut release Shut Your Mouth. Unveiling much more than that trio of essences suggests, the two track single is a thrilling and potent introduction to a band which is almost as new itself as the release is to the world.

Hailing from London and consisting of vocalist David M Hargreaves, guitarists Danny Defalco and Billy Bloom, bassist Andrew G, and drummer James Whitfield, Bête Noire has been existence for around six months though listening to the songs you hear a maturity which leads one to believe their musical exploits could stretch back further. Taking influences from the likes of Chameleons, Magazine, Pixies, Stereo Lab, and Serge Gainsbourg, the quintet create a post punk stemmed sound soaked in dark shadows and chilled ambience but equally littered with hooks and deceptive melodies which only captivate in their worst moments and seduce at their heights. The single is a stirring marker for the band which though you could suggest right now their sound lacks a little originality you feel time and evolution will solve that minor ‘issue’.

Shut Your Mouth is the lead track and needs only the brief moment that it takes for the opening beats to be joined by the wonderful coversnarl bitten bass to secure full attention and draw a lick across the lips of the passions. As the steely jangle of the guitars coax in the excellent expressive vocals of Hargreaves the Joy Division vibe is instantaneous but only a strong flavour in a vibrant mix. Whilst the song wraps its cold engaging charms around the senses with flushes of warmth contradicting and elevating the core of the song through the hooks and sonic caresses, there is a feel of early Devoto led Buzzcocks peeping through and a noise rock shimmer bringing remote comparisons to bands like The Gaa Gaas and Engerica. It is an outstanding brew that issues distrust and persuasion with open hands whilst rising the temperature of the psyche and hunger into a greedy recipient.

Its companion Out and Proud is a similarly bred song but with more restraint in its deliberate prowl of the ear, the guitars crafting a sonic narrative to spark upon ear and thoughts whilst the bass kindly stalks their colour within a firm rhythmic frame. Once more the vocals tantalise with the great expressive delivery of Hargreaves coated in a hollow effect and pointing to Ian Curtis in likeness. With the bass offering throatier bait as the song progresses and the chorus providing the road to addictiveness, the song is like its predecessor a potently appealing and compelling encounter.

The single simply impresses from start to finish. It flows with such promise and enterprise that expectations of major things ahead from Bête Noire are already flourishing. Possibly it is too early to make such assumptions but as Shut Your Mouth holds the ear in its creative palms again, there is no betting against it.


RingMaster 22/08/2013


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Naked Lunch – Alone


Receiving the promo for the new single from Naked Lunch instantly raised a tingle as thoughts shot back to our first discovery of them through their appearance of the Some Bizarre compilation album from Mute Records way back in 1981 with the excellent Rabies single coming soon after. Returning after a 30 year break the band shows that maturity and time has not diminished their unique sense of and adventure within electronic music one iota. Alone is an evocative slice of haunting and provoking imagination drenched in the presence fans of the band remember and brought with a fresh and potent, almost destructive dark breath.

Formed in 1979 by vocalist Tony Mayo and guitarist Gary Shepherd as Sons of Perdition, though this name was changed to Naked Lunch after their debut gig, the band underwent a few changes in personnel as well as working out and delivering their sounds live. To condense their story, from a show alongside the likes of DAF, Cabaret Voltaire, Fad Gadget, B Movie, and Clock DVA organised by the band and Stevo, who Tony had DJ’ed with previously, the band undertook the Naked Lunch’s Electronic Indoctrination Tour in 1980 which included a show at Leeds Futurama, which was filmed and eventually broadcast on BBC2. Naked Lunch then set about helping Stevo find artists and recordings to make up the Some Bizarre album, to which the band itself contributed La Femme (a song originally called Le Femme but Phonogram who the Daniel Miller (The Normal) owned Mute released the album through, changed it to grammatically correct French, missing the point of the androgyny of the electronic music scene and that the song was about that). After a parting with Stevo, Naked Lunch became managed by Ramkup with the single Rabies backed by Slipping Again being released, though it suffered from a ban on day time radio play due to the title but did receive good play and support from the likes of John Peel and Nicky Horne on their night time shows. Line-up changes continued t before the band split in 1981 with Mayo retaining the name Naked Lunch, which he registered with Companies House in May 1981. A second version of the band emerged as a live thing until 1985 and though Mayo continued with Naked Lunch projects the band as such was a quiet presence.

2010 saw Mayo link up again with early member Paul Davies and writing new material, with Mick Clark and Cliff Chapman joining in 2011, both in the original line-up. Their first gig for over 30 years came at BAS II with the addition of Mark Irvine coming in early 2012 and Jet Noir linking up in June of this year.

Themed by “Isolation, Loss and Feeling Disconnected from Society”, Alone immediately unleashes a rich beckoning atmosphere upon the ear to dramatically mark the return of the band, its lingering caresses and expansive breath an evocative cloak around the vocals of Mayo, his tones understandably feeling older and authoritative. Keys and guitars bring suggestive hues to the air and thoughts whilst the excellent backing whispered vocal kisses of Black simultaneously chill and seduce the touch of the track. With a more than slight Fad Gadget essence and the vibrant light spots and melodic teasing holding a sense of Yello to their temptation, the song is a mesmeric blend of frosty intent and warm electronic persuasion.

The single is an absorbing pleasure which raises real appetite for future sounds and endeavours of the band. Naked Lunch is as strong and as impacting as ever and electronic music will only benefit from their return.


RingMaster 22/08/2013

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