Kismet Ryding – Look.See.Don’t.Trip EP

Kismet rhyding puc

UK rock band Kismet Ryding is brewing up a nice little potent buzz for itself these days and their new Look.See.Don’t.Trip EP shows exactly why. Consisting of six thrilling and enterprising blends of sixties psychedelic flames and prime garage rock with more than a whisper of blues and Brit pop for extra flavour, the release is a vibrant declaration of a band on a determined rise, an ascent which you can only assume will be swift with the quality of their EP as reference.

Formed in 2009 and consisting of brothers Josh (guitar) and Tom Humphreys (bass), Mike Freeman (vocals), and Jazz White (drums), the Grimsby/Cleethorpes band has built a rich reputation for their live performances and through their very successful debut single, Hangin’. The release of Look.See.Don’t.Trip is their next blaze upon rock and has already see some of its tracks drawing eager attention and acclaim, which its full release will only expand and accelerate.

The release opens with the riotous Last Night’s Stains, a track which has already received intensive radio play, especially with the radio shows at www.audioburger.com. Bold rhythms and mutually tempting grooves open up the song before the fine vocals of Freeman play within the erupting fiery melodic haze of energy and guitar persuasion. Instantly the track has laid down a seductive toxicity which has feet and emotions joining its romp whilst voice is not slow in coming forward and joining the riotous chorus too. Persistently addictive and littered with craft and lively imagination, the outstanding song offers a feel of The Black Keys at times but as a mere whisper within a sound which manages to come over as familiar yet distinctive to Kismet Ryding.

The following Coming Up grazes the ear with a caustic but appealing wash of guitar before settling into a respectful gait for the vocals to lay down their introduction. It is not long before the rhythms of White create another impressive web of enticement within the raw yet balanced energy and sonic heat of the guitar and probing throat of the bass, both provided with expertise by the Humphreys boys. Having the unenviable task of succeeding the excellent opener was always going to be a tough order and though the song does not ignite the emotional fires inside it is a more than appetizing piece of rock ‘n’ roll matched by Good Good Way, a gentler track in presence but just as accomplished. Sounding a bit like The Loud, the song like its predecessor is an easy and pleasing companion even if that is all it rises to at the end of its enjoyable time.

From here Look.See.Don’t.Trip lifts off again to rival the starter and at times surpass its triumph. Most Famous is first up coaxing the ear with a melancholic suasion from the guitar and bass as Freeman brings extra emotive expression to the senses. Intensive melodic and sonic heat is never far away and soon licking vociferously at the ear whilst alternating with more tender weaves of imaginative caresses. The song is a striking smouldering composition, layers and sonic textures bleeding into and coaxing thoughts and passions to spark off of its feverish heart.

The title track is another insatiable and irresistible stomp, rhythms and riffs taking no for an answer as they wrench passions  to their feet to romp within its sixties dance hall agitation, feet and body also enlisted just as rabidly and hungrily. Just over two and a half minutes of energetic and frenzied glory, with guitars and drums especially scything the air with virulent contagion, the song is demanding to be acclaimed best song though the closing Hope and Glory has other ideas. Arguably the most resourceful and imaginative song on the EP, it shimmers with electric sultriness from the start before expanding into a full furnace of sonic adventure and rapacious passion. Riffs show restraint without losing hunger and rhythms cage the ear in another commanding but respectful wall of steel, their appealing core making a canvas for the guitars and vocals to create a sizzling psychedelic hued melodic painting. A stunning end to an equally terrific release, Look.See.Don’t.Trip is a release which you need in your ear and daily soundtrack. Kismet Ryding has something special going on, it would be rude not to join in.

https://www.facebook.com/KismetRydinguk

9/10

RingMaster 06/09/2013

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The Brains – The Monster Within

The_Brains_Press_Picture_2013

Room for one more on the list of Album Of The Year candidates?

It may be full already but there is always a place for albums as irresistible and explosively potent as The Monster Within, the latest album from Canadian rockers The Brains. Fusing insatiable encounters of psychobilly and horror punk with straight down the line rock ‘n’ roll, the fourteen track release is one determined and virulently contagious ride before which resistance is futile, especially if the genre ignites furnaces of fire deep inside like for us.

The Monster Within is the band’s sixth album and stands before the ear to prove once again that The Brains just continue to get better and musically they are full bodied like vintage wine with each passing record. The band has lit up every corner of the world through their breath-taking live performances, which haves seen them play with the likes of Mad Sin, The Offspring, The Reverend Horton Heat, The Real McKenzies, The Creepshow and many more, no continent safe from their epidemic toxin of sound, but it might just be that their new album is their finest moment yet. Released via Sailors Grave Records and Stomp Records in Canada, its towering presence can be best described as Rezurex meets Grumpynators with Volbeat, Calabrese, and Tiger Army adding their juices to the mix. What emerges is a sound and release which is truly distinctive to The Brains and an incendiary device for the heart.

The trio of vocalist/guitarist Renè De La Muerte, bassist Collin The Dead, and drummer Pat Cadaver do not hold anything back from the Press_Cover_01opening note of the first up title track. Energy and riffs are immediately enslaving the ear with relish and hunger as a storm of rockabilly and heavy rock, from which you almost expect Lemmy to step out of, absorb the senses with the outstanding tones of De La Muerte holding court. The music embraces him in powerful and melodic enterprise, everything feeding the awakened passions before them. It is a storming mix of light and dark wrapped in an infection to which escape is impossible from song and subsequently the album as it unleashes more individual but just the same addictive alchemy.

Give It All takes over with a slightly more restrained attack though no less lethal for resistance, its anthemic chorus and full on rhythmic temptation just one of its many lures. The varied and textured mix of sound and flavours across the album ensures that every moment is ridiculously compelling and this track is no exception, in fact one of the most intensively submission ripping triumphs.

A Stray Cats tonic sprays out as Misery unveils its frenetic dance within a blaze of vibrant melodic flames, a cage of frenetic rhythms trapping the passions in a state of ardour whilst the swagger which drives the track home only lights stronger rabidity for what is to come, something which the likes of The Damned and Bleed only encourage further with their devilish teasing. The first of the pair is a smouldering melodic caress hanging onto a rapidly coursing rhythmic and energetic gait whilst its successor lays down a trail of schizophrenic beats and riffs for the melodic breeze of vocals and guitar seduction to light deeper far reaching flames. There is a heat to the song which transports the imagination to climes where sweat on the brow is a given, the same result as achieved by the driving predation of the excellent Stay Back, its uncompromising rock ‘n’ roll passion igniting another anthemic union.

There is not one moment of weakness or a lull in the flow of the album’s quality and glory, the scintillating Electrik Shock with its underlying teasing Cajun twang and the demonically tempting Rest In Pieces with its venomous narrative simply sucking greater rapture from the heart whilst the glorious surf rock instrumental Cucaracha In Leather  finds a somewhat carnivorous fascination for the senses and imagination to work with. The track is a shoe-in for a Tarantino movie somewhere surely.

Suddenly the album seems to lose focus and control…yeah as if. Both Kill Kill and Suffering And Pain seize their moment to ravage and simultaneously exhilarate the ear, their different but kindred charge of rhythmic rapacity and melodic paintwork adding another unique gloss to the emotions. The first finds a low whisper of Eastern mystique to its body whilst the second strolls confidently with a wily enchantment of those ever persuasive vocal harmonies and twisted mischievous guitar invention.

Devil In Disguise and Lies combine to ensure the album does not leave until a visit to their blood drenched sinister hop is taken, their exceptional control of the listeners limbs, voice, and energy surely meaning they are on the most wanted list of perpetrators. They leave Rolling Down to mop up the sweat soaked floor with its melodic, almost pop like croon, though all it wants to do is dance which it does successfully with guitar and drums expanding on the bass led potent diablerie.

The Monster Within is just magnificent, an album with all the majesty to be looked at as one of the true rock ‘n’ roll classics. The Brains has just become the new lust for the site, come join us.

https://www.facebook.com/TheBrainsMTL

10/10

RingMaster 06/09/2013

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TeribalAnamal – Anamala

pic Taylor Trash

pic Taylor Trash

Steeped in and seeded from the early minimalistic days of post punk and new wave adventure, Anamala the debut EP from US band TeribalAnamal, is a rather tasty introduction to a band well worth keeping a close eye upon. Containing six uncluttered but resourcefully sculpted songs, the release is a tantalising provocateur which is simultaneously nostalgic and fresh to the ear, and one you find yourself drawn back to time and time again.

Formed around a year ago from the meeting of Stephanie ( guitar/vocals), Chalky (drums), and Ryan (bass/vocals), the Brooklyn band has swiftly built a fine reputation around NYC finding potent success and responses across the likes of the Trash Bar, Delancey, and Fontana’s Bar with their intensive gigging regime. Their sound is influenced by bands such as Siouxsie and The Banshees, The Cure, The Pixies, Joy Division, New Order, Sonic Youth, Teenage Jesus & the Jerks, The Cramps and more, which gives you a good hint of what to expect with Anamala, though it does not reveal all of its potency.

The deliciously throaty sound of the bass welcomes the ear first as Ice starts things off to soon be pierced by the howling vocal call of 74262-AnamalaStephanie. With the bass continuing to seduce the senses and thoughts whilst the guitar lays down a slightly caustic web, a Joy Division like haze invitingly wraps the ear whilst the vocals of Ryan add to the sinister embrace with his reservedly expressive tones. Not for what will be not the first time on the EP, the bass suggests Gang Of Four inspirations whilst the melodically hinting guitar makes loud suggestions of The Pixies. It is a richly persuasive opener sparking real appetite for what is to follow.

Mourning Dove also makes an irresistible entrance, a Bauhaus suggestiveness inciting the air before a rhythmic prowl which incessantly probes the senses seizes control of song and thoughts. Rhythmically and sonically the track reminds of Alien Sex Fiend also, though the vocals and guitar enterprise takes it to another unique persuasion. Though the guitar ‘solo’ is too sparse to flow fluidly it still adds extra incitement and pleasure to what is already an easy to devour slice of punk infested magnetism.

The next up Turkey is a fuller song with arguably more colours within its walls compared to its predecessors. It is an indie fuelled piece of songwriting and sound which shows the band can stretch their post punk into stronger diversity whilst still permeating it with hypnotic beats and virulent hooks, though it does seem a little pale in comparison to the previous track and its successor Garuda. The EP is one of those releases which could turn you into a rhythms whore, this track returning the release to another engagement rife with epidemically addictive drum bait and solicitously persistent bass bewitchment, though the two here are split by a wonderful almost elegant kiss of guitar. The Cure come to mind as the song settles into stride though again TeribalAnamal create something distinctive to their invigorating imagination. The song as much as it reminds of the band mentioned and whispers at others also has a sound bred of today; though as post punk seems to be a rich enticement to numerous emerging bands the whole release to be fair finds a current flavour. The only niggle with the track is that it seems to finish before being ready, not a sudden stop but feeling like it has had enough and wants to move on to its next invention.

That also applies with Ravenous though neither song suffers in the slightest. The track is a more concentrated almost predatory prowl of the ear, drums more restrained in its allurement but bass bringing a closet predation to its stalk. The dual vocals is beguiling in their still drone seeded delivery whilst the guitar skirts their call with exciting sonic flames, again with a rein on their full heat. It is another high even if it decides to go before we are ready to let it.

Flamingos closes off Anamala in fine style, a garage punk intensity and intent scrubbing across the ear as the song builds an anthemic lure which is impossible to refuse. It concludes an impressive introduction to a band with a wealth of promise which makes it hard to see them not forging a noticeable mark in sound and presence ahead. Already suggesting they alone have their creative sights on grander things post punk just might be making an even more dramatic comeback, fingers crossed.

www.facebook.com/teribalanamal

8.5/10

RingMaster 06/09/2013

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VallorcH – Neverfade

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    Neverfade is the debut album from seven strong Italian folk warriors VallorcH, a band which ignites the imagination and passions with their thrilling full-length landscape of muscular defiance and melodic festivities. It is not a release without a few issues but undoubtedly is one drenched in promise and most of all is a thoroughly enjoyable enterprise.

Formed in 2010 by guitarist Marco Munari, guitarist and provider of the vocal growls Matteo Patuelli, and drummer Massimo Benetazzo, VallorcH with the intent to merge death and traditional folk metal was soon expanded by the addition of Demetrio Rampin (bagpipes, whistles and accordion), Sara Tacchetto (vocals, bagpipes), Leonardo Dalla Via (scream and clean vocals, bass), and Francesco Salviato (violin) who before the album left the band to be replaced by Martina Mezzalira. May of last year saw the first release from the band in the well-received shape of the Stories of North EP consisting of five tracks, of which three are revisited on the album. That year also saw the band support the likes of Corvus Corax at Folk Festival in Piacenza swiftly followed by Fosch Fest in Bergamo where the septet opened for artists such as Trollfest, Negura Bunget, Kivimetsan Druidi and Folkstone. As September turned into view the band entered the studio to record Neverfade, with the opportunity to support Arkona on a date of their anniversary tour coming during the recording.

Released earlier this year by Moonlight Records, we always catch up eventually, Neverfade is a captivating encounter which leaves a book5mm_Pagina_01definite hunger and want for more from the band. It does not exactly set down new ventures and examples for folk metal but there is a vibrancy and adventure within the walls of the release and its songs that leave you seduced. It is not perfect by any means but offers plenty that more established and arguably eagerly received releases and artists have been lacking over the past couple of years. Researching for the review it is not hard to notice that a few are coming down hard on the band for coming from Italian and playing Celtic seeded music. As the album impresses it seems a truly trivial complaint, if something is skilled, openly accomplished, and created with passion, as well as sounding damn good as here, there really is no validity in that put down.

The album opens with the brief instrumental Night Fades…, an ok scene setting lead into the album and the excellent Voices Of North. Emerging from the sound of waves breaking upon shore, a guitar unveils a spiral of sonic temptation to heat up the air before being swiftly joined by eager rhythms, driving riffs, and melodic whispers. It is a steady canter straining at its leash to explode whilst being coaxed into greater intensity by the grizzled growls spraying malevolence across the air. It is the vocals of Tacchetto though which takes the lead, her tones instantly appealing if a little less controlled than they could be at times. With Patuelli stirring up the ear with his bear like animosity too it is a potent mix against the energetic melodic fire laying its narrative behind, accordion and whistles especially tantalising and the vocal harmonies later into the song simply delicious.

The very strong start is followed even more potently and impressively by Fialar which is led into view by the short burst of tempting revelry Join The Dance!, its seamless passing into the fourth track unnoticeable such their fluid kinship and union. A torrent of contagious rapacious riffing and rhythmic antagonism joins the party first, another dark and light merger of attention gripping craft, but soon shows restraint as Tacchetto with her finest moment on the album, begins her irresistible tale and delivery. The track switches musically and especially vocally throughout, the heavy scowls and nasty grunts breaking up the festival with the perfect shadows and intimidation. It is an outstanding and inventive song which steals the honours on the album with ease.

Both Endless Hunt and Sylvan Oath stand tall in their effort to match their predecessor, the first with a ravenous hunger to riffs and rhythms courted by entrancing melodic persuasion and all in the shadow of a compelling intensity whilst its successor is an inventive fury of heavy predacious menace. Neither manages to rival the previous song but both leave the appetite alive for more. The production of the second of the pair is not great either especially in regard to Tacchetto’s soprano soaring which is smothered into the background, as are other elements in the track.

The jovial and perky instrumental Störiele makes a refreshing aside for the album before Silence Oblivion steps forward to immediately impress with the excellent vocal union of Tacchetto and the clean tones of Dalla Via. It is a stunning mix which is not used enough on the album and hopefully will be explored more ahead, and as Patuelli riles the air also they make for an equally successful threesome before he dominates the prime attack from there on in, which does disappoints a little. The song is a commanding and provocative encounter which plays with brutality as much as it creates flames of melodic beauty. It is a great track which ebbs and flows a little in successful just missing out on classic status but when it works it is glorious.

Anguana and Leave A Whisper next make for satisfying companions, though both lack some of the spark and imagination to leave fires burning in the passions, whilst The End much like Silence Oblivion has as much to not get on with as it has to ignite ardour with. A marching rhythmic call to arms draws thoughts into its body with ease though the vocals of Tacchetto for once fail to hit the spot, her delivery at times flat and almost distant to the heart of the song. It is not a major problem though as musically the lure and hooks of the song, as well as its melodic toxin is virulent in its infectiousness and colourful persuasion, and the further it stomps into its length the track emerges as another of the bigger highlights on the album, especially its insidious hornet like stinging grooves.

With the more than decent …A New Light Rises completing the release, Neverfade is a richly pleasing album to revel and immerse within. Certainly not flawless as it shows that VallorcH has plenty of room to expand and explore within their creativity, the album is an exciting and appetising adventure to bring a fresh spark to folk metal and fans of the likes of Arkona, Finntroll, and Korpiklaani.

https://www.facebook.com/vallorch

8/10

RingMaster 06/09/2013

 

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