Jesu – Everyday I Get Closer To The Light From Which I Came


     Everyday I Get Closer To The Light From Which I Came, the new album from Jesu has been over two years In the making, partly for the passionate intent and adventure explored upon it and equally for the creative vehicles band main man Justin K Broadrick has been involved with. As always the musician has been heavily engaged with numerous projects since the release of previous album Ascension, most notably with the reunion of Godflesh as well as masterminding remixes for the likes of Mogwai and Cult Of Luna. The new album reveals that Broadrick has been no slouch with his own solo project and its evolution though, the Avalanche released Everyday I Get Closer To The Light From Which I Came seemingly with a fresh appetite for the exploration of even darker intensive emotive depths but transferring that somber flight into a magnetically reassuring and potently hued closer to home provocation which initiates self-appraisal and reflective thought in experiences and shadowed corners of the psyche.

The dark adventure starts with Homesick, a rapaciously draining expanse soaked in melancholic intensity, where from within gnawing away behind the melodic temptation, riffs soak the ear and thoughts in drone spawned predation. It is an enthralling mix of raw yet measured rabidity and shoegaze mesmerism which intimidates and seduces simultaneously whilst its consuming breath ridden by the mellow coated vocals of Broadrick, permeates every pore of thought and imagination. As across the whole album there is plenty going on within the riveting textures and depths of the song; a wealth of open shadows and secretive light which unveil their presence with further ventures through the magnificent opener.

Comforter is a thick almost tempestuous flame of ethereal enslavement, though with hungry intensity and a snarling touch to its meditative brawl of warmth. Like its predecessor the track is an evolving exploration with a shifting emotional narrative and sirenesque presence, and at times as menacing within its smouldering discord wrapped ingenuity. The invention of the track is startling and in many ways such its uncompromising twists and ideas should not flow as magnificently and poetically as it does. As the track takes the mind deep into its provocative crevices the suggestion that this is the finest Jesu moment to date is loud and as the album continues to impress it is hard to raise much in the way of argument.

The moody resonating bass croon and metronomic beats which open up Everyday immediately seduce, a deepening of that hook secured with the post punk seeded guitar sonic colouring which adds its bewitching voice soon after to the wonderfully repetitive stroll of the rhythmic inducement. It is more of a stalking really which vocals and guitar taunt and skirt with their My Bloody Valentine/Joy Division like acidic beauty. It is a masterful entrapment for the passions with every hue and flavour of bait needed to solicit the imagination and ardour.

Exceeding seventeen minutes in length, The Great Leveller is an epic passage in its own right within the colossal emotional examination of Everyday I Get Closer To The Light From Which I Came. Also featuring the bewitching skills of Nicola Manzan who provides a powerful stringed narrative across what seems a close and personal exploration for Broadrick, the orchestral guided evocation of emotionally immersive tides is a breath-taking landscape and sludge entrenched journey which only rewards as in a sense it suffocates the mind and soul into deep thought and investigation. The song is arguably overlong though it feels like its presence is far less than it actually is, but that is down to personal reactions rather than the track labouring at any point, a preference which would have conversely preferred Homesick to have stayed around longer. The extensive track is ultimately a masterful experience, in craft and effect which only elevates the album to another exhausting plateau of satisfaction.

Closing with the entrancing yet menacing Grey Is The Colour, another irresistible search of thoughts and emotions, Everyday I Get Closer To The Light From Which I Came is a sensational encounter which only time and numerous travels fully reveals all its remarkable depths and incitement. Broadrick maybe be back with Godflesh to stir up the psyche but right now there is here a more eager appetite for Jesu.


RingMaster 23/09/2013

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Vom Fetisch der Unbeirrtheit – Vertilger


Extreme invention and imagination for extreme suffering might be the best way to describe Vertilger from experimental German duo Vom Fetisch der Unbeirrtheit, but that is just a chapter of the tale and experience which comes with its corrosively destructive adventure for the psyche. We have often said a release is not the easiest listen or experience to run with but this album might be the most uncomfortable yet, though throughout there is a siren call which demands attention and seduces thoughts breeding a startled appetite.

The follow-up to 2010 full-length Psychohygiene, the five track release cannot be viewed on one listen, nor 2 or 5 come to that; it needs an intensive time consuming investigation which even then for a great many will never emerge as a palatable proposition. Whether it ever entirely convinces is debatable but certainly there are aspects and moments within its brew of varied metallic and noise sculpted maliciousness which steals a hunger for the ingenious and frightening imagination offered. The promo accompanying the album talks of ‘the sexualization of the psychological trauma’, of the provocation of a fetish in the deeds and psyche of man, but to be truthful it was as confusing to thoughts as the sounds investigating them so to offer a fair or logical input to the theme’s impact on the release and lyrics which are sung in German is impossible. There is an open mania, a psychological bedlam across the music and songs which challenges preconceptions and the imagination though, and at times it has you wondering if maybe finding a passion for Vertilger can be equated to a ‘fetish’ at the end of the day.

The Temple of Torturous released album opens with Lachenvieh and immediately has thoughts and emotions running for cover, Vertilgerswarming riffs and scything sonic manipulation scuttling over and ravenously consuming the ear. There is a virulent aspect to the intrusion though, the guitars weaving a web of schizophrenic mastery which grips like aural velcro to the senses. Musically the perpetually evolving and twisting raw embrace of the invention is enthralling, bordering on hypnotic but that is soon tested by the vocals. It has to be said that after plenty of plays the delivery of the vocals, a fusion of desperate serpentine clad drama and Teutonic authority, still does not lie easy on the ear and for personal tastes the album with another style of vocal delivery or as an instrumental would have had greater success .  To be fair though they do add immensely to the deep searching intent and psychological mayhem conjured across the album which possibly with another vocalist would be lost.

The following twenty minute plus long Schabenbrut opens with a celestial spotting of the air before a bestial breath spews its malevolence across the magnetic expanse woven. The ‘enchanting’ start is soon lost in an industrial toxicity which scours the ear and beyond, laying waste to the earlier breath of the song soaking it in a caustic apocalyptic nightmare where needs and urges seem to steer the psyche. A tantalising yet brainwashing run of brief ever changing exhaustive sonic temptations employing everything from noise to jazz, heavy to avant-garde metal follows. The maze of sound is impossible to pin down but riveting though again the vocals temper the success of the confrontation but musically like its predecessor, the track is an insidious bewitchment which flirts with rapture.

Multiformale Leiberdimension is the best track on the album and arguably the most accessible which is maybe why it sneaks top honours. Another swarm of sonic provocation opens up its chilling embrace whilst a fearsome mechanical rhythmic stalking soon adds to the riveting beckoning. This time the vocals are spoken with an industrial effect offering a Rammstein like voice. It is a controlling cold authoritarian narrative which guides and directs the victim, suggesting control of one’s actions and intent is a false promise. The sounds are more restrained but again controlling, enslaving the body in a tight industrialised wrap which scores and smothers the senses whilst bringing a deceitful reassurance. It is a masterful provocation for the imagination and thoughts which other tracks also achieve at times but without the clarity, though to confuse and leave the mind lost in its own maelstrom is their remit.

Both Kadavermeer and Prothesensucht are extensive examinations of the listener’s sanity to complete the album, the first an eleven minute tempest which starts off with a comforting walk before falling into the hands of another mentally frazzling sonic and inventive pyre of sound and the other a near eighteen minute furnace of sound and passionate violence which finds addiction causing grooves and insatiable magnetic scorches of imaginable and ferocious adventure.

Vertilger through time has come to be a distasteful, deceitful friend who lures an appetite back time and time again, but you would not expect this to be the norm for everyone. Vom Fetisch der Unbeirrtheit is a band which shows no mercy or restraint though that is what ignites the passions ultimately. Vocals aside it is a demonic temptress of a release which should be approached with care and safety words, but should nevertheless be approached if brave enough.


RingMaster 23/09/2013

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The First – Take Courage


With 2010 debut album Swimming with Sharks, UK melodic rockers The First stirred up a fair bit of acclaim and support for their lively and potent sound, a strong reputation garnered as equally through their energetic and raucous live performances. The band now returns with new full-length release Take Courage, an album which builds on that very solid start with a clutch of fiery well-crafted songs. It is an encounter which will only enhance their status and fanbase even though in many ways what is impressively on offer is hardly breaking into new avenues of adventure and originality.

Hailing from Wisbech, Cambridgeshire, the quintet of vocalist Benny Salter, guitarists Tim Crane and Ben Knowles, bassist Adam Masters, and drummer Rob Knight instantly leap upon the ear through the thumping invitation of opener There’s No Place, a start which soon evolves into a riotous brawl upon the senses with rhythms cutting off all retreat and guitars taunting with sonic enterprise. The song soon settles into an adrenaline driven flight of intensive pop rock with a strong punk breath to its rapacious intent. With great vocals from Salter supported by the rest of the band and the guitars carving bright acidic designs around the continuing to challenge rhythms, the song is a richly satisfying if expected blaze.

The single from the album Take It Back launches at the listener next and immediately raises the stakes of the encounter. Riffs tower The First TC COVERabove their recipient with predatory expertise whilst the rhythms whip the ear with precise and venomous skill, both elements fused into the dramatic temptation of the song and then wrapped in the tight melodic invention and contagious grooves which fight for airspace within the brewed aggressive maelstrom. Each receives their clarity though and combine for an incendiary explosion of adventure and excellence which in hindsight actually makes the rest of Take Courage play under a slight anti-climactic cloud.

In saying that the likes of the explosive Dare I Say I Ruined Everything and the provocative Monster leave nothing less than full satisfaction in their wake, it is just that they lack that killer touch, the dramatic spark to ignite the passions and lingering memory for their persuasion. The second of the two offers a strong flame of guitar carved enterprise within a sinew clad presence which takes little time in securing the submission of feet and thoughts, whilst the continuing to impress vocals, singular and as a crowded narrative, are equally as pleasing and potent.

Through the title track with its stirring anthemic choruses and melodic spires leading to those pinnacles, and the feisty Shark Attack whose thumping start gets the senses and passions embroiled in an intent to stomp, though the song then teases by relaxing time and again between building up those fighting crescendos, the band continues to incite nothing less than full attention for a satisfied appetite whilst William which features guest Elissa Franceschi, lays down an emotive landscape which increases its hold and seduction further once both vocalists unite in an intense tonic of a finale.

Love Regret Forgive Forget provides the album with a final anthemic enslavement for the emotions, its muscular and intimidating rhythmic and guitar caging a platform for the vocals and the passion of the song to explore their individual textures and depths. As infectious as anything on the album and not far from the heights of Take It Back, the song still shows little to sets it apart from numerous other impressive and skilled artists, something which the album falls under too ultimately despite its very enjoyable presence.

The evocative ballad Tonight Tonight brings the Destroy Everything released album to a more than decent if pale end; the CD of the release also offering the bonus song Enough Is Never Enough which though crafted with care and imagination and is certainly pleasing is a shadow of what came before. Overall though Take Courage is a thoroughly enjoyable album, just not one which ignites enough triggers for the passions to fully engulf its creative offering.  Listening to the heart drenched songs though you can easily see why The First is raising such positive and eager responses with a sound which will appeal to fans of the likes of Deaf Havana, Mallory Knox, and Lower Than Atlantis with ease.


RingMaster 23/09/2013

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Megan Wyler – Through The Noise

Megan Wyler New_press_shot

Following on from her first two successful and acclaimed singles, London based indie folk artist Megan Wyler unveils the massive enchantment of Through The Noise, her debut album. Consisting of ten elegant and evocative caresses, the release is a musically absorbing and lyrically captivating kiss upon the senses and imagination. One which leaves feelings and thoughts alive and contemplating the suggestive and reflective power of the songs and their passionate presentation.

The Nowever Records released Through the Noise comes closely behind the singles The Fraying, which also received an eagerly consumed dark dance floor remix courtesy of electronic legend Matthew Herbert, and the album title track before it. Devoured keenly by fans and media, Wyler gained the prestigious ‘Artist of the Month’ slot on the world’s largest folk music website, Folk Radio as well as intense media coverage, which the album can only increase upon. Through The Noise like the singles was recorded with multi-instrumentalist producer Adem Ilhan. Contributing also to the playing and also the writer of The Fraying from the release, Ilhan brings a subtle and understanding production to the songs on the album which ignites their raw beauty and breath into an enthralling and magnetic presence upon the senses. It is an organic touch to heart bred instinctive music and lyrical embraces which only deepens their textures and success.

Opening song The Fool immediately enslaves the ear and thoughts, the golden tones of Wyler a fresh gentle breeze upon the emerging artworks-000053681367-cqatlp-t500x500guitar bred ambience with acoustic strokes to the fore. The atmosphere of the song tingles to the touch, spreading its seductive and rising intensity through the sirenesque harmonies which Wyler soars the sky of the song with. The track is a delicious introduction to the album, the sounds of a busy world and mind adding whispers within the ever growing transfixing cloud of sound and warmth which makes an eager invitation.

The immense start is instantly repeated through the title track, slow dramatic keys stirring the air with evocative prods before Wyler once again brings rays of vocal heat to the banjo and key designed sunset. The sultry climate of the song and an undefined familiarity to the track only adds to its allure and stunning effect. The smouldering persuasion of the single is elevated and intensified in Can’t Sleep, a lullaby of melodic and emotive seduction which again holds a recognisable yet impossible to pin down tonic for the passions. A slow wrap around the listener, the song is the fuse to another elevation of rapture and potency of the album.

Both Everyman and Know You Know take emotions and imagination on a fruitful stroll through provocative scenery, the first with a shadow toned lilt to the guitars and tantalising tangy enterprise to vocals and melodies whilst its successor is a sandy floored wander through an inspired personal narrative of reflection brought with melancholic grandeur by the strings of Vincent Sipprell and Emma Smith. Both are magnets to the senses if without finding the riches of ardour earlier songs reaped, though those depths are soon explored again by the stunning I’m Sorry. Double bass drama adds further emotional shadows to the melodic consumption of the ear, the song another with moments of clear familiarity whilst creating a scintillating web and wind of stimulating beauty; guitar and vocals the lead to a flame of creative magnificence and an emotional musical tempest.

From this point the album seems to lose some of its potency, though each subsequent track starting with The Fraying are certainly impressively crafted and impeccably presented before the continuing to be happily satisfied appetite. A duet between Wyler and Ilhan with an acoustic wrap, the track is an appealing incitement but lacks the spark of previous songs, which considering its acclaim and success as a single shows the heights of the album.

Drown and Kelebek also fall short of finding that trigger, the ignition for the passions to emulate what emerges as the stronger first half of the album. It is all down to the individual though, every listener undoubtedly going to discover personal favourites and preferences whilst agreeing that from start to finish each and every song is a tonic for the ear. Zither brings the album to a close, the song a final intense whisper for the heart cementing everything about the songwriting and Wyler which is poetically spellbinding and impressive. Through The Noise is quite simply a beautiful album, a smouldering sun to enhance and explore every day with charm and evocative vision.


RingMaster 23/09/2013

Copyright RingMaster: MyFreeCopyright

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