Mucho Tapioca – Self Titled

The self-titled album from French band Mucho Tapioca is one of those treats where you are never quite sure what is going on but enjoying every thrill of the investigation and the imaginative thoughts it inspires and makes suggestive gestures with. The eight track release is a schizophrenic maze of progressive and avant-garde rock with just as vibrant and eager jazz, psyche, and experimental tendencies. It is a delicious adventure which leaves you mystified, fulfilled, and with an appetite for much more of the band’s seductive mania. Imagine a mix of Mr Bungle, or other Mike Patton exploits, with 6:33, Pryapisme, and System Of A Down, then you get an idea what is going on upon the album; add extra spice from Dog Fashion Disco or Diablo Swing Orchestra to the blend and you get closer again but still only scratch the surface of what is uniquely Mucho Tapioca.

Hailing from Toulouse/Tarbes area of France, the band hits you right away with the packaging of their CD version of the album. With nostalgic imagery and recipe providing its art on the outside wrapping and each disc containing one of the two “comic-booklets” inside with artwork from Matthieu Andro, ours contained the desperado tale of La Venganza whilst the other possibility is Scrabble au Coin du Feu Chez Baba Yaga, the first positive impressions are soon confirmed and take to higher plateaus with opening track Parano Yack. The song is an instant swagger through the ear with guitar and bass teasing coaxing the ears into its sultry dance. Voice effected vocals equally flirt at the start whilst the song shuffles itself into position before unveiling its continually twisting and evolving drama and unpredictability. Stomping with and questioning the imagination from second to second, the track is a feast of magnetic invention and psychotic mischief, a devilment which goes within a breath from caressing and kissing the senses to tearing a strip of their flesh off and chewing it boldly before their eyes.

The following Cherche le Fusil! walks in with a jazz seeded strut to its confident stroll, the vocals testing the ear from within the brewed elegance with a devilry and intent to leave thoughts wrong footed. They are successful as is the sound in the same endeavour but simultaneously it all mesmerises and ignites a fire in the passions to leave a big grin on every surface of the listener from face through to heart. Undoubtedly Mucho Tapioca’s sound like those references we mentioned earlier is not for everyone but taking the previous comparisons as a marker if they appeal this album will have juices dripping.

Both Scrabble au Coin du Feu and Soirée Diapos continue the total persuasion already rampaging from within the album, the first with a throaty resonating bass croon to its sound and atmosphere which with a dark jazz character creates an intrigue of sinister provocation and dramatic shadow clad exploits. There is a bedlamic tone to its invention too which only sparks greater enjoyment and thoughts whilst its successor takes that insanity onto open territory with a kinetically fuelled bewilderment of rhythmic concussion and enchanting jazz crafted ambience speared by tempests of unbridled sonic madness. Reminding at times of eighties band Essential Logic through its brass temptation, it like the whole album feels like the crazed soundtrack to the cartoon Oggy and The Cockroaches, and provides another outstanding incitement for mind and soul.

The moody breath of Malhabile Lama makes an evocative wrap for the great clean passionate vocals opening up the song, rhythms and percussion on the brink of psychotic revelry whilst guitars and bass shape their individual claims on the ear and beyond with craft and magnetic enterprise. Increasing its intensity and pulse rate the further into its inner turmoil it ventures, the track is a slow burning joy with gets better with each encounter whilst the next up La Venganza is straight at the ear and emotions with its jazz funk twist and sultry sax sex matched by the guitar and its loose aural desires. The track is a thrilling hypnotic scat with the drums the puppeteer and ringleader to the tango of scurrying and sizzling synapse firing rodent like ingenuity, its charms and toxicity burrowing unseen into the lustful passions.

     Chez Baba Yaga is another which at first approach is pleasing if not as openly persuasive as other tracks but all the time it is working away with its noir enticing and shadows mastery to seize the listener into its frantic meshuga. It burns a stronger attraction with each taking of its emotive bughouse and makes a stirring appetiser for the final declaration of the album, Méchant Chameau. The track is also a smouldering inducement which takes time but leaves no doubt of its potency and excitingly baited trap. Arguably the most complex track on the album, though no song comes with simplicity as its driver, it completes one oddball and compulsively irresistible crossing of thoughts and imagination, a meeting which is sheer joy and the trigger to a real hunger for more from Mucho Tapioca.

https://www.facebook.com/muchotapiocafanpage

http://muchotapioca.bandcamp.com/

10/10

Upcoming shows:

Oct 30 L’Ubu, Perpignan, France

Oct 31 La Pleine Lune, Montpellier, France

Nov 02 Le Pakebot, Chadron, France

RingMaster 03/10/2013

 

Copyright RingMaster: MyFreeCopyright

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

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Type V Blood – Beastkiller

As virulently contagious and destructively merciless as you could wish for, Beastkiller the new album from Russian industrial metallers Type V Blood is a confrontation which ignites and accelerates the heart of the dancefloor before turning it into an apocalyptic wasteland of sonically drenched carnage and delicious rhythmic mayhem. The release is an insatiable thumping on the heart of industrial seeded imagination, its power thrusting a fresh pulse and life into a greedy expectant genre. At times unique and in other moments wearing well used electronic armour, the album is a feast which is impossible to resist, a provocateur that leaves a breathless and rapturous satisfaction in its feisty wake.

Formed in 1999, the Konigsberg duo of Star (vocals) and Smith (guitar, programming, backing vocals) merged a core of industrial metal with black and death essences whilst infusing that with a flush of varied electronic incitement. Their sound took little time in awakening local support and ardour whilst debut album Dead Generation 77 successfully built upon the strong responses from earlier tracks and demos. Second album V.E.G.A. World Top 8 followed in 2004 but soon after the band came to an end, or as it turns out with its return four years later a hiatus of sorts. A trio of albums in Astra (2009), Warld (2011), and Penta (2012) followed as the band came back in strength and began evolving their intent and sound across the releases. The new, like its predecessor, Artificial Sun released Beastkiller sees the band moving away from the electronic core of previous records to explore and bring to the fore their metal flavoured roots. The result is an album which churns up and gnaws on the senses whilst leading the passions and imagination on a strength sapping dance of cantankerous electro animosity and seduction.

The deceptive opening teases of Eber Zzombie starts things off gently, cascades of electronic kisses sprinkling across the ear. It is a deceit as behind them lays in wait the carnivorous jaws of the guitars and a rhythmic lashing, all with a patience and predaciousness which is as intimidating as it is compelling. A mellow shift tempers the attack midway and even in its brief presence it almost throws things off balance but once the predatory instinct and intent is back the track again resumes its impressive introduction. After falling beneath the potent assault of the whole album the song in hindsight is a strong start but soon left in the shade of the rest of the release.

Rock The Dancefloor does exactly what it says on the tin though the title does not reveal the infectious brutality of rhythms used nor the hunger dripping from every enterprising note and thrust of sound. The track merges infectious melodic taunts and electro hooks into its swamp like thick atmosphere and overwhelming intensity which leads to the senses not knowing which way to turn but loving the hunt as explorer and prey. Its glory is soon lost in the haze as Shocksong marches militantly into view, its big heavy rhythmic boots stomping submission from the senses alone whilst the snarling vocal squalls and mutually venomous guitar riffs bring already awakened passions to their feet. Bestial at heart, the track pounds its beat across imagination and thoughts on the way to fully seducing the heart.

Both From The Heart To The Sun and Resistance tear off their chunk of the emotions next, the first with a voracious snarl to guitar and assault which is like being ravaged by 300 Spartans with sonic spears and industrially honed malevolence. Like its predecessor it stomps and prowls rather than going for the jugular but with the sapping aggrotech energy and intensive invention the result is the same, full submission. Its successor arguably has a lighter touch though it feels just as smothering and commanding whilst standing in front of its extremely busy and greedy presence. Like a maniacal puppeteer the track has limbs and passions indefensible before what is electro metal alchemy.

There is no let up from the album as first Awake storms the barricades with a tide of electro temptation split by blackened vitriol provided by shadow clasped sounds and serpentine vocals. Once again Type V Blood fuse extremes, light and dark forged into an epidemic of irresistibility which chews on the ear whilst stroking it into orgasmic bliss. Veined by catchy guitar hooks and melodic bait the song like so many on the release is the master of body and heart. Its triumph is thrust aside instantly by the rapacious Zero Tolerance, another song which twists and deceives throughout, its opening carnally wanting sonic narrative diving into a jazz funk swagger and enterprise with ease and then back again to continue the ravenous feasting upon the senses.

The diversity of the album continues in the brilliant wanton waltz of Sexyberia, a song with sultry flames and lascivious melodies which wrap tantalisingly around the listener as a blackened folk metal tasting romp runs up and down the temptation with eager rabidity and magnetic repetition. Like the album which leaves its strongest suasion to the second half of its bulk, the track is scintillating and breath stealing, open proof of the ever increasing strength of the release soon backed up by the final two songs. Right To Anger is a crunching weighty expanse of metal spawned corrosion whilst the outstanding closer New Nuclear World is electro punk at its most adversarial and inhospitable, a brilliant finale to a glorious tsunami of industrial metal and electro provocation.

Certain to please fans of the likes of Combichrist, KMFDM, Pitchshifter, Fear Factory, and Godflesh whilst simultaneously offering something unlike them all, Type V Blood and Beastkiller give industrial metal and music an addictive shot to the balls.

https://www.facebook.com/TypeVBlood

10/10

RingMaster 03/10/2013

Copyright RingMaster: MyFreeCopyright

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The Killer Inside Me – Rozdeniya Sverhnovoi EP

Having recently signed with GlobMetal Promotions, Russian progressive/djent band The Killer Inside Me have released their new EP Rozdeniya Sverhnovoi, a five track tempest which suggests this will not be the last time we hear of the band as they stretch their potency beyond the borders of their homeland. The release is an impressive and stirring encounter; one which at times is almost stifling such the enterprise thrust into songs but a provocation you can only breed a strong appetite for.

Created in August of last year by vocalist Daniel Tarasov and guitarist Andrey Koptelov, The Killer Inside Me soon had local fans eagerly responding to their creative blend. With bassist Mikhael Mishin and drummer Nikita Sokolyanskiy alongside the founding pair, the Orel hailing band make their strongest statement with Rozdeniya Sverhnovoi (The Birth Of A Supernova), a vibrant air manipulating attack of rivetingly crafted metallic fury and melodic weaves stretched over progressive invention.

Using the English translations of the Russian sung songs, the release opens with The Reference Point. An evocative piano welcome draws in the imagination with potent colour and drama and is soon given greater depth by the great throaty bass sound and whispering vocals which join it. It is a haunting embrace that explodes into a ferocious squall of fiercely carving riffs and rhythmic framing with equally fiery coarse vocals. Never losing its deeply hued ambience and poetic beauty throughout the intensity, the track makes an inviting lead into the following rage of Shadows. The new song takes a second to unleash its full turmoil vocally and through scything djent bred riffs and perpetually twisting and rolling rhythms. Immediately incendiary to air and emotions the song has a carnivorous appetite and attack, but it is one which is unafraid to embrace the progressive endeavour of the band to temper at times the savagery and allow a breath to be taken before the next avalanche of impressive rhythmic artillery and primal antagonism. Continuing the strong and enthralling start whilst promoting the stretch of imagination within the band’s songwriting, the track is a captivating full introduction soon matched by its successor.

     Phase Of The Eclipse has an almost folky mystique to its initial vocal and melodic story which settles seamlessly within the intensive maelstrom of corrosive and merciless creative ravaging. Unpredictable and thoroughly absorbing as well as an unbridled predation which leaves synapses singed and senses battered, the confrontation is almost too much to take in at once, though that is when the replay button  comes into its own, numerous flights through its storm revealing more depths and impressive twists and corners to the song.

Next up Andromeda opens with an impacting evocative union of elegant guitar temptation soon accompanied by the again enthralling bass sound and incitement. Left time to paint its picture the song eventually douses it in a torrent of abusive yet skilful and mesmeric metallic intrigue and danger whilst still allowing glimpses of the initial beauty to entwine its lure around the intensive persuasion. Featuring Eugene Verezhnikov from Kids Party Up, the track is another needing time to fully explore all its textures and enchantments but from an instant coaxing of the passions evolves into the best and most dramatically expert song on the release.

Completed by the title track, a song with a similar presence to its predecessor in structure but as all is distinct in sound and voice, Rozdeniya Sverhnovoi is a completely absorbing release. There are moments where it is so intensive that tracks lose their grip on the passions slightly though that extra time and focus re-attaches their hold ultimately. The Killer Inside Me is a band seeping promise and invention upon the EP and one destined to a very wide held strong reputation you suspect if they build on this excellent debut.

https://www.facebook.com/TheKimband

8/10

RingMaster 03/10/2013

Copyright RingMaster: MyFreeCopyright

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