Deathcrush – Skool’s In

deathcrush pic

As instantly impacting as a right hook to the jaw, Skool’s In from Norwegian band Deathcrush easily shows what the buzz covering the band right now is all about and proves it is more than justified. A seamless collage of sounds and invention brought with a primal growl and uncompromising hunger, the 12” debut from the Oslo trio is a scintillating and passion gripping tour-de-force, and one you only feel is scratching the surface of the band’s depths and future.

Released on the back of their limited flexi disc release within a double poster magazine, Skool’s In is a four track vinyl temptress which is devilishly seductive and mercilessly addictive, and again that is only the tip of the sonically and rhythmically carnivorous bewitchment. Since forming the threesome of vocalist/guitarist Linn Nystadnes, bassist/vocalist Åse Røyset, and vocalist/drummer Vidar Evensen has garnered potent acclaim and fanbase through their live performances across Norway, Europe and beyond with their thick and magnetic noise rock originality. Recording a bundle of songs with Billy Anderson (Swans, Melvins, Mr. Bungle) and Jørgen Træen (Datarock, Annie, Sondre Lerche), the band is with Skool’s In starting off a much anticipated series of singles, the first a mighty scintillating beginning it is.

Opening track Lesson #3 for Gina Kikoine / You Now takes no time to unleash a bass snarl which preys on the ear whilst the drums stalk a1169124254_2with their own teasing design. Across it the vocals of Nystadnes and Åse Røyset either alone or together enchant with charm and menace whilst the guitar splits and sculpts the air with flesh singing sonic narrative. It is a powerful insidiously sirenesque persuasion which brews an intensity and smothering embrace which defies escape and breeds addiction whilst the electronic teases and taunts only excite the senses further into greater lustful submission. Like a mix of Melt Banana, Spinnerette, and 4 Non Blondes, but not, the track is a blistering almost disorientating sabre swipe of noise rock with acidic pop infectiousness and an exceptional start to the EP.

The immediate pinnacle is soon followed and matched by Lesson #4 for Wharton Tiers / Strauss, a track which explores even darker intensive shadows and the sonic creative destructive depths of the band and their craft. The first soundscape of the song is an apocalyptic like burning corrosive flight which takes a breather for the vocal almost childlike kisses to sooth and strap the passions in before making another fall through a synapse scraping imagination poking tempest. Nor as easily accessible as its predecessor but completely equal in impacting strength, aggressive persuasion, and unbridled excellence, the song leaves no doubt to the extensive intent and expanse of the band’s sound and ideas. It helps pile on the rabid anticipation for future singles and releases, something which is just as easily fed by the next up track.

     Lesson #13 for Nanker Phelge / Fire was the song which featured on the flexi-disc and within such immense company stands as potent and unique as before whilst increasing further the band’s reputation and stature. A track which from the start stalks and prowls the senses providing ammunition for heart and mind whilst feeding the senses and emotions with a slow romp of ridiculously contagious sound and imagination, the track just traps and enslaves with its ear bracing synapse eroding guitar and bass crawl within a rhythmic herding of the passions. There is a post punk charm and punk voracity to the song which reminds a little of the Au Pairs and The Raincoats whilst the noise slicing of the atmosphere is Pixies/ Valentiine like, yet again these are slight references  to something unique to Deathcrush.

The outstanding release is completed by the Fire remix of the third song by James Njie. It is a pop /dancefloor igniting electro stomp with a breath of J-Pop to its mesmeric and irresistible dance. Still managing to retain an element of the carnivorous side of Deathcrush the track is a crystalline treat which makes us almost reassess our thoughts on the point of remixes.

Released via Norway Rat Records, Skool’s In is just magnificent, a raptor of brilliance within a noise and mental examination, and the undeniable debut of a band which is going to coax and command our attentions and passions for horizons to come.

http://www.deathcrush.no

10/10

RingMaster 07/10/2013

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Asomvel – Knuckle Duster

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Roaring at and bruising up the senses with a riot of belligerence and unkempt rock ‘n’ roll, Knuckle Duster the new album from UK band Asomvel is an uncompromising and thrilling storm of prime beef heavy metal. With a more than healthy throbbing vein of punk rock and Motorhead like bruising rock to it also, the album is a pungent blaze of sound and attitude which continues the impacting and sparking presence of the band since their first days and provides the year with a release which has no want to create new pastures for metal but is more than ready to churn up and reseed existing fields.

The band was formed in 1993 by guitarist Lenny Robinson and bassist/vocalist Jay-Jay Winter, with a line-up completed by ex-Cathedral/Acid Reign drummer Mark Wharton. The position behind the beats changed on numerous occasions in the earlier years before The Blood Eye demo was released in 2002. Establishing a strong reputation for their sound and live performances Asomvel released the To Hell with All the Rest Demo in 2005 and the Full Moon Dog EP two years later to strong responses and acclaim. It was debut album Kamikaze of 2009 which really set the metal underground and media on alert with its raucous presence and set a rigorous platform for the band ahead. Within a year though tragedy struck when Winter was killed in a road accident which understandably devastated the band. Determined to continue with the spirit and presence of Winter still part of the band, Robinson took time to find a musician to not only match what the frontman brought and intended for the band, but to continue his attitude. It was with the finding and addition of ex-Deathwing bassist/vocalist Conan that the band came back to full life, Asomvel soon after headlining their own inaugural Full Moon Dog Festival in Bradford in 2011 in honour of Winter; the event also seeing the stage thriving with the likes of Carcass, Anvil, and Orange Goblin. Following the Stare at Death & Spit EP of the same year and the split release Vol. 1 of last year, the band with drummer Jason Hope surge back with the Bad Omen Records released Knuckle Duster and it is a fluid continuation of the last album and sound.

Produced by James Atkinson (frontman of Leeds rockers Gentleman’s Pistols), Knuckle Duster flies at the ear with opener Dead Set on Asomvel Knuckle Duster cover loLivin’, drums and bass making an instant rapacious charge around and through the ears whilst the guitar scorches their surface with sonic causticity. The vocals of Conan snarl and growl with a throaty rasp which you could easily mistake for Winter without prior knowledge, to again cement that feeling of the band around the time of Kamikaze though there is also an air of the now in the venom and inciting breath of the track, and subsequently album. With a raw edge suggesting the release was recorded live in the studio and an unpolished touch which only ignites the instinctive appetite for dirty rock ‘n’ roll, the track makes a strong and magnetic  start to the album, its groove one which only eager submission is the order of the moment.

The following Cash Whore and Sheep in Wolf’s Clothing immediately take the impressive start and shift it up another adrenaline fuelled gear, the first of the two a carnivorous persuasion which grinds its way to the passions whilst tearing up the scenery with a blaze of hungry riffing and rhythmic barracking whilst its chorus is simply a primal torrent of pleasure giving dirt throwing excellence. The melodic flames of the guitar also send shards of addiction causing pleasure through to the heart to help sculpt one of the early pinnacles of the album. Its successor stands side by side with its swagger of blues bait and intensively contagious punk ‘n’ roll teases. There is a southern lilt to the hooks which only light greater attraction whilst the punk rock scythes of guitar and anthemic vocals add to a combination which leaves senses and passions with a great greedy hunger for more.

Both Thrash Talker and Waster settle down the climb of the release though each provides a provocation which continues the compelling draw of the album and the uncluttered, organic fire bred fury of sound. The pair again leaves appetite fully satisfied though its greed is ready to devour the insatiable thrashing surge of Shoot Ya Down and the groove carved Wrecking Ball with a grin on its voracious lips, a lust the songs feed but incite further. Like their predecessors the two encounters leave ears full of cutting riffs, commanding vocals, and a bass grizzle which especially on the second of the pair is as predacious as any offering this year.

From the outstanding title track, a song which glares at the listener eye to eye and challenges it to resist its irrepressible temptation, the album unleashes a closing ravaging of the senses with firstly the savage Final Hour. The track is a ferocious yet melodically grooved blaze of ridiculously infectious combative posturing which is backed up within a gulp of breath by the sizzling intimidation that is Strangehold, the drums of Hope a hypnotic conjuror and instigator of instinctive compliance so the riffs and vocals can cut and graze their punkish vitriol into the psyche.

     Hangman’s Rope closes up the album with a searing heavy metal finale though it is the one song which noticeably pales against the rest of the tempests upon Knuckle Duster. It is still a satisfying and easy to return to growl finishing off a powerhouse of honest to the ground rock ‘n’ roll which maybe is not offering anything new but provides a potently exciting bruising and thrilling confrontation. Asomvel are still one of the true joys of UK’s metal underground just now you sense they may get a much wider recognition.

http://www.asomvel.com/

8/10

RingMaster 07/10/2013

 

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Deathline – Every Dying Breath

photo Beki Cowey

photo Beki Cowey

    Taken from second album Nova which came out last year, London/Helsinki electronic rock duo Deathline release new single Every Dying Breath to once again stir up and bring a compelling caustic breath to air and senses. A blend of industrial rhythmic provocation, swarming dirty electronics, and post punk starkness veined with tender melodic tempting, the singles is a magnetic confrontation which without igniting burning fires in the passions stokes them up into a healthy hunger for the band’s invention and imagination.

Consisting of Jennie Werlemar (vocals/bass) and Kaoru Sato (guitar/programming), Deathline bring a reworked version of Every Dying 17628_10152039361214056_1908301005_nBreath coating it in a hazier almost suffocating atmosphere and acidic ambience. It is a creature which permeates every pour and thought whilst engaging them on a corrosive dance of enterprise and enchanting mystery. The opening call of the song is a close relation to Blondie’s Atomic, a whisper which never truly evaporates as the track wraps its causticity and temptation around the ear. The vocals of Werlemar are dark and sinisterly seductive complimenting the shadows of the track whilst the keys and guitar temper each other’s strengths to sculpt a union which pulls appetite and imagination deep and eagerly into the song’s textured depths. With elements of Artery and Jesus and Mary Chain also making their essences open within the psychedelia licked sonic soup, the song is a vibrant and enthralling lure which earns and offers stronger rewards with each journey within its stifling beauty.

Two remixes of the track follow to differing effects. The first is from Danish electronica duo holm/mirland and clears away the sonic smog of the original but loses the depth and crowding entrapment which works so well. It is a decent enough take but stripped down even with a more electronic punctuation, the track is merely a passing smile between the broad dark grin of the lead track and the riveting lip spread of the following Shaken Not Remixed version from The Dead Zoo. Again this track receives a clean-up but in its place a stringed embrace and orchestral wash fills the dramatic gaps left empty by its predecessor. With a Bond like breath and smouldering melodic heat the track is an immersive and absorbing flight which even makes a valid suasion on our less than eager thoughts on remixes.

The release closes with a demo version of The Death Line, the track a beguiling conspirator with shadows for an emotive, filth littered sonic waltz which leads the imagination into a fall within a noir narrative and aural isolation. It is a pleasing end to an equally satisfying and eventful release. Every Dying Breath is an attention grabbing riveting tempter for both Deathline and Nova for all new recruits and confirmation of the band’s qualities for existing fans.

https://www.facebook.com/theDeathline

7/10

RingMaster 07/10/2013

 

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Dirty Thrills – Growing Young EP

Dirty Thrills Online Promo Shot

The name of the band pretty much says all you need to know about the aural devilry which comes with Dirty Thrills and debut release, the Growing Young EP.  A four track slab of passionate, fiery rock ‘n’ roll, the release is an introduction which is impossible to ignore and equally as resilient to any resistance before its impressive sounds. Not an encounter to create new flames within fire bred and blues singed rock this is an EP which exploits the essences of classic flavours to simply create a raucous plaything for senses and passions to greedily devour and breed a real hunger for.

Dirty Thrills formed at the tail end of 20102 and were soon stirring up keen appetites around the city for their potent sounds with audiences. The London quartet of vocalist/guitarist Louis James, guitarist/vocalist Jack Fawdry, bassist Jamie Hopkins, and drummer/vocalist Stevo Corrigan now have their sights on the rest of the country with the Growing Young EP, a ripe and primed persuasion to ignite a wider hungry recognition.

As soon as the opening flames of Shivers course across the air you sense something flavoursome is about to unveil its riches and thoughDirty Thrills Cover Artwork it is a restrained fall into the track there is an immediate coaxing and pleasing of the ears with entwining strands of guitar enterprise and firm rhythms. They take their time to tease and tempt, soon assisted by the excellent vocals of James, and even once into its stride the song is still a laid back confrontation where all the instruments parade their individual persuasions in a contagious union. Like the EP as a whole, the track makes an instant allurement but also smoulders, getting stronger with subsequent strolls through its melodic magnetism and rhythmic beckoning.

The blues soaked temptress makes an impressive start which the following title track takes up another level. With a southern whisper to its spiralling sonic and melodic seduction the song brings ears and thoughts into its welcoming arms with ease, the bass of Hopkins adding the right depth of shadow and emotive suggestion to back up the again great vocals of James backed by Fawdry. Familiarity as with all the songs is open on the track though you can feel numerous inspirations rather than just a singular seed which allows the proposition to take on its own character ultimately, and with a more evocative and gentler stomp to its gait the track becomes a simmering cauldron of imaginative and expressive fire which certainly lingers.

Drunk Words is a sultry ballad of a song, vocals taking the ear by the emotional scruff of the neck to open up the narrative whilst the band light the fuse to a sizzling atmosphere of blues seeping caresses which the guitar of Fawdry veins and twists around with acidic excellence as the bass walks with a moody dramatic enticement. The weakest of the three songs, due to their striking qualities, but arguably the most inventive, the song takes time to enslave the senses and thoughts but eventually emerges as a lingering and deeply welcome presence time and time again.

The closing You’re in Trouble Now returns to stomping the dust clad liquor soaked blues hall dancefloor, its deliberate rein on explosive tendencies drawing in the appetite deeper whilst its slowly burning textures gather to expel a furnace hot flame of sonic invention through the solo and fiery vocals which in turn spark and brew up a rapacious wash which fires up the senses further. Again just missing on the heights of the first pair of songs but leaving a memory holding taste in its wake, the track makes a very pleasing conclusion to an impressively creative and impacting release.

With hopes and expectations that Dirty Thrills develop an even more distinct voice to explore their and our depths, the Growing Young EP gives the band a powerful opening base with promise and anticipation of major things ahead.

www.facebook.com/DirtyThrills

8/10

RingMaster 07/10/2013

Copyright RingMaster: MyFreeCopyright

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