Whores – Clean EP


It is generally agreed that the Ruiner EP of 2011 was one exceptional introduction to its creators, a release which thrust US intensive noise rockers Whores straight into the centre of eager attention and marked them out as a band with the promise and armoury to become a possible tour-de-force to come. Their new release, the Clean EP not only confirms those early suspicions and expectations but in many ways blows its impressive predecessor out of the water whilst still declaring there is still plenty more to come from within the Atlanta trio. It is an unrelenting juggernaut of power and invention, a brute before which the passions soon fall to gleefully bask in the merciless ravaging triumph it unleashes.

Formed in 2010 Whores took little time in igniting the energies and hunger of fans locally with their rapacious heavyweight blend of aural provocation which plays like a voracious mix of Helmet, Jesus Lizard, Melvins, and UK band The St Pierre Snake Invasion. Their Brutal Panda Records released debut soon placed the band before worldwide awareness, its ferocious no hold barred invention an undoubted gripping entrance. With acclaim and success breeding around the band for that release and their live performances which has found the band alongside the likes of Torche, Kylesa, The Atlas Moth, Royal Thunder and many more, Whores now unleash their sophomore attack and quite simply the Ryan Boesch (Melvins, Helmet, Tomahawk, Fu Manchu) recorded Clean is the band taking another major step forward.

Again unleashed via Brutal Panda, the EP immediately stands snarling at the ears with the guitar opening of Baby Bird. The riffs of 1006024_605198922834746_308244883_nChristian Lembach are a cantankerous rub soon joined by the earthy bass growl of Jake Shultz, its throaty prowl instantly irresistible alongside the swinging thumping rhythmic assault of Travis Owen. It is a potent combination which takes on another guise and toxicity when Lembach restrains his fingers to let his vocals impressively swagger across the now primarily rhythm cast crowding of the senses. The track is an evolving, exhilarating contagious brawl of punk predation and riff clad incitement which feeds the senses as well as the already brewed hunger to the fullest enterprising meal of nose rock.

The immense start is continued through Last Looks, another track with a carnal breath to its bass and sonic endeavour and an antagonistic ingenuity to its invention. Vocals and guitar provide a rapacious presence which crawls over and permeates the psyche with intimidation, though it withholds any violent intent to make a seductive caustic embrace rather than a vicious assault upon the senses. Like its predecessor there is a rampant imagination to the track and a craft which elevates every lure and idea to another potent depth whilst its infectiousness defies any refusal from thoughts and passions.

      I Am Not A Goal-Oriented Person from its first seconds is a stalking temptation, the bass a cantankerous reptile coring the tempest whilst the sonic web of guitar and aligned riff rabidity oppresses the ear with a deliciously magnetic sonic squall of adventure and senses ravishing toxicity. Without quite matching the previous tracks, the song still easily feeds the awoken keen appetite for Clean which its successor, Cougars, Not Kittens equally matches and inspires a little more greed from. Verging on psychotic in its early sonic breath and exhaustingly expressive vocals, the track unfolds a groove which winds pleasingly around the ears before the heavy tempestuous doomy aspect of its heart takes the brief and impacting slab of muscle to a pungently intensive conclusion.

Next up Blue Blood lumbers through the ear with a sludge rock texture to its virulent bait, a heady full on weight which across the leviathan of a song steps aside for rivetingly addictive restrained garage punk spawned teases and lures where vocals and slowly chugging riffs play over an awaiting rhythmic confrontation. It is a masterful animalistic hunt sculpted with invention and epidemically enthralling mastery, a mix of Queens Of The Stone Age and Mclusky honed into an imaginative sonic scourge.

     I Am An Amateur At Everything completes the EP with a fire of sonic infiltration and rhythmic badgering, both aspects driven brilliantly by the ever compelling vocals and equally dramatic and corrosive bass marauding. It is a song which manages to be immediately addictive and also a smouldering slow burning entrapment of the passions to thrillingly close out an outstanding and aggressively intoxicating feast of noise. Skewering the passions with every barb on every hook offered whilst ensuring that anticipation for future releases from Whores will be impatient and rabid, Clean is one of the highlights of the year and another declaration of just how major Whores is destined to be.



RingMaster 28/10/2013

Copyright RingMaster: MyFreeCopyright

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Ann Scott – Venus To The Sky


Wrapped in the warm and mesmeric tones of Irish singer songwriter Ann Scott from within songs which equally transfix with seductive elegance and smouldering beauty upon her latest release, it is very easy to see why the artist has been richly acclaimed in her homeland and beyond. Her new album Venus To The Sky is a magnetic persuasion, one which toys with and evokes the imagination into exploring self-reflective climes as well as those offered from inside the ten track evocation. It is a masterful release which has attention and emotions lit from start to finish, and appetite for the darkly sirenesque charms of Scott dipped in hunger.

From her well-received debut album Poor Horse, Dubliner Scott has been no stranger to acclaim as she forged a position of being one of the Ireland’s most creative and unique emerging artists. Her blend of folk and indie pop imagination has seen her twice nominated in the best female category for the Irish Meteor Awards and the albums We’re Smiling and Flo garnering her an ever increasing and potent critical acclaim and greedily growing fan base. Live she has also earned a striking reputation, the sharing of stages with the likes of Patti Smith, Howe Gelb, and Fairport Convention whilst her collaborative projects and touring duties with a great many has only increased her stature. Fourth album Venus To The Sky finds Scott fronting a full band and stepping in to even greater pastures of shadowed aural dreamlike textures and lyrical adventure. Co-produced with Karl Odlum and with a line-up of Dave Hingerty, Kim Porcelli, Katherine Atkinson, Gemma Hayes, and Katell Keineg helping bring her songs into compelling realisation, the album makes a thrilling persuasion which plays within the realms of riveting to irresistible with every breath it takes.

The song Hoola opens up the release with bewitching guitar crafted ambience and a slowly beckoning melodic invitation. It is instantly a Ann-Scotthaunting lure to which attention is inevitable and full focus given once the vocals of Scott enter to caress the ears. Her voice is a smooth and mouth-watering melodic flame but one which is emphasised even more in other tracks as having keen adventure to its invention like her music. With repetition a contagious air to a harmonically droning enchantment the track is an enthralling start for the album one which is lifted another level by the following You To Me. A lone guitar strokes the ears first before soon being joined by Scott, her voice finding an organic texture which is as honest as the narrative it portrays. With restrained military rhythmic juggling skirting the vocals and guitar, there is an undefined familiarity about the song which adds to its instant appeal whilst the building spires of rock bred emotive and intensive melodic fire only provides a stronger pleasure to eagerly enjoy.

Both Unite and Stripes offer their individual temptations to continue the grip of the album. The first has an atmospheric embrace and impacting emotional wash which reminds of the A Forest era of The Cure. Aligned to the vocals which play like a mix of Tanya Donelly and Dolores O’Riordan, the song again pushes levels to be backed firmly by its successor, the track a melodic flight with a plumage of melancholic strings and harmonic grace which dances tenderly with the senses whilst coaxing the imagination into a delicious seduction.

The opening bass sway of Joy again reminds of The Cure in many ways, its throaty respect the major vein to a weave of emerging poignant stimulation which again hold senses and thoughts tightly. Like the album it is fair to say it is a bit of a slow burner, more textures and shadows being discovered the more company you allow it with greater awards given in return. It is the same with the sultry simmer of Coming Up and the slow winding kisses of For The First Time, the two songs offering a mesmeric contact which is only a tip of their depths and need time to immerse within, something easy to do such the initial arousing allurement they tease with.

Solemn is another track which took time to fully persuade, its country laced folk bait not immediately convincing for personal tastes but the song evolving from there, whilst still employing that spice, into a wholly enticing encounter with guitars and vocals especially beguiling. There is no need to wait for the glory of next up All About Love to engulf ears and passions. The song is a magnificent slice of enchanted pop, its golden breeze of melodic wonder a breath-stealing sunset of craft and ingenious enterprise which seduces the emotions into an evocative frenzy of pop alchemy. It is easily the best moment on the album in an expanse of only impressive songs and alone shows why Scott is thought of as one of the most exciting emerging artists.

Completed by the celestial dream cast fascination of Stars, the song a final enchantment, Venus To The Sky is a full bodied temptress which leaves only intensive pleasure in its wake. Though the album never explodes into the fire it sometimes suggests is waiting, Ann Scott leaves satisfaction full to the brim with songs which tell the most arresting stories lyrically and musically.



RingMaster 28/10/2013

Copyright RingMaster: MyFreeCopyright

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