Kabul Golf Club

Florent Pevee

It is with heavy hearts that we pass on the news that Florent Pevee, singer/guitarist of Kabul Golf Club passed away on Friday 29th November.

A statement from the band says “We lost our dear friend and singer/guitarist Florent Pevee. Our thoughts are with his family. We will miss you brother.”

In tribute and memory of their closest friend the band have made the Le Bal Du Rat Mort EP available for free to all who send their postal address to the band at kabulgolfclub@gmail.com

 “We would like to keep his memory alive through his music. We will send a copy for free without any charges.”

 To see Florent and the band at their mighty best, KGC has also posted the video to Demon Days video @ http://www.youtube.com/watch?v=VyOxN65YB4g

Last words of the band… “Kabul Golf Club died with Florent on 29 November 2013.”

KGC3

 https://www.facebook.com/pages/Kabul-Golf-Club/157594060945110

The RingMaster Review  passes on its thoughts and condolences to the family of Florent and all the members of the Kabul Golf Club.

Carneia – All Tongues Of Babel

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With a snarl to every breath and an intensive predation to every note, All Tongues Of Babel is a sonic carnivore of the most ridiculously compelling kind. The second full-length from Belgian metallers Carneia, the album is a commanding, bordering on brutal, tempest of progressive rock adventure and metal fury reaping the essences of numerous other styles and flavours to forge a sound which prowls and subjugates the senses and imagination. It is a masterful and towering confrontation from a band which you suspect now stands on the lip of truly major things.

The new album is the successor to 2008 debut White Coma Light, the Offerandum Records released album a focus of widespread acclaim from fans and media alike which though it is our introduction to the band you can only expect it to build upon and take to new heights the reception for its impressive offering. Between albums the band has equally impressed live, sharing stages with the likes of Amenra, Cloon, Maudlin, Sardonis, Bulls on Parade, and Black Heart Rebellion, before settling down to create their new formidable juggernaut of aural exploration. Now consisting of guitarists Thomas Combes and Jille Vandromme (also of No more Faith), bassist Olivier Leerg, vocalist Jan Coudron (King Hiss, ex-Fenndango), and drummer Tom Vansteenkiste (Vermilion, No More Faith), the drums for the album though provided by Terence Gevaert, the band is poised to be on the end of some extensive and deserving attention, a just reward for an outstanding album.

All Tongues of Babel opens on an instant badgering of the ear as La Mala Hora approaches the listener by heavyweights riffs, a3333242331_2thick malevolent intensity, and a crisp rhythmic provocation which intimidates and seduces from its first breath. That lure only increases as a guitar taunts the ears with jagged cuts of sonic endeavour, its lone moment metallic bait ensuring the listener is heading into the predatory stalking of thoughts as Coudron opens up the narrative and his impressive pipes. The frontman has already shown his extensive strengths through the King Hiss EP Snakeskin earlier this year, and upon All Tongues Of Babel he only stretches his boundaries and potency to greater depths and heights. This track has a lot of common elements to the more rock based King Hiss but equally stands alone from most with its irresistible and anthemic blend of hard and grunge rock with groove and heavy metal, a progressive invention washing the slab of imagination to keep intrigue and surprises a torrential enticement. It is a stunning starter which continues to wrong foot and thrill across its eight minutes of evolving and bruising yet tender adventure.

The following Jerk is equally as contagious, another anthem bred storm of ingenuity sculpted by savage riffs and dramatic rhythms whilst again Coudron brings his grizzled and magnetic tones to bear with a squalling breath and unbridled passion, the man one of the very best vocalists in metal one would suggest right now. The track itself at times lurches between intent, sometimes lumbering with an oppressive weight and in other moments offering a more direct and antagonistic spite, but both sprung from the jaws of a predator which the song surely is.

Both The Box and The Alchemist ignite new waves of hunger for the album with their individual designs, the first a smouldering slowly dawning fire of a song, the throaty grinding prowl of the bass matched by the menacing heavy riffing which enslaves the senses for the sonic spirals of melodic imagination to sear their imprint across the sky of the song. Lifting its feet to a slightly more aggressive gait without losing the hypnotic repetitive bait of that bass persistence and similarly niggling riffing, the song winds its way deeper into thoughts and the passions with a breath-taking weave of sonic causticity and primal rock infection. Its successor is a raw bruising of a provocation, certainly vocally initially, whilst guitars and bass once more craft slavery out of incisive and underplayed riffing to which there is no escape. There is simplicity to many elements of the Carneia sound which seamlessly merges with their technical and inventive experimentation, both complimenting and driving the other side on, this track the perfect example; and especially appealing through that thoroughly irresistible bass sound.

Naked steers through stronger rock spawned waters, the emotive heart and pressure of the track not too far from the expressive passion of a Stone Temple Pilots or Gruntruck, though there is no lacking of that metallic rapaciousness either, the combination scintillating across its almost nine minutes of invention and expert temptation before making way for the brilliant Walk. An artillery of rhythms and riffs rifle through the ears and barrack the senses from start to finish here, again repetition a lethally addictive weapon in the mouthwatering premeditated and skilfully laid fury. It is hard to pick a best song on the album, all powder kegs of absorbing intrusive, but this certainly stakes a major claim but then so does the following title track and the closing Indifferent, as indeed all songs to be honest. The first of the two takes its time to ignite, the track seemingly sizing up its victim before launching an intensive yet respectful incendiary cloud of fiery rhythmic dynamics with matching riffs, both playing off each other organically as the song casts its spellbinding and intense exploration. Indifferent makes a creatively robust and emboldened finish to the release, though it is followed after a few breaths by a near on fifteen minute evolving ambient soundscape which just did not work or connect with thoughts.

Carneia is a band all should be veering rapidly over to for an investigation which will only reward, and though arguably a few of the tracks are overlong on All Tongues Of Babel, it is without doubt one of the year’s very best offerings.

https://www.facebook.com/carneiaband

9.5/10

RingMaster 05/12/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

The Toniks – Rise And Shine

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Listening to Rise And Shine the debut album from UK popsters The Toniks you cannot help at times thinking this is a band which has the misfortune to have missed their time slot in music history. Certainly they have a potent place in the now as their album shows but with songs ripe with sixties melodic and pop sensibility which sits easily within the pop mischief of Herman’s Hermits and the Englishness of The Kinks, and a new wave soaked infectiousness which is a close cousin to bands such as The Farmers Boys and Jim Jiminee, you can only imagine the Guildford quintet would have found a potent place those eras. In a never ending torrent of new and existing bands all fighting for attention, real and online, any band is in for a greater struggle than ever to just cross the gaze of fans though with Rise And Shine, The Toniks have given themselves a definite fighting chance.

The brainchild of vocalist/bassist Mark Taylor and guitarist Jez Parish, The Toniks has been making a solid ascent for quite a while now; their infection loaded pop songs gripping ears and emotions. With the current line-up of guitarist Tom Yates, drummer Colin Marshall, and Jessica English on keys alongside Taylor and Parish in place since last year, the band has continued to draw acclaim for their strong live performances, which recently has seen the band playing across Europe and in Canada. Since forming they have also gained support from the likes of Graham Dominy (Eurythmics, Razorlight, Imelda May) who provided them with free studio time after hearing their music. It has all added to a slow but potent rise which the album can only increase as it sweeps across greater numbers.

The band is no stranger to this site, The Toniks a constant on the playlist of shows from our associates Audioburger.com for the 1235338_10151581120132610_2076276580_npast few years. This meant that the album faced expectations but it is fair to say it pushed them aside to emerge an even more vibrant and irrepressible encounter than imagined. Produced by Dominy alongside Taylor and Parish and released on Smile Records, Rise And Shine goes straight for the feet and passions with its title track. The song is total contagion, from the moment the opening soar of harmonies and keys behind the mellow tones of Taylor stroke the ear it teases with a seducing wantonness which explodes into one of the catchiest tunes heard this year. Bred from the seeds of sixties pop, the song romps and strolls with a massive smile in its melodies kissed by brass spawned sunspots. The eighties reference is most apt and virulent right away as the starter has voice in league with its stomp and like the best pop songs, becomes an old friend within moments.

The following Won’t Let You Down is much the same in its individual character, guitars and keys coaxing the imagination as they craft hooks and melodies which sparkle as they tempt. The backing vocals of English along with Parish make a great compliment to the delivery of Taylor, her voices especially soothing and one hopefully the band employ more ahead. More restrained than its predecessor but still a catchy saunter to capture the imagination it easily continues the pleasing start as does next up You and I and Simple Things. Like the first pair they are songs very familiar to us but each finding a new freshness and energy to their suasion and presence through the new recordings and re-workings brought by the band for the album. You and I is a bouncy incitement of respectfully jabbing beats and cheery guitar swipes tempered by darker bass tones. It has a harder rock core to its bewitchment but one which submits to the inventive and sultry flumes of brass as well as the continually persuasive melodic weaves which lie around the addiction causing hooks. Its successor comes with a slower croon to its presence as well as a gentle caress vocally and musically. The bass stands potently to the fore of the song, its steady heavy presence seemingly given preference upon the song and actually works well adding variety to the simple but wholly effective melodic colour which engages the imagination and lures another belt of hard to resist involvement from the body.

After passing the charms of Weather quickly the album settles into a steady enticing with Figure It Out and Never Real, both songs a spark to fill the appetite further though a shade below the standards set. Going back to the first of these three, Weather is another ridiculously ear catching invitation to participate with and enjoy slice of pop which most will drool over but it has never found a place here, it one of those irritants which niggles though it is simply down to personal taste alone. Of the other two, the first builds from emotive keys and expressive vocals into a more than decent ballad which grows and expands as it plays out its narrative and the second a satisfying rock pop breeze, both providing healthy appetising treats to mull over and return to before making way for another highlight.

Secret’s Safe also hits the rockier depths of the band, a blues whisper to the guitars equally egging on the thumping rhythms and hard hitting vocals, though Taylor has a voice where snarls never rear their head to be honest. There is an essence of The Jam and The Motors to the energetic and rampant charge of the song, a pop punk quality which sets it to the top of the release, well until, after the thoroughly enjoyable and infectious There You Go, the outstanding Scapegoat steps forward. The scuzziest track on the album with a punk breeding to its creativity, the track is a riveting blaze of rock ‘n’ roll with all the contagiousness the band can conjure reaping the heat of the blues kissed guitar flames on top of barbed melodic hooks.  It is a magnificent track, The Tonik’s finest moment yet.

The closing Wonderful Then concludes the album with a classic pop song graced by mesmeric strings, the cello caresses especially delicious, and resourceful evocative keys behind stirring harmonies. It is a final reminder of the depths of the songwriting of Taylor and Parish and though you cannot talk of them in the same breath yet as Difford and Tilbrook there are some familiarities at times to the construct and melodic structures of songs.

Rise And Shine exceeded expectations to stand as one of the better real pop albums out this year. If The Toniks have yet to touch your ears their debut album is the perfect way to put that right.

http://www.thetoniks.com/

8.5/10

RingMaster 05/12/2013

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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Chronolyth – Sovereign

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An insatiable turbine standing eye to eye with its victims whilst forcing them to undergo an intensive sonic examination, Sovereign the debut album from Australian metallers Chronolyth is a heavy duty adrenaline attack on the senses and passions. Unleashing a tsunami of violent riffery and equally destructive rhythmic antagonism, the eleven track goliath is a bestial storm of melodic death and groove metal which thrusts the passions into an intensive cacophony of skilled and predacious savagery but one brought with thoughtful craft and hungry imagination. Whether the album from the Brisbane quintet is offering anything new can be debated but certainly what they do reward the ears with is captivating and riotous anthemic temptation which is impossible to refuse or leave alone.

Formed in 2011 by guitarist Alex Nisiriou and vocalist Hamish McSorley as Stigmartyr, the band soon changed the name due to copyright issues, whilst its initial sound took on a heavier rapacious entity as the line-up went through major changes, arriving at that of bassist Jimmy Barrett, guitarist Ben Constable, and drummer Michael Gee alongside McSorley and Nisiriou. First single Bitter Reflection was uncaged in the November of 2012, drawing acclaim and strong attention from not only their homeland but within Europe too. An Australian tour earlier this year as well as a successful appearance at the Ye Gods of Metal ‘13 Festival has furthered their stature but the release of Sovereign is the key you suspect to an elevation of awareness  for the powerhouse of a band. Recorded with producer/engineer Nik Carpenter and mastered by the legendary Zeuss, it is dominate evidence of an emerging fury we will be hearing a lot more of and placing greedy attention upon.

The album opens with a smouldering orchestral bred charm as The Heresy (Crucify Your God) drifts into view, its body calm Chronolyth - 'Sovereign' HQand elegant until ready. Once settled it explodes through a gateway of punching rhythms and sonic stroking from the guitars into a furious rampage of serpentine grooves and annihilistic riffery matched by the voracious drumming of Gee.  It is an uncompromising fury but one sculpted with a weave of irresistible sonic hooks and intensive enterprise which instantly ignites a raging hunger for its sound. As is proven across the album there is no breaking into brand new fields going on but simply a virulently contagious tearing up of existing fields and invention into something primal and all Chronolyth.

From the first track alone thoughts of the likes of In Flames, Lamb Of God, and Devildriver flirt with thoughts which remain across the album, only flavouring but a strong spice which does  Sovereign no harm but does add that essence of familiarity which challenges originality. Nevertheless as the next up I Am Wrath and Condemned In The Throes Of Remorse shows it cannot prevent Chronolyth igniting the ears and emotions with its destructive invention. The first of the two grips from its first breath, chewing the senses into submission with a blaze of intensive rabidity from sound and vocals raging over a crippling network of rhythmic venom. Its air is muggy; the squalling delivery of McSorley matched by the viscous energy of the guitars and their caustic sonic wash but with a twisted appetite guiding grooves and melodic fire, the track is an irresistible and riveting spite. Its successor is also fuelled with a voracity which leaves the listener breathless even if certainly on the surface it is a little too close in sound to its predecessor to stand out clearly, and a couple of times listening to the album the pair has merged without notice until the later part of the second. That is a small niggle about the album, a similarity between some tracks without a certain concentration but again nothing to diminish the pleasure of the confrontation.

The first of the major peaks comes next with Whips And The Scorns, the instant the rabid throaty tones of the bass courted by the rampaging drums hit the ears it triggers a surge in the passions, one which is rewarded as the track finds the darkest devilry and addiction forging invention to oppress the eager senses within. Grooves and melodic sculpting are the purest primal seduction as is the barbarous rhythmic exploit which veins it, the song a prize in rancorous metal alchemy.

    Bitter Reflection follows to keep the album at its new plateau, a melodic invitation erupting into another merciless acrimonious foraging of its recipients but one unafraid to let the guitars cast a sonic fire of skill and imagination from Nisiriou and Constable, a heavy metal inspiration colouring their resourceful tempting. Its heights are not quite found with the likes of Age Of Fear and Defiling The Soul though both continue to increase the powerful persuasion of the album as does latest single Behold The Tyrant’s Fall, it an absorbing meeting of aggression and beauty where the band almost reins in their hostility, well in certain moments anyway.

Sovereign’s finest moments bring up the rear to stand toe to toe with Whips And The Scorns for top honours, Fallen Saviour eventually stealing the award with its scintillating ferociousness and inventive hunger. From the shadows it launches an epidemic of exhausting energy and rhythmic pugnaciousness woven together by a delicious pestilence of grooves and sonic seducing. Vocals as always stand astride the diverse causticity, spewing out the narrative with passion and eagerly devoured inhospitable truculence. The song is a brutal incitement which takes the album that extra small step into being one of the year’s best, the icing on the mountainous cake assisted right after by Silent Eyes, the track a relentless provocateur which burns slower than most in the passions but evolves into another of the release’s biggest triumphs.

Completed by the title track, one final bait of perfectly designed irresistible violent frenzy, Sovereign is an outstanding debut from a band we are destined to hear and feel much more from. Chronolyth has yet to find that unique sound and design but when they do it is hard to see what will stop their rise to the frontline of metal dominance.

https://www.facebook.com/chronolythband

8.5/10

RingMaster 05/12/2013

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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Bitter Reflection (Music Video)

Aeolist – Self Titled EP

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Enveloped in a rapidly brewing buzz for their emerging presence and sound, UK progressive metallers Aeolist offers prime evidence as to why with their debut self-titled EP. A four track tempest of aggressive enterprise, malevolent invention, and incendiary imagination, the release not only captures attention, it enslaves it in a web of fiery intrigue and skilful sonic manipulation. The scary thing is that as impressive and thrilling as the promise soaked EP is, their sound still is not the finished article which makes the future releases, creativity, and horizons of the band mouth-watering.

A band still in its infancy, the Norwich quintet of vocalist Bradley Gallagher, guitarists Billy Phillips and Tom Ferguson, bassist Paul Willson, and drummer Toby Mills sculpt an exciting blend of technical and progressive metal with multiple flames from jazz to groove metal, blues to ambient rock, each track on their first release employing a potent mix which favours no particular style but embraces all. Aeolist has been compared to the likes of The Contortionist, Protest the Hero, and Between the Buried and Me by some, which is easy to understand as the EP uncages its ingenuity and though arguably the quartet of tracks are not exactly delivering anything ground breaking they all come with a unique breath belonging to the band.

With each song simply titled by rising roman numerals, the whole release is one immersive soundscape, each track though Aeolist.coverindividuals feeding into and inspiring the heart of the next. Equally the songs can be taken and are as effective alone but for the fullest intrusive pleasure the EP should be taken in one inciting mouthful for the fullest results. Opener I is an immediate creative fury upon the senses, riffs rampaging with unbridled lust matched by the rhythms whilst acidic sonic spirals from the guitars lash the air, all easily enticing an instant appetite for the encounter. The squalling caustic delivery of Gallagher vents exhaustingly from within the torrential consumption of ears and imagination and as the song steps into a slower evocative sonic drift, the band coaxes thoughts to add their own interpretation whilst the excellent bass sound from Willson and the roving rhythms of Mills craft an irresistible frame for the guitars to hang their inventive searing from. It is an impressive introduction to the release and Aeolist which continues to twist and writhe with passion and inventive voracity, every aspect and member conjuring an irrepressible and addictive adventure to unite in one scintillating opening.

The following II from its first breath carves out a predatory dark prowl and rabidity to its presence, one soon exploding into a savage confrontation littered with technical spite and temptation. A spreading of its intent and gait as in the first song ensures the track is a riveting exploit from start to finish and when it steps away from the hunt to bring a passage of jazz funk and grooved melodic wantonness into the journey, the song ignites another belt of hunger further accentuated when it returns to an even more bestial rapaciousness.

That unpredictable and skilfully blended ingenuity and richly textured flavouring makes as potent an impact in III. Again initial contact is a predacious onslaught, rhythms impossibly vindictive and guitars spiteful antagonists alongside the ever corrosive delivery of Gallagher. It is a thrilling tsunami of intensity and sound which as it progresses invites virulently addictive grooves and a wealth of continually shifting riffery, technical persuasion, and fearsome imagination to work on the ears, all drawing the listener towards the gentle yet haunted elegant finale of guitar which then bleeds into the final track. Though again it is a song which treats the listener to a landscape of passion fuelled, thought provoking creativity, the eleven minute IV impresses but fails to reap the same ardour and greed for its presence as its predecessors. There is a dark gloom to it and despite parading an evolving invention and weave of ideas feels dulled in comparison to the other songs and personally works better taken away from the EP. Despite that it still only adds to the cement confirming Aeolist as one highly promising and already impressive bands.

With the only other niggle being a lack of variety to the admittedly very good vocal attack of Gallagher, a diversity to match the sounds a future temptation we hope for, Aeolist’s debut EP is a masterful and potential soaked adventure. With you suspect a complete uniqueness waiting in the wings to truly set the band apart from those earlier mentioned, expect to find Aeolist forging some unforgettable alchemy ahead if their EP is any indication.

Get The Aeolist EP as a buy now name your price @ http://aeolist.bandcamp.com/

https://www.facebook.com/AeolistUK

8.5/10

RingMaster 05/12/2013