Cross Wires – Assembly EP

Cross Wires

     Hankering for a slice of post punk infused new wave with that irrepressible eighties originality? Then a healthy purchase of the exploration of the new Cross Wires EP is your next mission in life.  Assembly is a riotous stomp of energetic imagination and deliciously niggling invention, a quartet of songs bred in the birth of those genres but equally ripe with a modern psyche stirring mischief. It teases, taunts, and romps with the senses like a discord draped devil child to quite easily and unrelentingly stir up the passions.

     Hailing from Bethnal Green and Romford in the UK, the foursome of vocalist Jonathan Chapman, guitarist Peter Muller, bassist Pete Letch, and drummer Ian Clarke has been sculpting an impressive reputation for their sound and live performances since their debut at The Others in Stoke Newington in late 2010; subsequently playing across the capital and home county Essex at notable venues including the Camden Barfly, Sebright Arms, Queen of Hoxton, 93 Feet East, The Half Moon, and Hoxton Underbelly. Two EPs, Forward/Repeat and Animal Heat announced the band to a wider audience in 2011 whilst a third, Dark Water, the following year only helped cement and accelerate their emerging presence which the outstanding Assembly will surely add another enthusiastic gear to.

    Cross Wires bring inspirations from the likes of Buzzcocks, The Clash, The Cure, Gang Of Four, and Wire into their own coverinventive devilry as well as that of XTC whose song on the White Noise album, the band named themselves after. To be honest anyone reaping the influences of one of our eternally favourite bands is given a head start with us though their music obviously has to do the talking, which on Assembly it loudly does. From the beginning of the opener Stranger’s Bed, the band lays an infectious hand on the imagination and passions as they cavort with the relish of a maniacal puppeteer. Thumping anthemic drums seize instant attention, setting things up for the jangle of guitars to add their own bait around the expressive vocals of Chapman. Into its infectious stride soon after the track stomps with a rhythmic vivacity and range of hooks which the Buzzcocks would be proud of, indeed the overall sound has a rich essence of the Mancunian band as well as the discordant enterprise of Medway band Houdini. It is an undemanding and thoroughly giving slab of post punk pop with a fuzzy breath to increase the appeal.

     Acid Bath, like the first, makes the strongest entrance possible. This time it is the bass stroking the ears with a riff certainly Gang Of Four inspired, its carnivorous voice and suasion an irresistible lure which only increases with the scythes of guitar and unpolished enticing vocals. The chorus of the song loses some of that initial potency as the thrust of the track softens but replaces it with a virulent causticity which touches on The Fall. Once more band and song has feet lurching around with eagerness whilst voice and energy is seduced into action with ease, the same results achieved by the brilliant I Want To Be Your Man (Again). The best track on the EP swaggers in with a slow swerving of its hips and a persistent flexing of its sonic audacity, the track a hybrid of all the good things already gracing the release, taking those qualities and invention into a loftier frisking of the passions. It is an exhilarating exploit raising a lustful greed once thought lost to those times in the eighties.

   Final song White Dress makes a less dramatic entrance than previous songs but is soon, through a precise hook within thumping rhythms, unleashing another Shelly and co styled persuasion with the Cross Wires imprint. It traps satisfaction in a lustful romp of angular enterprise and refreshing adventure and though the weakest of the four songs, in that it does not unleash the demon inside as certainly the previous pair of tracks do, White Dress still provides a magnetic proposal to sell your dignity for and a delicious end to a thrilling release.

     If any of the bands mentioned or just simply punk, new wave, and post punk in general lifts your temperature then Cross Wires is a band to set a fire in your thoughts and emotions, though as Assembly shows, expect the unpredictable and something which is certainly seeded in those glorious older times but takes you on a new adventure. With the Assembly EP free at there is little reason not to be part of this extremely promising and exciting band.


RingMaster 21/02/2014

 Copyright RingMaster: MyFreeCopyright

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Tribazik – Data Warfare



    Describing the sound of UK band Tribazik is easy, early Killing Joke meets Pendulum with healthy doses of the raw power of Pitchshifter, the fiery electro snarl of The Prodigy, and the rhythmic swagger of seventies band Red Beat, except as is loudly evident on new album Data Warfare, it is only part of the scintillating recipe. Forging something unique and irrepressibly contagious through the merging and rigorous gene altering of alternative rock, psychedelic metal, industrial, techno and much more, the London based trio rampage through the imagination like a sonic tornado, organic electro and rhythmic teasing entwined with hungry rapacious grooves and psyche igniting invention. It is a glorious pulsating confrontation which has already brought the band eager and potent attention though you suspect that will be nothing in comparison to the acclaim once the album reaches out and out.

     The band is the brainchild of Jerry Kandiah (vocals/guitar) and Hedge Seel (drums/samples), two musicians with a rich experience in metal based bands and having their own sound system on the underground rave scene. Linking up the pair explored styles which lit their own passions with a new and boundary pushing invention, the first results including the track Yang To Yin which caught the attention of Killing Joke bassist Paul Raven. His invitation to support his band led to two European tours alongside Killing Joke and Jaz Coleman guesting on a track from Tribazik’s Andy Gill (Gang of Four) mixed debut album All Blood is Red in 2009. Following its acclaimed release the band was then permanently joined by Syan whose previous band Interlock had released the critically acclaimed album Crisis//reinvention in 2004. The recording of the new album was hit by the death of the band’s manager Gary DS but such the force and energy to the breath-taking tempest you can only feel they used the loss to drive their creativity and passion in tribute to the man. Self-produced and mixed by Youth (Killing Joke, The Orb, The Verve), Data Warfare is a sumptuous kaleidoscope of sound and imagination, an inventive fury which transports the listener into lyrical skirmishes looking at ‘the imminent hostilities facing the human race’, and broiling sonic soundscapes woven with aggressively stirring imagination and voracious creative energy.

     A cyber enticement starts things off as Too Dead To Care emerges from an electronic cocoon to incinerate the air with a a2136431759_2furnace of sound and riffs before settling into a deliciously agitated yet perfectly poised enveloping of the ears. Immediately that Killing Joke and Pitchshifter reference coaxes thoughts as electro driven rhythms and pulsating energy fuses with the ravenous guitars. It is a senses dominating introduction to the album, one bold in its invention and unafraid in its dramatic and persistently evolving provocation.

    The intense and breath-taking start has lips of anticipation being licked and soon satisfied as Atom soon followed by Life Force Energy parade their ingenious contagion. The first of the two flirts with and peels away the surface of the senses with a skittish almost acidic electro irritant whilst behind riffs and rhythms carve out a formidable and incendiary canvas for the vocals of Kandiah to paint the lyrical narrative. His tones are very Jaz Coleman like across the whole release which only accentuates that Killing Joke resemblance, but never to the detriment of the adventure and distinctive Tribazik presence. The second of the pair from another subdued but sinister intro erupts into a blood pumping and exhaustive consumption of the senses, riffs growling with every heavy note and the beats of Seel reinforcing the tantalising damage with sharp and incisive animosity. As now expected it is just one facet of the enterprise escorting the emotions into a near rapture, melodic swarms and thought provoking craft washing and twisting around the uncompromising pulse and heart of the track.

     Without allowing the listener a breath unless they use the pause button, Tribazik keep the riveting creative pressure on with 12th Disclosure and Sonar Sumeria, the first a sonic bred incident filled experiment wailing with aural warning signs, caustic sirens, and perilous intimidation all filtered through a dangerously magnetic swamp of techno radiance and industrial predation. It is a masterful seduction taken to even greater heights by Sonar Sumeria, a celestial journey through rave spawned, psychedelic coloured, sonic romance. Throughout a vociferous energy equally brews up resulting in a sultry and elegant evocation which Pendulum would have loved to have sculpted.

    The album continues to fire up the passions and greed in an already gluttonous hunger as firstly the restrained but predatory Hacktivism with its unrelenting electro bait and metallic rabidity seduces and abrases the senses. Just as keenly a virulently addictive groove brings slavery to the imagination before the rhythmically toxic Spacetime Collapse takes over laying a wonderfully wanton and irresistible hand on the emotions as spirals of unpredictable transfixing ingenuity expand the already dexterous invention. With an additional dub coating to its expanse reminding at times of Ruts DC, the song provides another pinnacle on the lofty range of the album before the dark and menacing presence of Bloodline Crossbreed infects and magnetises an admittedly ready to drool over anything appetite for the album. Arguably not as colourfully imposing as previous tracks but with an evocative melody enriched ambience merging with the intensive atmosphere it is on the frontline of intriguing, sophisticated alchemy.

   That deliberately sculpted and thoughtfully layered turn of the album continues through the final two songs, though no song lacks invigorating intelligence and artful ingenuity in its makeup. The melancholic yet vibrantly rousing Absence Of Proof comes first with female calls lighting the surface of the emotive exploration lyrically and musically whilst the closing Tools Of Mass Creation delivers a world of sonic emprise all of its own, it a resourcefully elegant and vivaciously daring flight of moving imagination. The pair makes a mentally and emotionally mesmeric end to an exceptional encounter; Data Warfare a sensational dawning of Tribazik and their time to take the rock world by storm you suspect and hope.


RingMaster 21/02/2014

 Copyright RingMaster: MyFreeCopyright

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Terratomorf -Ya Legenda



    Terratomorf emerged in 2013 from the seeds of the band Byzantium and recently stepped forward with their debut release, Ya Legenda, a richly promising and enjoyable heavy metal proposition. That previous band consisted of guitarist Sergei Gviniashvili, bassist Ivan Sel, drummer Alexander Dmitriev, and vocalist Ruslan Kaplun, and earned a strong reputation for their live performances and sound. Creative differences saw them splitting with Kaplun going one way and the other three forming Terratomorf. Ex- Barbarian frontman Nikita Salishchev was found to complete the new line-up with the quartet making their stage debut in June of last year. The departure of Sel saw Vladislav Balashov come in to the line-up as the band set to work on their first EP, a release certain to awaken keen attention.

   Released at the end of January, Ya Legenda (I Am Legend) takes little time to make a very convincing persuasion on ears and emotions, its inventively sculpted blend of heavy metal and hard rock a temptation which in its strongest moments virulently ignites the imagination and in its less inventive times gives the passions a potently infectious time. From start to finish the album captivates with skill and accomplished individual prowess, and though maybe the tracks at times feel like they have something in reserve which could have been unleashed to even greater success, it is an introduction which breeds full satisfaction and an anticipation of greater things to come from the Moscow band.

     The title track sets things in motion and instantly has attention wide awake with an opening of predatory riffs and crisply delivered beats. The vocals of Salishchev soon join the incitement, his tones clean but holding a snarl which adds potency to the Russian delivered lyrical narrative. The track itself is a thrilling mix of groove metal within a heavier metal rapaciousness, ripe melodies helping shape a sound which reminds of Finnish metallers Stam1na. It is an absorbing and scintillating start easily waking up a hunger for the band’s invention. The best track on the EP is arguably never equalled by any of the subsequent songs though they all make richly pleasing attempts.

    From the additive might of the opener the band takes a more reserved and straight forward approach with Sudba. Featuring the guest vocals of Artur Berkut from Russian heavy metallers Aria, the track swings through the ears with a steady infectious groove aligned to similarly appealing riffs and melodic enterprise. Just as compellingly the bass provides a darker stomp to shadow and complement the great clean vocals, their swagger and smile matching the melody soaked heart of the track. Though not as dramatically gripping as the first song, it still offers a healthy temptation with its presence to invite at least one more play before moving on to investigate more.

    Prizrachniy Mir steps forward next placing a dark velvety bassline around the ears before a sonic shimmer opens up a weave of guitar endeavour and vocal enticing. Providing another distinctly varied proposition within the release, the track has a heavier antagonistic feel to its breath and sound. Riffs and rhythms court an intensive weight in their delivery whilst the sonic invention of the guitar, especially in the excellent solo, adds more heat and acidity than previously found on the EP. A melodic aside within the growl of the song makes a great unexpected twist before the song returns to its earlier muscular and suasion.

      That impressive diversity to the band’s debut continues with V Nebesa, the track also giving full rein to its sinews whilst encircling them with rich flames of heavy metal creativity. The virulent rumble of bass and drums never relinquishes a second of their intimidation across the song to ensnare and temper the melodic textures of the song but it works to the benefit of the end result, though this is one of those occasions where you feel the band is holding back a little in their invention, hints of more never realised.

    The closing Gorod Dushi is a pleasing and attentive encounter to the needs of a metal fan but underwhelming in many ways to what has come before, its riffery and grooves unremarkable but enjoyable in the overall containment of the excellent release. It is very easy to recommend Ya Legenda to heavy and melodic metal fans and to suggest that Terratomorf is a band with very potent and rewarding horizons ahead, we certainly will be watching closely.


RingMaster 21/02/2014

 Copyright RingMaster: MyFreeCopyright

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Morguenstern – Sepulchral Burden

Sepulchral Burden

     Embracing the senses in a gothic caress of engagingly elegant shadows and rapaciously honed enterprise, Sepulchral Burden the debut album from Russian metallers Morguenstern is a potent capturing of the imagination which unerringly lures you deeper into its provocative depths the more you entertain its dark temptations. Seemingly tagged more often as a horror-punk/gothic metal like proposition, the inventive quintet definitely upon their new release explore the latter of the flavours, an eighties breath as rich as the sonic colour and uncompromising undercurrent of intimidation which prowling each and every song. The album is a riveting fascination of Poe-esque drama and fiery metal passion wrapped in mouthwatering weaves of guitar and keys adventure led by acutely seductive vocals.

     Formed in 1999 by Morgana (vocals, keys, music and lyrics) aided by her brother Morok (guitar, back vocals) of Bog-Morok, Shexna, Downgrade, and Vo Skorbyah, Morguenstern recorded the demo Blood that same year before expanding with the addition of drummer Dan Sobolev (ex-Bog-Morok, ex- OPRICH ) and bassist Alexei Fominsky (ex-Bog-Morok, ex- Smuta) in 2000. After playing many successful shows the project was suspended in 2001 but now returns in striking form with the GlobMetal Records released Sepulchral Burden. Consisting of bassist Penguin and drummer Vladimir alongside Morgana and Morok with Smeat providing samples and backing vocals, the band unleashes tales of zombies, vampires, and cemeteries in a release which certainly wakes up the imagination.

   We will get the main niggle about the album out of the way before entering its body, and that is the fact that the lyrical delivery comes solely in Russian, not normally a problem but with tracks full of aural intrigue and adventure, being unable to enjoy that aspect due to limited linguistic skills does frustrate throughout. Nevertheless the album easily steals attention and breeds an eager appetite for its suggestive climate starting with С Новым Гробом (Happy New Coffin). A gothic organ makes the first incitement on the ears soon joined by a cinematic sample and an increasingly darkening ambience. It is a menacing coaxing which increases its threat until the song spreads into a radiant stretch of keys led melodic expression, thumping rhythms and caustic guitar strokes soaked and guided by the immediately enticing tones of Morgana. An increasingly contagious potency also flows from within the encounter, toying with electro invention and intense metallic urges within a gothic metal narrative. It all combines for a powerful and immensely persuasive start to the release.

      That success is matched by the following Мертвый Храм (The Dead Temple) and Идём со мной (Come With Me), the first teasing ears with an eighties gothic pop dance within a cauldron of aggressive yet restrained predatory metal. Not for the last time on the album, the track sparks up thoughts of March Violets with its vocals and melody drenched shadows but just as strongly forges a distinct presence for itself which marks Morguenstern as different. The second of the two almost stalks the senses in its beauty, malevolence, and irresistible seduction whilst like its predecessor, fusing harsh and caustic aggression aligned to the equally intensive vocals of Morok with a bewitching melodic climate for an impressive and fluid union, the resulting web if sound incendiary for the imagination.

    Another big aspect of the album is the variety brought into the songs under the constant gothic cloak, next up Тяжесть Могильная (Sepulchral Burden) for example exploring heavier mausoleum like atmospheres compared to the more intensive night aired sceneries of earlier songs, and though the melodic and heavy metal lilted track does not emulate the heights of those songs, it offers a refreshing twist in the melodrama of the album’s theme. Both the sultrily tempting Соната (Sonata) and the moonlight radiant Последний Путь (The Last Journey) provide further adventurous sounds and endeavour, the mesmeric vocals of Morgana washing around the senses as infectiously as the electronic and electrified enterprise courting her almost siren like tempting. The pair are like atmospheric magnets on thoughts and emotions, both increasing the undeniable lure of Sepulchral Burden.

     Кровь (Blood) is the next highlight to dramatically seize a rapturous response, its carnivorous voice of riffs and bass snarling imperiously away within the vampiric radiance of the keys and the suggestively masked lyrical suasion. It is a masterful platform for the imagination to play upon even without the aid of understanding its words, painting an evocative and colourful realm for thoughts to devour and expand within. That is a trait you can attribute to all songs to be fair with an even greater mastery to be found in the next up До Свидания (Farewell) with its sonically poetic jeopardy and the vampire heralding Нечеловек (Inhuman). The second of the two sculpts a merger of almost punk bred metal and sonic savagery tempered by the ever crystalline tones of Morgana magnificent creating another pinnacle on the album.

    The quality and evolving might of the album continues through the likes of Came from Ад (Came from Hell), a track like a few to be fair which could soundtrack any classical gothic and noir driven horror movie, the tantalising Пустые Глазницы (Empty Eyesockets) where the melodic and piano sculpted resplendence comes with a haunted voice, and the brilliant electro driven Morguenstern with its glorious Middle Eastern adventure and uncompromising antagonistic predation. All three leave ears and passions with a healthy want for more which the closing Отдай Свой Разум (Give Away Your Mind) supplies in a final ravaging of air and sound, its gothic landscape ripe with exhausting energy and mischievous rabidity to create a last great twist in the album’s invention with male vocal furies leading the towering charge.

    It is an outstanding end to an equally tremendous release which just grows over each subsequent journey through its exciting dangers for increasing success. Featuring guest vocals from Alex Raymar (Desert), Sam (Enemy Pain), Nybras (Iconoclast), Sherman (Bog-Morok and Shexna), and Dirty Scoundrel (Ministry of Truth), it is only the mystery of the lyrical content with provides any ‘annoyance’ on Sepulchral Burden, the album an expansive and immersive gothic romance of terror within which Morguenstern offers very tempting rewards.


RingMaster 20/02/2014

 Copyright RingMaster: MyFreeCopyright

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Jesus Christ – We Will Fight

Jesus Christ

    We Will Fight is one of those releases which maybe fails to live up to its potential but is fuelled by such a rich promise that you suspect its creators will find greater success in the future. The eight track debut album from Russian metallers Jesus Christ is a riotous confrontation with plenty to enjoyably satisfy the appetite, a brawl of thrash metal with healthy heavy metal expression which more often than not fires up the imagination. It is certainly a flawed adventure unleashed by the band but one which compensates with songs which treats with inventive passion drenched storms.

    Hailing from Nizhny Novgorod, the band began in 2011 with two guitarists, Max Shcheglov and Sergei Morozov. Soon joined by vocalist Andrei Mironov, who had just resigned from the armed forces, the trio set about writing and honing thrash driven songs whilst looking for a drummer, a position filled by Sabbath. The following year saw a change in the line-up with a vacancy for a guitarist being taken by Garnov Ruslan and also the addition of bassist Dmitry Ilaltdinov to the band. From a debut show with local thrashers Resurrection, Headcrushers, and Exaloud, the quintet earned a fine reputation for their performances and sound going on to share stages with the likes of Brazilian bands Astafix and Harllequin. From there they turned their attention to recording their first album, the self-released We Will Fight.

     The album starts off impressively with the instrumental March of Jesus, a track which turns through a classical bred piano beckoning into an expressive and superbly crafted charge of melodic and sonic imagination. Though the production, as across the whole of the album, is not always the most flattering to the skilled charm and invention of the sounds, the track is an enthralling and incendiary treat for the emotions; one not quite matched by the following tempest The Deadmen Attack. Immediately aggressive and openly thrash bred, the song steals easy attention with towering riffs and a violent rhythmic persuasion. Again because of the production the air around the flair of the band is too smothering and cloudy, stealing the deserved clarity of the individual and united quality of the members though the vocals survives that detriment. Mironov provides a varied attack, ranging from hardcore through to classic heavy metal wails which are not as pleasing and successful, though that is just because of personal preference to be honest. With good sonic seduction to the solo and an ever contagious ring to the riffs, the track makes a more than decent full welcome to the encounter.

     Eternal War steps up next with a deeper carnivorous growl to the bass amidst classically spawned riffs, a tone the song provides across many of its aspects within a thrash cultivated provocation. Less urgent and rabid than its predecessor and similarly less commanding on thoughts and emotions, the song still makes for a steady and pleasing proposition if failing to ignite any real hunger for its arguably messy but at times inventive presence. Traitor is a more controlled and ultimately thrilling antagonist in comparison, the bass again standing out alongside the potency of the guitars and their adventure. Riffs consistently scowl across the ears as rhythms swipe chunks out of the senses, their aligned attack rabid and magnetic defying the production and again less striking but generally capable vocals. It is the best moment of the EP to that point showing a good depth of that potency and promise mentioned at the start.

     The ravenous attack of Ahead makes a promising case for the song from the first moments and continues to light the ears with its Megadeth influenced predation, a core appeal which never loses its lure amongst the fluctuating vocals and restrictive production. Its departure brings in the excellent Revolution Now, the forty three second instrumental an infection of rhythmic temptation and vocal intrigue wrapped in a restrained but enticing melodic conspiracy. As to its purpose it is hard to say but not a question to linger over such its exciting inclusion before Blind Humanity expels its blaze of thrash ferocity and the closing title track scorches senses and atmosphere with its own incendiary energy and attitude. Both songs hold a similarity which does not work against them, with certainly the last offering a great vein of exploratory invention winding in and out of the raging causticity. They both provide the strongest moments of the album after that great brief interlude, bringing the album to an impressive and invigorating conclusion.

     We Will Fight does have issues but provides an undeniable quality from the band and a promise in sound to leave an open welcome for the band in the future, the next meeting with Jesus Christ you feel being something to eagerly anticipate if they resolve the negatives here.


RingMaster 21/02/2014

 Copyright RingMaster: MyFreeCopyright

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