Stoneburner – Life Drawing

Stoneburner

A compelling destructive seduction, Life Drawing the new album from US metallers Stoneburner, casts no doubts on the suggestion that the Portland quartet is one of the most exciting prospects in aural consumption out there.  Creating a scintillating weave of doom and sludge metal with atmospheric ingenuity and melodically sculpted temptation, the band escorts and very often drags a willing imagination across intensive and fiercely enveloping landscapes under tempestuously climactic sonic skies. The album enthrals and intimidates, inciting heavily emotive reactions to its own intimately emotional yet broadly applicable investigations of the “struggle to be a decent person in a world that keeps doing its best to cause you not to be.”

Formed in 2008 by drummer Jesse McKinnon (ex-Buried Blood) and guitarist Jason Depew (Buried At Sea), who had played together in many incarnations previously, and guitarist Elijah Boland, Stoneburner unleashed their first forage of the senses with the demo V.​L.​A. the following year. The band was soon making an impacting presence and noise within the Oregon underground scene, a proposition taken to greater attention and strength by the release of debut album Sickness Will Pass in 2012 as well as over the years the band’s acclaimed live performances which have seen them play with the likes of Yob, Sleep, EYEHATEGOD, Neurosis, Buzzov-en, Weedeater, Saint Vitus, Watain, Tragedy, Noothgrush, Graves At Sea, Lord Dying, Drop Dead, Whitehorse, Wind Hand, Bastard Noise and many more. Completed by bassist Damon Kelly (also Heathen Shrine and the son of Scott Kelly of Neurosis/ Shrinebuilder fame), Stoneburner now uncages their latest infestation of the senses and psyche, an encounter which leaves the listener simultaneously suffocated and invigorated.

Opening track Some Can smothers ears and senses from its first breath, a sonic breeze pulling in a thick and thuggishly textured collapse of NR088_STONEBURNER_frontcover_hi-res (1)antagonistic rhythms and prowling lumbering riffery. The track continues to slowly ravage air and recipient until the entrance of the vocals sparks a spurt of adrenaline and urgency to the persistently uncomfortable and demanding intent of the song. A masterful groove swings its bait openly and irresistibly across the dark bulk of the track whilst McKinnon offers slaps which simply send the body reeling and the appetite into greedier hunger. It is a dramatic and absorbing start where everything from the rapacious rhythms and carnivorous bass tone to the flesh scorching sonic designs of the guitars and the exhaustive vocals of Kelly, or possibly McKinnon with both providing  raw delivery across the release, outstanding alone and viciously majestic united.

The noir cloaked almost sinister and wholly magnetic initial coaxing of the following Caged Bird instantly has thoughts and attention gripped tighter. It is an imposingly provocative lure with the darkest irresistible shades of temptation, its destination a broad hint which you cannot anticipate with the piece at times offering the garage punk realms of say The Cramps as a possibility or the ravenous scenery of a Mastodon as an option to give just two examples. Where it does lead is into a corrosive tempest of sonic abrasion and virulent hostility wrapped in a doom drenched maelstrom of spite and malevolence. As its predecessor, the track finds a spark which injects an eager rabidity and raucous energy into the heart of the pestilential stalking and further on a bewitching melodic elegance as the song evolves and twists within its tortured stance.

The beautiful Drift brings a mellow respite next, the short acoustic guitar sculpted instrumental a safe peace before the savage tsunami of An Apology To A Friend In Need falls upon the ears. The track merges a melodic acidity and venomous intensity into a thunderously eventful and unpredictable adventure, rhythms and bass courting the uncompromising vocals for a merciless predation whilst the guitars seduce and carve up senses and imagination with a skill and ingenious ideation that is impossible not to be fully consumed and submissive for. The song is a beauty and the beast endeavour which is already in control of the passions before its turbulent mid-point.

Both the atmospherically enthralling Pale New Eyes and the Giver Of Birth immerse the listener into soundscapes which leave no room for outside interference. The first exploring a progressive essence to its scenic exploration before walking into a mouthwatering storm of sonic violation and rhythmic punishment, an oppressive brutality which only serves to ignite the imagination and exploit further. It is a riveting canvas of guitar invention and vocal ravishment around a frame of barbarous rhythms which ensures the short instrumental beauty of its successor with a haunting ambience is a psyche soothing godsend.

The next up Done is quite mesmeric and sensational, taking best song honours with ease despite the triumphs around it. Opening on a cinematic and again sinister entanglement for the imagination, it develops an eager stroll which continues to invite dark visions of a more filmic nature before striding through an intensive sludge fuelled narrative and infectiously incendiary drama in sound before the abrasing vocals add their strangled syllables and malice coated words. It is a brilliant tease and masterful persuasion and the perfect way to enter the immensely dangerous sonic world of Stone burner for newcomers.

You Are The Worst provides a colossal towering adventure to lose yourself within, every soar and fall within its antagonistic passage voraciously damaging and unrelentingly absorbing to almost match the plateau of the previous track. It turns into the most savage and bruising incitement on the album and in many ways the most satisfying before the closing epic persuasion of The Phoenix unveils its hypnotic journey. As good as eighteen minutes in length, the song emerges from a tightly enveloping almost claustrophobic birth within deep atmospheric waters. The song floats towards a crystalline light, heading up to a beckoning surface of escape and hope, its warmth realised by sultry guitar craft and caressing melodies. Initially intangible, malevolent intensity is also worming its way into the hues of the adventure, niggling away until erupting and soaking every twist and turn to become an inescapable cloud. It is a glorious technically impressive and narratively thrilling journey which never relaxes as the battle between light and dark rages within its imposing confines until the very end.

Life Drawing is a must for all with a keen appetite for masterful sludge and doom premises and those with a hunger for aggressive progressive explorations. It is not an easy listen at times but one of the most rewarding likely to be heard this year.

Life Drawing is available through Neurot Recordings now!

https://www.facebook.com/Stoneburner.PDX

9/10

RingMaster 15/04/2014

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The Idol Dead reveal their ‘Dark Little Hearts’, on 5th May‏

The Idol Dead Online Promo shot

 

UK ROCKERS THE IDOL DEAD RE-RELEASE STUNNING NEW ALBUM!

 

Leeds rock crew ‘The Idol Dead’ spit out a heady amalgamation of infectious Rock ‘n’ Roll and spiky punk which tips its hat to the likes of Guns ‘n’ Roses, Foo Fighters and The Wildhearts. Pinning sledge hammer riffs against gargantuan choruses backed by thunderous drumming, The Idol Dead are poised to bring their sound to the masses in the shape of their blistering new album ‘Dark Little Hearts’, which is rebooted on 5th May, through the band’s own RAAA! Records label.

Born out of a mutual love for blistering riffs, The Idol Dead sport a varied collection of influences stemming from Rachael Stamp, Foo Fighters and Sex Pistols, to David Bowie and Queen. It’s no wonder that, given their eclectic tastes, the 5 piece offer something different – their own brand of big booted rock n roll!

Formed in 2008 and consisting of Polly Phluid (Vocals), Nish Gonsalkorale (Drums,) KC Duggan (Guitar), Tim Jeffs (Guitar) and Dan Sugden (Bass), the five-some soon became the best of friends. After honing their live set, the quintet began to play throughout the UK and swiftly earned a hearty reputation for delivering explosive live performances. The band have gone on to share stages with the likes of Killing Joke, Sebastian Bach, Buckcherry, Evil Scarecrow, Blackfoot, Warrior Soul, Molly Hatchet, Hatebreed, Pitchshifter, Laika Dog and Spear of Destiny, to name just a few.

The Idol Dead also have a strong DIY ethos which led them to form their own label, Raaa! Records. The label spawned the release of their debut album ‘Die on my Feet or Live on my Knees’, which was totally self-funded. However, the band decided to utilise the pledge platform for their sophomore album ‘Dark Little Hearts’, and within six weeks, they had what they needed in order to complete the album. Needless to say, The Idol Dead were simply blown away by the dedication and support of their fans.

Now with ‘Dark Little Hearts’ recorded and prepped for a national release, the sky is the limit. The band’s album certainly delivers on all fronts. From the urgency and cut throat riffery of ‘Blue Skies’, to the buoyant vigour of ‘Hey Girl’ and the radio friendly melodic brilliance of ‘I’m Drowning’, the five piece have everything in line and are set to battle it out for their place as one of the new breed of Brit Rock bands set to break in the UK!

 

Check out The Idol Dead live: 21st March – Sitwell Tavern, Derby; 30th April – The Duchess, York; 3rd & 4th May – Noize Level Critical, The Maze, Nottingham; 9th May – 360 Club, The Library, Leeds; 24th & 25th May – TBFM 5th Birthday Bash, The Snooty Fox, Wakefield; 31st May – The Riverside, Selby.

The Idol Dead Cover Artwork

www.facebook.com/theidoldead

KING GOAT uncages new EP on Monday 28th April‏

King Goat Online Promo Picture

NEW EP UNVEILED AND TOURING TO BE ANNOUNCED BY KING GOAT!

 

Brighton noise chiefs release their sophomore self-titled EP on Monday 28th April and plan a widespread assault on the UK!

Crafting together the more engaging key elements of psychedelic and doom, along with carefully measured Eastern influences, ‘King Goat’ hammer out gargantuan grooves, producing a sound that is hypnotic, dynamic, progressive and ultimately alluring.

Hailing from Brighton, King Goat were born at the start of 2012 and swiftly released their debut EP ‘Atom’, which garnered praise from many stems of the underground. Soon after its release, the band changed frontmen and the newly rejuvenated quintet quickly solidified, commencing work on their next EP. A plethora of shows followed as the band laid siege on London and throughout the South coast. With a growing reputation for delivering memorable performances packed with earnest energy and genuine presence, it’s no wonder that the Brighton bruisers soon amassed an army of followers.

Towards the end of 2013, the band hit the studio to work on their new self-titled EP, and they’ve absolutely nailed the songs to the wall. Culminating in an epic journey, the record features three killer tracks that masterfully claim their own identities and plot their very own courses. The EP starts off with the psychedelic-doom infused texturing of ‘The Final Decline’, which sways and flows from hypnotic eastern-influenced early passages to a climatic conclusion complete with weighty riffage and impressive vocal work. ‘Cult Obscene’ is next up and it’s a gut-punching musical stampede stocked with changing patterns and intricate structures. ‘Melian’s Trance’ closes the record as it unleashes a barrage of cutting riffs that ever so slightly nod in the direction of Sabbath; aided by pounding drums and punchy bass, the track is a stunning piece of doom metal, and clearly highlights the five-some’s songwriting craft. Now armed with an explosive EP, the band plan to hit every sweatbox throughout the UK. Dates are imminent, so stay tuned to their Facebook page for more.

BAND MEMBERS: Trim (Vocals); Petros (Lead Guitar); Reza (Bass); Joe (Rhythm Guitar); Jon (Drums).

FOR FANS OF: Bison B.C.; Black Sabbath; Mastodon.

King Goat Cover Artwork

www.facebook.com/kinggoatbri

 

 

 

 

 

TWO-BIT SISTER unleash ‘The Jackal’, on 21st April‏

 
Two Bit Sister Online Promo shot
ASPIRING ALT-DUO TWO-BIT SISTER RELEASE EXPLOSIVE DEBUT RECORD NEXT WEEK!
 
Compressing a wide assortment of influences stemming from the energy and buoyancy of Weezer and Nirvana, through to the texturing of Jack White and Queens Of The Stoneage, Two-Bit Sister are certainly a fresh and animated take on alternative rock. With a tight and solid rhythm section, driving guitars, and soaring vocals, Two-Bit Sister set loose their own brand of infectious rock-pop nationwide this Spring.
Hailing from Margate, Kent, Leon Peskett (Guitar and lead vocals) and Connor Bluemel (Drums and backing vocals) formed ‘Two-Bit Sister’ in 2013 after dissolving their previous bands. Knowing each other from their school days and having jammed together for the past few years, the pair soon clicked and amassed a strong string of songs. The alt-rockers then began to play a flurry of shows throughout the summer of 2013, ahead of recording their debut EP.
Soon after, the industrious duo cut ‘The Jackal’, which proves to be an inspiring debut that potently flaunts the band’s live sound and vigour. The EP’s namesake starts proceedings, and it’s a highly infectious affair complete with a stunning up-tempo hook. From the get-go, it’s clear that the two-some have a natural knack for addictive melody. Next up, ‘Turbulence’ shifts gears, nodding towards the angular rock of ‘QOSTA’ and ‘Nirvana’, while ‘Wanna Know’ is a brilliant slab of pure contagious pop-rock. ‘Times’ rounds up the record with engaging dynamics and a driven refrain that will cement itself in your head for days. Look out for the duo as they prepare to hit venues throughout the UK in support of their EP.
Two Bit Sister Cover Artwork