Welington Irish Black Warrior – Vafancuneo

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Welcome to this year’s most rigorously exciting and insatiably compelling release, Vafancuneo. Ok it is probably too early to truly give the title to Welington Irish Black Warrior, the creators of the extraordinary release but there are no doubts it will be in the top handful of nominees come judgement time. Brewing a unique sound most closely described as post punk meets psyche rock with a veining of noise and experimental industry, the Swiss band has sculpted a new template for emerging noise driven bands. Their EP is sensational, a riveting and breath-taking, almost tribal incendiary device for imagination and passions to explode over, and certainly one of the essential releases of 2014.

Consisting of vocalist/guitarist Brynjar Thorsson, bassist Léon Jodry, and drummer Steven Doutaz, the Neuchâtel based trio came together in 2005, three music loving men who supposedly came together as a band to stop working in a watch making factory. Since that entrance Welington Irish Black Warrior has been on an upward spiral, notably releasing a self-titled debut album in 2012, collaborating with Kunz on the five track KUNZWIBW of last year, and spending a whole year writing music based on Alejandro Jodorowsky’s movie Holy Mountain, which they performed live in a church in front of the screen during a projection of the 2 hours movie. With a flood of shows, European tours, and festival appearances only increasing their stock, time is ripe for the band to draw the strongest spotlight, something Vafancuneo is potent bait for.

Recorded live by Alberto Dutto (Movie Star Junkies), mixed by Mano Moccia, and mastered by Louis Jucker (Coilguns, Kunz, The Fawn), 02_Front CoverVafancuneo is a virulent infestation of senses and mind from the opening minute of first track Hand on Stomach. The beginning to the song is a scattering of noises and splattering of rhythms but a mix brewing and merging into a united probing as it all comes into potent focus. A resonating throat calls out from the bass as the rhythms of Doutaz roam with a rampant appetite, both prowling and seducing the senses as distorted flames of guitar wind their riveting toxicity around thoughts. It is a thrilling provocation even before the joining expressive almost psychotic vocals tones of Thorsson complete the scintillating package, every aspect of the song a stark yet endearing poison writhing under the skin and into the passions.

The post punk conspiracy of the track is just as intensive in the following Jahzz, reinforcing thoughts of Wire and early Gang of Four hinted at for varying reasons in its predecessor. Jodry’s bass lies down the first delicious lure, its hypnotic suasion a predacious instigator to striding rhythms and sonic scythes of guitar. To those previously mentioned references you can also add Kabul Golf Club and unavoidably Joy Division as the track courts imagination and ears with its unpredictable and unrelenting web of sound and invention. There is also a sinister air to its aural narrative, a noir kissed ambience which colours the intriguing canvas and persistent single minded gait of song and hook.

It is already an irresistible encounter by this point but the album opens an even richer vat of temptation and tempting with Lac Orbu. The initial clutch of short grooves is once again an instant capture of a raging appetite for the EP before the track stirs up an agitated blanket of rhythms with stabbing guitar as the bass groans hungrily by their side. Vocals bring their distinct enticement to the psychotic dance next; a canter pungent with a contagion of repetition and rhythmic disorientation. Thoughts of The Fire Engines add to the suggestive spicery of the romp before everything is smothering in a sonic squall. Lines are blurred and air infused with raw ambience as the song moves towards its departure, the band again leaving assumptions as pointless as warm melodies trying to encroach into the creeping soundscape.

A pulsating distortion of sonic psyching draws the next up Fascination into view, its strobing soon matched by whipping rhythms and the anthemic vocals. The bass brings a stable shadow to the light show, its premeditated drawl holding the scattered bait for one massive and intrusive seducing. The jagged breath of the track scars the senses beautifully, seizing their allegiance automatically as the acidic flight of guitar winds enticingly almost wantonly around the imagination and emotions. A strong whisper of The Gaa Gaas also permeates the scaring of sonics and rhythms but as throughout thoughts of Wire come the closest to describing a little of the brilliant brew the band conjures.

A schizophrenic character grins from within Bankal 10/15; a fruity discordant twang casting its spell over the guitars as the bass again adds the more even gaited poise to the cacophonous exploits littering ears with scarring beauty. The breaking swagger and addictive swerve of guitar and song simply ignite another wave of lustful ardour in mind and heart, inspiring the return of feelings and bewildered yet hungry thoughts arguably not felt since the late seventies when many of the comparisons mentioned reigned. There is a definite nostalgic feel to the release but only as rich hue to something unique and of the corrosive now.

Vafancuneo closes with the just as tremendous Samba Suicide, a hive of waspish sonics making the first play for the passions before an infectious grinding of riffs and sharp hooks pounce with a pop intent. Probably the most accessible song on the EP, certainly the most danceable, the track evolves into a disorderly, unsynchronised adrenaline fuelled waltz, an atonal stomp which exhausts and exhilarates with equal success. It is a dynamic and masterful finale to a quite brilliant encounter. Welington Irish Black Warrior takes noise and discord and weaves them into the most insatiably gripping and antagonistically seducing pleasure possible. Their songs are genius and wickedly captivating, and once they worm under the surface impossible to shake off.

Vafancuneo is available now @ http://hummusrecords.bandcamp.com

https://www.facebook.com/welingtonirishblackwarrior

10/10

RingMaster 01/05/2014

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

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Twinesuns – The Leaving

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Mesmeric and disturbing, like the sinister soundtrack to an invasive inescapable dream, The Leaving is an encounter to equally fear and embrace. Consisting of five extensive examinations of the psyche, the debut album from Twinesuns explores the darkest haunting textures and depths through a fusion of drone and doom within just as imposing stark and ravenous ambiences. Surreally cinematic and corrosively evocative, the release is an experiment in thought provoking sound and cryptic emotion, a hallucinogenic nightmare devouring senses and imagination.

Twinesuns is the result of a union between C (NVRVD) and Thor Ohe (ex- Kinsai, DNAmplified), the pair coming together to play heavy music with no restrictions and that reflects their creative passion. The band says in the accompanying promo to the album, ‘The idea behind THE LEAVING, or more essentially in the foundation of Twinesuns, was to create music that basically allows it to be everything that both of us – as a band like. We wanted to break free from all these rules that dominate today’s heavy music. Why is there a need of rhythm or drums? Why can ́t there be mistakes on a record (since it’s a very natural habit to make mistakes)? Does heavy music need vocals? Why do there have to be different parts and always the same structures in music? Why can ́t we play the same riff for 10 minutes? We wanted to ignore all these guide lines and create something for us, something that would primarily fit our taste and understanding of music and art.’ The album also sees the addition of Abraham’s Renzo Tornado Especial providing moog designs within the caustic and distortion washed sonic incitement of the band. Mixed by NVRVD ́s bass player and C. ́s brother Stefan Braunschmidt, and mastered by Chris Johnson, The Leaving is the rawest, starkest, and most viscerally honest proposition likely to be heard this year.

Recorded live in an eight hour session, the album opens with Epithome. Its emergence is enchanting as it slowly unveils itself from Twinesuns_Coverwithin a background of sonic whispers. A melancholic guitar caress tenderly strokes senses and thoughts initially, its repetitive sigh as magnetic as the twisting shadows creaking and unfurling their own bait behind it. The textures within the song continue to darken as they evolve sinister noir soaked and increasingly vocal temptations. The rapacious scenery of the track eventually consumes the beauty, sonic torches and distorted courting swamping ears and emotions as danger leers at their submission in every turn of sound and an electronic smothering. The track provides a suffocating and intensive realm for thoughts to interpret and explore though in many ways it is just the taster for the tempestuous torment of To Die, When It ́s Right To Die.

The second track reveals its doom sculpted muscle from the opening seconds, its throaty predation and sonic toxicity invading every synapse and thought. Within a breath the track has the listener in the belly of a cavernous leviathan of sound, its scenery drenched in a primal tenacity aligned to a carnivorous drone. It is a monstrous provocation, an unrelenting erosion of emotions but infectiously hypnotic as it lures in further examinations of ideation and emotions by the mind.

Neither Subsonic Prophets nor Like My Father Before Me, I Choose Eternal Sleep show any respite in the invasive potency of the album, the first casting an exhausting rabidity to its insatiable sonic scarring and ravenous low ended hunger whilst its successor explores the eye of the storm, investigating the creative jowl of the beast to bring another diverse and intriguing expanse to the release. With both though, as with all tracks, the pair of musicians add nuances and understated but open movements to the dragging journey of tracks to flirt and continually inspire re-evaluations of the narrative within the imagination’s canvas emotions.

     Die Drei Gesichter Der Furcht brings The Leaving to a close, its premise and haunting presence arguably the most compelling and distressing of all the tracks. Its ‘peaceful’ entrance is similar to that of the first song, and also like that eventually immerses the elegant if intimidating intrigue of sound with a predatory and intensive menace. It continues to stalk right through to its conclusion, never leaping at the distressed emotions and thoughts, just offering a repetition of emotive intimidation and sonic venom. It is a glorious end to an outstanding album.

Certainly The Leaving takes its pound of flesh as you stand within its at times almost too demanding consumption, but the rewards for mind and soul are constant and increasingly stimulating over each subsequent encounter. Twinesuns is a project breeding fearsome and fearful adventures, long may they continue.

The Leaving is available now from Hummus Records @ http://hummusrecords.bandcamp.com

http://www.facebook.com/Twinesuns

8/10

RingMaster 01/05/2014

Copyright RingMaster: MyFreeCopyright

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Little Eris – Wreck n Rollin

photo by Vivian Thomas

photo by Vivian Thomas

No one is adverse to a little aural contagion in their lives and few come catchier and as irresistibly captivating then Wreck n Rollin, the new single from Little Eris. An infectious romp of power punk igniting two and a half minutes of anyone’s life, the song is a potent attention grabbing step in the steady but eager emergence of the Welsh artist.

Little Eris, aka Bronwen Davies (former vocalist and bass player with Freaky Fortnight), has been lighting up ears since 2008. She first drew attention with the release of 13 track debut album Molecules R Us containing a collection of demos available as a free download and subsequently followed by a limited edition CD to strong responses. Live she has also earned acclaimed recognition, sharing stages with artists such as Viv Albertine and touring the UK with The Great Wreck and Roll Cirkus alongside Here & Now and Eat Static. The new release follows the success of debut single So Many Nights, a synth pop treat in 2012 on Original Human Records, just as its successor. Taking the backdrop of austerity in the UK as its premise, the Charlie Hoskyns produced Wreck n Rollin is a tantalising provocation fusing potent insight with virulent punk rock and finding little difficulty in securing an eager appetite for the protestation.

A throaty bass opens up the horde of ripe lures courting the song, its compelling coaxing leading ears and attention into crisp rhythms and eris_CDsubdued riffs joined soon after by healthily appealing melodic enterprise. The song does not charge out of the blocks at the listener but instead offers a vibrant and feisty seducing which once in to its stride is completed by the fine voice of Little Eris. The infectiousness of the song is urgent though within the concentrated canter, spreading with virulence across the imagination as the eager chorus weaves its antagonistic charm aided by rawer male vocals. It is a great ‘conflict’, the sinewed and combative heart and frame of the song working with the melodic and harmonic colours bred but guitars and vocals.

A song you find yourself loudly joining in with before its very first persuasion is over, Wreck n Rollin is a fun slice of rock ‘n’ roll with potent commentary. It is a song impossible not to get excited over as are the beckoning horizons of Little Eris herself.

Little Eris’ next live dates:

17th May at the Lady Rave, The Moon Club, Cardiff

27th May at How the Light Gets In, Hay on Wye

Wreck n Rollin is available through Original Human Records now! https://www.facebook.com/whatididtoherwhenifoundher

8.5/10

RingMaster 01/05/2014

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

Little Eris – WRECK N ROLLIN