Füneral Käb – Self Titled EP

Funeral Kab

A noise fuelled collision with the senses from which only a hunger for more can be the outcome, the self-titled EP from US punk rockers Füneral Käb is one of those treats which no matter the warnings your parents ingrained, you ignore and give your soul to. Unashamedly hostile and cantankerous, enthusiastically abrasing and ravenous, the release as the band’s presence, is a delicious effrontery on senses and common decency. If punk rock with the swagger and devilry of dirty rock ‘n’ roll is your recipe to filth encrusted bliss, then Füneral Käb and their raw and sonically dishevelled release is a must.

Füneral Käb was the inspiration of vocalist Derek Krisitan Nordlof (bassist with Confuzatron and Orange Platypus) who with bassist Mark Vance Arroyo (ex-The Moistboyz) started up the band around 2011. The pair swiftly brought in guitarist/vocalist David Rangel (bassist of Black Earth and guitarist/vocalist of Orange Platypus) next, before after a few drummers completing the line-up with Ben Scott (Vermicous Canids). Most of the band already had connections through their previous exploits at some time or other, a kinship which if we take their debut as evidence, seems to fire up the antagonistic mischief and fury of their sound with relish.

Straight away the EP is crawling over the psyche and stirring up the imagination with opener Church Maus. It coaxes attention with a rugged mix of guitar and bass predation bound in a further sonic lure as beats jab with simple venom. It is a slow crawl of an entrance which is almost leering at its target before exploding into a caustic and fiery rampage of punk riffs and heavy footed provocation guided by an excellent blend of raw vocals from Derek K backed by Rangel. Ridiculously contagious and intimidatingly testing with sharper hooks than found in abattoir, and with a similar blood lust, the track is punk rock at its feverish best, an inescapable toxicity for all genre fans.

The following Christian Sheep is steeped in even richer old school punk animosity and flavouring. It is a sneering blaze of pungent riffs and searing grooves riddled with inhospitable rhythmic provocation, and again another virulent persuasion. There is a definite English punk breeding to the Texan’s sound which is certainly evident on the second song but also loudly whispering in the dirty rock ’ n’ roll song of the next up . . . And Now You’re Shit. Flaming with bluesy enterprise and heavy rock tenacity but equally equipped with punk spawned bait, it is a romantic primal assault to get feet and vocal chords engaged, though just a taster of the bigger anthemic temptation to come with 1717 17th Street. Rolling in on a devilish rhythmic saunter and sonic tempting, the song is soon spewing its melodic acidity around like aural confetti before settling into another impossibly addictive stomp which is as much a rage vocally and sonically as it an epidemic persuasion. Addressing issue of drugs with its title taken from the address of the high school where 15 kids overdosed on a bad batch of heroin, the track is a funked up, hard rock punk shuffle and quite irresistible.

The release closes with the grouchy, dirt smothered HEY Hollywood, a track with a healthy essence of Frankenstein Drag Queens From Planet 13 to its unpolished and infectiously unsavoury beauty. It is a brute of a final track revealing another twist to the varied punk and heavy rock sound the band toys with and twists into their own severe and thrilling trespass on the senses.

Füneral Käb has a sound which embraces the punk ages; it has the unbridled spite of a Sex Pistols or The Adicts, the confrontational hunger of a Suicidal Tendencies or Exploited, and the warped devilry of a Melvins or Dope Body. If any of those tick your boxes or punk at its abrasive best in general, then why are you still here… go explore this great band.

The Füneral Käb EP is available digitally and on 10” vinyl now. Get in touch with teh band to order @ https://www.facebook.com/pages/F%C3%BCneral-K%C3%A4b/221157981243934?sk

RingMaster 11/11/2014

Copyright RingMaster: MyFreeCopyright

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Skyharbor – Guiding Lights

© Naki Kouyioumtzis. SkyHarbor, on a roof top with London skyline behind them

Whilst Guiding Lights did not exactly blow us away as it might have, there is nothing but praise and recommendations which can be offered over the new album from progressive metallers Skyharbor. The successor to the band’s acclaimed 2012 debut album Blinding White Noise: Illusion & Chaos, the new ten track exploration reaps all the essences which made its predecessor standout and explores even richer and more adventurous landscapes of technical and imaginative invention aligned to impassioned creativity. Taken individually, the tracks within Guiding Lights tempt, enthral, and impress without exception but as a whole for whatever reason, the album becomes one thrilling immersive journey but which loses the definition between the different exploits, tracks often blending in without very intensive attention. It is a personal issue we came up against and will not apply to all, and to be fair still could not stop the album standing out as a remarkable and seriously appetising next step in the striking evolution of the band.

Formed initially as a studio project by songwriter/guitarist Keshav Dhar, Skyharbor, the India based band has grown to become one of the rigorously captivating propositions in world progressive metal, in the studio and as the live touring band it evolved into. Starting its line-up growth around 2011 with the linking up of drummer Anup Sastry (Jeff Loomis, Intervals) and Another Vertigo Rush bassist Nikhil Rufus Raj, the band soon emerged as a potent and persistently intriguing presence, its first shows seeing Skyharbor as an instrumental trio. Signing with Basick Records led to the release of the double-disc album Blinding White Noise: Illusion & Chaos, the album seeing Sunneith Revankar (Bhayanak Maut) the vocalist on one disc and Daniel Tompkins (TesseracT), who had previously contacted Dhar with the suggestion of collaborating, on the other. Soon after confirming Tomkins as permanent vocalist, the band with second guitarist Devesh Dayal joining the line-up found themselves sharing stages with the likes of Lamb of God, Bass Monuments, and TesseracT as well as going on to play numerous festivals up to the latter part of last year when the band took time out to write and create Guiding Lights. With Goddess Gagged bassist Krishna Jhaveri replacing the departing Raj, the crowd-funded new album also released via Basick, has stepped forward as a dramatic and riveting next step in the band’s ascent.

Opening track Allure instantly transfixes; melodies and sonic enterprise vibrantly rippling across the song’s fluid canvas like warm summer rain on a clear stretch of water. Almost as swiftly though there is an intensity of passion and GuidingLights_Coverrhythmic incitement which with an agitated beckoning, streaks across the immersive embrace of the track. It is a masterful lure of a song, the outstanding vocals of Tompkins, as across the whole album, smooth and clean with engrossing expression to their narrative. Every aspect of the track and band impresses it is fair to say, the dark toned shadows of bass excelling in the clarity given and guitars bewitching whether laying down elegant designs or brewing up a more tempestuous persuasion.

The impressive start is emulated by the following Evolution, the track a rawer fiery proposition than the opener. The imposing beats of Sastry which commanded attention in the first song take an even more grievous pose in their swings here, though they are unafraid to temper the attack in the more temperate passages of the song. Though not a violent storm, the track still blusters from its rugged start with rigorously heavy scything riffery before finding a mellow and reflective emotive calm to explore, not quite the eye of the tempest but a temporary peace in a gripping maelstrom.

Both Idle Minds and Miracle keep ears and thoughts firmly engaged, the first taking on a poppier breath with its contagion without drifting from the raw emotion of its provocative exploration and a sonic endeavour where the throaty predation of the bass and sensuous melodies from guitars align for another intriguing captivation. The second of the two tracks soars through a celestial atmosphere, vocal and resourceful invention from guitars a radiant and acidic beauty which flares perfectly across the more vigorous traits of the song. As across the release, both are as excitingly unpredictable as they are skilfully sculpted and a potent continuation of the rich creative parade already unveiled.

Through the mesmeric and dramatically flavoursome scenery of Halogen and the more tenaciously challenging adventure of New Devil, the album whips up further greed in the appetite; the second of the two with its provocative and ferocious energy an irresistible incitement and with its intrigue drenched ingenuity, another peak to the album. Both leave thoughts and emotions bound in their creative emprises as does the Porcupine Tree like elegance and resonance of Patience which is subsequently followed by the long mystical temptation of the album’s title track. From its haunting opening ambience, the track brews up into a stormy flight merging rhythmic and emotional turbulence with thought encroaching melodies and vocal passion. As with so many of the tracks, once departed the song is a slim memory but in its hug the track steals ears and thought from the outside world with ease.

Guiding Lights is completed by firstly the excellent seduction of Kaikoma, a song exploring electronic and sonic temptations within an infectious and lingering progressive immersion of the senses. It is a thrilling investigation, one of the major pinnacles of the album which sets up the expansive realm of the finale. The Constant is an undulating terrain of thick and subtle structures, sublime and concussive textures, and gripping creative drama. It is a powerful and thrilling encounter which epitomises the album in that it is absorbingly and bracingly enjoyable as company and inspiration but whether it is its length or there being so much going on, it loses attention at points within its impressive landscape.

With every member of the band mouth-wateringly exploring their stunning individual technical and creative depths, the bottom-line is that Skyharbor has not only created another exceptional proposition to bask in, but one pushing them to the forefront of progressive metal. Guiding Lights is an outstanding journey which challenges for all the right reasons and though for us it works better taken as individual trips in its extensive emprise, it is nothing to complain about and only something to enjoy.

Guiding Lights is available now digitally and on CD via Basick Records @ http://music.basickrecords.com/album/guiding-lights and http://store.basickrecords.com/home/products/guiding-lights-cd/

https://www.facebook.com/Skyharbor7

RingMaster 11/11/2014

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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Desert Ships – Skyliner

Desert Ships press image 2014

Four mesmeric flights flooded with celestial hauntings and shoegaze fascination, the Skyliner EP from UK band Desert Ships is as both band and release names suggest, an expansive and sultrily aired adventure. A release which is cinematic in its touch on the imagination and warmly sensuous in its lure on the senses, Skyliner shimmers and radiates like a mix of The Horrors, House Of Love, and Brian Jonestown Massacre with just a tinge of Inspiral Carpets for spicy measure. To be honest that is still a loose description of the psychedelic fuelled exploration found within the release but a good starting point for something distinct to Desert Ships.

Formed in 2012, the London trio of Mikey (vocals/guitar), Daniel (bass/vocals), and Claude (drums/vocals) swiftly sparked attention and acclaim with the release of their debut album that same year. The Mark Gardener (ex- Ride) produced Doll Skin Flag soon drew regular comparisons to the likes of Brian Jonestown Massacre, The Flaming Lips, Tame Impala, and occasionally the film scores of John Barry. Its success was backed by the band’s equally praised live presence which saw them tour with bands such as The Prodigy, Band of Skulls, The Rifles, and Babyshambles as well as play numerous festivals over the past couple of years. Reuniting with Gardener again in the studio, Desert Ships now unveil their new EP, a release taking its predecessor as a launch pad for broader and more expressive aurally visual experiences.

The release opens with its epic title track, a seven minute plus excursion into magnetic harmonies, sonic exploration, and fuzzy show gaze seducing. From its first breath there is a fresh and smouldering temptation at work, guitar coaxing Desert Ships-Skyliner-artwork -Final-HRthe lead into a weave of vocal harmonies and expression from across the band. That in turn is cradled by a tapestry of keys bred elegance and enterprise. The song emerges as a gentle maelstrom of gripping ideation and aural fascination, the vocals as varied and riveting as the spatial grooves and rhythmic shuffle courting their narrative whilst every immersive note is an exotic kiss upon the senses. Like soaring through a refreshingly muggy landscape, the track is enthralling leaving body and emotions submerged in blissful exploration.

The slightly slimmer length of Shell Shock is no less eventful next, embracing ears with a synth pop spiced temptation straight away. Laying down an eighties flavoured yet modern canvas of melodic hues, bands like China Crisis, Modern English, and The Flaming Lips coming to mind, the track croons with cosmic lustre and psychedelic colour. Again the imagination is sparked by and emotions immersed in an ethereal tapestry of sound and voice, the song the perfect pop proposition. It is a description which almost applies to the following Heart Beats and it’s more grounded but no less transfixing splendour too, though the magnetic offering does not quite have the infectious glow and compelling grandeur of its predecessor. All the same the feistier track is a masterfully and enticingly grooved invitation which is hard to resist as it reveals further shades and turns in the band’s creativity.

Skyliner is concluded by another epic holding of ears with its longest and relentlessly suggestive track, Ausgang. Somewhere between cheerfully funereal and livelily meditative, the persistent breeze of sonic and melodic enticing is a vibrantly repetitive affair which probably outstays its welcome but still provides an instrumental soundscape to create imaginative tales within. Though the EP is not one of two halves, like the previous track the closer lacks something of the first pair of songs but has plenty to entice and feed an already keen appetite for release and band.

Desert Ships has provided a treat of an encounter which is at its stunning best at the start and whilst slipping a level of persuasion or two in its latter part, perpetually leaves expectations and anticipation of big things from and for the band ahead rife. Ultimately Skyliner is a gorgeous flight which more than deserves a full investigation.

The Skyliner EP is available now @ http://desertships.bandcamp.com/

http://www.desertships.com

RingMaster 11/11/2014

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Rivertairs – Jack

Picture 57

Flirting with the imagination like a mix of Common Tongues, Tankus The Henge, and Johnny Foreigner, the debut single from UK band Rivertairs is an introduction which does not instantly make your mind up about their presence but certainly ensures there is an appetite to hear more of their obvious potential. Carrying a flavoursome blend of varied rock spices as dramatic hues of folk rock and indie pop enterprise add their lures to the aural shuffle, Jack is a captivating and seriously intriguing proposition.

Hailing from Manchester, Rivertairs first explored their expressive and expansive design of sound with the 2013 three-track demo, Fool’s Parade. It was supported and followed by numerous shows across the north of England which included sharing stages with bands like Space. Now ready to break into a broader spotlight the band is releasing their first single, a “tongue-in-cheek vignette on the infamous Jack the Ripper”.

Jack opens with swarthy strikes of guitar which in turn are joined by a dark bassline and crisp beats. There is an instant creative and striding swagger to the song which grows in boldness as the vocals begin unveiling the song’s narrative and melodic flames wrap around the infectious enterprise. There are essences of folk and indie pop to the rock based offering and even more varied colour to the imagination spicing up every tenacious sway and seductive caress on show.

The track almost prowls with its adventure and has a theatrical relish to its inventive mischief which keeps ears and imagination gripped and intrigue greedy. As mentioned one song is never enough to decide if a band is for the long-term in thoughts and emotions but Jack has plenty to make Rivertairs a prospect needing thorough exploration ahead and an enjoyable companion right now.

Jack is available as a free download from www.rivertairs.com now!

RingMaster 11/11/2014

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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