Auxes – Boys In My Head

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Storming the psyche like a deranged bluster forged from the sonic invention of The Pixies and Melvins bound in the raw devilment of The Fat Dukes Of Fuck and the acidic charm of The Mai Shi, Boys In My Head is contagion gone wild. The new album from Germany based noise punks Auxes is a masterfully devious roar combining addiction with primal seduction for without any doubt one of the year’s most essential propositions.

The successor to their previously acclaimed More! More! More! of 2012, Boys In My Head sees the band take some of its raw punk persuasion and fuse it to a broader noise and psyche rock exploration. The result is their most compelling and spicily intrusive incitement yet, which as well as those earlier comparisons also sows essences found in band such as At The Drive In, The Birthday Party, and The Locust. Consisting of the combined experiences and adventure of Dave Laney (the co-founder of Milemarker and Challenger), Florian Brandel (Eniac, Kommando Sonne-nmilch, Airpeople) and Manuel Wirtz (Eniac, Honigbomber, Die Charts), Auxes fire up ears and emotions with swift drama and success as Boys In My Head entangles ears with opener To All The Fires. Song and release provide an infestation which is as fascinating as it is unpredictable, as anthemically warped as it is sonically scorching, and from their first notes inescapable slavery.

To All The Fires immediately encases ears in a web of weighty beats and sonic intrigue, a coaxing soon flourishing with feistily flavoursome melodic enterprise fuelling enslaving grooves and hooks. Vocals too have an alluring expression which subsequent harmonies only enhance as the song continues to flirt and dance with the imagination. The impressive start is straight away surpassed by I Can’t Stand You Any Longer, the song from its initial feisty rub of riffery and jabbing rhythms, a voracious stomp of virulently gripping hooks and tangy melodic intrigue. There is a grunge spice to certain aspects of the track but primarily it is a merger of garage and noise rock devilry sparking thoughts of Fake Shark-Real Zombie!

The following I Wanna See Results riles up the passions with its brief but ravenous temptation, a gnarly bassline relentlessly courting acidic guitar endeavour whilst increasingly impressing vocal causticity and just as hungrily agitated rhythms unleash their narratives. Far too brief but irrepressibly thrilling, the encounter makes way for the album’s title track, itself an epidemic of rhythmic bait and resourceful hooks within a sonic haze. Seemingly strongly inspired by The Pixies, the song is a delicious weave of sonic slavery, every groove and tangy chord easy thraldom of thoughts and passions.

The pair of Dog & Master and Life In Their Television increases the album’s grip, the first opening with a predatory rub of riffs and similarly commanding rhythms before striding purposefully with creative rabidity and bewitching enterprise. The track is a scintillating hex on body and emotions whilst its successor is an instant tease with its percussive coaxing and boys in their headmischievous beats. It is revelry though which cannot resist bursting into a punk fired tempest of abrasing guitar invention and vocal confrontation, all around a throaty bass spine. The track is a fiery charge soaked in punk belligerence, it again igniting fresh hunger in the appetite for the outstanding release; a greed right away fed wholesomely by the Frank Black spiced Boom Boom Town. Harmonies and melodies thrive in the sonic tapestry around them, drawing on an acidic wine of sound to brew their equally captivating toxicity.

Every song brings a fresh peak to Boys In My Head, though maybe none as insatiably as Under Fire. Its primal seduction of bass and drums is the foreplay to an orgasmic devilment of barbed hooks and intoxicating grooves, a dramatic infection where there is no second where feet are relaxed and emotions silent, though that to be fair applies to most tracks, especially the relatively calmer but no less transfixing Hand In Hand With The Man and the sultry rock ‘n’ roller Dead Dead Eyes. The first of the two sways and flames with siren-esque sonic candy which brings hints of eighties bands like The Fire Engines and Scars. The second of the pair again has that breeze of nostalgia, offering whispers of the Scottish bands as just mentioned and the likes of Josef K but infusing it into a punk bred slice of ferocious rock with infectious vocals and chorus eventually aligned to anthemic chants.

The album closes with the darkly shadowed I’ve Had Enough, a post punk coloured antagonism engaging ears with a noise and punk rock provocation, and another which is as much an epidemic of tempting as it is a blast of creative turbulence. The song is a brilliant end to quite simply one of the year’s biggest triumphs. There have been a few essential encounters in 2014 and Boys In My Head easily joins the list; in fact it might just be the one heading the queue.

Boys In My Head is available now via Gunner Records, digitally and as CD, vinyl, and cassette versions @ http://auxes.bandcamp.com/album/boys-in-my-head

http://auxes.com/

RingMaster 26/11/2014

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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American Heritage – Prolapse

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With the departure of vocalist/guitarist Adam Norden following its recording, Prolapse from American Heritage might be the last thing heard from the Chicago band, but if this is so what a way to go out. It is a beast of a proposition, a tsunami of controlling grooves, belligerently aggressive rhythms, and a primal force of voice and breath. It is bullying mass of provocation and passion, a lingering statement from what will be a sorely missed band if there is to be no more.

Consisting of six new tracks and three covers brought in the fusion of thick sludge metal, imagination binding mathcore, and abrasing noise rock/hardcore ferocity the quartet is renowned for, the successor to acclaimed 2011 album Sedentary, uncages a caustic savaging which rivals anything they have unleashed before. Recorded with Sanford Parker and released through Solar Flare Records, sixth album Prolapse quite simply brings the band’s presence since 1996 to an incendiary and exhilarating end.

From the first sonic blast of opener Eastward Cast the Entrails, band and album has ears and attention severely grasped, the punishing initial touch leading into a bruising maelstrom of ferocious rhythms, corrosive riffs, and brawling vocals. Within the tempest though grooves raucously flirt and technical prowess seduces, the track increasingly expanding and flourishing in the imagination and emotions. Equally as it grows contagiousness coats the tenacity and enterprise of the guitars and rhythmic antagonism, the provocation becoming as seductive as it is hostile ensuring an insatiable and explosive start to the album swiftly matched by its successor.

Anxious Bedwetter roars and assaults with the entwined charm of Corrosion of Conformity, Mastodon, and Agnostic Front, it swiftly buffeting and igniting emotions with a torrential american_heritage_prolapseonslaught of raw riffery and rhythmic violence cast by drummer Mike Duffy. Again though there is a virulent temptation from scorching melodies and spicy grooves at work, all as uncompromising as the heart of the encounter but spreading irresistible magnetic toxicity. Vocally Norden leaves no syllable and emotion untainted by venom and anger whilst his and fellow guitarist Scott Shellhamer’s sonic temptation is simply bracing.

The pair of Obliviocrity and Constant and Consuming Fear of Death and Dying make no compromises on the senses, the first from another debilitating sonic squall and with nostrils flared, rampaging through ears on a breath-taking sonic turbulence and rhythmic inhospitality. To the destructiveness though again grooves are enflamed with a melodically brewed acidity and creative spice which invigorates and sears the senses. Its quick hellacious ravishment is contrasted by the prowling presence of the second of the pair. Reaped from the predatory essences of doom and sludge, the song crawls provocatively over the listener, imposing and oppressing in its air whilst exploring a brighter terrain of engaging melodies and radiant invention. There is still a menace to its raw beauty though, the band finding the same kind of dark allurement which has blessed the music of Killing Joke over the decades, bassist Erik Bocek, a constant primal enticement across the whole release, bringing forceful heavy seduction to the body of the song.

The hardcore severity always lurking within American Heritage is given full rein in the outstanding Mask of Lies next, the track a furnace of spite and rage with flesh flailing rhythms and riffery to match. It is a savaging you can only embrace and invite back time and time again, much as the next up Blackbird, it a hellacious forging of hardcore, punk, and noise rock rancor with psyche twisting invention. The track is a glorious predator and the pinnacle of the album, a relentless creative scourge which just has you drooling for more and ears and emotions exhausted.

The departure of the triumph is the start of the trio of covers on the album, starting with the outstanding take of the Descendents track Hürtin’ Crüe. It is an erosive swamp of sonic and vocal intensity, a merciless blaze with the charm of a public flogging and quite irresistible. It is followed by the Black Flag track Thirsty and Miserable, American Heritage treating it to their own kind of barbarous enterprise and stormily inventive bad blood before moving on to Bulletproof Cupid, the Girls Against Boys encounter. Openly salacious from its first vocal caress and fiercely imposing as soon as its first note preys on ears, the song is a delicious sinister seduction and dare one say even more potent than the original.

The track brings another unmissable offering from American Heritage to a fine close. What will be missed is the band’s presence, that realisation reinforced by Prolapse as it scars the senses whilst sparking a big tinge of sadness. Things move on and you just feel further raw adventures will be ahead in some guise from the members of the band, something very easy to breed an excited anticipation for, especially after this grand finale.

Prolapse is available now digitally and as CD and vinyl versions via Solar Flare Records @ http://music.solarflarerds.com/album/prolapse or http://americanheritage.bandcamp.com

https://www.facebook.com/americanheritageband

RingMaster26/11/2014

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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The Amsterdam Red Light District – Gone For A While

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With a mouthful of a name and a flavoursome depth to their captivating sound, French rockers The Amsterdam Red Light District unleash their new and highly anticipated album Gone For A While. It is a striking encounter which intrigues and pleases at every turn, the band’s mix of alternative rock in a fusion of melodic punk and hardcore, ensuring a persistent drama and vivacity to each and every track. That it does not ignite the passions as rigorously as it maybe should have is a mystery and probably a personal thing, but certainly the eleven track proposition provides a tasty stomp for ears and imagination to invest a real appetite in.

Seemingly with members based in Lyon and California, The Amsterdam Red Light District since forming in 2005 has earned a potent reputation and recognition for their sound and live presence. Employing inspirations from the likes of Refused, The Bronx, The Ghost of a Thousand, and The Bled into their own distinct ideas and invention, the band has made striking marks through debut album Dear Diary in 2010 and the I’m Not Insane EP two years later, their success backed by a live presence which has seen The Amsterdam Red Light District play all over Europe with great regularity, feature at festivals such as Groezrock, Mair1, Resurrection, Sylak and Rockstorm, as well as play with bands such as Refused, Anti-Flag, Thrice, 36 Crazyfists, Comeback Kid, and Slayer. In July this year the band set about recording second full-length Gone for a While, its release like the first with Red Light Records, now upon us and likely to only intensify the spotlight on the band.

Opener Time Flies swiftly has ears and feet involved in its feisty stomp, riffs and rhythms an immediate frenzy bound in enticing grooves. Vocalist Elio Sxone is a commanding presence within the raucous persuasion from his first syllable, whilst guitarist Maxime Comby is soon complimenting his caustic riffs with sonic enterprise. Arguably there are no real surprises within the song but equally it is a refreshing and magnetic offering with real power to its energy and persuasion capped by the great Red Tape like vocal roars alongside the velvety shadowed tones of bass provided by Gregory Clert.

The attention grabbing start is surpassed by the fascinating Just Have A Good Time, its initial Southern rock/Cajun twang the lead into a ferociously fiery and impressive incitement. Swiftly the_amsterdam_red_light_district_hb_251114revealing more of the depths and diversity to the band’s sound, the heavy rock fuelled track stomps with contagious and aggressive intent driven forcibly by the imposing skills of drummer Julien Chanel. The song though is still as welcoming and catchy as its predecessor, whilst the blend of raw and melodic vocals work a treat across song and subsequently the album, their union as bracing as the contrasting sounds igniting the beast of a song.

   Million Miles Away is no slouch in getting the blood running hungrily through band and listener either, its on-going charge littered with spicy hooks aligned to harsh and melodic elements of punk. Fuelled with a torrent of barbed and addiction forging twists, with further outbreaks of chunky riffing and virulent grooving piling on the temptation, the song keeps the album flying high before handing over ears and emotions to the similarly compelling and voraciously sculpted A Chance To Change. Its energy is as full and insatiable as in its predecessor, and with a thick melodic tempting to its rigorous tenacity, provides another weighty slab of punk hunger and irrepressible contagion.

The brief evocative presence of Final Boarding Call is underwhelming, the track seemingly an intro into the album’s following title track but lacks anything to halt the urge to simply move straight to Gone For A While, itself a song lacking something compared to the first quartet of encounters but reinforcing the craft and imagination surging through the album with ease, if not the earlier adventure shown. Its gentler caresses definitely make for a satisfying companionship before Behind Your Sunglasses unveils its fiercer presence and emotion. Still missing that spark of bold inventiveness, the track impresses as it bawls and croons simultaneously, the vocals especially gripping within the tasty web of chords and hooks.

Both These Kids That Your Parents Warned You About and Come Closer leave ears and appetite full of lingering pleasure, the first with gnarly bass tones and bordering on hostile rhythms, a grouchy and thrilling protagonist. Its growl is wholly infectious, as is the return of that bolder inventiveness which marked the start of the album as the track shows itself to be another lofty peak in the landscape of the release. Its successor is built from the same template, a hearty snarl coating every predatory note and heavily swung beat, not forgetting the raw vocal side of the band, whilst grooves and hooks find their own unique venom to infest the imagination.

The two songs has body and thoughts back hungrily engaged before making way for the addiction causing Set The World On Fire, the track one of those anthemic stomps which only a loss of hearing can deter. Its muscular brawl of a seduction is followed by closing track Waiting For So Long, an encounter featuring Justin Schlosberg from Hell Is For Heroes. A final blaze of rugged and melodic punk vitality which maybe misses truly lighting the passions, it nevertheless gives the album a furnace of a send-off whilst egging on the urge to dive right back into the heart of Gone For A While.

At the start we said that the album did not inflame the strength of ardour that it probably should have. It is hard to define why, certainly there is not an abundance of surprises but there is plenty to enthral and spark a greed for more. It is easy to expect Gone For A While to be a major trigger for the passions in a great many though, and for the rest of us it has to be said The Amsterdam Red Light District has placed a strong enough grip with the album that anticipation for their next endeavour is unavoidable.

Gone For A While is available now via Red Light Records, digitally @ https://itunes.apple.com/fr/album/gone-for-a-while/id918599363 and on CD @ http://tarld.bigcartel.com/

http://www.tarldtheband.com/

RingMaster 26/11/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/