Slice Of Life – Love And A Lamp-Post

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Since co-founding and being the raging roar of punk band Crass in 1977, Steve Ignorant has challenged and examined life and society with voracious intent. It is a constant part of his art whether music or in other mediums, a skilled confrontation which never loses its potency it seems, certainly taking his new band and release, Love And A Lamp-Post ,as the freshest example. Slice Of Life is an acoustic project employing poetry and spoken pieces within a maybe best described as folk street punk embrace. It is a fascinating window upon life, a snarl at prejudices and wrongs with gentle personal contemplation. The album ebbs and flows in potency at times but at no point are ears and thoughts less than thoroughly involved and wanting more.

Slice of Life sees Ignorant linking up with pianist/vocalist Carol Hodge who also worked with Ignorant on the Last Supper project, guitarist Pete Wilson who again was part of Last Supper, and upright bassist Lucas Martin. The result is a release which swiftly sparks the imagination as it makes its reflections and incisive commentary on a life we are all part of in some form or other.

The album’s title track starts things off, a caress of acoustic guitar soon lying with a pungent expression of keys and dark bass shadows as vocals provide the crooning narrative. It is a tantalising proposition, melodies a tangy hue to the plainer but no less magnetic and eventful tones of Ignorant. There is a drama to the lyrical and musical character of the song which is more black and white TV play like than cinematic but certainly a visually sparking essence soaking the whole album and is reinforced as the opening of next up Killing Time lures with a smiling street bred skit. It reminds of the Johnny Wore Black album Walking Underwater from earlier this year which employs samples taken from a documentary based on the streets and real everyday life. As the opening to the second song leads into its captivating heart, the track also reminds and confirms something Ignorant said about Love And A Lamp-Post recently; “Years ago I read a book called Brighton Rock, for days the atmosphere of that story stayed with me and I’ve always wanted to create an album that would have the same effect on people.” Blessed with siren-esque harmonies from Hodge which seduce as this time Ignorant’s expression of piano keys colour his potent words, the song makes it easy for thoughts to slip into the small and imposing creative theatre and inescapable honesty of its incitement. The track mesmerises the imagination much as its successor Happy Hour with its initial sixties like melodic temptation leading to a more sultrily exotic 86701stroll of radiant keys and smouldering chords. The piano of Hodge is a lingering tempting providing rosy colour to the rawer reality of vocals and seductive bass.

Next up is You, a short spoken prose piece pointing an uncompromising finger at portions of society and those who govern it. Thoughts bring forth references to the recently released Waging War album from UK punks The Duel, which used a similar ingenuity to matching success between and to open songs. It is a potent piece benefitting from its brief presence, a short sharp poke before Here I Stand steps forward with its guitar and vocal questioning. It is richly effective bait for thoughts but spreads further into the passions with the delicious flames of trumpet provided by Dave Land.

Eleven Chimneys is like its predecessor a song which opens with strong appeal but finds greater compelling persuasion as other elements join the spine of provocative vocals, this time it being the temptress like harmonic breeze of Hodge, her voice as virulent a lure for ears as her rigorous piano charm and Ignorant’s lyrical prowess. The song serenades as it opens its personal angst, bass and guitar adding varied shades to the elegant yet unfussy nature of the excellent encounter.

From the wonderfully anthemic The Way Things Are where everything resourcefully colludes to raise an emotional call to arms, the album moves into the riveting spoken tale of The Home Coming. It is a sublimely descriptive portrait of a lonely soul, memories and bleak hues of life the persistent scenery for the heart of the track’s protagonist. With slim but complimentary hints of piano, the piece is a powerful moment on the album, though not one personally to explore with every listen of Love And A Lamp-Post, more a moment to use sparingly to keep its potency at full strength.

Final track Slice of Life leaves imagination and ears basking in another masterfully crafted embrace of low key but vivacious melodies with passion fuelled and uncompromising words. The song is an irresistible finale to an enthralling and thoroughly enjoyable release. There has been no diminishing of Steve Ignorant’s discontent and ability to challenge society’s ills over the past three decades and more, it just comes with broader invention and absorbing adventure as proven by the excellent Love And A Lamp-Post, which as the band name says is just a warts and all Slice Of Life.

Love And A Lamp-Post is available now via Overground Records @ https://itunes.apple.com/gb/album/love-and-a-lamp-post/id925320410

https://www.facebook.com/SteveIgnorantSliceoflife

RingMaster 02/2/2014

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 House Of Capricorn – Morning Star Rise

Photo Credit Cerulean Empire

If the horned one has a house warming party the day he moves in and consumes the world, there are plenty of candidates to provide the musical incitement; a list sure to have The House Of Capricorn near the top. The New Zealand devil rock trio release their new album Morning Star Rise this week and it is a proposition which wears the apocalypse as a smouldering seduction, a tantalising glaze to the band’s rock ‘n’ roll tapestry of doom, gothic and stoner rock. The release is a masterful protagonist for dark deeds and blackened hearts, a bewitching evocative hex sounding like the son of a satanic union between Type O Negative, Dommin, Babylon Whores, and Sisters Of Mercy. Even that description does not touch the black hearted toxicity which coats every note and syllable but it does suggest the melodic and deceptive satanic alchemy fuelling the outstanding encounter, the album radiantly inviting as its sound and intent feeds on the soul.

Formed in 2001 and hailing from Auckland, The House of Capricorn set free the self-released The Rivers And The Rain EP in 2006 as their first temptation, but it was with first album Sign Of The Cloven Hoof four years later that the band stirred real attention within a wider spotlight. It was followed the next year by In The Devil’s Days, the album reinforcing the increasingly darker explorations began with its predecessor. Now the threesome of vocalist Marko Pavlovic, guitarist Scott Blomfield, and drummer Michael Rothwell have cast their most riveting collection of satanic hymns yet for one of the most thrilling possessions of the year.

The Road to Hell is Marked makes the first enticement of ears and psyche, the track bounding in on swinging beats and a carnivorously snarling bassline entwined with an instantly engaging if acidic groove. It is a magnet for the imagination, the opening intimidation swiftly bursting into a creative punk like brawl as Pavlovic roars from within a tenaciously aggressive sonic confrontation. An element of Volbeat plays with thoughts but only as whispers behind the outstanding Pete Steele like dark harmonies the vocals grace the lyrical infestation with. Anthemic and contagious, the opener is a salacious but controlled stomp teasing with a scorching solo and that ever grumbling bass sound which enslaves appetite and emotion.

The brilliant start is matched swiftly by the fire and brimstone of In Light of Lucifer, the track stepping down a gear in attack but increasing the dosage of toxic grooves and vocal tempting. The 143228track prowls and taunts with its gait and hypnotic sounds, an imposing resonance leaking from every pore whilst the guitars cast a web of virulent hooks and grooves within the thick doom loaded smog. As the previous songs and those to follow, there is a diversity of sound and textures making up the offering but whatever the spices the song, as the album, is simply rock ‘n’ roll at its voracious best.

Our Shrouded King is another bellow of sound and demonic intent, riffs and rhythms an uncompromising confrontation tempered by the sultry temptation of grooves and expressive vocals. Hints of Misfits/Samhain flirt with thoughts as do more loudly those of Type O Negative but there is no escaping the rich and imposing tones of seventies classic metal kicking up a storm within the swamp of enterprise and incendiary emotion squalling within the track. Its invitingly corrosive maelstrom makes way for the slower predation of Ashlands, it an initially agitated intimidation which emerges as a broad and funereal examination of imagination and emotions. The track is a glorious dark seducing, a drone kissed croon in sound and voice which consumes the senses with a post punk haunting and gothic rock elegance before making its way to angst soaked expulsions of raw vocals and blacker sonic depths. The song is as meditative as it is emotionally toxic, and quite riveting.

Both The Only Star in the Sky and Ivory Crown continue the exhilarating infestation, the album remaining on its lofty plateau of persuasion with consummate ease. The first of the two has an essence of The Mission to its melodic tempting whilst rhythmically and in the growling bass lures, a tinge of early Killing Joke. Again they are mere whispers in the fascinating creative embrace of an inescapable contagion. If this is an infectious suasion its successor is primal seducing with its Sisters of Mercy like chorus and blackened glamour, though overall as the song blossoms and tempts with melodic and female harmonies inflaming ears and passions, it enthrals more like a distant cousin of The Mission’s track Severina, a plus in anyone’s book.

The hazier climate and sonic colour of Watching Angels Fall comes next, the song as magnetic strolling relentlessly or welling up with tsunami like energy for impassioned dark crescendos. Its adventurous instinct leads the listener into a noir lit plane of sonic enterprise and provocative ruffled calm at one point, an almost wrong-footing turn before re-establishing its authority with the returning tide of torrential tiffs and rhythms. A slow burner compared to others on the album but soon another peak, it is followed by the atmospheric instrumental Covenants Ark, an intriguing and thought provoking piece of stark wasteland bred ambience leading to final epic emprise Dragon of Revelations. Over nine minutes long, the track is a cavernous journey into a dark unknown and destructive malevolence but lit with the transfixing smouldering tones of Pavlovic and a reflective streaming of sonic colour from Blomfield. It is a doom drenched exploration, oppressive and enchanting simultaneously and a sublime end to an exceptional release.

Morning Star Rise is majestic, colossally gloomy and fearsome but equally captivatingly infectious and spellbinding. When the apocalypse comes The House of Capricorn will have no fears, they will riding to the fore with wide grins and instruments sound-tracking the end of days.

Morning Star Rise is available now via Svart Records on vinyl @ http://svartrecords.com/shoppe/home/2738-the-house-of-capricorn-morning-star-rise-cd.html, on CD @ http://svartrecords.com/shoppe/home/2737-the-house-of-capricorn-morning-star-rise-cd.html or digitally @ http://thehouseofcapricorn.bandcamp.com/

https://www.facebook.com/thehouseofcapricorn

RingMaster 02/12/2014

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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Twingiant – Devil Down

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There is smog like quality to the sound of US band Twingiant which invades every pore and corner of the senses with voracious appetite; within that thick immersion though the band infuses a searing melodic veining and smouldering enterprise to leave the imagination keen and appetite even hungrier. They describe their sound as simply loud and heavy, but as shown by new EP Devil Down, it is also bracingly flavoursome and rigorously compelling.

Devil Down is also uncompromising in its touch and intensity, Twingiant blending fiery stoner and heavy rock with imposing sludge richness for an inflammatory and predatory cauldron of sound. Formed in 2010, the Phoenix, Arizona based quartet drew keen attention with debut album Mass Driver two years later and last year’s Sin Nombre EP. Their success only backed and reinforced the band’s live stature which has seen them persistently impress and inflame audiences whilst sharing stages with the likes of Windhand, Pallbearer, Weedeater, Intronaut, Metal Church, Satan’s Satyrs, Guttermouth, Black Tusk and numerous more. Now with their self-released and produced Devil Down EP, the band look poised to awaken a more momentous spotlight upon themselves. May be it is not a release to ignite a explosive blaze within thunderous rock ‘n’ roll climes but it Devil Down is certainly a fierce proposition to firmly thrust Twingiant upon a broader landscape of attention.

The striking presence of the release begins with the instrumental Old Hag. Starting from a restrained and elegant flame of immediately enthralling enterprise and craft, the track grows within the ears as its melodic acidity and sultry charm creates a spark for the imagination to run with and explore. There is also a sinister edge to the invention and sonic beauty fuelling the track, the guitars of Tony Gallegos and Nikos Mixas providing a highly suggestive soundscape and narrative courted by raw shadows provided by the gripping rhythms of drummer Jeff Ramon and bass predation from Jarrod Le Blanc. It is a transfixing proposition which as it reaches its finale, digs into a new texture of aggressive tenacity and attitude.

The impressive start is followed by Dead To Rights, a track striding forcibly with a combative swagger from its first second. Loaded with just as magnetically swinging grooves it soon adds theDD Front Cover (1) coarse texture of Le Blanc’s vocals to the mix, his tones strong without blowing anyone away but with their generally minimalistic presence in the context of songs, they make the perfect incitement to the blistering tempests of around him. A brawling eruption of skilled endeavour and resourceful voracity, the song makes way for the carnivorously toned Daisy Cutter. From its first breath the bass growl is carnally bestial and soon matched by the thickly gravelled vocals. Heavy metal seeded grooves entwine the intensive weight and prowl of the song, at times taking over with their engaging flames and mouth-watering beauty, though the scuzzy hostility of the bass is a constant prowling intimidation ensuring every twist comes with its share of menace.

Through The Motions is another enslaving instrumental and with no slight on Le Blanc’s vocals, these are the tracks where the listener can really play and immerse into the creative emprise of engagements and release. They are a canvas for the imagination and emotions to dance freely, and this track a virulent persuasion weaving sizzling strands of sonic and melodic temptation with inventively rabid rhythms for a fascinating evocation, a tapestry for thoughts to cast adventures with.

Tiger Lily suffers a little being sandwiched between its predecessor and the next up instrumental, but still provides a feisty and aggressive enterprise of heavy footed riffs and spicy grooves to persistently enjoy. There is something missing though, a spark which evades even the enticing twists and shifting textures within the song, and whilst it is a potent companion it does not linger around as other tracks on the album, and especially like Under A Blood Moon. The third instrumental is the best, a sultry twang to guitars an immediate seduction which only grows as melodies and grooves embrace the flavouring for their own infectious web of wonderfully unpolished and organic temptation. Once more it is a piece which simply ignites ears and imagination into eager life, every diverse flavour and note seemingly a seed to expanding adventures, especially the dark beauty of strings at its conclusion.

Devil Down ends with its title track, a bruising prowl of heavy metal and sludge rapacity aligned to groove and noise rock causticity. It is a predator, an emotionally blackened stalking which lumbers and crawls with the varied creativity of the guitars its light and merciless rhythms its teeth. The song is an immense end to an outstanding release, where even though for personal tastes the instrumentals steal the show, every track is an almost primal incitement to want plenty more from Twingiant, a band whose stock and presence surely from this point will be infesting the world’s full awareness.

The self-released Devil Down is available on vinyl from 2 December @ http://twingiant.bandcamp.com/album/devil-down

A cassette version of Devil Down will be released via Medusa Crush Records on February 7th.

http://twingiant.com/

RingMaster 02/12/2104

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/