6:33 – Deadly Scenes

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Entwining an extensive mix of styles and psyche exploring sounds is a carnival of fun in the hands of the most inventive and accomplished bands but loaded with the uniquely flavoursome imagination that is 6:33, that bold daring becomes pure musical alchemy. The French avant-garde metallers had us hooked with their Giggles, Garlands & Gallows EP of 2012, an introduction to our subsequently feverish ears backed up a year later by their formidable second album The Stench from the Swelling (A True Story), both featuring CinC/Carnival In Coal/ We All Die (Laughing) vocalist Arno Strobl. Now the Paris quintet have turned up the lust with new album Deadly Scenes, a tempest of invention and sheer aural ingenuity which sees the band at its loftiest pinnacle of creativity yet and surely the most exciting incitement in music today.

The Kaotoxin Records released stomp consists of nine tracks romping down dark avenues of psyche igniting drama and heavy, almost vaudeville like creative emprises. It dives into ravenous shadows, through blood strewn scenery, and across the darkest corners of mind and soul, leaving smiles and bruises as a token of its salacious esteem. Like an anarchic tempest of sound grown from the creative sap of Faith No more, Pryapisme, Polkadot Cadaver, and Mr Bungle, the perfectly formed and fluidly sculpted Deadly Scenes is a tapestry of intrigue and unpredictability casting unbridled pleasure. It carries a lyrical derangement and musical maelstrom across every one of its truly individual offerings, each sublimely and voraciously igniting every cell of those drawn into its inventive hex.

The album starts it’s ridiculously compelling spell with the ‘gospel’ of Hellalujah, certainly it starts that way with a richly resounding choir announcing “Lord Jesus!” It is a great wrong-footing coaxing, even for 6:33, which is soon opening up its invention through a building crescendo of flavours which unite in a sturdy footed stride. It is a bedlamic revelry of sound with a show tune essence to its invention, but as is the norm for the band a mere moment in the travel of a song. Bursting into a ruggedly flirtatious and body swerving blaze of swing and melodic rioting, the song is afire with hooks and metallic lures, all courted by the drama of the keys and the show-pop tenacity of voices and similarly inflamed sound.

Ego fandango comes in next, soaring keys and preacher bred samples the bed for the subsequent muscular and antagonistic stroll of the song. In many ways a Mike Patton essence is never 760137674726_TOX043_6-33_Artwork_480x480far from the band’s music, here helping flavour the rampant vocal and inventive swagger flirting with an Oingo Boingo like vivacity and enterprise. Female vocals, as in the first song, provide a magnetic companion to the ever striking and gripping delivery of Rorschach whilst spices of Queen and Five Star Prison Cell bring further strains of sonic colour to the ever evolving terrain of the brilliant encounter.

A tribal and shamanic rhythmic canvas provides the landscape for the following brilliance of The walking fed, its hypnotic bait a constant persuasion as a low key Yello like electro and vocal beckoning lures ears into a sinister weave of progressive metal and funk infused exploration. The dark bass conjuring of S.A.D. works masterfully with the beats to cage the fiery endeavour within their walls but leaves his strongest most potent tempting for the closing stretch of the song where he unveils an addictive steely web as medicine man chants dance with the keys.

The furious intensity of I’m a nerd escapes another choral welcome straight after, its hellacious rage of metal an imposing roar before everything moves into a country kissed pop ramble with 12 Stone Toddler like pop ingenuity and Kontrust spiced mischief. To be honest as with every song, words can only give a hint of the depth and invention of the superbly blended flavours and ideas escaping the heart of the sonic incitement, and even listening in person, further twists only reveal their lures over numerous plays.

Through the theatrical noir of Modus operandi and the psychotic stalking of Black widow, 6:33 continue to paint new provocative pictures of musical drama and virulence, the first a kaleidoscope of again Faith No More ferocity with the worldly rock essences of Les Negresses Vertes, but as expected honed into something mouth-watering and unique to the band. Its successor is a furnace of creative and rhythmic fury sculpted into a virulent dance of sonic mayhem and deliciously cultured harmonic beauty; a Mr Bungle meets Toumaï seduction for want of a better clue. Their brilliance and exhaustive presence is followed by the gentle acoustic caress of Last bullet for a gold rattle, a country seeded night around a crackling campfire evolving into a melodic shuffle of Cajun/Latin sultriness.

The smouldering Lazy boy croons and bawls impressively over the senses next, it’s raging fury and warm lingering seductions a battlefield of gripping unpredictability. The song is as contagious and as vicious as any song you are likely to hear this year, but there will few which fuse the extremes as imperiously as this. Its sensational bellow brings the listener to the epic title track. Deadly scenes has a theatre all of its own as it narrates, soundtracks, and relishes a clutch of dark tales and spoiled souls. Atmospherically pungent and musically deranged, the track as the album blows ears and imagination away, leaving the passions exultant. Imagine every sound and musical spice you would wish in a soundtrack to your day and it will probably be in the enthralling and feet manipulating track.

     Deadly Scenes is another stunning triumph from 6:33. With every release we ask how they will top their new pinnacle but they do as evidenced by this front runner for most exhilarating if not important releases in 2015.

6:33 Deadly Scenes is available via Kaotoxin Records from 12th January as a limited edition (1,000 copies) DigiSleeve, bundled with a free 26-track label sampler, a special cassette version limited to 100 copies @ http://www.kaotoxin.com/product-category/kaotoxin-releases/ and digitally @ http://listen.kaotoxin.com/album/deadly-scenes

http://www.633theband.com/

https://www.facebook.com/6h33official

RingMaster 12/01/2015

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Maxstone – The Decade EP

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Having ten years or so to hone a flavoursome and attention grabbing sound around Southern Saskatchewan and beyond, Canadian rockers Maxstone finally released their debut a few months back, a stirring encounter going under the name of The Decade EP which all fans of metal and punk infused rock ‘n’ roll should add to their must investigate lists. Bringing two older songs with a couple of newer written encounters, the release is a seriously enjoyable bruise of the ears bringing a mix of Strung Out, Red Tape, and Thrice like ferocity to their rugged party. At times there is even a hint of Reuben to the creative fire of songs and though the EP is not flushed with striking originality, it only leaves thick satisfaction and fierce appetite for more in its wake.

Made up of Nathan Fafard, Gelvis Sheldon, Brett Marit, and Jordan Godson, Maxstone sets things off with Battle and immediately guitars are a blaze of sonic enterprise amidst a bracing provocation of rhythms. It is a sturdy ear catching entrance which soon embraces similarly raw and impassioned vocals without breaking stride. Punk at its heart but with a delicious veining of a3310393465_2metal seeded grooves and sharp hooks, the energetic and at times almost chaotic bluster of the song is as appealing as the technical craft and imagination flirting from within the impressive opener.

The following Mystery Whiskey is built from the same template, its intensity and passion as forceful and busy as in its predecessor. Musically there is less of a roar in the second track than the first, but with the vocals losing none of their thick expression and the chorus finding stronger virulence, the song keeps the EP on a potent and magnetic course before being eclipsed by the final pair of songs.

Panic stomps in first, beats a scything provocateur against the spicy grooves of the guitars. Vocally there is a slight restraint which works a treat as bass and guitars cast their web of melodic punk and metal seeded sonic enterprise. Group calls back up these potent aspects as the song progresses, its anthemic strength accentuated by their roars within another enjoyable weave of fierce melodies and punchy rhythms. Completed by a brief but great classic metal toned solo, the track makes way for the outstanding Greed. The best track on the release it is a blast of punk hostility and heavy rock predation driven by the blistering and skilled force of the drums. Full to the brim with searing sonic hooks and throaty bass grooves aligned to another dose of anthemic vocal persuasion, the track is a rampant incitement which only increases its lure, weight, and intensity as it heads into a heady climax fuelled by the exhausting and scintillating assault of the drums.

The Decade EP is an impressive start to the band’s recording career, the first of many potent encounters a great many will be hoping as it gains broadening attention. It is not going to set the world on fire but for heart felt antagonistic punk ‘n’ roll it will leave no one wanting, only hungry for more Maxstone.

The Decade EP is available now @ http://maxstone.bandcamp.com/album/the-decade-e-p

https://www.facebook.com/maxstonerock/

RingMaster 12/01/2015

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Milton Star – Salvation/Storyville

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Always partial to music which is as cinematic as it is sonically expressive, and especially keen on dark and sultry aural adventures which embrace emotive shadows as eagerly as they do melodic intrigue, the debut single from Scottish band Milton Star has come as a bit of a treat. Consisting of the songs Salvation and Storyville, the double A-sided encounter is a gothic romance for the ears and imagination. The two tracks cast evocative landscapes of smouldering emotion and heavy atmospheric colour uniting indie and dark country in one enjoyable and darkly feverish encounter.

Milton Star is the duo of Alan Wyllie and Graeme Currie, two songwriters/musicians whose history together goes back to the early days of post punk and across numerous projects, most notably the Thursdays who were signed to Fast Records. Getting back together in 2010 after both had been absent from the music scene for a few years, Wyllie and Currie now in a converted church in Fife, create and record their songs with a sound which have drawn the description, “think Velvet Underground meets vintage Glen Campbell via Rick Rubin collaborating on the next David Lynch movie or sound-tracking the latest HBO crime drama…” It is a hint in the right direction but as Salvation alone shows, there is plenty more within the band’s broad soundscapes and intimate canvases.

The track is a dark croon seemingly bred on a dark folk mix of Nick Cave and Mark Lanegan aligned to the visual drama of Helldorado and a whisper of the raw danger in a Tombstone Three. It Picture 3opens on an instantly gripping stroll of heavy beats which is swiftly joined by the sultry flames of guitar and great dark throated yet melancholically elegant vocals. There is an immediate theatre to the song, especially when voice and guitar add their provocative textures to the portentous heavy bassline and the crisp swings of the drums. The track is glorious and increasingly spicy as the two musicians weave in tangy grooves and emotive melodies which often come in a great ‘yawn’ of sound. With additional fifties rock ‘n’ roll stroking its gothic poetry, the song leaves thoughts lost in a soulful landscape of adventure and ears basking in syrupy sonic goodness.

Its companion Storyville similarly offers an intensive climate of shadows, this time the first breath coming around a grizzled bassline which instantly enslaves attention as the atmospheric lure of the track expands its coaxing. Slightly lighter than its predecessor but no less imposing with its bordering on caliginous emotions and aural colour, the song shimmers and smoulders with raw radiance and evocative expression, it all across that unrelenting bass spine. Not quite matching Salvation but certainly as enthralling and exciting, the song completes an impressive first excursion into the dark climactic majesty of Milton Star’s sound.

The single is sure to spark strong anticipation in a great many for more; future Milton Star adventures which if they are as dramatic and thrilling as this will be devoured greedily and noisily.

Salvation/Storyville is available from 12th January via Stereogram Recordings @ https://stereogramrecordings.bandcamp.com

http://www.miltonstarmusic.net/

RingMaster 12/01/2015

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The Persian Leaps – Drive Drive Delay

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Creating a sparkling clang of noise pop with indie breeding and a raw slither of punk, the sound of US band The Persian Leaps is one of those propositions which you do not realise how much you are enjoying it until it departs the ears. Certainly that was the effect of their new EP Drive Drive Delay, an encounter which made a strong if not exactly overwhelming start but by its third song had feet dancing to its tune and by the close urged an immediate need to press play all over again. It is hard to declare the offering as a major breakthrough for the Saint Paul in Minnesota hailing band, but it has plenty to awaken a real appetite for more and the potential of that upcoming moment.

The band’s seeds began with singer/guitarist Drew Forsberg, who came up with the name in a doodle whilst attending a college Greek Archaeology course. Using the name to write music independently over many years, sound inspired by the likes of My Bloody Valentine, The Smiths, Guided by Voices, and Teenage Fanclub, he eventually brought the band to full life in 2012 with the expansion of the line-up. Last year saw the release of their acclaimed debut EP Praise Elephants, a well-received proposition now potently backed and at times surpassed by Drive Drive Delay.

Fire Starter sets things off and as mentioned at the start, makes a good if not exactly attention grabbing opening to the release. With thick chords and keen rhythms shaping its body after an initial vocally abrasing start, the song jangles and sonically sparks in ears with agreeable responses but there is something missing energy wise and exposed further by subsequent songs. Nevertheless bright harmonies and that persistent discordance clad ring of the guitars ensures it is no throwaway offering, just a less striking one especially once the following Pretty Boy takes over. The song swings with hefty beats from drummer Michael McCloskey across the caustic flame of Forsberg’s guitar whilst his great vocals, accompanied by the band, bring vibrant colour to the already tenacious mixture. An old school punk spice lures at the heart of the track and is especially delicious, recalling the likes of The Lurkers and the pop punk of the Radiators, whilst the song as a whole pushes Drive Drive Delay to loftier heights.

The next up (Goodbye to) South Carolina flows through ears on a scuzzy tide of riffs but with a raw bait courted by an almost spatial melodic flaming which is almost Birdland like in sonic Picture 62enterprise. Like the first song, it does not stir the imagination and emotions as its predecessor but still makes a tasty appetiser with its great acidic twang for the final pair of outstanding songs.

Truth = Consequences is a fiery croon of sound around a similarly delivered mellow caress of vocals. The track shimmers and bellows with creativity as again riffs and hooks glow with sonic heat and enterprise whilst the throaty basslines of Brad Hendrickson simply enslave the appetite in the short but riveting encounter. It is the new peak for the EP but straight away eclipsed by the excellent Permission. The closing song swings in on a rhythmic rumble clad in the fuzzy temptation of guitar, swaggering with melodic radiance and thickly barbed bass tones. That My Bloody Valentine influence is a loud whisper across the evolving landscape of the track, but equally there is unique freshness to the virulence and character of the hooks and winy grooves which vein the warm if volatile ambience of the triumph.

The EP is a potent introduction to newcomers to The Persian Leaps like us and in hindsight an impressive continuation of the qualities in the emerging band that their fans already knew about. It may have made a slow impression initially but more of the same ahead would certainly go down a treat.

The Drive Drive Delay EP is available now via Land Ski Records and digitally @ http://thepersianleaps.bandcamp.com/

http://thepersianleaps.com/

RingMaster 12/01/2015

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A Room Swept White – No Love Lost

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As much as we all hope the next new thing we listen to will be an inflamed love affair for ears and the passions, sometimes a just as enjoyable contemplation is a proposition which manages to leave thoughts and emotions balanced between high praise and dissatisfaction. The new No Love Lost EP from UK post hardcore band A Room Swept White is such an encounter. Consisting of five tracks which at times with their raw persuasion ignite a lusty appetite for the band’s imagination and attempt to stand out from the crowd, the release is a potential soaked and ultimately promising first look for us to a band beginning to brew up a buzz. Tempering its success though, those same songs also provide a senses smarting abrasiveness in certain moments which rub personal tastes the wrong way. It all results in a sizeable confrontation which as it twists and tries to find its feet, provides a presence that ensures A Room Swept White will not be simply a passing interest.

Hailing from Crawley and Horsham, A Room Swept White formed in 2011 with the intent “to create a sound that inspires and attacks the senses.” From the first few seconds of the new EP it is fair to say that the quintet has that angle covered quite potently. They create a persuasion which live has impressed forcibly, as shown by gigs alongside the likes of Heart In Hand, Hacktivist, Bury Tomorrow, Feed The Rhino, Bleed From Within, Soulfly, POLAR, and many more persistently drawing strong praise. They have a stage power and intensity which you can suggest has not quite been discovered on No Love Lost, but as implied earlier, their promise is all there to be heard on the band’s new release.

It opens with the evocative melody fuelled Recollection, a brief caress of emotive guitar and cleanly delivered vocal angst over rugged rhythmic scenery. It is an inviting lure taking the listener A Room ...PromoImagestraight into the hoarsely throated This Life. The second track immediately assaults with heftily swung beats from drummer James Farrant against just as antagonistic riffs. Twists in the already inventive designs of guitarists Alex Kirrage and Michael Flood catch the imagination before the coarse vocal rage of Ryan Elliott adds to the antagonistic intent. It is a strong start which finds greater energy as the frontman expels his angry breath, an increase in intensity matched by the guitars great enterprise and the darker moodier basslines of James Nicoll. A further enticing colour comes with the clean vocals of Kirrage, firstly as a backing aligned to the calls of the band. It is a great mix and the track is soon winning over thoughts and appetite, especially as it slips into something melodically and atmospherically more comfortable at one point.

The song flows into the EP’s title track and it too is soon badgering and energetically squalling over the senses. Bulging with uncompromising rhythms and vocal predation courted by coarse riffery, the song is a maelstrom of fresh ideas and at times genre familiarity. It works well but is missing something compared to its predecessor, though the clean vocals and imaginative endeavour of the guitars is a tasty extra.

Vocally is where the EP seems to be raising most debatable points with people, though most seem to praise the hostility of Elliott over the warmer tempting of Kirrage. Personally it is the other way round where the band on this encounter flourishes; the latter providing great and impressive contrast to the less adventurous assault of his band mate. It is all down to taste of course but it would be good to see Elliott mixing up his venomous stance in the future to break the almost overwhelming causticity which at times defuses the success of the creativity elsewhere. Songs like the next up Time Heals especially blossoms from the angst soaked ire dripping from Elliott’s fine attack though, and just as pleasingly from the sonic adventure and melodic flames which wrap around the impressive bait set down by Nicoll and Farrant.

From the best track on the release, No Love Lost ends with the more than decent if slightly underwhelming Better Days. Like the third song on the EP, despite highly agreeable ideas and skilled enterprise, the song is missing the fire of certainly the previous incitement of ears. As No Love Lost as a whole, there is still plenty to get strong satisfaction from and things to be unsure about with the final outcome being that A Room Swept White is a prospect needing more keen attention. Both band and release provide pleasing and enjoyable company but are accompanied by a feeling it is still early days and there will be stronger and more exciting things to judge ahead.

The No Love Lost EP is available from January 12th through all digital platforms.

https://www.facebook.com/ARoomSweptWhite

RingMaster 12/01/2015

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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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