Cauldronated/ Dave.I.D / Sebastian Bartz at The Unicorn January 30th 2015

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It was a night so cold that face stubble receded to search for warmth and involved a walk long enough to worry time zones, but all was forgotten at The Unicorn, Camden on the last Friday of January 2015, thanks to a trio of bands which left the senses reeling and emotions elevated. The night marked the return of the venue’s Post-Punk Club, and the dramatic union of what are three of the UK’s most uniquely original and inventive bands right now.

Anticipation was already a heady brew for Cauldronated, the new band of Dave Barbarossa of Adam and The Ants, Bow Wow Wow, Republica, Chicane… the list goes on…fame. An appetite sparked by his history and confirmed thanks to already unleashed tracks and videos. Equally there was a seriously pricked intrigue in the prospect of being introduced to two artists with a healthy buzz around them, Sebastian Bartz and Dave.I.D. It proved to be an adventure which threw assumptions and expectations to the floor and set about stirring up blood, energies, and emotions.

The night opened with the post punk voracity of Sebastian Bartz. As became the norm for the night, the quartet of musicians arrived as good as unannounced, as every song on the night from all bands (our only niggle), and swiftly unleashed a sonic tonic for the senses with immediate effect. Song after song was sculpted around a seriously potent rhythmic frame, with the drummer especially stealing attention in a couple of the tracks, including the closing treat from the band. To this guitar and keys added their often raw and always impressively toxic melodies as Sebastian prowled and sized up each song and audience member with a belligerent but endearing androgynous theatre. Fresh to the presence of the man, it is fair to say that he and the band impressed unreservedly, every second of sound and twist of lyrical spite accompanied with addictive antagonism and contagious craft. Equally there was a power and attitude expelled which often pushed tracks to their rawest limits, and caused ears to wilt under the sonic force offered though they only remained hungry for more, especially with tracks like She’s Gone which was amongst so many standing out, but the only one with a title known. Not letting a broken guitar string deter the onslaught of post punk imagination and intimidating devilry from songs and band, Sebastian Bartz powerfully proved why he has the reputation of being one of the really exciting propositions of the London live scene.

It is clear that the majority of the audience was there for one particular thing, to see Cauldronated, which left Dave I.D. who closed the night, staring at only a handful of certainly keen and attentive bodies. It was a shame as the solo musician captivated with his heavily atmospheric and soulful sounds. His hands were often a frantic movement spinning a web of musical invention with his varied equipment whilst his creative nature was a twitch of vocal angst and expression. There is a dark emotion to his industrial seeded music and sobering lyrics which challenges and transfixes simultaneously. Also there is an underlying anger which skilfully colours his music and on the night seemingly erupted with a flying drum stick, though if in frustration at the lack of bodies before him it was possibly understandable, his compelling set deserved, as his emotive sounds, more.

Splitting the two was Cauldronated with a performance which blew away man and night alike. As mentioned the newest project of Dave Barbarossa, the band took merely the initial tempting of 10891845_1567448743468059_6897666929198738212_nopener iBossa to bind attention and imagination, never relinquishing it until the last beat and note of the demanded encore. On stage the band is driven by Dave’s still strikingly potent and inspirational rhythmic craft; in fact ‘still’ does him an injustice as much heard on the night left marks surpassing a lot of his legendary history in invention and sheer agility. In front of him stood the vocal, lyrical, and occasionally rhythmic drama that is Italian extrasolar poetess Eva Menon. The lady has a presence which forcibly lures attention yet is as organic and natural as it comes, well until she unleashes her lyrical tirade which just enthrals and sparks in ears and imagination. Eva has a stage scowl, a leering confrontation which is not forced but part of the whole impacting incitement that is Cauldronated yet also an underlying mischief which could not stop breaking out through smiles on the night, especially to the birthday wishes flung her way.

As said opening with the exceptional iBossa, which as all their songs sounds even more powerful and infectious live, there was the feeling that if they could straight away uncage a fan favourite there was bigger treats to come, and so it proved. Songs like Buy This Thing and In This World left bodies and emotions enslaved, Dave’s ridiculously creative and addictive beats turning feet and limbs into his own personal puppets whilst Eva has thoughts bound with her scythes and lashings of vocal and lyrical confrontation. Of course around this, binding their ingenious strikes are the adventurously melodic and creative sounds of David Harman, absent on stage but lighting up every song with imagination and worldly temptation through his recorded enterprise.

The band’s incredibly rousing set flew by in a blink, but every minute was a standout muscular and tenaciously seductive flirtation. The band’s bio call their sound punky, drum-centric techno, surely after such a stunning performance, it should be merely tagged as alchemy. As mentioned it seemed like the whole night was there for Cauldronated, the likes of Andy Dukey from London based band Top Buzzer and Johnny Summer, the head of the Reputation Radio Station, adding their enthusiastic moves to a seriously invigorated and healthy crowd.

Dave Barbarossa is no stranger to helping create and driving forward some important moments in the history of the British music scene, and he with Eva and David Harman could just be poised to do it again. Certainly with the equally stand-out performances of Sebastian Bartz and Dave.I.D backing them up, Cauldronated has given London an early pinnacle in its live scene for 2015.

http://www.cauldronated.net/

http://www.dave-i-d.com/

https://www.facebook.com/sebastianbartzmusic

RingMaster 04/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

The Black Frame Spectacle – Self Titled EP

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It seems like a life time since the release of their last album, but ensuring that the wait is swiftly confined to being a distant memory, Canadian punkabilly duo The Black Frame Spectacle return with a new slab of ferocious rock ‘n’ roll in the shape of their self-titled EP. Uncaging four tracks of their trademark adrenaline driven rockabilly, the Ontario band has an even bigger roar and snarl to their sound than ever before. You know what you are going to get with the band in many ways but never in the shape and colour it is going to unleash its persuasion in, and on the new EP it is fair to say it is in their most impassioned and accomplished style yet.

The band consists of Dorchester/St Thomas hailing vocalist/guitarists Ian Sullivan and drummer/backing Adam McNeill vocalist, originally work colleagues from 2003 who united musically six years later. Their sound is a maelstrom of fifties rock ‘n’ roll, punk, rockabilly, and hard rock, with plenty more additives spicing things at varying times. It is an attention grabbing proposition which has earned the band’s two albums, Grady Sessions and especially Grady Sessions II, strong acclaim and increasingly broader spotlights, including radio play in the UK. The release of the single The Vow last year set down a tasty appetiser of things to come, the latest EP realising its suggestion and more with raw and undiluted sonic enthusiasm.

Opener 100th Monkey instantly has the listener on familiar ground yet within seconds there is a freshness and spice to the thumping stride and rhythmic march of the song. McNeill offers thumps as potent and anthemic as ever whilst Sullivan’s riffs are eager and slightly steely, which only adds to the always impressive impassioned vocal delivery he sends roaring through ears. The track broadens with every note and beat into a blaze of fifties bred rock ‘n’ roll complete with swinging hooks and a great unexpected surf wrapped, country shaded relaxation, which of course is a0341831993_2only a breath’s worth of a pause before erupting back into the insatiable and irresistible charge it started with.

It is tremendous start quickly matched by Neverborn. Opening with a bluesy coaxing of guitar which just intoxicates senses and imaginations, the song leaps into a controlled but sinew crafted stroll with Sullivan laying his potent tones upon a more hard rock infused slice of rousing persuasion. Harmonies floating in the background of the tempestuous presence of the song, reveals more of the new adventure filling the invention of the band, an intriguing twist which does not distract from the heart of the great track but certainly earns keen attention.

The following This Train Ain’t Stoppin rattles down the EP’s tracks next where a hillbilly country flavouring merges with more traditional rockabilly tenacity as rhythms and hooks dig in with infectious and lingering revelry. Barely two minutes of sheer unbridled contagion, the song is simply what The Black Frame Spectacle does best, stomp with an energy and craft which crosses styles and decades.

As impressive here as on its original unveiling a few months back, The Vow brings the outstanding EP to a mighty close. It has a throaty edge to its opening guitar bait, a rawness which only intensifies as a scrub of riffs from Sullivan’s guitar explodes into another feverish romp driven by the hypnotic intrusive beats of McNeill. Catchier than a virus and just as hungrily virulent, the song is a creative agitation which refuses to leave until feet and passions are offering their own individual submissions.

The track is a glorious end to another inescapably impressive release from The Black Frame Spectacle. They with their EP again feed expectations and wants of their own sound, whilst pushing and stretching its borders just enough to be once more fresh and newly exciting. When will the world wake up to the band we have to wonder, especially fans of bands like Living End, The Peacocks, Th’ Legendary Shack Shakers, and even Volbeat.

The Black Frame Spectacle EP is available now @

http://www.theblackframespectacle.com/

RingMaster 04/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

The Bloodstrings – Coal-Black Heart

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It is hard to miss the buzz emerging around German band The Bloodstrings, especially after the release of debut album Coal-Black Heart. Now having been infected by its seriously accomplished and salacious mix of horror punk, psychobilly, and just plain old dirty rock ‘n’ roll, it is easy to see why. With a sound which is again more than the brief description above, the Aachen/Stolberg hailing quartet is beginning to kick up a storm which their album’s CD release via British indie Undead Artists can only accelerate.

Formed in 2009 and consisting of the seductive yet predatory tones of vocalist /guitarist Celina, the thumping beats of drummer Festus, the predatory bass slaps of Doctor Nick, and the melodic toxicity offered by lead guitarist Krösus, The Bloodstrings have a bloodlust to, and horror driven imagination in their songs which leaves ears and emotions only wanting more. Coal-Black Heart is contagious proof of this seductive quality and of the anthemic voracity which steals the resistance of limbs and energies with consummate ease.

The End Of It All is the first to explode from the album, its initial sonic yawn evolving into a rigorous shuffle of crisply delivered beats and tangy grooves all around an infectious rockabilly riffing. With the fine voice of Celina beckoning with every alluring syllable, as do her skills with keys, the song is soon leaving expectations behind as it sculpts a tasty bait of spicy melodies on the way to a slower more salacious swing for its finale. It is a magnetic start surpassed by the raucous swagger and enterprise of the outstanding Better Drop Dead, a song which romps like a mix of Horrorpops and Midnight Mob. It is an instant anthem for ears and feet to enlist in, and with highly flavoursome endeavour from Krösus across its contagion soon after, has the passions fully entwined.

Both Cannibal and Skeleton bring fresh and infectious devilment to the party, the first merging melodic and classic rock essences into its horror punk tenacity whilst the second unleashes a Bloodstrings Frontcoverrhythmic jungle of temptation courted by a just as compelling bassline. Both tracks draw their share of limb and voice activity, especially the latter with its psychobilly theatre and virulent magnetism. Once again vocals and guitar endeavour bring juicy and captivating colour to both romps before the pair makes way for the prowling predatory charm of Stalker. A hint of Guana Batz spices the song’s entrance before everything turns into a menacing and fiery blaze of melodic and sonic drama, with group vocals calls to match.

By this point band and album have done all the convincing needed to recommend its toxic glory, but does itself only further good with the wholly satisfying rampancy of In Love With A Monster, which has a great air of Spanish horror punks The Monster Ones to it, and the pungent rhythmic stamp of Devils Wine with its web of sonic and melodic liquor. The two tracks in their different guises both have feet pounding upon the floor and blood coursing just that faster through veins, a success taken to greater heights by the metal lined Soul Eaters. Steering through ears on a wave of feistily rolling beats and vocal tempting, the song proceeds to entertain melodic metal vivacity through the guitars and bruising punk metal voracity in its turbulent tempest of a body.

Any Last Words comes forward next with a delicious musical and vocal croon to ignite any graveyard and death stalked romance. Its smooch though is just the first step to a bedlamic rampage, riffs and rhythms a flurry of aggression and gripping attitude bound in mesmeric flames of melodic invention and the dark seduction of Celina’s voice. Revolving through the calm and stormy passages a couple of times, the song sets itself up as another best song contender and a long-term romance for the passions.

Der Nebel Steigt with its traditional Germanic whispers and narrative lights ears next, the lack of lyrical understanding easily compensated by the hypnotic dance of rhythms and the tender yet lively addictive caresses of the guitars. The similarly potent resonating slaps of the bass do it no harm either nor the exceptional riot of Til Death Is Coming which bursts in right after. Thoughts of The Creepshow show themselves in the strenuous blues kissed rock ‘n’ roll side of the song whilst its punkier elements has a feel of dragSTER to their insatiable enticements, the result being yet another irresistible and thumping treat.

The album’s title track has a surf and dark country feel to its melodic and atmospheric climate, a bewitching sultriness which sparks the imagination as potently as the sounds excite ears. A pleasure continued in the closing Digging Our Graves which ensures Coal-Black Heart leaves on a final hellacious furore of sound and energy. Anthems on the album or indeed horror punk/psychobilly do not come more feverish and voracious than with the last fury of adventure.

Coal-Black Heart is an encounter which leaves ears ringing, energies breathless, and satisfaction brimming over. It might not be quite a classic but The Bloodstrings ensures that few storms of rock ‘n’ roll revelry will surpass it in passion and instinctive persuasion this year on their way to creating that future major triumph you can just feel brewing up inside them.

The Bloodstrings are undertaking a European tour from mid-February with confirmed dates at…

14.2. Birmingham, Adam and Eve, UK

15.2. Manchester, Tiger Lounge, UK

18.2. Glasgow, New Hellfire Club, UK

19.2. Leeds, The Boneyard at Bad Apples, UK

20.2. Canterbury, Lady Luck, UK

27.3. Essen, Cafe Nord W/ The Rocket Dogz, GER

28.3. Koblenz, Jamclub w/ Tony Gorilla, Bloodstains, GER

31.3. Lille w/ Gutter Demons (official), FR

02.04. Hengelo w/ Gutter Demons, NL

15.4. Trier w/Bloodsucking Zombies from Outer Space OFFICAL, GER

18.4. Auggen, Sternen w/ Blue Rockin, GER

25.4. Lünen w/ Kitty in a Casket, GER

 

Coal-Black Heart is available digitally and on CD via Undead Artists @ http://undeadartists.bandcamp.com/album/coal-black-heart

https://www.facebook.com/thebloodstrings

RingMaster 04/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

 

0 X í S T – One Eon

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0XiST

Ever had those nightmares which feel so alive that they are virtually stalking thoughts and sanity? If so then you will recognise those same menacing traits in One Eon, the new album from Finnish metallers 0 X í S T. Exploring even richer, more dangerous territory than on their acclaimed debut full-length Nil, the Riihimäki hailing quartet has turned their already oppressive dark metal into a new inescapable predator. Every one of the new album’s six tracks preys on the listener’s fears, escorting them into the darkest corners of mind and soul but with the resourceful craft and startling imagination which the band is already renowned for.

Formed in 2008, 0 X í S T (pronounced zero exist) was soon setting about creating intense and dramatic sounds inspired by essences to be found in bands such as Triptykon, Celtic Frost, Ajattara, and Deinonychus, the first broad invitation to which came with first EP Unveiling the Shadow World via Ostra Records in 2010. The release was followed by the band’s venture in the live arena, quickly taking in successful shows across southern Finland and Estonia. An extremely limited edition CDr two track demo followed as the band began working on Nil, its teasing the appetiser and taster to the subsequent seven track album. Again out through Ostra Records, the band’s first full-length was the spark to a much stronger spotlight upon the band, as was the wealth of live shows which followed taking in furthers countries such as Belgium, France, Germany, Holland, Latvia, Lithuania, Sweden, and Poland.

Recorded last year and now self-released on Death Shrine Offerings, One Eon is the next gripping step in world metal of 0 X í S T’s slowly invasive and absorbing dark metal. It is a proposition which in many ways continues where its predecessor left off but goes far deeper and further into the creative and malevolent depths of the band. The evidence is immediate with opener In the Hood of the Clan of Tombs. Its opening embrace of sonic tempting instantly has a welcoming yet toxic tone to its lure, the guitars of Jani Koskela and Juhani Jokisalo swiftly sharing an intimidating leer in their melodic coaxing. As expected it is a slow enclosing of ears and senses, given weightier substance and menace by the slow lumbering riff of bassist Sameli Köykkä matched by the restrained but intensely premeditated swings of drummer Mikael Ahlstén. The song is a crawling intrusion with vocals to match, but bound in increasingly seductive and unpredictable sonic grooves and creative taunting giving an invigorating nature to its insidious character.One Eon cover RGB

The excellent track continues to twist and flex its animosity with compelling and inventive enterprise, seducing and ravaging the senses before making way for Enshrine which is straight away emulating the success and inhospitality of its predecessor through its own ravenous embrace. Without lumbering into a doom bred gait, the track is unhurried in its overwhelming of ears, almost finding a swagger to its creeping intent and aural consumption along the way, especially when slipping into a bewitching melodic passage with a great mix of blackened and heavy throated vocals. Soon back into its darkest cavernous depths though, the track bruises, seduces, and suffocates the senses and imagination for another thrilling trespass of the listener.

Neither the following Conclusion nor Instincts of a Serpent can find the same heights of the first pair of songs, though both explore riveting new creative journeys to devour heartily. Cleaner vocals are brought into both alongside the raw caustic growls, working well enough but soaked in a little too much theatre maybe for personal tastes. It is a minor personal niggle though as, like in the first of the songs, a delicious melodic endeavour from guitars tempers its ferocious and rabid nature to enthral and inspire thoughts. It’s successor has an almost leech like touch, wrapping its treacherous tendrils of sound and narrative firmly to the psyche whilst leaving body and emotions captivated and fearful of the song’s increasingly blackening touch.

     Leaving no Prospect for a New Dawn takes best track honours next, the bestial roar and creative causticity of its proposal an unrelenting stalking. To its determined rancorous intent though a sonic and melodic charm binds the fears and wounds bred, as in most tracks providing a balm to the overwhelming and intoxicating animus fuelling the encounter. The track is engrossing leaving closing song No Life to Bother a challenge to match up against, which it does with its own smog of lumbering rhythms and towering shadows veined by a contrasting merger of sonic predation and melodic seducing. Enticingly tempestuous with its own sobering and villainous cavern of antipathy, the song brings a fine album to an impressive end.

Having an increasingly deeper rooted soft spot for Nil, it is in some ways hard for One Eon to match up to the first 0 X í S T album for us. Openly though, there is an exciting new exploration to the band’s sound which brought with their open technical skills and intensive imagination, ensures it is going to be one of the most fascinating and satisfying propositions you will hear this year.

Since the recording of One Eon, original bassist Ossi Leino, who played on Nil, has returned to 0 X í S T after the departure of Köykkä.

One Eon is available digitally and on CD from February 4th @ http://0xist.bandcamp.com/album/one-eon

http://www.zeroexist.net

RingMaster 04/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

 

Shadowspawn – Ashes Of Sorrow

Photo- Bo Toftegaard

Maybe it is no surprise the striking and accomplished presence that Ashes Of Sorrow from Danish metallers Shadowspawn makes given the intensive experience of the band’s members, but that cannot only explain the impressively riveting and ferocious exploits of the encounter. Consisting of six tracks which twist and roar with a technical and creative enterprise as persuasive and impacting as the raw aggression and malevolent charm which soaks the imposing tempest, the Horror Pain Gore Death Productions released Ashes Of Sorrow is a debut swiftly earmarking Shadowspawn as one exciting and seriously compelling proposition.

As mentioned the histories of Shadowspawn’s line-up are drenched in experience in the underground metal scene, the band emerging from the union of ex-members of Cinerator and Gods Secret Army late 2012. Aligning all the creative and hostile traits of old school death and thrash metal with a technical expertise and imagination unafraid to taunt melodies and grooves, the quartet swiftly goes for the jugular and psyche with their sound and new album. The accompanying press releases suggests Ashes Of Sorrow is a must for fans of bands such as Asphyx, Benediction, Bolt Thrower, Death, Disincarnate, Entombed, Gorefest, Grave, Napalm Death, Obituary, Sinister, Unleashed, and Vader, a healthy list indeed but quite simply Shadowspawn will appeal to all with a bent for technical hostility and extreme metal bred voracity.

Opener Mind Shut Down instantly smothers ears in an infectious weave of acidic grooves pierced by a similarly impressing bassline, all punctuated further by the vicious demands of the drums. It is a fierce entrance but equally a compelling and inviting one which darkens as soon as the strong guttural vocals savage syllables and senses simultaneously. As the music, vocally the song shows adventure, a cleaner abrasion of voice adding fresh drama and expression to the just as pleasingly volatile and inventive sounds. Unrelenting in its thick snarl and predatory imagination, the track sets the release off in scintillating style, a level as good as matched by Life Is The Way You Die. Its initial coaxing shows a drama and intrigue which alone draws ears and thoughts deep into its impending malice soaked presence. Drums provide a gripping bait from the off too whilst guitars add abrasive toxicity whilst also venturing into a sonic temptation which is as caustic as it is melodically colourful. It does not ultimately have the same irresistible spark as its predecessor but everything about the song bleeds thoughtful provocation and incendiary frontcoverpersuasion as it reinforces the early stature of the release.

Hellavation stalks the listener next; it’s prowling riffs and matching rhythmic predation a controlled but deep rooting trespass into senses and emotions. Vocally another new passage of ideation and strength is forged whilst grooves and riffs collude to create an inescapable infection, given extra spice and majesty by the captivating flight of celestial aiming melodies. The mix of thrash and death metal is a sultry almost torrid but seductive blend on another pinnacle within Ashes Of Sorrow, a peak challenged and surpassed by both Slaves In Delusion and Sins Of The Deceiver. The first of the pair opens with a gut expelled growl and never loosens its intensive examination of the senses thereon in, even with the soothing melodic enterprise and gripping enthralling invention which clads numerous unpredictable turns in the outstanding incitement. The vocals especially impress and excite; another array of deliveries and textures shown to compliment the grind of beats and riffs aligned to tangy grooves and again a progressive, almost spatial endeavour. The second of the two has the imagination hooked from its opening swing of strings and orchestral ambience, the seducing embrace never far away even as the track unleashes its aggressive and rapacious rabidity in sound and character. Shamanic spices and symphonic whispers only add to the whole theatre of the track, a proposal leaving appetite and emotions basking.

The album’s title track brings it to a mightily potent close, a seemingly barren landscape at the start soon the canvas for an epic festival of destructive rhythms, vociferously corrosive vocals, and an epidemic of invigorating and bracing grooves. It all blossoms within a climate of melodic and raw emotional turmoil, creating a tremendous conclusion to an increasingly impressive and persuasive album.

Recorded, mixed, and mastered by Shadowspawn alone, Ashes Of Sorrow stirs up a major appetite and attention for itself and subsequently its creators, a hunger you can only see, on the evidence of this stunning debut, being fed with greater exploits ahead.

Ashes Of Sorrow is available now digitally and on CD via Horror Pain Gore Death Productions @

http://www.shadowspawn.dk/

RingMaster 04/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today