Pryapisme – Futurologie EP

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Whether you imagine Futurologie as the soundtrack to a deranged fairy tale, the evolving musical carousel to a spatial set ballet, or the accompaniment to the light and dark caresses of life, and it changes with every listen, French avant-garde metallers Pryapisme have ears and imagination eagerly doing somersaults once again. The band itself describes their new EP as a single 23 minute track about space, cats and house rent. Divided into eleven sections which the band suggests is for clarity, the piece is quite simply aural theatre to be bewitched by and run away into one’s own adventures with.

With the added bonus of a complete classical re-orchestration of the track, the Futurologie EP presents more of the insatiably diverse yet never demanding or disjointed aural imagination which made previous album Hyperblast Super Collider one of the essential adventures of 2013. The new release is as fans of the band would suspect a whole new and distinctly individual proposition to the previous encounter, its track Petit traité de futurologie sur l’Homo cretinus trampolinis (et son annexe sur les nageoires caudales), a perpetual evolution and exploration to which a myriad of interpretations and visions, as well as the band’s own drama, can be experienced. As mentioned the piece is split into parts with 1 instantly gripping thoughts as its cascade of beauty yielding keys embraces ears with mesmeric charm. There is a brewing drama behind it though which through an anger fuelled conversation courted by a nintendocore mischief, erupts in a thumping stride of feisty rhythms and ravenous riffs. A mere twist in the tale of course, this in turn slips into a sonic dance of synth bred revelry with sinews stretching from beats, guitars, and energy alike.

It is a compelling start which only gives an appetiser of things to come through the remaining spellbinding flight; cartoonish devilment and oriental infused country melodic twangs just one whiff Artworkwithin the psyche invigorating journey. The whole track moves with riveting fluidity and temptation, imposing itself on the imagination with samurai like nobility occasionally whilst in other moments slipping through noir lit jazz and vaudevillian avenues of enterprise. All the time though it is stirring up ears and thoughts, tempting them into as suggested earlier, constantly shifting exploits and escapades which only breed the fullest passion and bloated enjoyment for the scintillating proposition.

The Clermont-Ferrand quartet of Ban Bardiaux (programming), Nils Cheville (guitar), Antony Miranda (moog, bass), and composer Aymeric Thomas (drums, percussion, keys, Bb and bass clarinet, electronics, programming) constantly cast and recast their web of sonic fascination and aural emprise, at times tantalising the listener with a metallic confrontation of electro and progressive rock experiments, in others flirting with a chiptune spiced classical drama, like a hyperactive Peter and the Wolf revelling in a LSD overload. Equally the piece of music can enchant with a gentle seductive touch or reach into the other extreme and unleash a voracious tempest of electronicore ferocity and blackened post rock predation; though all becomes just individual pieces in an engrossing and mentally inflammatory glitch infused rapacious soundscape.

It is impossible to describe and give a fair impression of the alchemy fuelling and raging within Futurologie, but fair to say that those already blessed by knowing and basking in the wonderful musical oddity that is Pryapisme, will wet themselves in ardour whilst those yet to be infected have been given the most virulent and thrilling doorway into one of the truly unique propositions in music. Oh they and their composition sounds rather sensational orchestrated too just so you know.

The Futurologie EP is available from February 9th via Apathia Records @ http://apathiarecords.bandcamp.com/album/futurologie

http://www.pryapisme.net

RingMaster 09/02/2015

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

 

Hawk Eyes – Everything is Fine

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Debut album Ideal set the seeds for a lustful appetite which the following That’s What This Is not only cemented but took to new feverish heights; so anticipation for us and their fans for new album Everything is Fine was not exactly calm. Every want and expectation demanded of UK rockers Hawk Eyes it has to be said is swiftly met by the bands second full-length but it is only half of the story. On their breath-taking new encounter, the band explores new instinctively primal and raw depths within a greater and furiously fevered invention. Everything is Fine is rock ‘n’ roll at its most rugged and voracious, but also offered in its greatest imaginatively virulent form.

The heart and persuasion of the Leeds band began in the guise of Chickenhawk, a proposition similarly making a potent impression through their live presence and the album Modern Bodies of 2010. It was from the name change to Hawk Eyes though, that the unit tapped into a broader and richer vein of attention and personal creative exploration with a similarly expanding and creatively rebellious sound. The first album under the new guise, Ideals set a bigger roar within the British rock scene which That’s What This Is pushed even further but now having had Everything is Fine raging through ears into the passions, it is easy to say they were just hearty appetisers for a much bigger inventive meal.

The writing of the PledgeMusic funded Everything Is Fine began in 2012, songs emerging within and round the band’s constant hunger to tour and play shows, which included supported the likes of System of A Down at arena shows and playing the biggest music festivals across Europe, as well as SXSW over in the States. Even writers block for vocalist and guitarist Paul Astick could not derail the oncoming creative storm driving the new album, the man solving his problem by absconding to a hole at Spurn Point in Yorkshire on a really bleak evening with the outcome an oppressively dark and wonderfully ravenous title track.

The album though starts off with the inescapable lure of The Trap, a song making a gentle and slightly melancholic entrance with an air and dark stringed caress to match. Its first minute is a 4ca338c20ba067f7ab9f5dd77375627a0tantalising coaxing for ears and imagination before parting its veils for the pungent and anthemic rhythmic lure of drummer John Mackenzie aligned to the just as compelling throaty bassline offered by Ryan Clark. The outstanding vocals of the band are soon crooning and lifting the energy of the song, never letting it off its leash but prowling the senses and emotions with riveting expression and expertise. There is a breath of Dioramic and Pigeon Lake to the track, a harmonic and shadow wrapped breeze which only lifts the passions further as the opener crowds excitingly around the listener leading them towards a superb hook loaded vocal and almost combative climax.

The exceptional start is backed feistily by the sonic agitation of The Ambassador, a song grasping a dirtier hardcore laced vocal and rhythmic confrontation to its melodically clothed and tenaciously muscular breast. Hooks tease and riffs abrase from Robert Stephens and Astick, as vocals eye ball the listener with their boisterous tones and narrative. It is a blend ensuring body and emotions continue to be tightly clasped ready for the exceptional call of Die Trying. Soon offering punk vivacity to its heavier metal seeded tempest, the track equally finds an alternative rock contagion which offers shades of bands like Baddies in its unique creative brawl. It is a thumping encounter bringing further spices to its magnetic turbulence, a grungy essence as intriguing and gripping as the sinew driven aspects of the masterful persuasion.

There is strong variety to the flavours of the song and even greater diversity to the album, as straight away shown by the raucous heavy rock stomp of Permission with its progressively honed melodies and the catchy warm stroll of The Ballad Of Michael McGlue. The first roars like a mix of Queens Of The Stone Age and Therapy? whilst the second looks at another more indie/alternative rock canvas coloured with funky beats and melodically inflamed evocative hues. Both captivate with ease, though the sudden stop of the latter and the immediate charge of the following More Than A Million soon has album and listener hitting greater exhaustive energies. The wonderfully toxic snarl of the bass and accompanying acidic grooves chain the passions instantly, whilst the continually impressive vocals of Astick along with the unpredictable nature of song and individual creativity within the band, enthrals as they lure body and voice into the swing and anthem of the track.

Terribly Quelled shows its aggressive proclivity next, snarling with resourceful and inviting belligerence attached to punk fuelled anthemic suasion before Night Music absorbs a Faith No More like climate as it provides another fascinating and increasingly addictive inducement complete with roaming rhythms, mesmeric vocals, and sonic blazes. Both songs leave emotions high though are soon in the shadow of the outstanding I Never Lose and the album’s scintillating title track. The first of the pair twists and flirts with an agitated new wave bloomed enterprise reminding of the likes of We Are The Physics. This is aligned to an unbridled stalking of heavy rock ‘n’ roll rabidity for striking success, whilst the latter is a tempestuous consumption of ears with a post punk and discord lit bluster of predatory imagination and sonic causticity. It is also, from within its corrosive smother, one seriously infectious proposal brilliantly closing with a thrilling parade of enterprise which hints of very early Adam and The Ants.

Everything Is Fine is brought to an engrossing end by firstly, the controlled yet ferocious avalanche of rhythmic intimidation and sonic examination that is Enemies, and lastly the seven minute plus TFF. The final song does not quite match up to all that went before it, yet leaves the listener engulfed in a tapestry of melodic and dramatically multi-flavoured adventure, which shows just how exceptional other songs are to outshine it.

In many ways Hawk Eyes had a head start thanks to the already hungry appetite for their sounds already bred by the band previously but Everything Is Fine surpasses all hopes and greedy demands with quick and masterful majesty. Start those best of year lists right now and put Hawk Eyes right at the top.

Everything Is Fine is available from February 9th through Red Vole @ https://itunes.apple.com/gb/album/everything-is-fine/id962728478

Check out Hawk Eyes on tour@

Thurs Feb 12, Maguire’s Pizza Bar, Liverpool

Fri Feb 13, Barfly, London

Sat Feb 14, The Joiners, Southampton

Mon Feb 16, Louisiana, Bristol

Tues Feb 17, Bodega, Nottingham

Weds Feb 18, Sound Control, Manchester

Thurs Feb 19, The Cluny, Newcastle

Fri Feb 20, Nice N Sleasy, Glasgow

Sat Feb 21, Brudenell Social Club, Leeds

http://www.hawkeyesmusic.com

RingMaster 09/02/2015

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

 

I, The Lion – Run

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With a creative roar to their music to match the suggestiveness of their name, UK rock band I, The Lion have earned the reputation for not only being one of the hardest working live bands around right now but for creating tracks which increasingly captivate attention. The Cheltenham trio are doing it again with the release of new EP Run, a four-track stomp which pleases on the first listen and continues to impress from thereon in. Tagged as post punk but with a sound more like a raw breed of alternative rock, with a healthy edge and whisper of Reuben to it, band and new release come flushed with potential and a fiery enterprise showing why the strong buzz around the band.

Formed in 2011, I, The Lion as mentioned have made a potent mark on the British rock live scene, undertaking numerous tours and sharing stages with the likes of Gallows, DZ Deathrays, Three Trapped Tigers, Talons, and Emp!re amongst many. Through releases too the band has made a steadily increasing mark, their first single released barely a month after the band emerged, stirring up over a thousand downloads whilst debut EP Tides and Tales emulated and surpassed its success soon after. Now the band is unleashing the Run EP, a proposition recorded with Jason Wilson (You Me At Six, Reuben, Fightstar) at Stakeout Studios in London. I, The Lion have already sparked up potent anticipation for its unveiling through lead single Hold Strong, a track debuted it at the 2000 Trees Festival where they it gave out for free, all of its copies going in under 30 seconds after their successful performance.

With song lyrics built around a central theme “of trying to get away and create something new and real”, as marked by the EP’s title, the encounter opens with that recent single. Hold Strong Run EP Cover - FINALswiftly lures in ears and focus through its laid back but jabbing rhythmic opening, increasing the bait as the almost dirty riffs of Elliot Withers add to the broadening shadowed scenery of the song. Vocalist Chris Evans brings his strong tones to the emerging narrative of the song next, as well as a great dark bassline which sparks another twinge of appetite for the already intriguing encounter. Harmonies across the band spread additional spice but cannot help the song find the spark it needs which leaves it a little flat initially. This is resolved once an unexpected lull triggers a new invention in the song though, vocals and melodies a melancholic yet vibrant lure leading to a raging enterprise of aggression and tenacity. From here on in the swinging rhythms of drummer Nathan Priday are virulently contagious as is the delicious hook which repeats with insatiable strength across the remainder of the EPs excellent start.

Not to be outdone, the following Icarus reveals its own addictive lure from its first breath, the hook inescapable bait setting up ears and imagination perfectly for the feisty endeavour of the song. That opening temptation expands its call with a more flouncy enterprise but without losing its potency as a grizzly bassline and expressive vocals joins its magnetic persuasion. Never really relaxing or exploding, though it too offers a tantalising respite mid-way, the song makes a good first impression but simply grows in weight and success with subsequent listens, that Reuben essence mentioned earlier a definite plus.

Man Made of Mice strolls along with a pop punk melodic colouring to its sturdy and imposing stride, bass and guitar aligning for a reserved but voracious proposal within the muscular frame of Priday’s rhythms and the straight talking vocals. Flushed with another infectious groove, the track again is one which maybe does not erupt as it hints at but leaves ears and appetite seriously contented before Bonny Island brings it all to a heftily satisfying close. As with all the songs, its first touch is a decisive and persuasive tempting, riffs and ragged hooks courting a dramatic rhythmic coaxing which immediately holds attention and intrigue. Arguably again the band let the potency of the start slip slightly but are soon building a commanding and fascinating web of sonic and rhythmic adventure with unpredictable and melodically soaked twists.

Bottom-line is, Run is a thoroughly enjoyable and persistently enticing encounter from a band with the potential to light up the British rock scene like a Reuben or Biffy Clyro.

Run is available from February 9th @ http://ithelion.bandcamp.com/

http://www.ithelion.com/

RingMaster 09/02/2015

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

 

Little Lapin – Remember The Highs

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There is no getting away from the tantalising Chrissie Hynde essence to the voice behind and The Pretenders like colouring of new single Remember The Highs, but equally there is no escaping the seductive potency and unique bewitching qualities of song and creator either.

   Little Lapin is a British singer-songwriter who from the release of her self-titled debut EP in 2013 has continued to inspire a greedy appetite for the melodic folk/pop romance she crafts. She has captivated audiences and imagination around the world, UK crowds and fans joined by those in New Zealand where she was based for five years, and in New York where she recently performed the last performance of her acoustic tour. As mentioned it is not a new persuasion on offer though, the song Waiting Room from her first and equally well-received EP, luring radio play with the likes of Tom Robinson on BBC Radio 6 and eager online radio play. Ahead of her highly anticipated debut album, Remember The Highs is now here to tease an even greater appetite and anticipation for the forthcoming full-length whilst confirming Little Lapin as one of British folk’s most bewitching propositions.

Remember The Highs opens on a wonderful tangy guitar melody, its winy lure an instant temptation swiftly matched by the mesmeric vocal croon of Little Lapin which in turn is embraced byPicture 76 an additional caress of reserved but potent guitar strings. That Pretenders simmer is lively from the start, recalling Hynde and co around their first album but similarly casting a fresh and vivacious breath which has a texture more aligned to a Metric or even The Cranberries. The song continues to entwine ears and imagination with its spicy melody and sultry temptation, assisted by a great dark bassline which flirts behind ever compelling vocals. The song is delicious, pure manna for body and soul and the most rigorous enticement likely to be heard this year for any album.

The track is accompanied by Over The Draft, an acoustically crafted smooch with ears moving into a more folk bred proposal compared to the rock pop triumph of its predecessor. Radiating charm and melodic elegance as a rhythmic shuffle offers a lively backing, the song shimmers over the senses. There is an essence of Lizzyspit to the song, revealing more of the variety within sound and songwriting of Little Lapin as previously suggested on her EP and previous tracks. Without quite rising to the heights of the first song, it still seduces from start to finish with sublime beauty within the rich smoulder of keys.

Featuring celebrated New Zealand producer, and ex member of Goldenhorse, Ben King, Remember The Highs is one of those songs which has the potential to open up broad spotlights and worlds to an artist, much like Brass In Pocket did for a certain Ohio bred musician/songwriter. It is an irresistible and exciting treat from an artist which still feels like they are only just beginning their journey.

Remember The Highs is available from February 9th @ http://littlelapin.bandcamp.com/

http://www.littlelapinmusic.com/

RingMaster 09/02/2015

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