Treedeon – Lowest Level Reincarnation

Treedeon_Vinyl_test

Surely bred in the depths of hell, Lowest Level Reincarnation is the ultimate seduction. Like a Hieronymus Bosch painting, the new album from German noise abusers Treedeon is a visceral kaleidoscope of vibrant addictive aural colours and inescapable temptations within a landscape of sonic and emotional torment. It is bestial, it is carnally intimidating, and it is an all-consuming swamp of savage confrontation but most of all it is one exhilarating trespass of the senses.

Treedeon emerged in 2012 when vocalist/guitarist Arne Heesch and vocalist/bassist Yvonne Ducksworth linked up after the almost simultaneous demise of their respective bands Ulme and Jingo de Lunch. Initially Treedeon was an acoustic proposition and made its live debut at 2012’s South Of Mainstream festival filling in for the by now disbanded Ulme. At this point Christian “Boomer” Böhm linked up with the duo, pledging himself as “the missing link” as he offered to play drums in the band. As songs were written and created, leading to an early demo, there was no escaping the heavier voracious element fuelling their sound, fury audiences soon heard at events like the infamous Roadburn Festival, where the band played as part of Exile On Mainstream’s 15 year anniversary showcase. The digital unveiling of the demo swiftly brewed up attention and buzz around the Berlin trio though it was a mere taster of more corrosively impressive things to come. Recorded at Studio Wong in Berlin last November, Lowest Level Reincarnation sets a striking marker for not only Treedeon but doom/sludge spawned noise punk in general.

The eight track sonic tsunami begins with Love Turns Liquid and immediately has ears and attention on board as the punch of Böhm’s premeditated slow swings rock the senses. It is not hostile bait he lays down but it is imposing and highly anthemic as each incessant jab awakens a keen appetite which is swiftly fed further by the grouchy voice of Ducksworth’s bass and the abrasing causticity of the guitar. Hooks are already flirting from within the building tempest of noise, leaping out on the subsequent sonic smog as Heesch’s grizzled vocals croon expressively and angrily. The rhythmic persistence of the eight minute plus track creates an inescapable trap for instinctive and primal needs whilst the doom soaked crawl of the song simply ignites ears and imagination; the encounter the perfect blend of erosive persuasion and addictive invention.

The following Blankapitation similarly attacks on two fronts, its rhythmic and grooved taunting a commanding contagion whilst the thick sludginess of the guitar’s enterprise is a suffocating and alluring raw embrace. It is the vocals of Ducksworth, who takes the lead this time, which strikingly ignites the track though, her delivery pure punk with an attitude to match. It is a thrilling contrast to the highly pleasing caustic attack of Heesch in the previous song and in his backing here, a creative aural stabbing of ears at times from the lady and a constant roar of belligerence.

Satan’s Need takes over next and within seconds consumes the senses in a tempest of fiercely heavy riffs and matching intensive rhythms, all bound with inflamed heavy grooves. The two singers share the track, duelling rather than dueting across its ravenous and exhausting turbulence. It has a harsh and acerbic canvas but also reveals an underlying swing to beats and grooves which does not temper the tempestuous nature of the encounter but certainly makes its punishment bewitchingly palatable.

Through the superb Extinction with its a rhythmic tempting, which is almost like a call to arms for body and emotions, and a sinisterly hued grooving, and the snarling Wendigo, band and album only heap on further corruptive influence and pleasure. The first of the two is the kind of flirtation you know will only lead to destruction but with the deepest carnivorous bass growl and tart grooves, not forgetting exceptional vocal endeavour, the track is the master of lustful submission. Its successor again embraces a stronger punk rancor in its erosive sonic squall. Ducksworth vocally is a fiery temptress and with basslines predatory confrontation as Heesch creates a warlike maelstrom of antipathy with voice and riffs, the song is an animus which flows in all ways into the equally venomous and scarring Venus With Teeth. There is no shelter from its sonic and intimate enmity or from the transfixing rhythmic craft and enticing of Böhm. It writhes like a plague ridden scavenger, spilling and spewing sonic spite and magnetic invention with every intensive and exciting twist.

The album’s title track worms into the psyche next, its insidious crawl of sound and malevolent emotion encroaching ears like a tar thick virus, consuming every pore whilst immersing the senses and thoughts into the darkest pit of depressive and oppressive toxicity. The song is spellbinding, an infestation of sound and intent you only want to devour more of, even if it provides the longest and darkest twelve minutes of your life.

Lowest Level Reincarnation is completed by the outstanding Terracide, another imaginative torrent of crippling and gripping rhythms aligned to incendiary grooves and impressive vocals from both Ducksworth and Heesch. That imagery of a Bosch composition again seems to fit the track, its presence and premise a sonic opening of hell’s pits.

Treedeon is that nightmare you can never be rid of but truthfully you look forward to, its challenge and adventure a dark and dangerous endeavour but cathartic and seriously rewarding. The same applies to the magnificent Lowest Level Reincarnation, an album sure to expose one intensively exciting prospect to the fiercest spotlights.

Lowest Level Reincarnation is available now via Exile On Mainstream digitally and on CD/vinyl @ http://www.mainstreamrecords.de/shop with its US release in April.

https://www.facebook.com/Treedeon

RingMaster 12/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Conceived By Hate/Akheron – Coalition of Death

COALITION OF DEATH Cover low quality

Released via Morbid Skull Records, Coalition of Death is another enjoyable split release introducing a wider audience to two more seriously accomplished underground propositions. The bands given the platform are El Salvador’s Conceived By Hate and Colombian metallers Akheron, a pair of thrash bred antagonists with potent sounds to highly satisfy and excite ears. Each provides four captivating and bruising offerings, including one cover each, all combining to create an encounter which is not a landmark release or going to stop metal in its tracks but certainly gives both bands a higher profile in a worldly spotlight.

CONCEIVED BY HATE

CONCEIVED BY HATE

Death thrashers Conceived By Hate are first up, a band formed in 2002 by Morbid Skull Records owner, guitarist/vocalist Jorge Montesino (Disorder, Morbid Stench) alongside co-founders bassist Carlos Basagoitia and guitarist Rene Vega. Since forming, the band has had a few line-up shuffles amidst a handful of releases and splits; each increasing awareness of the band outside of their homeland. Now the San Salvador sextet exposes new ears to a trio of their original intrusions and one enjoyable cover upon Coalition of Death.

Their first track is Devotees of Death, an immediate fury of barbarous rhythms and scarring riffs bound in just as quickly gripping fiery grooves. It is an attention grabbing start which only increases its lure as the raw vocals of Montesino prey on ears, sound-tracked by increasingly tangy guitar enterprise. Bursts of technical potency break up the torrent of incessant aggression but only for swift flirtations so that the intensity and commanding persuasion of the track never waivers. It is a thunderous slab of thrash driven death malevolence inspiring a keen appetite for the band’s sound, a taste fed potently again by the following Hypocritical Sense of Ego. With the keys of Tulio Mata a more prominent inventive colour to the tsunami of sonic and rhythmic antagonism driven by the skilled swings of Iosif Najarro, the track is a more exploratory and fascinating proposal to its predecessor but lacks the fluency of attack which set the first apart.

Nevertheless the song only adds to an enjoyable first taste of Conceived by Hate, backed just as agreeably by the melodic and sonic tapestry of Embrace the Absurd. The track prowls and launches at the senses with a varied gait and an ever evolving intensity, again revealing more of the creative tenacity in the band’s sound along the way. Brutal rhythmic intent and unrelenting contagious grooving is at the heart of this and all the band’s endeavours, but keys spread a tantalising spicing to the tempest, never making an imposing or dramatic impression but always there colouring and lighting the darkest depths of the music along with the melodic expression of the guitars.

Closing their portion with an aggressively magnetic and enjoyably hellacious cover of the Dissection track Thorns of Crimson Death, Conceived By Hate provide an engrossing first half to

Akheron

Akheron

the release, a side more than matched by the thrash exploits of Bogotá hailing Akheron. Formed in 2003, the quartet of vocalist/guitarist Juan Guerra, guitarist Jonathan Jimenez, bassist Julie Gomez, and drummer Luis Galeano hit top gear straight away with Estigma. Within a few breaths it shows a dark and predatory thrash breeding but equally reveals strains of death and blackened intrigue and voracity. Grooves and hooks make an entangling web of temptation from the start, their bait supported by a turbulence rhythmic provocation which belies the skill of its hostility with its unbridled fury. The track is a tremendous start, the bass and vocal growls irresistible bad blood in the fierce tempest raging around them.

Chemtrail stalks the listener next, its atmosphere and nature gothic like, even as inventive turmoil erupts in a captivating and intimidating dance of scathing riffs and bone splintering beats. Grooves and acidic melodies only add to the spicy temptation whilst the bestial tone of the bass has ears and appetite aflame with its animalistic predation. Both their two songs make a lingering impression but the band hits another plateau with the outstanding In-conformista. Gliding in on a melodic tide of persuasion, the song soon embroils the listener in a web of unpredictable and enthralling sonic adventure. Rhythms again forge the darkest grizzled corners of the band’s invention whilst grooves and imagination provide the blaze of unexpected twists and explosive ambition.

The release is completed by Akheron giving the Misfits’ Where Eagles Dare an intoxicating makeover, keeping its virulent swing and addictiveness but twisting it into an insidious treat of addictive malevolence. It is a great end to a thoroughly satisfying and flavoursome release. Both bands impress, at times seriously seduce, and each shows they have plenty to reward a much broader and intensive examination from all.

Coalition of Death is available now via Morbid Skull Records

https://www.facebook.com/conceivedbyhate   https://www.facebook.com/pages/AKHERON/219232631435984

RingMaster 12/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Rapture –Trials

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   Rapture is a Christian hardcore band from Los Angeles, a quartet making a rather striking introduction to themselves with debut album Trials. Recently signed to OnTheAttack Records, the band has also made their first proposition a name your price download, which with some stomping punk bred tracks the reward, is an invitation hard to turn down.

The band was formed last year by four friends who wanted to create and explore the music which excited them whilst also sharing their faith and love of Jesus Christ, an inescapable but not over imposing aspect of their enjoyable first release. 2014 as a musical year was a low key affair, the band only playing a couple of shows, but as this year broke the band decided to concentrate on their music and hit Birdcage Studios to record Trials with Allen Falcon. Approached by On The Attack Records who wanted to be involved in the album’s release, Rapture now make their first potent persuasion on ears with a full year of shows planned to back its unveiling.

The release is opened by Intro, though it is a little more than merely that. From the great growling bassline starting it off, it aggressively snuggles up to ears with abrasive riffs and vocal squalling, providing an unsurprising but swiftly anthemic and pleasing proposal all within 51 seconds.

Its fine start is matched by the fiercer but no less gripping Legacy where again the lively beats of drummer Tony Rangel demand keen attention whilst the grizzly basslines of Isaac Guerrera Rapture_Trials_albumcovershow themselves to be quickly compelling. The song is a confrontational prowl of ears, though as lyrics show, is more face to face with its own personal angst than solely challenging the listener, a showdown further driven by the accomplished riffs and enterprise of guitarist Garrett Gutierrez and the furious tones of vocalist Richard Haro.

Kingdom Crew steps in next with a rawer air and rhythmic chest beating. The band has been referenced to bands like Terror, Dynasty, and, xLooking Forwardx but certainly this track suggests a merger of early CIV and Shelter as a starting point in its bracing texture and sound, whilst Enemy Lines next rumbles and snarls with a slight air of The Bronx in its rapacious hardcore incitement. Though again surprises might be said to be low, everything about the track from its tenacious rhythms and grainy riffs to the vocal fight and group calls leaves a healthy pleasure and appetite in place.

The tempestuous Deceiver bellows and entices next with magnetic enterprise and attitude before the outstanding Nothing Else brings it all to an impressive close. The final song features Joel Muniz of Dynasty, and treats the listener to a rampaging march of inventive rhythms from Rangel aligned to the ever tempting bass endeavour of Guerrera. That is just the creative spine though of the most inventive track on the album, guitars alternatively spearing and spreading through the air with spiky imagination whilst Haro and band raise voices to their faith. It is Rangel which steals the show here to be honest but as elsewhere it does not work without the rest of the band’s impassioned enterprise and impact.

Without forging something strikingly original but avoiding anything majorly predictable, Trials is a promising and pleasing entrance by Rapture. This is a sure fire recommendation for all raw punk fans from a band with undoubted big potential.

Trials is available now via OnTheAttack Records as a name your price download @ https://ontheattackrecords.bandcamp.com/album/trials

https://www.facebook.com/pages/Rapture/1403442699960183

RingMaster 12/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Come The Spring – Revive EP

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   Come The Spring, come the roar, certainly on the evidence of the UK band’s new EP Revive, a creative bellow which simply ignites ears and emotions. The six track encounter is a tempest of alternative and punk rock, a feisty and impassioned encounter which from a decent but strong start emerges as one fiery and memorable proposition. The EP comes with a snarling attitude and aggressive nature but around its confrontational jaws, band and songs unveil a resourceful and melodic tenacity which is as alluring as the intensity within both is ferocious.

Brighton bred Come The Spring formed in 2012, its line-up including previous members of bands like Rydell. It was not long before locally and subsequently across the UK, that the band’s live presence was earning them a potent reputation and loyal following, The sharing of stages with artists such as Hot Water Music, Green Day, Braid, Texas is the Reason, Appleseed Cast, Piebald, No FX, Samiam and numerous more only accelerated their ascent and reinforced their reputation for having a striking and uncompromisingly stirring sound. Released via Engineer Records, Revive is the band’s new assault on a broader attention, an encounter easy to see earning rewarding success.

EP opener 24 makes an ear pleasing and imaginative introduction to the release, its initial stroke of guitar the prelude to an emotive melodic caress and potent rhythmic enticement. It is welcoming coaxing also carrying a rawer edge, a provocative texture just as keen in the swiftly impressing tones of vocalist Sam Craddock. The song slips into an increasingly rigorous stroll whilst a volatile energy and causticity brews in the heart of vocals and the expanding sound. The snarling bassline is a constant intimidation in this but it is the following blaze of angst in Craddock’s delivery which finally ignites the air, expelling agonized tones against the magnetically radiate enterprise of guitarists David Gamage and Simon Goodrick. The track provides a highly satisfying incitement, the bass of Mark Wilkinson almost persistently carnivorous as it backs the rampantly skilled swings of drummer Jamie Donbroski, but lacks that final spark which would turn an undoubted impressive proposal into a great one.

The brief chilled ambience and sonic ire of the following Winterlude is the same, an accomplished and intriguing offering but pleasing rather than exciting before things really kick up a gear in CTS.Revive.CDcoverappeal and invention. Memory and Resonance is next, launching another deliciously throaty bassline and fiercely expressive vocals at the listener from its first breath. To this guitars swiftly add their vibrant and spirited endeavour to the shadowed heart of the increasingly gripping post hardcore seeded track too. It all breeds an anthemic potency which was less pronounced in the first pair of songs and gains even greater contagion from the next up Air That I’m Breathing onwards. The fourth track of Revive is a wonderfully turbulent yet melodically engrossing tempest of emotion and craft, a tempting fusion of alternative and melodic rock with punk antagonism, and another rich roar that inescapably gets under the skin and into the passions. The EP started in fine fettle but by this point is really revelling in a fresh creative prowess and the potential of one increasingly impressing band.

Maps comes next and from a charmingly subdued and melodically evocative start, courted by great bass sculpted shadows, explores an intimate and increasingly expansive bellow of emotion and sound. The guitars flame with sonic flair and inventive enterprise whilst vocally once more Craddock shows the power of his voice and expression. It is hard to day that the track allows a breath between the more voracious characters of the songs around it such its intense passion, but it is fair to say that it is a less agitated storm amidst its predecessor and the closing might of Home, Sick and Tired. The final track has the biggest punk heart and hostility of all the songs but is still unafraid to exploit the rich hues of searing melodies as it provides a dramatic and thrilling, fully rounded creative storm.

It and Air That I’m Breathing steal the show, suggesting the future capability of the band to create inspirational songs and templates for fierce rock ‘n’ roll is ripening nicely. They are tracks strongly backed by the rest of the collection of highly enjoyable songs though, so much so that Revive leaves only excited and impressed thoughts on Come The Spring.

The Revive EP is available digitally now and on CD from on 22nd March 2015 via Engineer Records

https://www.facebook.com/ComeTheSpring3

RingMaster 13/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/