Chick Quest – Vs. Galore

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Their sound is self-tagged as spaghetti western post-punk and their name, as that of their debut album, is pure B-movie manna for the imagination. Chick Quest is a band from Austria who in already a wealth of exceptional releases in 2015, may have just stolen the whole show to date with Vs. Galore. Every essence of it from song title to sultry blazes of brass provides cinematic adventures equipped with rhythms to command feet and sonic temptations to get lustful over. It is a puppeteer for body and soul, an unpredictable and slightly deranged dance of sound and invention providing one of the most intoxicating and exciting debut incitements heard in recent years.

Vienna hailing Chick Quest, began in 2014 with two friends who decided to form a band to play feistily danceable songs based on Spaghetti Western chord progressions and called Lee Van Cleef. With fresh songs under their belt the pair pulled in a bassist and trumpet player, renamed the whole adventure Chick Quest and set about recording their first album. And here we are with the outcome and quite simply it is one of, if not the, best things in indie rock and dark pop you are going to hear this year.

Consisting of vocalist/guitarist/keyboardist Ryan White, drummer Iris Rauh, bassist Magdalena Kraev with the additional talent of trumpeter Christian Sonderegger, Chick Quest instantly get down to startling seduction with album opener Somebody Call a Doctor. A swipe of sultry guitar ignites ears and imagination right away, rubbing away with teasing effect before being joined by punchy beats and a swiftly following more caustic sonic wind. Vocals offer a punk nature to the constantly evolving song whilst the lure of the trumpet and understated melodies within the infectious stomp, have s smouldering western tang seeded in Ennio Morricone compositions. There is also a deranged element to the encounter which simply adds further bait for the appetite to hungrily devour, the whole thing playing like a Swell Maps meets Helldorado revelry.

10306227_1564340900473132_6071600067425424794_n     The following Girl on Fire is even quicker in stealing attention and the passions, the gnarly grouchiness of the bass which brings the song in, alone enslaving ears and emotions. It also has a swagger to its Gang Of Four like lure which aligns with a seductive caress of guitar which appears not long into the magnetic song. The crisp beats of Rauh take their fair share of the brewing lust too, whilst the trumpet…well that just oozes sonic seduction. Once the vocals come in, the whole blend has a feel of The Clash to it, White’s voice alone having a Strummer-esque quality. Basically tangy rock ‘n’ roll with that cinematic quality mentioned in word and musical enterprise, the track is the first pinnacle of the album, but not the last.

Vengeance is Fun bounces in next, an agitated slab of post punk pop with a feel of Baddies and Futureheads to its energetic psychosis of sound. Addictiveness was made for songs like this, its raw rock ‘n’ roll merging with virulently warped pop punk for yet another stonecast favourite and triumph. The flames of brass only adds another twist in the character and psyche of the encounter, an unpredictability which is as potent as the sounds it toys with and again potent fuel for the wonderful exploits of Sounds Like Bruce! which follows. A warmer but no less compelling bass welcome starts the song off with surf bred melodies entwining their dark lure around it with equally virulent temptation. The instrumental sends the imagination into overload, scenes of hot sandy shores with sex and sinister danger across their expanses brewing in thoughts, the song the sizzling soundtrack to untold mischief and espionage.

As exceptional as it is, the track is soon a passing memory as I’m Tired of Pretty Girls prowls into view with attitude and creative devilment in tow. Rauh pounds out an almost predatory shuffle of beats, luring in the listener with tribal incitement before Kraev’s bass unveils its own climatic and dramatic enticement alongside similarly throaty and colourful strokes of guitar. There is a psychotic edge to the song and that is before White opens up the agitated narrative with an equally twisted and unsettling delivery. Fuzzy, dirty, and irresistible, the song virtually stalks the senses with its discord kissed rant for yet another important moment in the health of the album and modern music.

Through the mellower sway of Schatzi and the militant stomp of Explain Yourself to a Bat, band and album has body leaping and pleasure elevated all over again. The first, sung in German, is a more even tempered spot of rock pop with an air of Yello meets Violent Femmes to it under an intensely simmering sun of trumpet enterprise whilst its successor strides purposefully through ears on a single minded stamp of thumping beats. Around this thick spine a dark bass shuffle ebbs and flows with tantalising menace whilst the guitars unveil a vivacious jangle. Both leave the listener short of breath and hungry for more, as does the humid tempting of Fashion Fascist. The heat of the trumpet is an early hot kiss on the senses but it is the again a snarling bass tone which especially sets things off in the passions, its raucous contagion courted by resonating beats for an inescapable persuasion. Whether the rest of the song lives up to the tremendous start is debatable but with that rhythmic baiting never relinquishing its hold as vocals and guitars create a tempestuous weave of arousing incitement, it all occasionally coloured by the sizzling trumpet, the song is raucous punk ‘n’ roll to put the world on hold for.

Surf rock resourcefulness and sixties garage rock collide with modern psych pop for a fiery adventure in Monkey No Dance For No One next, another instrumental stretching limbs and thoughts with its unrelenting rhythmic nagging and exotic melodies. Far too short and pure musical alchemy, the track is one you have to play twice before moving on and falling into the scuzzy arms of the also tremendous You Have a Future in Television. With old school punk breeding and unhinged energy, let alone nature, the song manages to be nostalgic and new whilst providing yet another shade to the presence and invention of the album.

Vs. Galore is brought to an end by Go Back to ze Dezert, an instrumental escapade through drifting ambiences and steamy surroundings with romance and adventure in its voice and melodic theatre in its brass and guitar crafted embrace. It is a thrilling end to a sensational release, an introduction to Chick Quest which has instantly installed a deep rooted affair with emotions. Of course individual tastes in each of us will decide if Vs. Galore goes down as the album of the year come December but it will be there in the handful of most enjoyable treats given the chance.

Vs. Galore is available now via most online stores and at https://chickquest.bandcamp.com/album/vs-galore

http://www.chickquest.com/     https://www.facebook.com/chickquest

RingMaster 22/04/2015

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://www.reputationradio.net

 

Throw The Goat – Blood, Sweat & Beers

Throw The Goat

If like us you are a sucker for dirt encrusted, alcohol fuelled rock ‘n’ roll then Blood, Sweat & Beers from US rockers Throw The Goat is a must. It is a brawl in the ears and party in the heart, rock music at its most instinctively aggressive and virulent. Whether the second album from the Californian trio offers anything more is debatable; certainly it is not trying to explore or expose anything particularly new but equally there is a freshness and tenacity to its sonic fight and incitement which ensures this is no run of the mill proposition. The truth is it does not matter if Throw The Goat is crafting riots from existing vats of ideation, with a sound which plays like the bastard son of a merger of bands like The Clash, Agnostic Front, and Motorhead to just pluck three from the past decades of rock ‘n’ roll, they and their new album is one irresistible rampage.

Blood, Sweat & Beers is the follow-up to the band’s acclaimed debut album Black Mountain of 2012. Recorded with, as its predecessor, Finch drummer Alex Pappas who also mixed and mastered it, the new encounter is a continuation of the power and addictiveness found in its predecessor but with an openly new breath and energy to its stomp. Released on the band’s own label Regurgitation Records in the US in March, it has been kicking up a storm of praise and attention, with the UK now in its sights this month.

Opener Buffalo takes a handful of seconds to make a gentle coaxing of ears before unleashing a tirade of rowdy riffs and antagonistic rhythms. Those beats are met head on in energy and aggression by the vocals of bassist Michael Schnalzer, and in no time aligned to a blaze of great varied vocals from across the band and sonic enterprise courtesy of Brian Parnell’s guitar. It is an instinctively anthemic punk ‘n’ roll provocation setting the party off to a mighty start, though the song is swiftly surpassed by the album’s outstanding title track. Blood, Sweat & Beers flies from the traps with a feisty roll of stick prowess from drummer Scott Snyder. Within the time it takes the listener to get to their feet he is driving forcibly on with fiercely swung beats with the track now a raging tempest of rabid riffs, squirming grooves, and vocal addictiveness. Again the whole band offers plenty to make an aggressive provocation a ridiculously magnetic one, in voice and sound, an offering rife with unbridled energy and ripe with virulent contagion. Quite simply the track is a roar of rock ‘n’ roll which will rarely be rivalled this year.

cover     The band brews up its dirtiest punk side for Drown next, a simple raw rage of riffs and rhythms bound in spicy melodic hooks and vocal antagonism which goes down like a beer in the hands of a thirsty man. Its unsurprising but richly satisfying incitement is followed by the slower predatory flirtation of Swamp. Its air is thick with toxic attitude and body a brooding mesh of rhythmic intimidation and wiry sonic colour, and yet another appealing twist in the variety by the album. Building up intensity and energy within its tempestuous dark climate, the song proceeds to shift from sludgy scenery to raucous explosiveness, entwining both within its imposing walls.

The filth clad bassline opening up All We Have is an instant addictive lure, bait increasingly infectious as a feverish rumble of beats from Snyder adds fresh dramatic with their temptation. The best opening to any song on the album, a riotous anthemic seduction all on its own, it leads to another ridiculously gripping and intrusive persuasion of punk and heavy rock. Parnell spins a melodic web as the song continues to twist and shift into new inventive and bewitching scenery, whilst noise rock and hardcore elements are flirted with for another major highlight of the album.

     Idyllwild Eyes crowds in on the acclaim given with its own bellow of bristling vocals, spiteful beats, and abrasing riffs. It also brings a highly flavoursome melodic lure from Parnell, a regular occurrence on all songs, alongside the unpredictable tendency in their invention which the band showed on the last song. These are times where you almost feel that the band missed a trick on the album by not using this increasingly successful adventure more in their songwriting, though it offers a potential which will hopefully be realised by the band and to be excited by ahead.

Ears and passions are lit again by Uprooted, a riveting prowl of a punk rock song, and straight after through the eighty eight second bawl of aggression and attitude that is 8 More Minutes. Soaked in a hardcore heart, the track simply rages around deeply grabbing hooks and addictive rhythms for a brief and seriously potent anthem. The album from its broader rock opening, delves into heavier and more hostile punk belligerence towards its latter stages, this song a prime example backed by the similarly bred Waste straight after. Despite the increasing animosity permeating the songs in sound and vocals though, hooks and grooves lose none of their enticement and potency within the tracks whilst the swinging sticks of Snyder are a constant source of pure incitement.

Road Home brings the album to a close, the song a rowdy and lusty slab of devilry which maybe is more straight forward and unsurprising compared to other songs before it, but still provides an exciting end to one of the most enjoyable encounters to stir up the year so far. Throw The Goat is rock ‘n’ roll through and through with a sound and indeed album to match. This is one bruising all rock fans need.

Blood, Sweat & Beers is available now via Regurgitation Records @ https://throwthegoat.bandcamp.com/album/blood-sweat-beers

http://www.throwthegoat.net/   https://www.facebook.com/throwthegoat

RingMaster 22/04/2015

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://www.reputationradio.net

Entropy OAC – Dark Clouds and Clarity

 

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Though not a new band, Entropy O.A.C. will be making their introduction to most outside of their local fan base with new EP, Dark Clouds and Clarity. A rather flavoursome and enjoyable proposition it is too; not one tearing up the melodic rock/metal scene but certainly one bristling with potential and great ideas brought with a craft and maturity developed by seasoned veterans of the heavy music scene. Consisting of three tracks, the release is a constant spark in ears and imagination. It most likely will not have anyone roaring from the rooftops but for an entrance into a much broader global spotlight by the band, Dark Clouds and Clarity is a strong and captivating persuasion.

Formerly just called Entropy, the Spooner in Wisconsin hailing quartet self-released their debut album Smiles For Stab Wounds around 2004-05. It was well-received by fans and critics alike but followed by a period of line-up instability before the band returned in 2011 with the What Nightmares Are Made Of EP. Its success and potency led the band to a developmental record deal with Pavement Entertainment and now the release of Dark Clouds and Clarity. In many ways the last three years or so has been a fresh start for Entropy OAC, one which you get the sense from their new release and words offered that the foursome of original band members Ben Poulin (vocals) and Josh Aalto (bass) with Austin Wagner (guitar) and Brandon Hall (drums) are going to make the most of.

DCaC_Cover     The Ryan Guanzon produced Dark Clouds and Clarity opens up with Failure to Thrive, and instantly builds an imposing wall of intimidating rhythms, equally predatory riffs, and a part spoken vocal delivery from Poulin which reeks of discontent. It is a strong and compelling start with a feel of Stone Sour to it and continues to entice and grip until the song erupts into a belligerent stride punctured by the sinew swung beats of Hall. Guitar and bass create their own raw causticity and menace as Poulin merges melodic and snarling tones in his delivery to fine effect. The track does not explode and rampage as you think it would once hitting its stride, as it suggests it might and personally we wanted it to, but there is no denying it loses none of the hold it gained by its potent start. Grooves and hooks spark throughout the mix of melodic metal and emotion fuelled rock ‘n’ roll, again to pleasing success and temptation even if originality is less potent. The willingness of the band to mix soft and harsh elements, light and dark textures is a plus too, and the fluidity they achieve it with.

It is a great start to the EP soon overshadowed by the excellent Endless Fire. The song almost sidles up to ears, though heavy bass resonance and drums thumps means it swiftly gains eager attention, as do the spiralling strains of guitar and again strong vocals. Melodies and scythes of sonic invention are like flames against the earthier canvas, licking the more aggressive essences of the song whilst helping breed a contagious air. Simultaneously roaring and crooning, the track is a thrilling example of the band’s talent and potential, and easily inspiring an appetite for their sound.

Realm of Grey completes the EP’s offerings, a track straight away leaning into the band’s metal voracity whilst bringing a raw edge and attitude to their melodic endeavour. Again Stone Sour comes to mind, which is no bad thing, whilst invention wise the track is maybe the least dynamic and adventurous compared its predecessors but has plenty to engage ears and thoughts with. Subsequently increasing its persuasion with the addition of small twists within a greater voracious intensity to the song, it makes a highly satisfying end to the release.

There are only things to enjoy about Dark Clouds and Clarity and plenty of promise to get excited over, and right now with their highly satisfying release, Entropy O.A.C has announced themselves to wider awareness in solid and potent style.

Dark Clouds and Clarity is out now via Pavement Entertainment at most online stores.

https://www.facebook.com/Entropyofall   https://twitter.com/entropy_oac

RingMaster 22/04/2015

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://www.reputationradio.net

 

Pavillon Rouge – Legio Axis Ka

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If there were still to be active dance floors after the apocalypse then the new album from French industrial metallers Pavillon Rouge would be the perfect fit for the dark mood and decayed energy it assumedly would possess. A fusion of black metal with industrial/techno bred voracity, the band’s sound and second full-length Legio Axis Ka, make for an erosive and ravenous affair but with a contagion which never leaves the body to simply bask in pestilential depths, dictating its movement across nine pulsating predatory tracks. The accompanying press release also states that their sound and intent explores ethereal 80s new wave atmospheres, and though not always as immediate within the tempests there are elements of the dark wave scene of that era pervading their latest release, scents of bands like The Chameleons, Joy Division, and Pink Industry offering themselves to thoughts. Ultimately though, Pavillon Rouge casts a sound which has its own distinct presence and an album in Legio Axis Ka which constantly and aggressively stimulates ears and imagination.

The band was formed in 2008 by musicians Mervyn and YVH, with the intent to merge black metal with hardcore techno. Highly acclaimed debut album Solmeth Pervitine was released in 2011 and was soon declared one of the best industrial black metal albums. It was followed by shows for the band with the likes of Psygnosis, Himinbjorg, Svart Crown, and The CNK, supporting the album and pushing forward their increasing attention grabbing emergence. Recently signed with Dooweet Records, the quintet of vocalist Kra Cillag, guitarist/vocalist Mu Cephei, bassist E.Shulgin, drummer Sorthei, and guitarist/programmer Mervyn now return with their second onslaught on the senses. Released on the Swamp Records side of Dooweet, Legio Axis Ka is a vicious seduction, a mesmeric violation which however you want to look at it, leaves the senses raw and emotions entangled in its increasingly magnetic tempest.

10347166_793523130703256_1060036933092637261_n   An immediate embrace of synth beauty amidst an evocative ambience immerses ears as album opener Prisme vers l’odyssée shows its introduction, a potent and atmospheric lure which is soon consumed by a thunderous tirade of rhythms and rabid riffs. Vocally too the song offers a merciless and diverse squall yet within it all the keys continue to cast a provocative and emotionally expressive voice. That industrial element is a nagging incitement within the evolving theatre of guitars and keys too, keeping feet and body agitated as the heart of the track spills its venomous and caustically poetic premise. Lyrically the album is sung in the band’s native tongue so there is little to its obviously dark climate that we can reveal but if the words and premises match the passion of the delivery then it is a brooding exploration just as potent as the sounds around them.

The following L’enfer se souvient, l’enfer sait takes the strong start up another step with its muscular rhythms and riff clad prowling wrapped in an electro hued colouring. The dynamic and persistent techno bred heartbeat of the song again has limbs on alert whilst thoughts and emotions are entangled in the melodic and vocal imagination lighting up the abrasing atmosphere of the song. Track and album definitely need close attention and several plays to unveil all the underlying twists and creative nuances within inhospitable surface and murky air, but it only adds to the satisfaction and drama of the stark, almost visual soundscapes sculpted.

Mars stella patria does not hang about tempting the listener either, electronic percussion and anthemic band roars immediate virulent bait. Their infectiousness seems to seep into the industrial climate, which offers warped noise and textures, as well as the chilled melodic enterprise adding its weight to the song’s persuasion. It is an endeavour spiced with a touch of Sisters Of Mercy and Bauhaus, and as the track continues with open clarity around its warmer elements, shadows impose upon and the raw vocals prey on the senses. It is fair to say that each song individually brings a new step up in the presence and persuasion of Legio Axis Ka, this one with its increasing rabid turbulence another strong step in its ascent, a compelling move almost matched by the mercilessly tempestuous storm of A l’univers. Electro pulses resonate through bone and psyche from the off, enticing feet and emotions to lend their eager energies to its call whilst the melodic and sonic invention of the band provides a ravenous celestial and dirty terrestrial landscape for ears and emotions. Not as instant as its predecessor, the song subsequently wins over appetite and thoughts whilst revealing more of the inventive ideation and songwriting craft of Pavillon Rouge.

Both Aurore et Nemesis and Droge Macht Frei enthral and enslave, the first laying down its first potent tempting through a delicious dark bassline before brewing up a sonic and emotional tsunami of ferocious ire and intensity. Its successor provides the first truly insatiable full-on invitation to unleash the dance floor moves, its rhythmic stomp a pulsating infection which leads and drives the song even when enveloped in rabid smog of noise and sonic rapacity. As ever there is much more to the songs and both engross with melodic ingenuity and the often understated but open imagination which brings striking contrasts and unpredictability to all offerings on the album.

From a raucous stomp Pavillon Rouge offer a celestial flight with Kosmos Ethikos, synths and samples aligning for an atmospheric exploration with a big brother like edge to its air before Notre paradis takes its own similarly seeded soar through a new spatial climate. There is a much darker feel and texture to the track compared to the last though, an ominous breath which coats guitars and vocals, not forgetting intimidating rhythms, as keys warmly and eloquently swarm around the senses. The pair offers their own sparking new adventures for the imagination to interpret before the closing Klux santur provides a transfixing finale to the album. With the most distinct eighties feel to its body and melodic enterprise yet, the track is a swirling maelstrom of light and emotional malevolence. It is a cyclonic treat to close things up, a seducing and senses ravishing end to an album which increasingly enthrals given time and attention.

The Grenoble based Pavillon Rouge have not offered an easily accessible proposal with Legio Axis Ka but who wants easy when far greater rewards come with uncompromising intensity and evolving creative assaults. The band finds the perfect blend of industrial and black metal fury for a proposition which fans of either genre should seriously contemplate.

Legio Axis Ka is available now via Swamp Records @ http://findiemerch.com/fr/pavillon-rouge-legio-axis-ka/#

https://www.facebook.com/LuxDiscipline   http://www.luxdiscipline.com

RingMaster 22/04/2015

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://www.reputationradio.net