Ape Machine – Coalition Of The Unwilling

ApeMachineband2015_RingMaster Review

Called Coalition Of The Unwilling, there is little about the new album from US rocker Ape Machine that would surely cause anyone not to enlist in its creative campaign to ignite ears and imagination. The six track romp is an invigorating tapestry of sound and imagination, a kaleidoscope of melodic colour and sonic tantalising which is as bluesy as it is jazzy, as funky as it is a roar inspired by a diversity of rock music from across the decades. Quite simply it is a rock ‘n’ roll blaze that leaves body and emotions in a very good place.

The Portland bred band follow up their acclaimed 2013 album Mangled By The Machine with a new volcanic weave of styles and sound. Recently signing with Italian label Heavy Psych Sounds, Ape Machine take little time igniting release and ears with their potent fusion of adventurous enterprise and sound, starting things off with Crushed From Within. It looms from a sonic mist seemingly cast in the echoes of time, a lone guitar flirting as it triggers a mesmeric stroll of sludgy intensity and winy sonic tempting. A great analogue inspired breath wraps the songs, and indeed the album and its individual parts, enticing a swiftly keen appetite as easily and potently as the fine vocals of Caleb Heinze and the revelry of rhythms cast by bassist Brian True and drummer Damon De La Paz as well as the stringed exploration and infection sprung by guitarist Ian Watts. Managing to feel as much part of seventies/eighties heavy rock as it does current rock ‘n’ roll devilry, the track is a thrilling start to the release.

ApeMachineCoalitionOfTheUnwilling_RingMaster Review     The following Disband is just as openly inviting and fiery with its blend of rich hues and revolving enterprise. Equally it quickly hooks keen involvement from body and mind, feet and hips bound and inspired by the incitement of grooves and rhythms as the imagination dips into a host of references without settling on any as a specific comparison; the reason being that they are woven into a flirtatious adventure individual to Ape Machine. The track is a storming rocker, bluesy with a stoner-esque scent to simplify things but a much fuller weave of rock music in persuasion, just like the outstanding Give What You Get which comes next. The track is sublime, every aspect honed into an incitement of rousing rock ‘n’ roll temptation and toned with inescapable anthemic tenacity.

The track is a stomp any rock band would sell their bodies for; the perfect invitation to others to check them out, but then again almost any track within Coalition Of The Unwilling is that as proven by the excellent Under This Face. Entering on an almost confrontational air aligned to a rhythmic wake up call, the track soon uncaps a virulent swagger of incendiary beats and hook laden ingenuity. Grooves sizzle and riffs blaze, that alone with the riveting slavery cast by De La Paz irresistible bait, but add atmospheric keys and reflective calm into an ever evolving mix led by the constantly impressing vocals of Heinze, and you have manna for ears and soul.

It is seriously rivalled by the cauldron of instrumental flirtation that is Ape’N’Stein straight away though, the track funk and blues fire, with the latter flavouring more regular old school rather than the delta inspired hue within its predecessor. Its seventies scent is a thick essence too, adding to the enjoyment before it makes way for closing track Never My Way. Initially sultry verging on sonically salty, the guitar weaving surf seduction is a bewitching coaxing aided by bass and voice. It is a reflective enticing erupting quite quickly in a boisterous and emotive crescendo though but then returning to its hypnotic romance to begin the transfixing cycle again.

It is a fine end to a tremendous encounter; a release which can be described and tagged in many ways but is just rock ‘n’ roll to get lustful over. To be honest Coalition Of The Unwilling is our first taste of Ape Machine but for sure it will not be the last.

Coalition Of The Unwilling is available from November 20th via Heavy Psych Sounds.

http://apemachine.com/   https://www.facebook.com/apemachinemusic   https://twitter.com/apemachine

Pete RingMaster 20/11/2105

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Diatonic – Hidden Pieces

Diatonic_RingMaster Review

This month sees the CD release of Hidden Pieces, the debut album from Swedish death metal project Diatonic. With a successful digital release last year, the acclaimed album recently caught the ears and attention of Into the Night Records, a label quickly signing them up and giving a physical presence to the band’s striking first album as they work on its successor.

Diatonic is the solo project of Joakim Antman, a Swedish musician who has played in the likes of Skitarg, The Ugly, and Overtorture. Creating the project to “fulfil his creative needs” multi-instrumentalist Antman enlisted the assistance of drummer Fredrik Widigs for his first offering as Diatonic, and with craftsmanship and imagination as gripping as the songwriting within Hidden Pieces, Antman quickly whipped up acclaim and attention with his debut; a success now given a meatier opportunity to reignite again with the CD release.

Albumcover_RingMaster Review     Hidden Pieces opens up with Dimensions, the track emerging from a mesh of radio incitements with stalking rhythms and equally predatory touches of guitar, the initial slow intimidation soon picking up steam in energy and menace. The raw, throaty tones of Antman similarly prowl and intrude to great effect, his backing tones perfect echoes to the animus escaping through his throat. Grooves and tantalising spicery equally get spun by the guitars whilst rhythms badger and threaten with ferocity and prowess. The track is compelling, addictively infectious with its barbarous swing and incessant hostility but equally enthralling in its creative twists and enterprise within a death metal bred tempest.

Burning Within is a matching incitement in success and rancorous breath, and also in its creative design where every aspect, whether subtle or hellacious, is allowed room to tempt and make a potent impact on the overall persuasion of the track. It is a common quality across the album, and though a familiarity to others within the genre also finds space within Hidden Pieces, Antman weaves them that invention and skill into fresh adventures to entice ears and imagination. The atmospherically hued and invasively antagonistic Led by the Mind is perfect evidence. The song almost smothers the senses with its emotional and physical malevolence but equally it brings striking unexpected passages of dark calm and melodic elegance to accentuate and temper the volatility of its heart.

Through the hypnotic sonic lure of The Cure of Suffering and the embittered Only I, the album grips tighter an already healthy appetite for the encounter, both tracks in their individual ways, merging melodic beauty and ravenous, almost pestilential, corrosive trespasses. Each also provide a cantankerous seducing before the album’s title track crawls into view with again a mix of invitation and threat. Melodic and intrusive invention entangle until the track reaches its full height and takes both aspects under its fascinating imaginative wing. As all tracks, its surface belies the craft and imagination beneath its savage skin which only leads to each listen revealing a little something more as the album increasingly impresses.

   Fear Us is another seriously tasty gem within the throve of dark goodness that is Hidden Pieces, its web of repetitious stalking, sonic expression, and melody lined dissonance crafting an intrigue loaded captivation. Unpredictability is another potent essence to the album, as potent here as anywhere and matched in varying degrees by the closing pair of Followed and Left to Rot. The first of the two lacks the same forceful spark of invention and tenacity as in previous tracks, but still lures and chains attention with its provocative and thoughtfully spun textures amidst melodic imagination whilst its successor is a gloriously sinister drama of sound and imagination. At times it romances with keys led beauty and in other gnaws on the senses, their alternation and union seamless and increasingly bewitching. The track is glorious as it brings the album to an outstanding end; summing up all the qualities and success of the release in one masterful go.

Hidden Pieces gets better and more riveting with every listen, and as one who missed it first time around, give thanks to the label for giving us all another nudge to its presence and might. Anticipation for its successor is already brewing nicely.

Hidden Pieces is available on CD from November 20th via Into the Night Records @ https://intothenightrecords.bandcamp.com/


Pete RingMaster 20/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

False Flags – Hexmachine

artwork_RingMaster Review

Casting belligerent revelry in a tempest of hardcore, punk metal, and noise rock within debut EP Hexmachine, UK quartet False Flags quickly suggest they are a raging on the ear that giving attention to can only be rewarding. It is a five track causticity loaded with noise infested hooks and discordance fuelled enterprise that snarls and gnaws on the senses with a combination of familiar and fresh ferocity. Major surprises are scarce, originality in some ways slim, but fair to say band and release stir up a very healthy appetite for their uncompromising persuasion of sound and intent.

Hailing from Leeds, False Flags emerged from the ashes of Red Stars Parade, Whores Whores Whores, and Year of the Man some when around 2011. Drawing on inspirations from bands such as Unsane, Breather Resist, Botch, and Coalesce, False Flags saw its members exploring new avenues for their hardcore bred ideation and adventure; better explained by guitarist Charles Pritchard, “after the break-ups of our previous bands in Leeds and all previously being friends from the DIY scene here, we wanted to form a band that took influence more from the noise rock / discordant hardcore end of the spectrum.” It was an aim soon finding success and a quickly growing following to a live presence which including sharing stages with the likes of Noothgrush, Narrows, and Envy. Long anticipated, Hexmachine is their first studio unleashing, a fierce roar on broader spotlights which more than lives up to the buzz their shows have bred.

The EP erupts with Earl Black, the opener emerging from a distant sonic haze in a brawl of thumping rhythms and caustic sonic violation. It is an assault bound in an infectious tenacity and lure too even though the vocals of Chris Jenkinson are throat raw, every syllable bearing the blood of his vocal chords as around him the guitars twist a mesh of flavours from punk to metal to heavy rock. Pritchard’s fingers keep song and imagination busy with his prowess on string as too the dark bass tempting of Mark Snellgrove, his prowling invention superbly aligned to the scything swings of drummer Mike McGoran. First impression of the track is strong, second great with it further impressing with each subsequent play.

The same applies to the following Last Screen Goddess. It makes a bolder entrance, beats badgering ears from its first breath as riffs and grooves entwine in a web of temptation. More predatory in gait and energy than its predecessor, the track is a cantankerous involvement which again only becomes more compelling over time. It is probably fair to say that it lacks the same imagination as the first song in the bulk of its body but saves that for a passage where everything twists around each other in a riveting and bruising noise infested trespass of the senses. Satisfaction is only left full across its bellow and filled again by the confrontation of Fate (Has a Driver). Like a blaze seeded in Sofy Major like rock ‘n’ roll and the scarring contagion of The Great Sabatini, the track heftily pleases; its grooves and bass rabidity especially incendiary sparking an even greedier appetite by this point.

Pet Wolf sculpts its barbarous infestation of air and ears from a similar canvas to the last song but turns it into a much more volcanic and volatile proposition veined by southern hued, sludge coated grooves. Bass and drum endeavour is as bewitching and punishing as the sonic incursion courtesy of the guitar, it all led by the harsh vocal and lyrical devilment. It is a great bullying which continues in the noise/punk inferno of Namedropper. Once more contagious hooks and flaming grooves join barbarous rhythms and vocal abrasion to create an assault as addictive as it is debilitating.

From one great track to another as Phone My Wallet brings Hexmachine to a rousing and brutal end, the track a bedlam of tasty repetitive grooves and intrusive hooks amidst a raging storm of voice, rhythms, and intensity. It sums up the False Flags sound in one invasive blow and ensures the EP leaves on a lofty plateau.

With a want for a touch more bold originality and diversity to Hexmachine the only slight wish of the EP it is an impressive and thoroughly enjoyable introduction to False Flags. With their pedigree and open talent, it already feels like the emergence of a unique character to their sound is on the cards; another reason to be confidently excited by the band.

Hexmachine is available from November 20th @ http://falseflags.bandcamp.com/

https://www.facebook.com/falseflags   https://twitter.com/falseflags

Pete RingMaster 20/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Coquin Migale – LUV

Evolution 2015_RingMaster Review

With the release of LUV, 2015 has seen three tantalising reasons why 2016 might just be the year of Coquin Migale. The band’s new single continues where its predecessors left off, providing a mesmeric blend of shoegaze, Brit pop, and ethereal atmospherics, and just like the previous pair, it sublimely lights ears and tempts the imagination.

Formed in 2013, Coquin Migale has been no strangers to attention and acclaim, certainly over the past twelve months or so. Early on their live presence earned strong support and a swiftly growing fan base whilst the EPs, Yellow Room and Feel, sparked even broader awareness and praise lit recognition of the band. This year, the singles Gold and Socotra took things to another level with fresh fans lured and media acclaim garnered whilst showing more of the rich hues within the band’s sound. Expectations were that maybe things would settle now, that the band has shown us all it currently had in its inventive locker but no, LUV swiftly offers another strain of mellow seducing amidst an intricate weaving of flavours in one fascinating and alluring serenade.

The song opens with a single guitar and a melody which seems to wink as it invites ears to grab its trailing elegance. It is just the first turn in a maze of intriguing endeavour and sonic imagination, its House of Love meets Maff beckoning soon broadening into a melodic painting of Brit pop revelry, melodic rock drama, and psych rock exploration. That again is only a slither of where LUV ventures and takes willing ears, the track almost tempestuous in its enterprise and masterful in its seductive persuasion.

Arguably their most inventively adventurous song yet, LUV epitomises everything about Coquin Migale that is getting folk very excited, and yet it is easy to feel that the quartet of Alex Soper (vocals/ guitar), Jack Brooks (guitar), Stevie Kane (bass), and Josh Holmes (drums) are still only just beginning to tap into their potential. Happy days!

LUV is released November 20th via End Of The Trail Records/Rough Trade Distribution.

https://twitter.com/CoquinMigale   https://www.facebook.com/CoquinMigale

Pete RingMaster 20/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

The Sneaky Nixons – Sex

LisaJamie_RingMaster Review

UK band The Sneaky Nixons describe themselves “as an angry, semi-political, semi-religious, part-feminist sloppy activist group who play riotous, steam-train guitar music.” From one song alone much of that is maybe not so obvious but there is no denying that new single Sex is one mighty vehicle of mass seduction. Sauntering through ears in a flirtation of punk, ska, rock ‘n’ swing, and vaudevillian theatre, the song is a confrontational mischief on ears and imagination, and quite bewitching.

HFartwork-2_RingMaster Review     Taken from the forthcoming eponymous compilation album from Across the Ocean Waves Productions, which features the most exciting bands active on Liverpool’s vibrant music scene, Sex is a slice of rock ‘n’ roll to incite and inflame. It follows a clutch of singles released this year and The Coup de Grace EP which spawned most of them, each offering tracks which reveal a different strain of The Sneaky Nixons’ sound with Sex the most devilishly impressive of the lot so far.

The single strolls in on stabbing riffs and crisp beats beneath a sultry sky lit by the blazing temptation of brass. Settling into a gentler canter initially, with a touch of Brit pop and alternative rock to the melodies and vocals, the track is soon rising up to eye ball the listener with its creative revelry and punkish intent, both bound in more of the thick ska bred infectiousness.

Like Libertines meets The Talks meets The Vox Dolomites, Sex is an aurally salacious treat with a hard hitting video to inflame the senses further, and another mightily impressive step in the rise of The Sneaky Nixons’

Sex is released November 20th via Across the Ocean Waves Productions @ https://itunes.apple.com/gb/artist/the-sneaky-nixons/id967240246


Pete RingMaster 20/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/