Tirades – Lifetime of Wars

Tirades _RingMaster Review

It all started in February 2014 when guitarist Munoz was in the Andes. His car broke down along the Los Libertadores and help was far away. Out of nothing came Nauhel, an Indian from the Mapuche tribe in Chile.

Nauhel invited Munoz to his camp and insisted that Munoz stayed overnight. It turned out that Nauhel was a musician in traditional Mapuche music, and Munoz had 20 drafts to what once would become Tirades’ debut album. Munoz and Nauhel exchanged musical ideas throughout that night as the moths danced around the bonfire. Nauhel gave Munoz the name “Pülü”, meaning insect in Mapuche, to commemorate the moths who kept them company through the night. This night caused all other musical projects to be set to side, and Tirades became the main priority from here on out.

That is the background to a band which unleashed one of last year’s unexpected and seriously exciting roars in the shape of Lifetime of Wars. A slow start release wise to a new year always allows for a catch-up of propositions that initially escaped but deserve attention and without doubt the first album from Norwegian hardcore protagonists Tirades qualify. Whatever its origins and seeds, Lifetime of Wars is a glorious and challenging slab of rock ‘n’ roll which rousingly embraces a web of noise and punk fuelled flavours driven by imagination stirring adventure.

Album cover_RingMaster Review     The September of 2014 saw Bergen hailing Tirades enter into the recording of their album with producer Andrew Neufeld (Comeback Kid). Alongside guitarist/vocalist Esteban Munoz, also the drummer of Social Suicide, stood bassist/vocalist Remi Arefjord also of Jeroan Drive and guitarist in Social Suicide, Of Grace and Hatred drummer Mathias Simonsen, and guitarist/vocalist Markus Den Ouden from Blodig Alvor. Together they have created a confrontation as sonically intrusive and emotionally cantankerous as it is anthemically and energetically inspiring. Released in the latter moments of last year through Fight! Records, the punk ‘n’ roll blaze is an immediate contagion drawing, as mentioned, on varied spices of metal and punk driven rock ‘n’ roll to brawl and stomp with the listener.

Fear The Saviour is the first potent incitement, the opener springing from a suggestive guitar spun invitation into a predatory stalking of the senses with beats and bass leading the way. Tribal spicing colours Den Ouden’s bait whilst the bass of Arefjord has a carnivorous tone to its snarl, both tempered by the ethereal vocals and wiry enterprise of guitar. Electro spicing equally adds more drama and texture to the post punk scented introduction, the song playing like a blend of Morkobot and Tones on Tail as it leads ear and an instantly awoken appetite towards the bracing confrontational tempest of Death Bell. Smothering ears in thumping beats and sonic provocation from its first breath as vocals challenge, the track swiftly has body and emotions aflame with its rousing and contagious canter. Subsequent clean vocal chants and the ever primal tone of the bass only add to the lure of the rousing seduction, the song twisting into the infection loaded hardcore and corrosive rock ‘n’ roll which fellow Norwegians Shevils are as equally adept at unleashing, they the closest comparison coming to mind for the uniqueness of Tirades.

The exhilarating stirring of the passions makes way for the more barbarous riot of Ghost, though it too is soon evolving within ears as the band explore fresh hues and resourcefulness employing varied styles. Far too short for personal greed, the track gives way to Sleepless. Featuring Kvelertak guitarist Maciek Ofstad, the track evokes defiant attitudes with its aggressive bawl of sound and voice, only adding to the chest beating potency with catchy moments of clean vocal led incitement. As its predecessor, a major highlight is uncaged, a song which is as imaginatively unpredictable and addictively alluring as it is fiercely exhaustive and more than matched by the exceptional Precious Demon which flows out of its tail blast. Further invigorated by Social Suicide vocalist Marius Jahnsen and Tarjei Strøm, another maelstrom of invention and noise rabidity descends upon and swallows the senses, it too inciting lusty involvement with its caustic collusion of diverse textures and punk rock aggravation.

There is a touch of NVRVD and Bear to the track whilst in its successor Relignorance a spatter of The Great Sabatini teases as it’s more restrained hardcore hostility allows vocal melodies and noise rock tendrils to captivate from within the fierce romancing and subsequent haunting atmospherics unleashed. Volatility is as much a constant in a Tirades song as attitude and ferocity and the track embraces all within its compelling design before Reach Victory batters forcibly on ears and in turn Skin scorches the sense with its sonic toxicity and ravenous intensity. The first of the pair is an abrasive bellow with its own line in dynamic rhythms and agreeably searing hooks matched to the constantly anthemic vocals whilst its successor is an emprise of punk belligerence and feverish imagination drawing on another diverse range of metal, heavy rock, and blissful noise

False Prophets keeps the fires of satisfaction burning forcibly next, its skilled merger of contrasts and addiction forging ingenuity making the appetite greedy whilst immediately after Never Again grumbles and rumbles like a bear with a sore head; one wanting to tear apart the body and dance with the skeletal remains. It is hard to remember in recent times a crushing destructive protagonist as virulently catchy and irresistible as the superb song, though within the album it is just one of a band of demandingly contagious and rabidly inventive trespasses.

The album is completed by the acoustic croon of 1996, an evocative piece of stringed and acoustic expression shaped by voice and emotion which only impresses but still pales against the sheer magnificence of what came before. A bonus remix by Ralph Myerz also adds to the thick enjoyment of Lifetime of Wars, an album which hopefully is the first of many given the other commitments of its creators.

In a recent review we remarked on the pinnacle 2015 ended on in the number of seriously striking releases unveiled. Tirades are another one in the list, maybe the very best of that moment and in the cream thrilling the whole year.

Lifetime of Wars is out now via Fight! Records through most online stores.

https://www.facebook.com/tiradesofficial

Pete RingMaster 08/01/2016

Copyright RingMaster: MyFreeCopyright

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

The Migrant – Flood

Pic by Arne Marius Skogås

Pic by Arne Marius Skogås

We all like to be romanced and seduced and that is exactly what The Migrant does with new album Flood. It is a warm melodic smile with melancholy at its corners; a collection of songs which wander through vibrant folk and pop rock landscapes with psychedelia aired exploration and magnetic intimacy. The album is gorgeous, a fascination which becomes even more irresistible with every gaze upon its aural beauty.

Hailing from Denmark, The Migrant is the creation of Copenhagen songwriter Bjarke Bendtsen, a project hugging a fine group of musicians when seducing live audiences around the globe. Critically acclaimed albums in 2011’s Amerika and Beads two years later have caught international attention already, both building on the potent start made by debut album Travels in Lowland in 2010. Recorded in a Danish summer cottage with the musicians that accompany Bendtsen on European stages, Flood simply envelops the listener in evocative and invigorating portraits of sound and vocal expression. Released earlier in 2015 in Denmark and Germany via DevilDuck Records, the album swiftly ignited the plaudits of media and fans alike and with its UK release at the tail end of last year through Cardiff imprint Rockpie, it is now finding matching success here too.

First track Climbers sets the tone and first inescapable lure, a reserved but energetic shuffle of a proposal which skips and flirts across ears with its flighty rhythms, acoustic caresses, and vocal temptation. In no time feet are bouncing and emotions dancing with the blend of poetic melodies, reflective vocals, and a dose of Sicilian laced guitar enterprise. The song is pure contagion, a gentle but bold enslavement quickly matched by the similarly tenacious charm and revelry of The Fixer. Harmonies play like the call of a steam train initially before Bendtsen serenades the imagination from within another acoustic hug. With a touch of Billy Momo to it, the track has body and energies leaping with ease and an already sparked appetite for the release greedier.

Flood-cover_RingMaster Review   The album’s title track slips in next, Flood providing a low key magnetic croon with drama waiting and building in its wings as flirtatious rhythms and a suggestive atmosphere infuse its walls. Things never reach the level of exploding but persistently shadow and add endearing shade to the mesmeric call of the song before it makes way for the outstanding Belly of a Man. Straight away it has a more boisterous air and energy to its temptation, rocking and rolling with certain restraint whilst wearing a broad harmonic grin coloured with seventies psychedelic hues. Before you know it, voice and heart are wrapped up in its rapture, eager involvement a given before half way and only increasing as its seriously catchy momentum builds to a thrilling climax.

Recent single Silence follows, it one of those songs you feel you already know without reason. With sultry sways of guitar and the ever radiant vocals and harmonies around throbbing rhythms, the track runs persuasive fingers down the spine to seduce and thrill. A shoegaze scent only adds to the sonic splendour and thick success made, the variety of creative flavouring again open within Flood and individually showing within Water as fizzy blues spices are filtered by guitars into enticing melodies across an exuberant character.

From its feisty adventure a calmer climate appears next with Give Up, the song an evocative charm of sound and provocative voice with a touch of Paul McCartney and Andy Partridge to it in songwriting and rural suggestiveness. As many tracks, within its oasis of tranquillity an eager energy brews and subsequently drives an increasingly catchy stroll.

The delicious smouldering swing of Haunted Takes over next, the song a majestic slow stepping intoxication with melancholic radiance carrying more drama and impact in its first minute than many albums can find in their whole body. The track really does haunt ears and thoughts, becoming a wonderfully lingering contemplation still working away long past taking its leave.

The duo of Tiger and Row Row bring the sublime release to a close, the first a balmy and again reserved proposition which prowls ears in its unique way whilst building up to almost overpowering and exhilarating crescendos with more than a whiff of Liverpool artists like Pete Wylie and Echo and The Bunnymen to them. Its successor simply kisses ears with slim acoustic elegance leading to psych pop sultriness, and though it arguably remains overshadowed by its stirring predecessor, the song has ears transfixed and pleasure ripe to end Flood with another fine moment to heartily devour.

Flood is simply sensational, in its subtle way as Homeric and monumental as it is intimately spellbinding, and one of last year’s real triumphs.

Flood is out now in the UK via Rockpie and available @ https://themigrant.bandcamp.com/album/flood

http://themigrant.net/   https://www.facebook.com/themigrant   https://twitter.com/themigrantmusic

Pete RingMaster 08/01/2016

Copyright RingMaster: MyFreeCopyright

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

Heartlay – Remedy EP

Pic by Sami Benhamou

Pic by Sami Benhamou

French band Heartlay made their introduction with the well-received debut EP Injection just over a year ago and fair to say their imaginative blend of industrial and melody rich metal sparked potent reactions and words. Now they have followed it up with an even mightier exploit in Remedy, a five-track EP continuing the band’s experimental merger of rich flavours. The band is still working towards their wholly unique sound but whilst showing a realisation of some of the potential impressing within its predecessor Remedy taps into fresh promise which forcibly suggests the Parisian quartet is an exciting prospect to watch.

Formed in 2014 by vocalist/composer Aaron Sadrin, Heartlay quickly finalised its creative strength with guitarist Johan Laë (ex-Moven.S), bassist Flo Lemonnier (ex-Kera, ex-Thanatic Eyes) and drummer Loïs Arnaldi (of Irradiance). As mentioned Injection quickly put the band on the radar of a great many luring strongly positive reactions in turn and now building upon its base and success, Heartlay is set to spark greater attention as they explore darker and more creatively demanding essences with Remedy. Adding greater raw aggression and emotional shadows this time around whilst pushing their imagination to thicker boldness, the EP shows an open evolution which has ears suitably gripped from the opening moment of the Brett Lamas-Caldas (Tower Studio: SepticFlesh, Devin Townsend) mastered EP.

COVER_RingMaster ReviewBring You Down opens things up, the song a strenuous wall of riffs and rhythms swiftly entwined in wiry sonic enterprise and vocal expression. Its intensity and power is a commanding and forceful wind but still allowing room for the melodic prowess and inventive weave of heavy rock and steely metal textures to make their persuasion. A Gravity Kills feel with a fierce fire to it graces the seriously engaging mix as vocals seduce and roar to match the journey of the music across the impressing start to Remedy. It is a potent persuasion continuing with Consequence. The scent of Nine Inch Nails hinted at in the first is a stronger flavouring to the second song, but equally there is an element of UK band MiXE1 and Deftones at play too as it reveals its own distinctive tapestry of searing sonic endeavour and electronic exploration.

As the opener gripped ears, the second intensifies the tempting with its sonically sizzling air and dramatic character; that progression continuing as The Battle initially coaxes the senses with warm keys aligned to a haunting ambience wrapping the raw industrial core of the song. Spineshank comes to thoughts early on in the increasingly volatile and compelling track as well as a generally assumed Trent Reznor inspiration, both stirring up more reasons to enjoy the abrasively tenacious and increasingly enjoyable proposition.

Through The Window adds its creative weight to the convincing roar of the EP next, its body a perpetually twisting venture of electronic and metal resourcefulness that again seems to be another little step on in imagination and potency than its predecessor, a trend across Remedy that does it no harm.

The melancholic ambience soaked Black Walls concludes the release, its predominantly instrumental body seemingly and enjoyably seeded in eighties dark wave invention with Gary Numan and The Cure passing thoughts as the track seduces with its cold romance and inspires the imagination through its haunting elegance. It is a strong end to Remedy, offering another side to the fascinating Heartlay sound.

The EP is an intriguing and tantalising next step in the emergence of the French band. There are moments where the release seems to resist going further into the unknown or wavers in its real strengths but from start to finish, whilst leaving ears thoroughly enamoured, Remedy suggests Heartlay is a band with the qualities and imagination to make a major impact.

The Remedy EP is out now @ https://heartlay.bandcamp.com/album/remedy-ep or http://heartlay.bigcartel.com/

http://www.heartlay.com/     http://twitter.com/heartlaymusic   https://www.facebook.com/heartlaymusic

Pete RingMaster 08/01/2016

Copyright RingMaster: MyFreeCopyright

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