The Erkonauts – I Did Something Bad

THE-ERKONAUTS__RingMaster Review

Having missed the release of I Did Something Bad first time around, we as so many others will be, are seriously grateful for its world-wide re-release through Kaotoxin Records. The debut outing for Geneva’s The Erkonauts, the album is a ferociously diverse and increasingly fascinating collage of genres and sound. As thick in unpredictability as it is rich in bold imagination, I Did Something Bad is one of those propositions that heavy duty recommendations swarm to. We can only join the crowd and with two additional new tracks to contemplate and devour for all, the album’s return is a not to be missed a second time treat.

Formed in 2014, The Erkonauts consists of ex-Sybreed members in bassist/vocalist Ales Campanelli and drummer Kevin Choiral, alongside guitarists Adrien Bornand and Sébastien Puiatti. Together they expel a sound which is as punk and heavy rock as it is metal, as much progressive enterprise as it is off kilter imagination. Fair to say the band made a hefty impact with the self-released outing of their debut album in 2014, the limited first and second press of I Did Something Bad greedily consumed with the band’s reputation growing in tandem through their live show and touring voracity. Produced by Drop (Samael, ex-Sybreed), the album is now poised to allow the rest of us slow coaches to dive into The Erkonauts bedlam, as mentioned with a pair of new songs recorded last year for extra rich taste.

The Great Ass Poopery opens up the tempest, a gloriously carnivorous bordering on carnal bassline infesting ears initially to be joined by the kinetic swings of Choiral. Alone it is gripping stuff but add the fiercely shimmering guitars aligned to rousing vocals and the air becomes aflame with rumbling attitude loaded rock ‘n’ roll. In some ways like Fear Factory meets Mudvayne with Suicidal Tendencies orchestrating, the punk metal assault is creative rampancy and virulent energy fired down the barrel of a dynamically hungry cannon.

art_RingMaster ReviewTony 5 swaggers in next, its body similarly spawned to that of its predecessor but swiftly sharing its own consuming tenacity. As biting rhythms and swinging grooves embrace the excellent mix of clean and aggressively rasping vocals, the song is a cantankerous affair but with a body of spiralling twists and sonic resourcefulness which makes other’s references to bands such as System Of A Down and Gojira understandable. As the first, the track is a ravenous swamping of ears with superb clarity within its smothering touch for the swarm of progressive tenacity within to equally entice and shine.

There is a greater initial hostility to the following All the Girls should Die, riffs and rhythms angrily badgering ears whilst readying them for the fluid slip into melodic pastures with emotive mellow vocals. Entwining melodic rock fire with alternative metal flirtation as other elements snarl and grumble, the song ebbs and flows in its sonic ire whilst providing a perpetually compelling persuasion. Again there is a rampant directness upon ears at times, the track managing to be simultaneously predatory and seductive before making way for the electro lit, punk fired triumph of Nola. The first invading bassline tells you all you need to know about what is to come; the track flinging hooks and rapier beats around like a dervish whilst expelling a groove infested sonic devilry around them. Vocals again are as varied and impressive as the maelstrom of delicious sound and the increasing imagination of the aural emprise.

A sultry climate comes with Dominium Mundi, its evocative air a suggestive calm for the imagination to expand upon before the heart of the storm breaks with again addictively stabbing rhythms and aggressively hued vocals. Though it brews an inferno of sound, the earlier haunting peace continues to switch and collude with the raging animosity, leaving ears ringing, emotions aflame, and the body exhausted by the persistent breakout of heavily flirtatious grooves. The latter is weaponry which increases its pull in Hamster’s Ghosthouse straight after. With irritable riffery and stalking beats, the track stalks and infests the senses. Its hardcore/nu-metal infused rock ‘n’ roll is pure temptation as it leads the listener into a following progressive garden of melodic and classic rock. As many songs, how they start is no hint to how they depart and certainly their ever intriguing journeys as superbly epitomised here.

The creeping devilment and sonic rapacity of Gog raises the greed in an already eager appetite with ease, its dark character and lively imagination awash with biting elements and imposingly suggestive textures and flavours whilst Your Wife hugs with an acoustic caress shaped by equally warm vocals. The croon does get feistier across its melody and harmony soaked captivation but never relinquishes its elegance and charm.

There is no escaping the great humour that runs through the band’s songwriting and attitude either ,with its boldest moment coming in the punk rage and fun of 9 is better than 8. It is an unbridled riot, simple as that and impossible not to get physically involved in before Machine brings its own commanding incitement to the party. The first of the new tracks exclusive to the release, it is a growling, thrashing slab of metal diversity. Hellacious in its body, infectious in its armoury of hooks, grooves, and anthemic rhythms, the track is as much punk metal as it is extreme metal toxicity and manna to the ears.

Concluded by the tempestuous Culbutos, it a merger of thunderous confrontation and seductive tempting, I Did Something Bad has all the quality and mastery to leave body and soul enraptured. As the intricately and dramatically woven final song, the album is a creative collage of sound turned into a riveting theatre of invention and fiercely arousing adventure that no one should miss out on.

Quite simply, with a new album proposed for later this year, time is ripe for all newcomers to grab your piece of The Erkonauts via I Did Something Bad.

I Did Something Bad is out via Kaotoxin Records from February 12th @ http://www.kaotoxin.com/shop/page/6/

Check out our interview with Ales Campanelli @ https://ringmasterreviewintroduces.wordpress.com/2016/03/25/exploring-the-roar-of-the-erkonauts-with-ales-campanelli/

https://www.facebook.com/theerkonauts   http://www.erkonauts.com

Pete RingMaster 12/02/2016

Copyright RingMaster: MyFreeCopyright

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

Flowers – Everybody’s Dying To Meet You

Flowers_RingMaster Review

Though debut album Do What You Want To, It’s What You Should Do pleased, for personal tastes, it lacked a certain spark to fulfil its obvious potential. It was an encounter though, which certainly ensured its creators Flowers lured strong and lingering attention. Now the UK trio return with successor Everybody’s Dying To Meet You, a rousing slice of noise infused indie pop that enchants as it enthrals; a release rattling the cage of expectations and all overworked pop offerings around it.

Flowers began in 2012 after vocalist Rachel Kenedy met guitarist Sam Ayres through an advert wanting band mates to help create pop songs which were like “early Madonna through a broken tape machine”. From there a romantic and creative union ensued between them, with drummer Jordan Hockley coming in to complete the band’s line-up. With their first batch of tracks refined by Bernard Butler, debut album Do What You Want To, It’s What You Should Do emerged in 2013 to potent responses and support. It drew keen interest which is surely now set to ignite louder acclaim with Everybody’s Dying To Meet You. Everything about the release, from songwriting and sound to inventive tone has blossomed from its predecessor, emerging an eighties seeded but uniquely current kiss of tenacious indie pop.

Recorded with producer Brian O’Shaughnessey (The Clientele, Primal Scream, My Bloody Valentine), the album opens with Pull My Arm. A slim jangle of guitar with glimpses of ska revelry makes the first contact, strolling beefy rhythms soon joining it before the lively ethereal tone of Kenedy lays evocatively over the dynamically catchy sounds now in full flow. Thoughts are sparked of bands like Mo-dettes and Girls At Their Best by the track, ripe spices adding to its boisterous charm and rousing adventure.

art_RingMaster ReviewThe great start is followed by the mellower caress of Bitter Pill, though its body is all drama and the vocals awash with warm crystalline harmonies that seem to incite an infectious swing to grab the energy of the song. From lapping ears like gentle but eager waves to a fiery expulsion of sizzling sonic rowdiness and back again in a repeating cycle, ears are richly satisfied before Ego Loss takes over with its similarly low key but vibrant dance. The dark hues of bass make a healthy temper to the celestial strains of Kenedy and the imaginative jangle of Ayres’ guitar, the jabbing beats of Hockley bridging the two with their metronomic yet inventive canter. Like The Darling Buds meets The Raincoats, the track is a persistent captivation.

A Weekend like air drifts across next up All at Once; the song as those before it thick seduction, though all have to bow to the outstanding prowess of Intrusive Thoughts. Again a gentler entrance is the lead to richer and heavier deeds. The song never loses its gentile character though, moving with a Young Marble Giants scented saunter through noisy melodic scenery accompanied by hypnotic rhythms. Kenedy once more is as alluring as the sun in the sultry temptation as the album offers its undoubted pinnacle, though the song is challenged for that stature throughout.

How Do You Do smiles at and grumbles in ears next, its scuzzy proposal an irresistibly magnetic affair matched by the fiercer rock ‘n’ roll of Tammy. Ayres’ guitar is a scorching blaze of resourceful endeavour whilst Hockley again lays anthemic bait down around the, at times, slightly overwhelmed voice of Kenedy. Even with that slight issue, the track is a punk lined pop treat to get a healthy appetite for; a hunger quickly satisfied by another Young Marble Giants like seducing under the name Russian Doll. Its true rock ‘n’ roll colours are soon pushed to the fore of its initial minimalistic presence, the initial thick enjoyment only becoming most lusty as the entwining of both textures from thereon in creates another mighty triumph for the album.

The final pair of songs ensures Everybody’s Dying To Meet You ends on the high it started with and for the main maintained up to their appearance. The balmy yet sonically volatile My Only Friend is first with endearing melodic caresses evolving into bordering on cacophonous jangles for a hearty lure whilst closer Bathroom Sink is a provocative romance with a tempestuous air and intrusive flames to its harmonic elegance. Both tracks spellbind with their individual characters; a success brought to broader fruition by the album as a whole.

The Flowers has come of age with Everybody’s Dying to Meet You, though major uniqueness is still a little down the line. All the same with this thoroughly enjoyable and increasingly magnetic album their current bloom, the threesome has shown themselves to be one of Britain’s brightest and most stimulating indie/pop bands.

Everybody’s Dying To Meet You is released February 12th via Fortuna POP! on CD, vinyl and download.

https://www.facebook.com/flowersdomusic/

Pete RingMaster 12/02/2016

Copyright RingMaster: MyFreeCopyright

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

LongFallBoots – You’ll Know It When It Happens

LongFallBoots - Promo Shot_RingMaster Review - 1-BW

Having stirred up a hungry appetite for and acclaimed reaction to their fuzzy cauldron of sound that was debut album Wait For The Echo last year, UK trio LongFallBoots return with their new EP You’ll Know It When It Happens, the first part of a 2-EP cycle. It uncages five tracks infested with all the gripping attributes of the band’s full-length but carrying a dirtier and more ravenous character aligned to keener grooves and deliciously off-kilter invention. It is certainly more of the band’s renowned compelling infestation of the psyche yet it has a fresher nature and an even more invasively honed potency to its scuzz lined temptation.

LongFallBoots was formed early 2012 by friends Alex Caithness (KOSS, Cincinnati Bow Tie) and Ben Holdstock (Paralus, Cincinnati Bow Tie) when the other members of an intended project failed to turn up for rehearsal. Within two and a half hours the pair had written debut EP It Was Duke; its release coming in August of that same year, becoming the first in a run of six EPs across the next twelve months or so. First album Wait For The Echo was uncaged to potent acclaim in 2015, the pair of guitarist Caithness and drummer Holdstock joined by bassist Chris Childs and vocalist Amy Smith, who subsequently replaced Childs on bass and additional vocals in the band having previously played on the Good At Television EP. Now the trio have ripened their sound a little more to infest the senses further via You’ll Know It When It Happens, another startling proposal for ears and imagination to feast upon.

YKIWIH-FrontCover_RingMaster ReviewThe EP opens with its title track and immediately roaming sizzling grooves are wrapping ears and the jabbing beats of Holdstock. The heat only accentuates as the full sonic wind of guitar and throaty bass collude around a great mix of raw and harmonic vocals from across the band. With the synth casting an even fuzzier breath around the appealing mix, antagonistic and impassioned sludge thick intensity ripens as too a darkly seductive flirtation with post punk devilry. It all makes for a swiftly gripping affair rife with unpredictability within flowing smog of invasive persuasion.

The track is also as infectious as a viral complaint, an irresistible quality as imposing in the following (We’re Gonna Have To Deal With) Gary. Noise rock meets scuzz punk with bedlamic rhythms and matching invention, the song is quite glorious. It quickly puts the excellent opener in the shade with its rousing kinetic dance and post-hardcore tempest, that alone revealing the fresh flavoursome twists of invention and adventure brewing within the band’s music. Flinging hooks and grooves around like a teenage dervish, song and band creates a sonic tempest to get lustful over before the band’s new single Executive Function saunters in with grooved hips and stoner-esque seducing around a rock ‘n’ roll heart. The mix of vocals again hugs and roars, their tempestuous nature fuelling every aspect of the mystique lined proposal. Subsequently a carnivorous bassline provides a predatory element to proceedings, Smith’s bait as primal and enslaving as floating harmonies are celestial and engaging. Bound in a web of searing enterprise from Caithness, the track is the third exhilarating and inescapable contagious trespass in a row.

The punk fury of Explosions descends on ears next, its volatile sonic outrage tempered by the siren-esque tones of Smith and in turn incited by the bracing vocal squalls of Caithness and Holdstock. The track brawls and flirts with the senses and ears respectively in its voracious way before In My Favour lays out its eventful landscape of raw calm, brewing antagonism, and intense angst soaked drama. It is a slow burn of a persuasion in comparison to its predecessors yet unveils another intrigue drawing and emotion rich twist to the EP and band’s songwriting that is so easy to enjoy.

The song is a fine end to You’ll Know It When It Happens, if without making the same intensive impact as the rest of the release. The EP as a whole just feeds an appetite already bred for the band’s last album whilst giving further confirmation that LongFallBoots creates fuzz spawned noise which does anything but annoy.

The You’ll Know It When It Happens EP is released February 12th digitally and on CD @ https://longfallboots.bandcamp.com/

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

Pete RingMaster 12/02/2016

Copyright RingMaster: MyFreeCopyright

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

Unbowed – Dogma

Unbowed_RingMaster Review

Two years ago Canadian metallers Unbowed grabbed thick attention and praise with debut album Collapse The World. It was a raw and ravenous slab of black metal atmospherics fused with death metal corrosion; blackened death metal with melodic tendencies that was unafraid to push it and its creator’s boundaries. It was also rich in open potential which has now been nurtured to striking effect for new EP Dogma. Offering four atmospherically primal and raw yet creatively elegant tracks, the release sees the Ontario duo breach a new plateau of songwriting and sound whilst opening fresh potential suggesting even bigger triumphs to come.

Formed in 2011 as a studio project by multi-instrumentalist Alex Snape and vocalist Ioan Tetlow, Unbowed proceeded to release a self-titled demo EP, the aforementioned Collapse The World, and bring together a live line-up which has played a host of shows and shared stages with the likes of Battlecross, Einherjer, The Contortionist, and Erimha throughout Ontario. Their bracingly invasive and imaginatively provocative sound has seen the band’s reputation grow within the underground spreading outwards and you suspect things are set to erupt with greater strength again as Dogma infests ears.

Unbowed Dogma - Final Cover Art_RingMaster ReviewThe EP opens with The Bleeding Throne; an enveloping of the senses and imagination from its first breath marked with a herald of melodies and atmospheric keys. It is a welcoming if portentous prelude to a rampant cascade of rabid riffs and matching rhythms within a wave of intensity as catchy as the thrash like canter that emerges from it. The craft and sound of Snape quickly impresses and works away on appreciative ears whilst the raw throated vocal squalls of Tetlow add a just as effective drama and predatory temper to the tapestry of provocative sounds around him. Thoughts of warriors, deceptions, and bloody turbulence are easy casting for the imagination as the song expands its sonic narrative, but equally there is an exotic beauty and expressive majesty to the song which grips the listener. It all further enhanced by the tendrils of varied metal and livelier variety in the vocals with blossom throughout.

It is a gripping and fascinating start which continues in the even more confrontational Besieged; though it too spins a web of guitar enterprise and rhythmic tenacity as infectiously alluring as it is barbarously intimidating. With sweeping melodies and expressive keys, you can visual the setting for the song’s drama and narrative. Broad and expansive, harsh yet beauteous landscapes are visualised, providing the canvas for the resourceful and enthralling imagination of the two musicians. As the first, the song bewitches as its trespasses, leaving a hunger for more which the closing pair of The Fall and Echoes of Cernunnos heftily satisfy. The first merges consuming textures and destructive virulence with flowing ambiences around epically poetic melodies whilst its successor provides an animus of ill-intent and immersive sufferance brewed with sonic rabidity. Both take unexpected and dramatically contrasting turns, the first especially enthralling with its melancholic and tainted reflections. The final song is more concentrated in its core attack but around its invasive spine, Snape creates a realm of celestial grandeur and earthbound intimacy coloured by the great vocal abrasion of Tetlow.

Dogma is superb, a release which only reveals more depths and corners with every listen. It leaves the band’s potent last album pale in comparison and equally many a black and death metal emprise heard in recent times.

Dogma is available from February 12th @ http://unbowedofficial.bandcamp.com/

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

Pete RingMaster 12/02/2016

Copyright RingMaster: MyFreeCopyright

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