Hibernation Masturbation: The Video

km-vid_RingMasterReview

As the world and its ‘masters’ increasingly seduce and trap its inmates in their own design, the new single from Scottish indie musician/songwriter/producer Kevin Mcgowan is a timely statement and wake-up call with a striking video to reinforce its attention grabbing presence.

Hibernation Masturbation was written seven years prior to its new release and back then it reflected a growing virus within a populace increasingly disconnected from the world and its furtive and often more openly selfish vices. Fair to say the track’s observation is even more relevant to the now and the apathetic blindness to the controlling addiction shaped and driven by technology and media.

Talking about the song recently, Mcgowan said,” The song is basically saying how we are all in a state of hibernation and are unaware of what is going on in the real world around us. We get all our information from a screen, be it TV, mobile phones, computers or mobile tablets, and it has become a problem to decipher fact from fiction.

We are all caught up in the subterfuge in various ways, even reading this and watching the video part of being connected to “some kind of self-absorbed internet addiction”; Mcgowan adding; “As a society we have lost our way and exist in our own little bubbles where we can’t tell the real person from their social media profile. We are an idea of our dream selves rather than simply existing, images dictate our own person, creating unattainable needs, desires and aspirations.

km2_RingMasterReviewThe song’s video and its surreal atmosphere is an echo of those thoughts; its intimate and occasionally claustrophobic insight reflecting the bewitching fantasy and the ease in slipping into its fake but easy to devour stealing of choice and honest observation.

Even loneliness is nurtured by the reliance on thought dictating and enslaving technology and its wares, the video again with its distant but potent Alice In Wonderland like surrealism a direct poke which makes you think and assess as the enthralling song itself captures a share of the imagination.

With deceptive self-reliance on this escape leading to being wrapped up in one’s own world similarly courted by the enticing imagery of Hibernation Masturbation, an eye luring landscape interrupted by great shots of Mcgowan and his guitar craft, the video and indeed song enlightens and transfixes while almost being a paradox in that captivation with its theme.

The video is also a wealth of fun which should not be skipped by, with the power of a great song as its soundscape, Hibernation Masturbation is a spark for a grinning but thoughtful imagination to fall in to.

Check out the Hibernation Masturbation video @ https://www.youtube.com/watch?v=JgNxdF01iX4  while the single is available to buy via imagine & believe Records on iTunes @ https://itunes.apple.com/gb/album/hibernation-masturbation-single/id1146680042?ls=1&app=itunes

For more information and news from go to https://www.facebook.com/kpmcgowan and https://twitter.com/kevinmcgowan67

Pete RingMaster 30/10/2016

Copyright RingMaster: MyFreeCopyright

Dr. Hell – Apocalypse Boobs

dr-hell_RingMasterReview

Once more confronting ears with sounds suitable to voice an eager resurrection of the undead in a zealously riotous rampage, Dr. Hell unleash a new death dance of blood strewn horror punk going under the notoriety of Apocalypse Boobs. The German quartet’s mini album is a carnival of infectiously decayed punk rock and ravenous enterprise weaving familiar and individual exploits into their finest offering to date.

Since emerging from their respective North Bavarian mausoleums in 2010, though rumours are they actually formed in 1812 a secret place known as “The Bloody Islands”, Dr. Hell have released two albums of their raw and predatory horror punk, When I was just a little ghoul … in 2012 and Drunken Zombies two years later, and shared stages with the likes of The Meteors, Demented Are Go, KoffinKats, Blitzkid, The Other, and BananeMetalik to name just a few. Set to uncage their live ferocity on the UK this November, the band whets the appetite and scars the psyche in anticipation with the Undead Artists Records release of Apocalypse Boobs.

drhrll art_RingMasterReviewFrom its melodic Intro, the album leaps at the senses with Dead Girl with hungry riffs and swinging rapier like beats on the frontline. Swiftly led by the growling tones of DanDan Delirious, band and song career through ears with contagious punk/hard rock revelry and though there are no major surprises it is irrepressibly addictive and soon gaining full and eager listener involvement before Hate launches its more venomous and fiery tirade. With a touch of Frankenstein Drag Queens From Planet 13 to its irritability and raw trespass, the track binds ears with a toxic groove as again the rhythms of bassist Ina Insanity and drummer Mike Maniac growl and bite respectively.

Both tracks spark an eager appetite for the album’s assault and each is quickly eclipsed by the riotous stomp of Zombie Zoundz. With a whiff of The Sweet like seventies glam and the invasive predation of The Damned to its character, the track stalks the imagination around unbridled bouts of virulent aural voodoo resulting in a track for which lustful participation is a given.

Shrunken Heads is just as irresistible next, opening with heavy metal bred grooves around rockabilly riffs which only increase their and the song’s potency with every passing second of catchy enterprise. As in its predecessors, the song has a chorus ripe with contagion while guitarist Podo Panic entangles it in greed sparking melody sick flames throughout. As impressive as it starts, the album is at its pinnacle over the two tracks and only reinforces the point with Wasted Horror Punkrock Princess and a caustic punk brawl resembling a mix of Angelic Upstarts, Blitzkid, and Turbonegro with just a touch of Madball to its inescapable catchiness.

Completed by the anthemic incitement of Zombies in Town, another track as captivating in its antagonistic nature as its web of enterprising flavours within a rousing punk roar, Apocalypse Boobs  is primal rock ‘n’ roll to get loudly enthused over. As suggested it is not always the most unique proposal yet every track is pretty much distinct to Dr. Hell, igniting a lusty reaction and greed for much more; reason alone to stand in its bloodlust we say.

Apocalypse Boobs is out now via Undead Artists Records and @ https://bloodypunkrock.bandcamp.com/album/apocalypse-boobs

https://www.facebook.com/bloodypunkrock

Pete RingMaster 28/10/2016

Copyright RingMaster: MyFreeCopyright

Kevin Mcgowan – Hibernation Masturbation

km-pic_RingMasterReview

Hibernation Masturbation is the new single from Scottish musician/songwriter Kevin Mcgowan, an artist who collaborated a few months back with Karel Fialka on his new album Peace v War. Written seven years ago as Mcgowan reflected on the growing reliance of the world on technology and the media for information and allowing its guidance of our lives, the song is a tantalising landscape of indie rock with the potent harmonic tones of its creator inciting the imagination in fine style.

The theme and insight of the track is even more relevant to the now as people seemingly live their lives in the fantasy of the internet, its relationships, and through media controlled information rather than the real world around them.

km-art_RingMasterReviewMusically the song carries a nineties indie/Brit pop feel, essences of bands like Suede and Pulp teasing ears within Mcgowan’s own open invention. Its opening touch is woven by the strings of Mcgowan’s guitar, each note a lure inviting and tantalising as darker rhythms stroll alongside with the weight of shadows on their shoulders.

Instantly engaging with a growing catchiness to its character and gait, Hibernation Masturbation only tightens its grip on ears and appetite as a blossoming tapestry of captivating hooks and suggestive melodies entangles the imagination along with the descriptive potency of the lyrics and vocals.

With every aspect of Hibernation Masturbation from creation to release a solo effort by Mcgowan, the single is a creative statement which commands attention, its sound and enterprise simply ensuring that success is a done deal.

Hibernation Masturbation is out now via imagine & believe records on iTunes @ https://itunes.apple.com/gb/album/hibernation-masturbation-single/id1146680042?ls=1&app=itunes

https://www.facebook.com/kpmcgowan   https://twitter.com/kevinmcgowan67

Pete RingMaster 28/10/2016

Copyright RingMaster: MyFreeCopyright

Fond Of Rudy – The Line

fond-of-rudy_RingMasterReview

It is never a bad sign when a song almost haunts the memory from the first meeting and that is an ability the new single from British indie poppers Fond Of Rudy possesses. Like Orange Juice caught in the Caribbean sun, The Line is a refreshing dose of summer goodness as virulently flirtatious as it is feverishly energetic.

Creating Calypso infested pop, the Brighton/London hailing members of Fond Of Rudy emerged a couple of years ago, taking their time honing their sound and line-up before this past January the foursome of vocalist/rhythm guitarist Matt, lead guitarist Ross, bassist Otto, and drummer Si became and found the final piece of the creative jigsaw.

fond-of-rudy-artwork_RingMasterReviewTaken from an EP set for release early 2017, The Line will be the introduction to a great many to the band’s lively and easily captivating sound and it needs a mere handful of seconds to make a strong impression. From its opening harmonic coaxing within a brewing harmonic atmosphere, the song has attention held, gripped even tighter as its bounty of spicy hooks and warm melodies surround a great blend of Matt’s potent voce as keenly backed by those of Ross and Otto.

Beats are crisp and the bassline the right engaging shade of shadow alongside the raw magnetism of guitar and harmony fuelling the whole riveting encounter. That earlier suggested eighties flavouring is pure magnetism with the virulence of the track’s catchiness carrying something reminiscent of The Woodentops in its irresistible and hungry temptation.

We are among those hearing of Fond Of Rudy for the first time through The Line and sure to be with a great many too already breeding a real eagerness to hear more of their tantalising music.

The Line is out now.

Upcoming Live dates:-

5th November – Tram & Social, London

12th November 2016 – Printers Playhouse, EASTBOURNE

http://www.fondofrudy.com/   https://www.facebook.com/fondofrudy   https://twitter.com/fondofrudy

Pete RingMaster 28/10/2016

Copyright RingMaster: MyFreeCopyright

öOoOoOoOoOo – Samen

photo_RingMasterReview

Every year seems to have one month where riveting surprises and essential releases come at ears in a keen flood. This year it is maybe two as October follows September in unleashing records which simply inflame the imagination, an increasing list now added to by the irresistible and rather deranged offering from öOoOoOoOoOo (“Chenille” in French, “Caterpillar” in English).

A new collaboration between former Pin-Up Went Down vocalist/lyricist Asphodel and multi-instrumentalist Baptiste Bertrand, öOoOoOoOoOo creates a theatre of sound and imagination within debut album Samen. “Visually built as an art exhibition”, the release is a kaleidoscope of styles and invention cast in an avant-garde/experimental metal/rock adventure. Helped by the rhythmic prowess of session drummer Aymeric Thomas who is no stranger to creating off-kilter and seriously unpredictable exploits with Pryapisme, the duo ignite and enslave ears and psyche from the very first seconds of Samen, never relinquishing their magnetic grip of mercurial enterprise driven alchemy.

Rules Of The Show opens things up, the track initially enticing with a tender melody as a darker groan lurks before quickly welcoming the instantly impressing tones of Asphodel. Her voice is as magnetic as the sounds brewing around her with a growing blend of bewitching harmonies courting as the song slips into a catchy stroll with a poppy air. Soon it unleashes its hellish heart in a ravenous metallic outpouring as honed in gothic and epic metal as it is through orchestral and melodic rock. It is a virulently infectious affair, its tempestuousness icing on the compelling cake with Asphodel’s unexpected and masterful barbarous death bred growls extra engaging bait.

Its increasingly deranged presence is followed by that of Fucking Freaking Futile Freddy a track wearing Pryapisme like scent at times but equally sparking thoughts of bands like The Creatures and Stolen Babies. Thomas is a blur of rhythmic tenacity, Asphodel vocally captivating, while Bertrand creates a tapestry of sonic and melodic bedlam shaped into one fluid skittishly versatile weave.

cover_RingMasterReviewFrom one pinnacle within Samen to another and the creative devilry of Meow Meow Frrru, a track teasing with melodic intrigue while taunting with bolder energies, the first shaped by electronic fingering with a slight medieval essence and the latter through climatic crescendos which become more irritable and prolonged with each expulsion. The deeper into its insanity the song goes the more it evolves, an espionage loaded hook and System Of A Down flavoured revelry especially tempting.

Straight away the suggestive lures of cello from guest and Psygnosis member Raphaël Verguin charm ears and imagination as the following No Guts = No Masters launches its bruising and increasingly dramatic rock ‘n’ roll upon ears. A blackened air grabs the senses at times, its occasional trespass imposing on the glorious melodic seducing surrounding the shining vocal prowess and class of Asphodel and a psychotic majesty which would be almost sinister if it was not so glorious and irresistible.

Verguin also features on next up Bark City (A Glimpse Of Something), his bow on strings the poetic shadow to a track which merges the melodic beauty of a Nemesea with the dark secrets of creative dementia, all on show in a track which kisses the senses as it corrupts the psyche. Again understandably there is a touch of Pryapisme to the song but equally Russkaja, Siouxsie and The Banshees, and Die So Fluid are pointers to the uniqueness of the band’s sound.

There is a Fleetwood Mac/Stevie Nicks feel to the bewitching Purple Tastes Like White, the track yet another brazenly diverse aspect to the landscape of Samen with the brooding bass a particular treat alongside the melodic might of Asphodel while I Hope You Sleep Well is a cracked and bedlamic web of ideas and imagination stirring sounds hard to describe in words but so easy to physically indulge in with its sinister nursery room childlike innocence and crazed invasive genius.

With Adrien Cailleteau guesting as on its predecessor, Well-oiled Machine draws ears next with its soulful R&B infused balminess. With a flaming sax igniting the jazzy noir atmosphere of the brief song, all courting the somewhat pub-singer like fun of the male vocals, the song only leaves a smile in the imagination before the outstanding Chairleg Thesis dances with the listener in an eighties spiced affair which is at times as ruggedly boisterous as it is erotically seductive and ravenously stormy.

Across the screwy pop/hip hop soaked metal of Fumigène, a song revelling in a Lady Dynamite meets The Sugarcubes meshuga, and the gothic rock drama of LVI where band and album explore even more enjoyable expectations defeating adventures, the latter with Germain Aubert and Verguin bringing their individual craft, the inescapable lure of Samen just strengthens.

Completed by the fierce death metal toned blaze of Hemn Be Rho Die Samen, a song soon showing an array of contrasting yet perfectly uniting strands to its inventive disorder and predacious appetite, Samen leaves an exhausted and blissful pleasure in its wake. Even in the most off-kilter sounds and releases there is an order, an underlying texture which links all. Within Samen it is only the members of öOoOoOoOoOo themselves as unpredictability and unbridled imagination locked into one glorious ride.

Samen is released October 21st via Apathia Records, available @ https://apathiarecords.bandcamp.com/album/samen

https://www.facebook.com/ooochenilleooo

Pete RingMaster 20/10/2016

Copyright RingMaster: MyFreeCopyright

Art Of Burning Water – Between Life And Nowhere

cover_RingMasterReview

It is fair to say that any proposition from Art Of Burning Water is not for the faint hearted or anyone looking for melodic refuge. The trio’s sound though, and indeed new album Between Life And Nowhere, is something that a passion for ruthless noise with a penchant for violent infectiousness should and will eagerly embrace.

The London based threesome of drummer Mike, guitarist/vocalist Grief, and bassist Kunal create hardcore sandstorms of sonic intolerance and rhythmic barbarity; twisted punk ravages which are as pestilential as any plague but built on grievous grooves and piercing hooks ridden by the rawest of throat ripping vocal squalls. It is a trespass which has fuelled a host of releases from the band since 2003 and provided one half of an impressive split 7” with Nervous Mothers earlier this year. True to say, the band’s sound may have alienated as many as it has befriended but those hooked on their creative hostility come with zeal many bands would pay for.

A fury of ten songs over twenty minutes, Between Life And Nowhere has no times for niceties and flies at the senses from its first breath. A sonic lance and sample triggers Rambo Survival Techniques into life, the guitar an intrusive wave of sound backed by the thumping beats of Mike and Kunal’s grievous bassline. With Grief’s flesh wilting vocal spite soon infesting all, the track grumbles and rumbles like a bear with toothache, searing the senses whilst teasing them with an underlying catchiness which in turn lines the even more hellacious heart of Prime Example Of A Lonely Child. The track ebbs and flows in its intensity, never releasing ears from a sonic abuse but taunting the imagination with its primal instincts and another sampled incursion as spicy grooves and hungry riffs join in cantankerous intent.

The excellent Barbara O’Reilly comes in on the final sonic twine of its predecessor; swiftly uncorking its caustic toxicity with a punishing persuasion before the twenty odd seconds of You simply erupts in primal cancer upon the listener which in turn is followed by the less nasty but just as intrusive adventure of To Be Brave. With swinging beats linking up with a growling brooding bassline, the song makes a calmer entrance, the guitar teasing and inviting before the full tempest of emotion and rage at the track’s heart ruptures into its virulent sound. Twisting from raucous hostility to predacious stalking across its irritable body, the song quickly hits the sweet spot.

The acerbic melodic nature of Voivodian Solutions To Die Kreuzian Problems just as rapidly ignites ear though any kinder essences are lined with their own venom and soon involved with unbridled rancor as shown again within the infectiously woven drama of Alesha and the scathing rapacity of Prone To Bouts Of Hopelessness. The first of the two entices and brutalises with every harsh rhythm and heavy metal infused grooves, its punk ‘n’ roll almost welcoming but only to an awaiting destruction while its successor crawls over the senses with its poison on full show before savaging with full malevolent energy.

A handful of seconds is all that Baby Without Your Love has and needs to share its distorted enmity, leaving the quarrelsome and increasingly violent punk ‘n’ roll of Kindness Is Strength to bring the album to a fine and feverish close.

As suggested earlier, Between Life And Nowhere is not going to find a home in everyone’s ears, something it and the underrated Art Of Burning Water seem to revel in. Both offer punk/hardcore which leaves the kind of scars which sorts the men from the boys and both deserve a portion of your flesh and attention.

Between Life And Nowhere is out now via Bigout (France), Sleeping Giant Glossolalia (USA), and SuperFi (UK) and available @ https://artofburningwater.bandcamp.com/album/between-life-and-nowhere

https://www.facebook.com/aobwmusic   http://www.superfirecords.co.uk/aobw/

Pete RingMaster 21/01/2016

Copyright RingMaster: MyFreeCopyright

Magoa – Imperial

magoa-photo_RingMasterReview

If nothing else, these past couple of years have revealed that the French metal scene is at a striking high if maybe still not truly recognised outside of its national borders. That might be on the verge of changing if it continues to persist in producing bands and releases like Magoa and their new album Imperial. An outfit established within the French metal underground, the Paris hailing band has unleashed a proposition which just demands the richest attention.

Imperial sees the band’s tapping into and unleashing a brutality and a grouchily uncompromising attitude not as vocal in their music to date; a coincidence that the band kept everything about its creation in house? It is emotionally and physically raw yet woven with an imagination which makes its grievous groove infested sound stand out from the crowd. Imperial is a cauldron of varied strains of the fiercest metal genres honed into a virulence which infests ears, appetite, and psyche alike.

The successor to their well-received second album Topsy Turvydom of 2013, Imperial swiftly hints at something having stirred within the Magoa heart and creativity which eclipses all before with each passing minute let alone song. It opens up with its title track, a rousing call to arms which drifts in on a sonic mist broken up by warlike strikes. A melancholic melody slips into the brewing climate, vocalist Cyd Chassagne close behind sharing his dirt encrusted snarls as that lone melodic lure begins to flame with greater intensity within a growing tempestuous air. As grooves begin winding around bruising rhythms, the track rises to real anthemic heights, its roar of a chorus as defiant as it is provocative and contrasted superbly by the beauty of keys and mellower caresses of emotion.

It is a potent start which is soon over shadowed by the snarling brutality of Resistance, grievous riffs and senses shuddering rhythms to the fore. The track is superb, an angry beast of a proposal but one unafraid to show melodic elegance and sonic grace like oases within its vicious onslaught. As its predecessor, the song is a spirit raising anthem which arouses body and emotions before Sailors swings in with its own host of irritable beats and riffs, they soon evolving into one ridiculously infectious and addictive incitement. A great blend of vocal ire is matched by the array of textures within the track’s fiery sound, guitarists Vince and Drayton spinning an imagination snaring web of intrigue and suggestiveness, the bass and drummer  Martin’s lethal swipes antagonistic weight to be feared and embraced.

pochette_RingMasterReviewThere is something familiar about the encounter but an indefinable essence which just spices things up here and within tracks like the following heavyweight swing fest of Kill Us. It descends upon the senses with raw aggression and intent, taking them on a groove spun, melody enriched ride of fearsome yet anthemic savagery which just sparks the instincts.

Through the haunting melancholy of Merge, a less imposing affair but just as emotionally intense as cleaner vocals and resonating rhythms court piano nurtured melody and electronic atmospherics, and the brief and equally impacting Remember and its reminder of conflict’s casualties and protagonists, Imperial strikes another stirring chord with both setting up emotions for the thumping roar of Faith. Like a reassuring beacon within the more murderous aspects of the album, it is pure contagious revelry with its own truculent presence.

The calmer nature of Afterglow follows uncaging a nu/groove metal trespass which bellows with warrior strength and countenance but equally engages in less bruising exploits which further entangles the imagination. Sonic and melodic invention is as prevalent as another great mix of vocal confrontation, all topped off by deliciously scything strings.

Physical barbarism and emotive reflection unite within Endlessly next, the track a mix of bloodlust and warmer enticement, emotionally and musically, with the former holding the reins throughout, while Pray for Us is an emotion driven sonic clamour which whilst maybe lacking the spark of other tracks before it, leaves ears enjoyable ringing and appetite hungry for more which the bewitching Untouchable delivers with its low key but atmospherically thick and emotionally commanding serenade. Cyd’s clean vocals glide over the senses, the gentle haunt of keys and guitar fingering the imagination as the song resonates in thoughts as darker clouds loom on the back of heavier lumbering rhythms.

The album ends with the ruthlessly addictive and mercilessly anthemic The First Day, a track which will either have you cowering or raising a fist in defiant unity while summing up everything impressive and compelling about album and the new character of Magoa’s songwriting, invention, and inescapable sound.

If Imperial came from a Lamb Of God, Slipknot, or In Flames people would be raving about it; hopefully they still will just with the name Magoa upon their lips.

Imperial is out now across most online stores and @ http://magoamusic.com/shop/

https://www.facebook.com/Magoaband/   http://magoamusic.com/   https://twitter.com/magoamusic

Pete RingMaster 21/01/2016

Copyright RingMaster: MyFreeCopyright