Circle of Dust – Machines of Our Disgrace

As treats go, the re-release last year of all four Circle of Dust albums was rarely rivalled, until the last sigh of 2016 that is and the unveiling of a brand new collection of songs from the 90’s emerging industrial / electronic-rock project. Circle of Dust was the introduction to the craft and stirring talent of artist/producer Klayton, the fore-runner to his acclaimed and inspiring project Celldweller though the differences to the pair of propositions is an open roar no more potent than in the breath-taking Machines of Our Disgrace.

The quartet of Circle of Dust releases in Circle of Dust, Brainchild, Metamorphosis, and Disengage and also the Misguided album from his side project Argyle Park had been ‘lost’ to our ears for over twenty years with the rights to all unavailable to Klayton after the labels they were released through shut down back in the nineties. After two decades chasing, he re-gained ownership of the rights in 2015 and set about re-mastering each of the five full-lengths last year, expanding all with additional demos, unreleased bonus tracks, acoustic/alternate versions of tracks as well as some new remixes.

Whether they were the spark to writing new Circle of Dust songs and creating a brand new episode in its distinct landscape of adventure or a new album was an idea already in motion matters little in the face of an imagination lit and gripping proposal offered by Machines of Our Disgrace. Entangling metal and electronic essences in a virulently infectious industrial incitement, Klayton and album set another bar for others to be inspired by. There is formidable steel to riffs and a backbone of rhythms which invade the senses with a crunch throughout the release while surrounding them a multi-varied and ever present snarl stalks sound and lyrics.

machines_of_our_disgrace_cover_RingMasterReviewOpening with the suggestive air and throbbing ever intensifying lure of brief encounter re_Engage, the album swiftly consumes ears and thoughts with its title track. From behind an initial sample, repeated throughout, Machines of Our Disgrace looms, advancing with rapacious intent before launching its metallic riffs and wiry guitars grooves. Electronic provocation unites with this predacious embrace, senses and imagination infested and pleasured by the predacious tapestry as Klayton’s tones prowl with harmonic enterprise and invasive potency.

It is an exceptional full start sparking body and emotion and backed just as powerfully by next up Contagion. Living up to its name, the track soon surrounds ears with a treacle like melodic tempting, subsequently beginning a relentlessly catchy enticement with just a whiff of Ministry to it, that evolving into a more Dope/Society One like trespass as Klayton’s vocals prowl and question while the song reveals its full repertoire of creative stimulation.

There is no relinquishing of imagination and appetite with Embracing Entropy next. Featuring Celldweller, i.e. the combining of Klayton’s two unique creative sides, the track pulsates with intrusive drama and invasive energy. As across the whole of the release, samples are skilfully and evocatively used whilst sounds feverishly bubble, igniting senses and thoughts in turn. From blisteringly agitated to melodically seductive, the song is a theatre of sound and texture, inescapably persuasive and hungrily addictive.

Just as powerful is the ferocious presence of Humanarchy, the track a ravenous threat of metallic and vocal rabidity locked in allegiance with a just as imposing electronic swing while after the warning of Signal, the following alt_Human uncages a sonic tempest as enjoyably challenging as its lyrical examination of science and morality. Fuelled by rapacious infectiousness, the song easily infests body and imagination with a swift and almost prurient craving.

Hive Mind is a simmering, bordering on predatory croon tempting ears like a blend of synth pop era Ministry, Ghost In The Static, and Nine Inch Nails while straight after Outside In and Neurachem serenade and growl respectively. The first of the pair is an absorbing melodic embrace, almost warm in its touch, whilst its successor is an irritable and fiercely captivating trespass binding ears with metallic and introspective melodic seducing, both adding further pinnacles to the lofty heights of the release.

A sonic kaleidoscope evocatively devours ears next with k_OS, samples narrating its dramatic landscape before Neophyte bubbles and bursts in electronic espionage for another irresistible, contagion loaded adventure for the imagination to lose itself in.

The album closes with Malacandra, a brooding fog of sound and atmospheric suggestion haunting ears and thoughts alike across its instrumental soundscape. It is an edgy and emotionally charged piece of noir lit evocation bringing a superb adventure to a powerful and magnetic close.

Even though Celldweller has forged pleasure and lust in ears and imagination, Circle of Dust has been missed, its distinct industrial presence an absence never filled until now with the exceptional Machines of Our Disgrace where Klayton swiftly suggests he is ready to push genre boundaries once again.

Machines of Our Disgrace is out now via FiXT across most online stores and @ https://circleofdust.bandcamp.com/album/machines-of-our-disgrace-2 or http://fixtstore.com/circleofdust

http://circleofdust.net     https://facebook.com/circleofdustofficial    http://klayton.info

Pete RingMaster 17/01/2017

Copyright RingMaster: MyFreeCopyright

Hunter Kill Hunter – II

hkh_RingMasterReview

Building on its well-received predecessor of 2015, the new EP from British alternative rock quintet Hunter Kill Hunter is a striking affair. II is evidence of a band settling into their creative skin if yet to lure out the truly unique aspects of their sound though from start to finish the release captures ear and imagination alike. It is a bold and creatively tenacious affair which leaves a definite appetite for more from this emerging outfit.

Formed in 2015, the London five-piece soon drew attention with their live presence, which has gone on to see the band play with the likes of Jonah Matranga and The Red Jumpsuit Apparatus, and find their debut EP Find A Way Home well received. Merging post hardcore roars with infectious alternative rock bred enterprise, Hunter Kill Hunter offer an emotionally charged, tempestuously intense affair which has found a new strength and maturity to fuel its visceral yet openly catchy tempting in the new EP.

Opening with the harmonically coloured enticing of Intro, band and release soon up the ante physically and emotionally with Too Much To Take. Instantly a snarling air grips ears and the textures of the song but equally catchiness is abound as vocalist Justin Jackson, revealing both his raw and melodic side, uncages the song’s heart backed by the similarly potent tones of Stuart May and his and fellow guitarist Kieran Harper’s adventurous enterprise.  It is a trait which infests the whole of the song, its twists and turns often seemingly familiar yet driven by a fresh imagination which ensures there is nothing predictable about the fine encounter.

hunter-kill-hunter-ii-cover_RingMasterReviewSinking From Within swiftly uncages a rhythmic proposal which demands attention next, the growling air of Rhys Kirby’s bass in league with the eagerly swung beats of Joe Lanigan. It is a formidable enticing as inviting as it is predacious and the lead into another potent blend of rapacious intensity and melody honed angst. There is a touch of Billy Talent to the song at times mixing in with further unexpected moments of Hunter Kill Hunter invention as once more expectations are evaded by the excellent track.

The reflection bred embrace of The Hunted is a mellower encounter but too equipped with an instinctive almost tempestuous edge which erupts in sonic crescendos between the plaintive warmth of the vocals. More of a grower against the more quickly impacting prowess of its predecessors, the song grows into another truly engaging affair with a lingering infectiousness before They’ve Traded Us For Gold finds an even calmer landscape for its resourceful proposition. As with the last song, its calm is interrupted with fiery expulsions of sound and energy, each outburst escalating an impressive hug of melodic and harmonic enterprise.

The imposing intensity and volatile climates of earlier tracks is enjoyably exposed again in the outstanding We Are The Blame, its eventful drama stirring ears and spirit in swift time while closing track Neverlasting Light is the darkest, arguably most intense moment within II as heart and sound expose their rawest qualities and honesty in a turbulent and pleasingly imposing tempest.

Another track growing to its full height with subsequent listens, it provides a thickly satisfying end to a highly enjoyable encounter with Hunter Kill Hunter. As suggested earlier, there are many familiar aspects to the EP yet it would not be wrong to say each is twisted or employed in something building towards a character of sound distinct to the band, and something rather easy to want more of.

II is out now @ https://hunterkillhunter.bandcamp.com/album/ii-2

http://www.hunterkillhunter.com/   https://www.facebook.com/hunterkillhunter/   https://twitter.com/hkhband

Pete RingMaster 17/01/2017

Copyright RingMaster: MyFreeCopyright

The Rogue Network – Binary

binary-ep-cover_RingMasterReview

If like us you were taken by their debut EP of 2015 and the two track single last year which it spawned, you will be pleased to know that The Rogue Network has taken things on their part and our attraction to another level with Binary. The four-track EP is another slice of the band’s blues fuelled rock ‘n’ roll yet revealing a broader canvas of sound as catchy as it is adventurous.

The band, taking inspirations from seventies nurtured blues/soul, has increasingly grown into a compelling proposition since emerging in 2015. Led by vocalist/guitarist Gerallt Williams, The Rogue Network re-energised an already growing interest and support for the band’s sound and live presence with the Milk and Honey/Lowland City single in 2016, a tantalising melody rich affair now eclipsed by the Binary EP.

From the first eager throes of opener Operator, band and release has ears and attention locked in. A tasty groove makes first contact, grumbling pulsating electronics and bassline in close attention as sonic enterprise brews around them. With a controlled easy going gait, the song soon eagerly strolls through ears, harmonies and fiery grooves in turn wrapping the potent tones of Williams. There is feistiness to the track which infests every aspect, giving it a raw tempestuous texture which never erupts but adds weight to the infectious funk clad encounter.

It is a fine, seriously catchy start quickly backed up by the melodically charmed Venodotia. There is a Paul McCartney-esque feel to the song, its pop prowess Wings hinting as picturesque lyrics and suggestive melodies embrace and inspire the imagination while Hammond spiced keys add extra colour. It is easy to get lost in its lure, its infectious chorus and a refreshing canter especially though it is soon overshadowed by the EP’s best track.

Ruby is pure enslavement, a slice of pop ‘n’ roll which chains appetite and lust as soon as its opening drama reveals the salaciously seductive bait of piano and the sinister charm of atmospheric melody. Demanding to be a single, the track dances like a mischievous temptress with body and spirit, its spicy blues flirtation alone irresistible around a chorus which has vocal chords dancing without inhibition.

The EP is concluded by Pam Fi, a Welsh sung proposal with rumbling bass and crisp beats clad in fiery melodies as wiry grooves infest the imagination. It is, as now expected, an inescapably catchy tempting bringing the release to a fine conclusion, quickly defusing the niggle of not knowing what its lyrical heart is sharing.

The Rogue Network have really hit their stride in songwriting and sound, Binary relishing another step in craft and boldness which if it continues suggests even bigger exciting things ahead.

The Binary EP is out now across most online stores.

https://twitter.com/THEROGUENETWORK   https://www.facebook.com/theroguenetwork/

Pete RingMaster 18/01/2017

Copyright RingMaster: MyFreeCopyright