Bridport Dagger – Wolves/Trembling Sky

Sometimes you just do not know the goodness which is on your doorstep. Recently we had the pleasure of being introduced by one of their numbers to Bridport Dagger, a band which it turned out rehearsed and recorded in their singer’s home studio merely ten minutes away from The RR. Even more enjoyably, the meeting left us with the UK outfit’s new single in our eager hands and the urge to tell you about its rather tasty contents as well as the important message to constantly check out and support your local scene as you never know what treats you may find.

There is not a great deal of info we can tell you about the band except that it consists of vocalist/guitarist Jason Idnani-Powdrill, guitarist Lawrence Rice, bassist/guitarist Chaz Foster, and drummer/keyboardist Arran Goodchild. The quartet draws on the inspirations of artists and flavours such as Suicide, Nadine Shah, Roy Orbison, Guadalupe Plata, Clinic, The Gun Club, Flamenco, Get Your Gun, Fado, Ennio Morricone, and film noir especially the work of Wim Wenders and recently performed in an echo chamber under the river Thames and supplied sound design for a seven day immersive play in Berlin. But their sound you ask…well the most important thing here is a dark and seductive collusion of numerous flavours and textures but is maybe best described as Nick Cave and The Walker Brothers meeting Echo and The Bunnymen on a Tarantino set as Japanese Fighting Fish share their creative devilment. What emerges is something individual and magnetic to Bridport Dagger as epitomised by the double A sided lead of new single Wolves/Trembling Sky.

The single is actually a real meaty chunk as it also includes the band’s previous EP Knife through Water including a re-mastered version of its lead track and a couple of songs from that earlier mentioned soundtrack . The single opens with Wolves and an immediate clash of sound as rhythms and guitars collide. From within the inviting clamour a rumble brews; its tone rockabilly like as the guitars between them wrap a jungle of riffs in a sultry melody as Idnani-Powdrill’s vocals begin the shadowed croon of the song. Already the magnetism is addiction level, the subsequent scythes of guitar compelling across the captivation of bass and beats as the band’s rock ‘n’ roll shares dark flirtation. Every passing second brings a new twist of drama and sound, unpredictability as thick as the imagination flowing through the outstanding encounter.

Its partner, Trembling Sky is instantly a less intense proposition, a psych rock melody dancing over the darker hues of bass and again grumbling riffs. There is a Doors-esque air to the song, a shadowed lining to its lively spirit and bounce, and a sixties instrumental tone to the guitars which only adds to its instinctive attraction. As its predecessor, the song just hits personal wants and tastes full on though at two and a half minutes or so it frustrates when it ends just as lust rises.

The rest of the release starts with tracks found on that previously mentioned EP released last year with a re-worked mix of acclaimed track Harry Dean Stanton first up. As this piece is being composed news has just come through that the actor has died; a sad timing which instantly brings a poignant edge to song and its embrace of ears and focus. The song is a dusty shimmer on the senses, a poetic sigh spiked by shards of glassy guitar and soaked with the serenade of keys; a proposition which is masterfully enthralling from start to finish.

Next up is Cowboy Drone, a track which nags and teases like a menacing mix of The Birthday Party and The Doors that sizes up the listener with every note and breath before taking them through a tombstone littered climate soaked in post punk/psych rock discord and theatre. The track is glorious, a noir drenched drama of sound and voice which thrusts the imagination into the heat of dark trespasses.

Taken from the soundtrack of the Twin Peaks inspired theatre performance Bridport Dagger created the music for, The Dangling Man is one of two original songs it was bookended by, the following Lyra the other. The first is a sombre, almost caliginous play for ears and imagination with vocals and music a shadowy lure and the melodramatic caresses of sax courtesy of George Cleghorn sublimely suggestive while the second is a fifties hued dark ballad with more than a touch of Roy Orbison to its emotional humidity. Both tracks transport the listen to a dark and intoxicating place impossible to resist lingering within.

The livelier rock ‘n’ roll of The Butcher of Rome has hips swaying and appetite dancing, bass and beats alone a rousing shuffle to be enslaved by, a trap tightened by the teasing jangle of guitars, the seductive strokes of keys, and the storytelling prowess of the vocals.

The release is completed by the sweltering emotional drenched spectacle of Wilderness, a song which gets bolder and more psychotic and discordant with every passing minute for a mouth-watering finale of provocative noise and melodic toxicity.

Wolves and Trembling Sky as a single is one of the year’s most riveting experiences on the year so far; add the rest of its treats and you have one of the most essential come its release in October.

Wolves/Trembling Sky is released October 13th.

Upcoming live dates:

21st September: Bethnal Green Working Mens Club, London

29th September: Insomnia, Berlin

8th October: Twin Peaks UK Festival, London

10th October: Half Moon Putney, London

13th October: The Lexington (with the Flaming Stars and Get Your Gun), London

4th November: Paper Dress vintage 4th Birthday Party, London

https://www.facebook.com/bridportdagger    https://bridportdagger.bandcamp.com/

Pete RingMaster 16/09/2017

Copyright RingMaster: MyFreeCopyright

Cranely Gardens – House of Decay

Allowing no hiding place, House of Decay is a tempest of psychotic noise and vicious dexterity; quite simply one of the best things to escape the extreme metal scene this year. The EP is the venomous creation of US band Cranely Gardens, an outfit which plunders the diverse landscape of metal to forge its own distinct and striking tempest now raging within one impressive encounter.

Formed in 2008, New Jersey hailing Cranely Gardens soon began weaving and honing the diversely flavoured sound which was to make debut EP Locust Valley a well-received encounter in 2015. The band has continued to nurture their individual sound and creative character, House of Decay a new plateau darker and more tempestuous yet finely crafted and a declaration that the band is ready to take on the biggest attention.

Once the sample built Muswell Hill sets the tone and atmosphere, History of a Drowning Boy seizes ears and imagination with its multi-textured tempest. It is a maelstrom of sound bred from a fusion of death and thrash metal, its imagination growing to create a cauldron of everything from nu and groove to blackened heavy metal in a forceful trespass which infests ears and psyche. Like a blend of French outfit Trepalium and UK’s Anti-Clone to give it some kind of identity, the track savages and seduces with every passing second whilst embracing an unpredictability which is not constant but brings rich surprises and twists when it breaks.

The excellent trespass features guest Will Ramos from A Wake in Providence, its successor Seven Faces sees For the Fallen Dreams vocalist Chad Ruhlig guesting. The track instantly submerges the listener in an invasive cloud of predatory noise, from the midst of which winding grooves and rampant rhythms driven by the vicious swings of Victor Figueroa break. His beats are pure venom in every touch, the bass of Alex Niszczak a predacious companion whilst the guitars of Randy Mac and Joe Fedele cast a sonic tempest built on technical and instinctive dexterity which is pure toxicity. The threat loaded throat of vocalist Chaz Macklin centres it all with an almost carnal prowess, his intensive examination just as compelling within next up Savages which has Dan Watson of Enterprise Earth and Sims Cashion additionally on board. On the surface, the song seems less adventurous than its predecessors though its grooves swiftly wind persuasively around ears but time and intent reveals the devious web at its core luring increased attention as a swarming of sonic temptation offers delicious bait.

Still it does not quite match up to those before or the following threat of Rapture where Narrow Vision frontman Josh Frazier adds his rapacious tones to the animosity unloaded by Macklin. Venturing into a more nu meets melodic metal terrain without defusing the same raw antipathy and corrosive fury of its companions, the track punishingly takes the passions.

Carry the Earth steps up next, the rhythmic ingenuity of Figueroa leading the way and not for the first or last time running with rock ‘n’ roll instincts before guitars and bass spread their cathartic animosity. The melodic hook feels a relatively familiar tempting across the EP but this certainly does not damage its impact either across the whole or in a track which scorches the senses and runs with the imagination like an unhinged predator.

The Challenger brings things to a close, its body also coaxed in by Figueroa’s tenacious invention; the subsequent highly resourceful sonic disturbance cored by a malignant cyclone driven by creative rancor. In saying that, its melancholic melodies are emotional sighs which add further drama and adventure to the concussive but gracefully primal finale. It is a volcanic close to an EP which just impresses more and more listen by listen. It is not the perfect offering but the potential sealing any cracks ensures it makes for a truly powerful and lingering incitement.

House of Decay is out now @ https://cranelygardens1.bandcamp.com/album/house-of-decay

http://www.cranelygardens.com/    https://www.facebook.com/CranelyGardens/    https://twitter.com/cranelygardens

Pete RingMaster 14/09/2017

Copyright RingMaster: MyFreeCopyright

Some Kind of Illness – Awakening

In a time where each day and every twist within it brings some form of tension or reflection of humanity’s quest for self destruction, we need a place to escape, to embrace a calming beauty within the chaos. One such place is the new album from UK duo Some Kind of Illness. The mesmeric Awakening is an oasis in the turbulence, a realm of elegant ambiences and warm melodies and though shadows and melancholy equally line the flight of the release they are all part of the evocation guiding ears and thoughts to an experience reflecting the album’s title.

Hailing from Farnworth, Some Kind of Illness is the creation of brothers Mark and Paul Hinks. The project emerged around 2014 bringing an alternative/indie guitar sound which swiftly drew positive attention especially with the release of the pair’s self-titled debut album in 2015 By then the band had become a busy proposition on the surrounding live scene and played numerous iconic venues across Manchester and Liverpool spreading out across the UK as well as shared stages with the likes of Tom Hingley and The Jackals and going into the following year, The Primitives. 2016 also saw the again highly praised release of second full-length Souls as well as the unveiling of Nick Connors’ film Northern Lights for which they wrote the soundtrack.

With Awakening, the pair has explored the qualities and depths of a retro Roland D-50 synthesizer and an 808 Drum machine around their weaving of guitar suggestion. The album also moves within a lighter climate of emotion in comparison to its predecessors, again its title echoed across tracks which are unafraid to hug shadows and darker feelings but explore the beauty in all. It opens with the instrumental caress of its title track, keys and guitars wrapping each other’s grace in a slowly revolving flume of temptation. Its hypnotic beauty is followed by the equally calm climate of Neon Glass though immediately beats are a lively lure. There is a great eighties post punk/new wave feel to the track, bands such as Human League in its first guise and Eyeless in Gaza coming to mind as the song seduces the imagination.

No More Waiting embraces similar hues within its gentle hug of ears; its ethereal atmosphere warmly clinging to the vocal declaration before the pop kiss of Violet Dream floats over the senses like the morning mist on an autumn day. The song features the enchanting tones of Hara Su, an engaging spice on the beguiling melodies of guitar and keys which tease ears. There is a hint of discord to the track too, a whiff of unsettlement which sparks thoughts as potently as the reflective prowess of word and tone.

The captivation continues through the Slowdive-esque Memories In A Window and the instrumental whispering of Ledana, both tracks an individual province of melodic suggestiveness and emotional intimation which lure ears and thoughts away from a moment of reality. They in turn are followed and matched in temptation by Cyclone which welcomes the innocence graced tones of Daisy Davies as it immerses the senses.

The dark touches of the real world continue to be eluded with the celestial flight of Icarus, its lofty beguiling atmosphere lined with darker omens as keys and vocals float across the rich captivation while with its own off world spatial hints, Snowflakes gently falls around the poetic portrait cast by Virginia Martelozzo. Each is a bewitchment which almost haunts the senses before the shoegaze shadows of Crystal Light bring the release to a lucent close. Melodies sparkle off of its energetic slumber, vocals similarly a vibrant lure into the track’s radiant depths.

It is a fine end to an album which simply grows more beguiling and impressive listen by listen. We all need an escape from the surrounding tempest, the compelling echoes and layers of Awakening just might be yours.

Awakening is available now @ https://somekindofillness1.bandcamp.com/album/awakening-lp

https://www.facebook.com/SomeKindofIllness/    https://twitter.com/skoiband

Pete RingMaster 16/09/2017

Copyright RingMaster: MyFreeCopyright

Scanner – Under the Devil’s Tail

If there is one thing you are sure of getting with US outfit Scanner, it is a healthy and seriously persuasive outing of punk rock and so it is again with their latest EP, Under the Devil’s Tail. Offering four slices of unfussy rock ‘n’ roll sculpted with an openly accomplished hand and imagination, the EP embraces the mixture of old school punk, garage rock, and virtually every other rock ‘n’ roll scent you might imagine which has already fired up previous successful releases, boiling it up for another highly enjoyable stomp.

Formed in 1979 by lead vocalist/bassist Joe Brady and guitarist Junnie Fortney and adopting the name Scanner two years later, inspired by the David Cronenberg film Scanners, the Pennsylvania trio has become a potent part of the local punk scene. The current line-up, completed by drummer/vocalist Troy Alwine, was in place by 2012 and followed by the release of debut album One Foot In The Grave, And More Pissed Than Ever a year later, then live outing Exploding Heads in Harrisburg – Live Recordings From 1982, and in 2015 second studio full-length Splat. The latter saw increased attention looking the way of the trio which Under the Devil’s Tail will surely re-energise.

Maybe due to it only being four tracks, the EP seems less broad in its sound and adventure than within Splat but uses that restraint to nurture a character which is the heart of the band’s sound and more tenacious and persuasive than anything before. The release opens up with its title track, Under the Devil’s Tail strolling in on Alwine’s tempting rhythms which are soon joined by the equally teasing mumble of Brady’s bass. The hook spun out by Fortney’s guitar quickly after has The Damned all over it, a hue especially potent when combined with the continuing bait of that moody bass. Dirty rock ‘n’ roll soon consumes ears and song as Brady’s eager tones jump on board, the song drawing on a mix of seventies punk and pub rock along with heavy rock textures lured from across the decades.

More persuasive with every listen, it is a potent start soon eclipsed by next up Tapeworm which starts up like a rock ‘n’ roll Pere Ubu before note by note hints at greater Ramones like revelry in its cranky romp.  Like its predecessor, the song only strengthens its grip on ears and appetite over time though it too finds itself overshadowed by its own successor.

Without doubt Membrane Men emerged the firm favourite within the EP, its opening bass lure and subsequent synth misting deliciously Devo-esque before Dead Kennedy like devilry leaps on the imagination. The track hits the spot straight away, emulating its companions in tightening its hold and our involvement with every passing minute spent in its presence.

Final track is Hippie Authority Song, a slice of street natured punk rock unafraid to add some bluesy hard rock strains to its raucous escapade. As all the songs, it has mischief on its face and in its heart which alone endears itself whilst fuelled by a sound which refuses to be anything other than true to its instincts and inspirations. It all makes for one inescapably enjoyable time; a description fully fitting the whole of Under the Devil’s Tail which may not make your top ten end of year but will still be satisfying your punk appetites as others slip away.

Under the Devil’s Tail is out now and available through   http://www.scanner1979.com/Music.html

https://www.facebook.com/Scanner1979

Pete RingMaster 14/09/2017

Copyright RingMaster: MyFreeCopyright