Lady Lynch – Self Titled

Haunting to the point of being disturbing, sombrely magnetic to the edge of invasive seduction, the self-titled debut album from Austria quartet, Lady Lynch, is quite simply one of the year’s essential explorations especially if your appetite has a hunger for shadow fuelled, dangerously elegant post punk/no wave woven temptation.

Vienna hailing, Lady Lynch consists of Theresa Adamski, Philipp Forthuber, Lina Gaertner, and Christian Sundl. There is little more background wise we can tell you about the band but musically and especially with their new album, a flood of praise carrying words is unstoppable. Individual in character and imagination, their music is something akin to a fusion of The Passions, Au-Pairs, and Lydia Lunch trapped within the band’s own unique web of post punk/no wave taking in further new wave and punk hues. Across ten tracks it provides an inescapably hypnotic lure of brooding intimation and gloom cast atmospherics around riveting vocals as tendrils of sound unite their skilled monotony to seduce ears and imagination. With every listen it has become more impressive and irresistible, addiction rising by their side.

The album opens with Fundamental Friend Dependability. Rising from a sonic squall, the track swiftly drops into an espionage coated stroll, firm rhythms almost taunting ears as vocals and a cold melody entice. It took barely a rush of seconds before the song got under the skin, its sober hooks and participation inciting chorus welcome trespasses alongside the great vocals. A superb start, the track as many across the album suddenly comes to an end, almost as if the release has got bored waiting to uncage its next thrilling incitement but a conclusion which only adds to the drama and tension.

The following Cymbals initially chips away at the senses before sauntering through ears with a gnarly bordering on predatory bassline alongside steady but imposing beats. Tenebrific in many ways, darkly radiant in plenty more, the song matched its predecessor in rapacious persuasion before Schatten Island casts its black and white hued intimation. Drums again provide a bold and influential backdrop, the bass the dark drama while guitar and vocals spring cinematic adventure; it all uniting in a Gang Of Four meets Bauhaus like compulsion.

Through the metronomic swing of Ranciere, a hip manipulator with moments of corroded discord, and the chilling melodic twilight of Noon, captivation only tightened its hold though both songs are soon rivalled in magnificence by the Crispy Ambulance-esque City Falls and all are in turn eclipsed by the Athletico Spizz 80/Pylon flavoured Actors and Networks where rhythms again play the body like a puppeteer as voice and guitar toy with the imagination; it all manna for ears and appetite.

A whiff of Cauldronated accompanies the mechanised corruption that is Tiny Machine while Stairs carrying a similar scent is an escalator of passing shadows and dark contemplation. Both tracks just enthralled as too did closing track Hommage. It is the darkest moment on the album and it’s most beguiling, beauty soaking every unsettled silhouette and slim but richly evocative contour.

Within one listen we were fully ensnared by the album’s caliginous temptation and devious enterprise, its seductive disquiet just as irresistible as its invasion of the senses and thoughts. One word sums it all up, Stunning!

The Lady Lynch album is out now via Cut Surface digitally and on Ltd Ed vinyl @ https://cutsurface.bandcamp.com/album/lady-lynch-2

Pete RingMaster 01/11/2018

Copyright RingMaster: MyFreeCopyright

Spookshow Inc. – Visions Of The Blinded World pt I & II

 

Four years after Part I unleashed its “furiously agitated entrapment of industrial, metal, and electro rock”, a rousing accompaniment to an impending apocalypse, Part II of Visions Of The Blinded World is here to not only continue the arcane adventure but take it into a whole new level of dark deeds and senses trespassing contagion. The project is from Norwegian trio Spookshow Inc., a band which has been curiously ignored by bigger attention so far, a blind eye which if continuing after the full release of Visions Of The Blinded World will be criminal.

The beginning of Spookshow Inc. goes all the way back to 2003 when Lucky Spook (guitar, programming, songwriting, producer) and Soltex (vocals) came together and began creating and nurturing their individual fusion of industrial and heavy metal with electro rock. As proven by the 2014 released Visions Of The Blinded World pt I, there are plenty of other rich flavours to the band’s asylum of sound, Middle Eastern hues alone an inescapably alluring ingredient. With the band’s line-up completed by bassist/keyboardist Sharaz who featured on the final few songs recorded for its predecessor, the second part of Visions Of The Blinded World is an even richer affair of sound and styles, a bolder adventure in an already eager collusion of essences sure to appeal to any appetites for the likes of Pink Floyd, Prodigy, Rob Zombie, KMFDM, NIN, and Pitchshifter.

Visions Of The Blinded World pt I & II has been released as a complete package and should be listened as one to grasp its full dark majesty though each part firmly captivates alone too. It makes for a journey which leaves ears, body and imagination as aroused as they are disturbed, as inspired and animated as they are haunted. As we have covered part I previously, which you can read here, we will explore the second part of the creative emprise, a canter through the haunting shadows and ravenous dissonance of a dystopian landscape lost in extinction luring bedlam. Note though that the first ‘side’ of the album contains two brand new tracks in the shapes of the Seven Trumpets, a track sparked by the biblical legend of the same name but an echo of a split personality, and the horror movie like Lizard Eyes.

Pt II opens up with Virtual Insanity, electronic sparkling the gateway to an infernal surge of electro rock predation as ravenously hungry as it is virulently catchy. Even so, its instinctive urgency has an underlying premeditation of devious intent, melodies and calmer but darker twists adding to the track’s inescapable invasion. Something akin to Rabbit Junk meets Fear Factory, the track instantly has the project’s second part off to a flyer but also connects seamlessly to the nature and presence of the first part of Visions Of The Blinded World.

Already breathless from the superb thickly rousing start, the band show no mercy as Devil’s Triangle surges in with similarly uproarious energy and intent, Spook’s guitar gnawing away at ears as beats swipe at the senses,  Soltex’s vocals in turn matching their boisterous appetites with eagerness and attitude. Again momentary detours bring darker trespass rather than a chance to take a breath, it all adding up to another galvanic assault.

Next up Mindgame does bring calm, its melodic caresses courted by demonic tones of voice and intimation, a sonic Garden of Eden oasis in some ways. Featuring XRC, the track smoulders with toxic beauty; those Eastern hues enticing with siren-esque seduction as darkness await new arrivals. Enthralling and haunting in its distraction, the song slips away for the advancing savage addiction and voracious heavy swing of Little Pill. Eating away at thoughts and senses from its initial original cinematic drama to its esurient stalking, evil soaking every note and castigating syllable, the track with Subliminal Mentality guesting equally got under the skin and nagged away thereon in.

Blackbird From Karachi with D.Tschirner involved is a deceptive creature; evolving from its initial serenade into another predatory confrontation courting chaos and corrosion with almost pernicious incitement, every moment unpredictable and disturbing before the outstanding Prison Planet casts its specific trap. A galactic tango which had the body bouncing and imagination conjuring as intrigue and espionage fuel every contagious touch, it in turn departs to encourage the emotionally harmful but physically infectious dance of Falling Down Pt. I. All three tracks simply hit the spot, repetition occurring across the whole of the album as proven yet again by the dark carnival of Cold Frantic Boy, this another track mixing flirtation and catchy harassment with cinematic intimation as cold vocals bring their own toxic fascination pretty meaning submission to its dark glamour was inevitable.

Across the likes of Match Of The Century / A. Crowley Vs. A. Einstein with its increasingly volatile and ominous disquiet around a hypothetical chess game between the two protagonists and Kissing In Graveyards featuring Underworld, another slice of aural insidiousness, the album continued taking ears and pleasure into new dark corners, the release magnetically broadening its maze of sound and creative villainy before stretching it again with the glorious Midnight Tango, a mesmeric psych surf piece with a caress of The Doors and Calling All Astronauts to its dark rock ‘n’ roll.

The final pair of Follow Me, a carnal trespass of pestilence-laden temptation, and Battle For Babylon with R. Carey (an English- New Zealand based artist better known as Fiery Jack (The Teapot Goblins)) a guest in its stark yet rousing smouldering epilogue, provide a compelling conclusion to the relentlessly enthralling release. In some ways they lack the rousing bait of their predecessors but in just as many are cast in mutually potent lures of dark emotive suggestion.

As suggested the biggest rewards come from listening to Visions Of The Blinded World pt I & II as one but certainly not essential as proven by the individual galvanic prowess of each track. Spookshow Inc. has created a landscape bred in the world’s turbulence and destruction; Part I made us want to know more, the stunning Part II sparked the desire to be lost in its impeding tempest with the band’s sounds for company.

Visions Of The Blinded World pt I & II is available now @ https://spookshowinc.bandcamp.com/album/spookshow-inc-visions-of-the-blinded-world-pt-i-ii

https://www.spookshowinc.com/   https://www.facebook.com/spookshowinc/

Pete RingMaster 02/11/2018

Copyright RingMaster: MyFreeCopyright

RingMaster Review Interviews – Under

UK trio UNDER has just released their new album, ‘Stop Being Naïve’, a rousing encounter already luring strong praise the way of the Stockport outfit. Elliot Leaver got down to business with the band to explore it and their striking new record. With thanks to him, the guys of Under, and our friend Tom Brumpton, The RingMaster Review now has the pleasure to host what Elliot found out…

For those who may not know who you are, introduce yourselves quickly.

Matt Franklin – Bass and Vocals: We are Under, a truly unlikeable band from Stockport, Greater Manchester. Me on bass, Andy on drums and Mayo on guitar – we all do vocals.

Describe your sound in as few words as possible.

MF: “Uneasy listening”. Heavy, uncomfortable musical sarcasm.

Who are your three biggest influences as a band?

MF: Weed, booze and any music we hate.

What’s the meaning behind your band name?

MF: Under as in “going under”/having a really bad time on drugs.

How did you approach your new album ‘Stop Being Naïve’ in terms of writing and recording?

Did you try anything differently this time around than with previous efforts?

MF: The difference this time was freeing our guitarist Mayo from the producer’s chair. This made the experience more enjoyable for him and that aided our creativity significantly.

What was it like to work with your new producer then?

MF: What was it like to work with Rian Gamble? Amazing! The guy is truly a visionary with his approach. He’s also very organised and laid back which made the experience lots of fun for us. We’re incredibly happy with the work he has done for us.

Do you have any personal favourite songs on the release?

MF: For me personally its either “Big Joke” or “P Irving”.

Explain the meaning behind the album title.

MF: It comes from a Stravinsky quote. When audiences reacted badly to his “Rites of Spring” he said they were simply too naïve to understand his work. We thought this was fucking hilarious and stole it. He’s dead now, what’s he going to do?

Describe the concept of the video for the song “TRAITOR’S GATE”.

MF: We wanted to create something that was dark and claustrophobic with a vaguely violent air to it. We made it ourselves in about 3 weeks to meet a deadline after a proper studio let us down last minute – we’re fairly happy with it.

Does it tie in with the themes around the song?

MF: The theme of the song isn’t very specific, it’s just a generally angry lyric about cutting off somebody that has seriously let you down. I think the mood of the music and the footage work well together though.

Was it fun to shoot or did it prove to be quite a challenge?

MF: Some challenges were presented as we have never made a video ourselves before but we actually had a lot of fun making it, despite how it looks!

Do you have any dates lined up at present?

MF: At the time of writing this we are about to play with Atlanta legends WHORES for the second time and we’re very excited for that. We also have Gizzardfest coming up where we play alongside some of our favourite UK heavy bands. We’re also playing the second APF Records Showcase in Manchester in the new year which is destined to be fantastic. Plenty of other shows around the UK dotted around too.

What are your favourite songs to perform live?

MF: It depends entirely on the night. Crowd reaction goes a long way towards my enjoyment of playing a track live and that differs show to show. We have a track off our last album called “Slump” which is always a bit of a goosebumps moment for me.

What are the best and worst shows you’ve played to date?

MF: It would be hard to choose a best show, we’ve been very lucky to play with lots of great bands to some great crowds. Our tour with Kurokuma was loads of fun though. As for the worst we had this one cursed night… It was a local show with an excellent line-up but if you can name it, it went wrong that night: snapped bass strings, broken bass amp, clueless sound guy, no crowd…

If you could open for anyone, who would it be?

MF: A hologram of Screamin’ Jay Hawkins playing ABBA’s greatest hits backwards.

You recently signed to APF RECORDS, that’s pretty cool!

MF: You haven’t seen our contract… They don’t call Fieldy “Satan” for nothing

Any comical stories from your time as a band you can share with us?

MF: We once performed as a Macc Lads tribute band. It was an in joke that went waaaaaaay too far. In fact, that was probably our best gig!

What’s the plan for the rest of 2018?

MF: Ruin everyone’s year with this album and continue writing our next one.

Any closing comments?

MF: Thanks very much for having us, watch this space for more uneasy listening.

Questions from Elliot Leaver

The RingMaster Review 03/11/2018