Her Despair – Exorcisms of Eroticism

Jan15

There is no escaping that UK dark rock outfit Her Despair made a major impression critically and on a new flood of fans with their last EP, Mournography. It was a striking and arousing affair built on open craft and imagination which thrust the band before a more international spotlight. Even so, its success will surely only be overshadowed as the ascent of the London band accelerates through the magnificent Exorcisms of Eroticism.

Her Despair’s new EP eclipses its predecessor in every department, the band’s sound a more mature and even more striking proposition as it continues to embrace the essences, drama, and melancholy of gothic rock, punk, and dark metal. Each song within Exorcisms of Eroticism aligns crepuscular gloom and intimate seduction, emotion ravishing shadows and heart bred passion; all within the dark recesses of a world in turmoil.

Pandaemonium opens up the release, the song looming from the dark in a mighty tide of sound which instantly shapes its stride and trespass through the melodic intimation of Toby’s keys. The guitars of Dan and Jord cast a more rapacious side in the emerging song, its voice already rich and broad before calming a touch for the ever magnetic tones of J. Every aspect of the encounter though proved a beacon for attention, the bass of Vikki a dark throaty tempting as the beats of Lee bite yet simultaneously incite. As in previous releases, there is no denying the inspiration of bands such as Fields of the Nephilim and Sisters of Mercy to Her Despair and maybe others like The March Violets in the instinctive infection loaded virulence which soaks every note and spring of imagination but the first track quickly sets the unique tone and individuality which defines the release and each song.

As mentioned earlier, drama is in full force coating every note and syllable of the outstanding first track, The Exorcism soon following with an equal fertility in all its textures and enterprise. Similarly an inherent catchiness is as bold as the creative theatre shaping the tapestry of light and dark sparking the imagination of band and listener alike. The symphonic lure of keys provides a seductive rapture in the turbulent heart of the song, J’s voice managing to echo both sides in his ever alluring and potent presence.

Though there is open energy in its gait and emotive roar, In That Moment is a siren of temptation, the tempered roar haunting in its beauty and enthralling in its croon while Like A Crucifixion straight after is a cauldron of sonic and emotional tenacity. Akin to a fusion of Type O Negative and Dead Register, the track simply sets another momentous lure in the EP as virulently manipulative as it is emotively invasive.

Beyond The Veil is another gentle haunting, the ballad caressing the senses and thoughts yet with an undercurrent of fiery anguish which erupts enough to scorch the elegance and beauty of the bewitching incitement before Final Rest brings things to a just as captivating close. The funereal gait of the song beguiles alone, the vocals and the words it shares a fascination matched in sound across the whole band. Melancholy is as thick as the rhythms which prowl the senses, enchantment as potent as the melodic weaving of keys and guitars and rich pleasure the result of all.

Exorcisms of Eroticism is glorious; from sound to lyrics, voice to the imagination which fuels it, the seriously impressive EP declares Her Despair as one band the world should no longer ignore.

Exorcisms of Eroticism is available now digitally and on CD @ https://herdespair.bandcamp.com/

https://www.facebook.com/herdespair/ https://twitter.com/herdespairband

Pete RingMaster 08/01/2020

Slumlord Radio – Gonna Be A Riot

Jan15

Ever since we found the dial to Slumlord Radio through their Tokyo Roadhouse Sonic Sex Castle EP back in 2013, the Grand Rapids hailing trio has had us relishing and devouring each slice of their dirt encrusted, attitude fuelled punk bred sound. Each subsequent release has only seen the band’s sound grow more striking and irrepressible and our enjoyment more intense and with the release of their new single, Gonna Be A Riot, the trend continues.

The release consists of two tracks, the voraciously rousing Gonna Be A Riot and a just as irritably animated cover of The Stooges’ I Wanna Be Your Dog. It has been four years since Slumlord Radio hit the spot and drew rich acclaim with the uncompromising, bruising, and incessantly dynamic Too Pretty For Tijuana EP, time which has seen their sound find even more belligerence, instinctive aggression, and rebel rousing enterprise as proven by Gonna Be A Riot.

Though bred on the raw seeds of punk rock, Slumlord Radio’s rock ‘n’ roll embraces essences of stoner rock, sludge, metal, and garage punk in its roar. Gonna Be A Riot epitomises the recipe behind their songs whilst casting a whole fresh incitement in its craft and devilry. The track springs an initial blast of noise before strolling through ears with a mischievous catchiness. The beats of drummer “Rattlesnake” Matt Claucherty echo that devilment in their senses rapping swing, the bass of Michael “The Westside Wolfman” Todd a matching encouragement as the dirty tones of vocalist/guitarist Tommy “Capt. Hollywood” Erickson share their grouchy goading.

With every twist adding bold unpredictability to the equally fluid stomp of the song it is the crazed enticement of the gang vocals seeing Myron (Dirty Americans/Workhorse/The Workhorse Movement), Christian Cooney (MOTO), Joseph Henry (The Holy Warheads) and Alicia Adams among the holler, which add the final infectious layer to the quickly proving irresistible encounter.

As much as the band stay true to the heart of the original, Slumlord Radio adds their particular predacious touch and prowling threat to I Wanna Be Your Dog, the song’s intent as toxic as it is submissive. It is a superb version of the classic and as its companion sees Cooney provide a guitar solo, the track also welcoming a similar contribution from Jeff Piper (Dirty Americans/Workhorse/Workhorse Movement) and a great piano teasing from Jeremiah Pilbeam who also produced the single.

Though we as a great many wish for more regular encounters with Slumlord Radio when they come around they are moments which so far have had us gripped in rock ‘n’ roll rebellion; Gonna Be A Riot one more great trigger.

Gonna Be A Riot is available now via White Elephant Records on vinyl and as a name your price download @ https://slumlordradio.bandcamp.com/

https://www.facebook.com/SlumlordRadioMI/ https://twitter.com/Slumlord_Radio

Pete RingMaster 08/01/2020

Helldown – In Deaths Hands

Jan15

The release of their self-titled debut EP in 2016 suggested that Welsh thrashers Helldown had all the attributes to ascend the UK metal ranks, a thought accentuated by their subsequent acclaimed single The Watchers a year later. Now that proposal is about to be made a declaration with the release of new EP, In Deaths Hands, a collection of tracks which whilst suggesting that there is plenty more yet to come from the Swansea outfit, that ascent is well under way.

Formed in 2013 and consisting of blood brothers in vocalist/bassist Ben and rhythm guitarist Matthew Evans alongside drummer Ross Thomas and lead guitarist Lewis Larkman, Helldown have forged a sound bred on thrash, groove, and heavy metal. As the new release shows it is a potent trespass with thrash metal its instinctive fuel, one still enjoyably raw in its voice and tone to provide an edge and bite numerous like-minded bands have let escape in their growth. True uniqueness may still be absent in the band’s voracious sound but as In Deaths Hands proves it can be comfortably overlooked in the fresh trespass on offer.

The EP opens with The Unnamed, a track instantly entangling ears in ripe grooves and preying rhythms before launching into a predacious assault. The sonic invasion and enticement of both guitars make for a keen tempting, Ben’s vocals as the sound earthy yet magnetic within the harassment of riffs and rhythmic aggression. The subsequent twists and melodic endeavour that emerges revels in the prowess of their creators, the track a persistent hungry nagging endowed with that bright enterprise.

The EP’s best track is followed by Mortal Shell, another swiftly revealing intent and character with rapacious urgency. If at first paling against its predecessor, the track only grew in stature and appeal as its ravening riffs and grooves joined bitter beats and the heavy dark resonance of the bass to forge another thickly satisfying proposal.

There is a definite surface familiarity between the songs within In Deaths Hands, the beginning of next up Heretic highlighting the thought yet again it is a track which develops its own presence and enterprise with strength and imagination, the bass of Ben a riveting ingredient in the prowl of the ear grabbing encounter.

Flames of Heresy bring things to a close, its spirals of grooves waspish in their sting and barbarous in the subsequent harassment they inspire from across the band. The gang hollers that break out only emphasize the anthemic air and roar of the track, even as it prowls and stalks the senses between raucous eruptions.

It is a fine end to a release which only left us wanting to hear more from the band and reinforced the thought that Helldown has a very healthy future within the British metal scene.

In Deaths Hands is released January 17^th