Enoch – Killing Starts Where Hate Begins

Originally released digitally back in 2018, Killing Starts Where Hate Begins from Enoch gets a deserved reboot this month through Soundmass, It’s return brings an additional new track and a gem of a live cut with it and if you missed it the first time around, we can declare the six track treat the perfect way to discover the potential soaked, ear grabbing sound and presence of the New Zealand band.

Formed in 2016, the Auckland hailing outfit fuse essences of groove, nu and alternative metal with their darker, predacious flavours for a keenly individual sound. It is a proposition which trespasses the senses whilst igniting the imagination. Part barbarous and part seductive with every attack between involved, as their EP proves, it is a proposal which crosses the familiar and unique to present something hard to ignore.

EP opener, Pieces, immediately demanded attention, the rapier like swings of drummer Ross Curtain landing with contempt as the song forcibly stirs with the bass of John Brodie beginning its grievous grumble. That alone has us more than attentive and with increasing focus as the guitar of Micheal Germon began unwinding its sonic wiring. Out the senses challenging start, rousing grooves wind around ears before, within a breath or two, the melodic tones of Lorraine Brodie complete the creative palette as the track’s imagination really takes off. It continues to prowl, severely growl, and harass but equally weaves a deviously infectious tempting which is echoed in the dual styled vocals of Lorraine.

It is an excellent start to the release which Reasons Why continues as it uncages its own twin personality of senses demeaning threat and eagerly fertile enterprise. Through her continually twisting and magnetic delivery Lorraine left her potent mark yet again, a highly pleasing incitement matched by the ever writhing grooves and the intense growling of the bass. Fair to say the track swiftly got under the skin before Stranger powerfully strides in springing more of the band’s ear devouring grooves. Bass and drums again unite in a quickly addictive provocation, the former’s low guttural snarl especially inflaming instinctive pleasure before guitar and voice weaved their melodic captivation around it. Germon’s basal growl easily fits with and contrasts the ever fertile delivery of Lorraine, his guitar casting acerbic lines just as rousing as the track reveals a new depth and adventure in sound and writing.

Loner provides more of the same in its own original way, contorting the air with its grooves as Lorraine provides vocal gymnastics with her throat backed by Germon’s voracious roar, every word and syllable either caressed or abused by her agility alone as guitar and bass again emulate the oral gyration with their own particular dexterity. With beats whipping the senses throughout, it too left a thickly pleasing mark while Bow and Be Devoured from its melancholic melodic start builds a steeled woven latticework of craft and imagination, one which preys on insecurities as much as it hugs them.

With Reason Why revisited for a live moment with the band, an example why their stage performance has earned them a potent reputation, Killing Starts Where Hate Begins simply left us hungry for more and eager to share the word.

Certainly there is still more to find in originality and imagination within their sound but Enoch already are a fresh breath for the metal scene and surely destined to be embraced far further afield than their homeland.

Killing Starts Where Hate Begins is out now via Soundmass.

https://www.facebook.com/enoch.nz

Pete RingMaster 28/01/2020

Copyright RingMasterReview: MyFreeCopyright

SPANKTHENUN – Initial Decay Control

Everything about electro/industrial outfit SPANKTHENUN is unorthodox; from sound to imagination, from craft to the way it releases its art, the project is an anomalous protagonist of tradition and expectations. They are old school, bootlegs and unauthorised remixes boldly standing amongst the project’s equally unpredictable releasing of their own work. It all makes for an intriguing proposition with, more importantly, sounds which infest and manipulate like a glorious virus; it all and more in evidence within debut album, Initial Decay Control.

Dallas based SPANKTHENUN is the creation of Eric Hanes with regular collaboration and link up with brother and long-time band mate Jeremy Hanes. Collaboration is at the heart of the project, Eric also working with a host of bands and artists, Initial Decay Control itself seeing the likes of Claus Larsen (Leæther Strip, Klutæ, AM Tierpark), Colin Allrich (Slighter), Jay Ruin (Ruinizer ), and Zoog Von Rock (Angelspit) involved on certain tracks. With Scott Fox of iVardensphere linking up with SPANKTHENUN to produce and mix the majority of the album, it all makes for an encounter which stalked the senses and ignited the imagination.

Across its twelve tracks, Initial Decay Control springs a kaleidoscope of flavours and a web of entangled styles yet it is all united by a nagging pulse which even in its numerous individual characters burrows through ears into the psyche with hypnotic success. Lead track Glitch opens up the release, a distant march of disturbance gathering in the background before inciting a controlled but infectious rhythmic stride. Devo-esque electronics break the evolving lure of the song, thought preying vocals with a Fad Gadget like darkness to them walking through the shadows. The track continues to twist and turn; every move whether bold or a moment of calm subterfuge a magnet for ears as a revolving web of styles across the decades make up its irresistibility.

Burn follows, its first breath a darker coaxing with an ominous air coating every brewing aspect of its challenge and seduction. Like an electronic incubus it lies upon the senses, writhing across their defences to tempt and steal the listener’s faith and safety rather than its body though that is soon lost to the tracks rhythmic swing and spiky hooks anyway. Submission was quick and confirmed by a chorus impossible to resist while Carbon Responder enslaved the same addiction through its energetic concussive percussion and a just as eager vocal fertility and delivery. As persuasive and captivating as the first pair were, the track breached a whole new level of ardour as the album for us uncaged its finest moments.

Both Swallow and Sometimes proceeded to have us dangling on and dancing to its temptation wired threads, the first a contagion of big intrepid beats and flesh searing electro hooks. As ever voice and lyrics bring threat and provocation with viral seduction, combined it all evoking energy to have the body zealously bouncing before its successor unveils its predatory instincts and heart after a deceitful melody lined invitation. An aberrant romance entangled in its own turbulence of thought the track is superb, the trio our pinnacle moments of the album.

Even so Sin straight after was nothing less than compelling with its taught distortion bearing drama while Slow Suicide with its rhythmic concussion and collision of imposing multi-styled textures around sinisterly borne vocals trapped attention and imagination with the following Killx3 pure toxic venom and barbarous catchiness within its industrial EBM scented predation; itself another prime moment within Initial Decay Control.

Altered Carbon equally provided a riveting and increasingly gripping moment, its cyborg cold march and electronic chill perfectly aligning with a melodic sizzling and vocal fingering as fearsome as it was twistedly mesmeric; its addictive gyration and success matched in the similarly outstanding Dance Fight Or Die which needed mere seconds to worm under the skin and have body and spirit pulsating to its contagious oscillation.

The album closes up with another pair of its finest protagonists, the incongruous drive and melodic flaming of Beautiful undiluted feral manna to these ears and the prowling menacing of Rotting Meat which niggles away as it entices until it instinctively commanded body and greedy attention. Both tracks epitomise the variety and creative prowess of the album and its almost infernal fascination and touch.

Up till now SPANKTHENUN may have been an undiscovered encounter for a great many but hard to see that being the case after the release of the seriously rousing trespass that is Initial Decay Control.

Initial Decay Control is out now, available @ https://spankthenun.bandcamp.com/album/initial-decay-control

https://www.spankthenun.com/   https://www.facebook.com/spankthenun/   https://twitter.com/spankthenun

Pete RingMaster 06/02/2020

Copyright RingMasterReview: MyFreeCopyright

Head On – Robert Christgau/Greil Marcus

Head On

A band we found ourselves hooked on back in 2018 through their debut album Ubik, Greek outfit Head On has so far evaded the major spotlights which we suggested were on their near horizon courtesy of their striking full-length but are back to tease them once again with their new two-track single.

The Athens hailing band again breed their tracks from a post punk heart enveloping both with just as potent post rock atmospherics but swiftly both Robert Christgau and Greil Marcus reveal the band’s sound has embraced a far richer and thicker expanse of flavouring compared to that within their impressive album. Equally there is a bolder maturity to the web of styles and imagination making up its senses entangling prowess, one increasing that suggestion that Head On deserve greater attention.

Both tracks making up the single are inspired by American music journalists and each a tribute with a touch of individualism and rebellion which could be said to equally spice the writers work. A-side is Robert Christgau, a song immediately winding attention enticing guitar wiring around ears. Rhythms gather with increasing intensity too though they never quite find a concussive touch as the track slips into its infectious post punk nurtured stroll. Tofer’s vocals join the canter, his resolute tones firm but with the same underlying off-kilter dynamic as carried by Breathiac’s guitar and Levojohn’s bass. With the equally purposeful beats of Kostas driving and adding commanding manipulation to song and listener alike within the melodic web cast by Breathiac, the track is pure captivation; essences of bands such as early Cure, Unsane, and KEN Mode coming to mind in varying degrees.

Greil Marcus provides the B-side and similarly had us on board from its initial nagging breath as guitar and bass nudges teased and lured before uniting in a more voracious canter with those same virulent hooks at work. There is something akin to a fusion of fellow Greeks SPInnERS and Russian punks Biting Elbows to the song but swiftly Head On stamp down their uniqueness as the cold taunting of the track and its virulent character thick in enterprise got under the skin. Senses scorching eruptions in sound and especially Tofer’s vocals only add to the tension and captivation of the track, its ferocity and disturbed breath adding to the thrilling drama.

Both tracks had us hungry for more and eagerly anticipating the next unpredictable Head On roar which hopefully will have a much larger landscape of ears waiting its unveiling if the band’s new single gets its deserved reward.

Robert Christgau/Greil Marcus is available now @ https://headongreece.bandcamp.com/releases

https://www.facebook.com/Head0n/

Pete RingMaster 05/02/2020

Copyright RingMasterReview: MyFreeCopyright