Bullets And Octane – Riot Riot Rock N Roll

With US hard rockers Bullets And Octane you pretty much know what you are going to get, spirit rousing air punching rock ‘n’ roll yet that familiarity has not prevented each of their albums evolving a sound increasingly slapping down  its own individual character and roar; one which certainly has got deeply under our skins, as for so many others. Riot Riot Rock N Roll is no exception, the band’s new album living up to its title with relish to be the most aggressive and compelling offering from them yet.

Predecessor Waking Up Dead stirred a whole new width of global attention with its release two years back and led to 5 European Tours and a US tour for the St. Louis originating quartet as well as shows with the likes of CKY and numerous festival appearances. Bullets and Octane did extensive touring for the album while opening slots for CKY and festival appearances at Malmo Festival in Sweden and Call Of The Wild in the UK only built upon an already rabid fan base. During that time on the road the band wrote their new album and you cannot help feeling that the adrenaline of such intensive gigging has been an inspiration to the almost pugnacious energy and lusty boisterousness behind Riot Riot Rock N Roll.

The album drives in on a barrage of beats, each a bitch slap on the senses as riffs equally gear up for the attack of its title track. When it erupts full force it is a demandingly infectious affair; an immediately gripping groove wrapping a contagion only accentuated by the familiar and rousing tones of vocalist Gene Louis. The infection is in full virulence across the quickly erupting chorus, gang vocals adding to the anthemic incitement as the track’s manipulation descended upon and used body and vocal chords like a puppet. The song is superb, guitarist Felipe Rodrigo casting web of hook littered temptation as the rhythms of bassist Zachary Kibbee and drummer Jonny Udell direct the rousing affray.

The stunning start is quickly matched by new single Ain’t Gonna Be Your Dog a song co-written with ex-Buckcherry guitarist Keith Nelson. It too instantly had a firm grip on attention, its vocal and sonic blast taking hold to pave the way for a subsequent more controlled but no less captivating stroll equipped with senses clipping riffs and crisp beats.  That reserve also hugs Louis’ vocals though unsurprisingly it only leads to a chorus which erupts like a fire dosed up with gasoline before the cycle returns with fiercer melodic flaming and boisterous catchiness.

The Devil springs its robust rock ‘n’ roll on ears next, riffs and beats colluding with a meaty appetite inflaming bassline as again vocals anthemically holler. As with the previous pair, there is no escaping the call and want to join its howl and swing to its creative clamour before Give Me A Reason brings something akin to pop punk meets alternative rock infection to its hard rock shuffle. Four tracks in and each has trespassed the passions with individual voices and enterprise, a trait just as potent within the deviously addictive As The Bombs Fall. Reminding a little of UK’s own Senton Bombs, the track also fuses rock pop catchiness to its muscular stomp; rhythms a punchy manipulation in the voracious bait offered and again devoured.

A touch of glam rock is courted by next up Addicted To Outrage, old school rock ‘n’ roll also embraced by its instincts as the predacious song prowls ears before swinging to its own viral dynamics and exploits to breed another major highlight which Heaven Can Wait matches with a less intimidating but no less aggressive saunter bound in lively hooks and melodic dexterity all matched by the vocal prowess of Louis and the band.

From its first surprise carrying breath Chaos was manna to the ears, the track a boozy, body swinging flirtation that infested the passions like a Central European enchantress with all the fire and vitality of a warrior. It sealed favourite track in mere moments, bawling at and romping with anyone around it leaving Rooftop Tears plenty to do to pick up an exhausted companion which it surely did in no time as Kibbee’s heavily breathed bassline stomped through ears amidst the similarly tempting sentiment loaded tones of Louis. There is a touch of Grumpynators to the track which only added to its pull and the rock ‘n’ roll pleasure feasted upon.

The album comes to a close with Lost Crazy Psycho, a track with a title that tells you all you need to know about the slice of galvanic schizo rock quickly leading the listener into inhibition free shenanigans. It is also another song which revels in the craft and imagination of a band which has uncaged their most eclectic and unique not forgetting thrilling album yet.

So do you really want to miss out on the riot?

Riot Riot Rock N Roll is out April 24th via Bad MoFo Records / Cargo Records across most online stores.

https://www.bulletsmusic.com/   https://www.facebook.com/bulletsandoctane/   https://twitter.com/Bullets_And_O

Pete RingMaster 24/04/2020

Copyright RingMasterReview: MyFreeCopyright

Brassick – 2.0

Ever since having our senses assaulted and bullied by an outstanding debut album, the wait for a successor from UK punks Brassick has been a long wait but now the moment has arrived though we can only warn you to be beware because the release is going to seriously leave you a wasted, delirious mess. As striking and impressive as what came before was, it was a mere appetiser to the gloriously belligerent riot on the world that is 2.0.

The Birmingham hailing quartet of vocalist Nicola Hardy, guitarist Peter Macbeth, bassist George Chick, and drummer Tom Fenn may have taken their time for whatever reasons to follow up their self-titled first album but the time between has only seen the band hone their writing, sound and imaginations for the rousing and striking beast that is 2.0. As ever their sound is a hardcore and punk bred antagonism embracing some of the most contagious melody entangled hooks and sly twists you can wish for. If that debut full-length hinted at other bands at times, its successor is as individual to Brassick as you could desire as it riles and roars at the world and its injustices and corruptions.

Also featuring guest appearances from GBH’s Jock Blyth and Chris Scott from Ska punks Sick Pins, 2.0 launches at ears with Vultures Of The Poor though the track first lures and entangles them in a seriously tempting sonic thread before stamping its authority on attention with heavy booted beats and a subsequent crescendo building up to its voracious roar. In no time the rousing tones of Hardy are abrasing and igniting the air too, the song by now storming the senses with its irritable hardcore attitude and instincts.

A warning to all and of what is to come; the compelling opener is soon outshone by next up They Say. The first single from the album, it dangles an old school punk hook before the listener; one easy to chew on as too is the infectious hook loaded stroll which brews though that, as the album itself, is never anything less than unpredictable and furiously animated. As rhythms flew and vocals scowled, addiction was a quick reaction and just as firm before next up It Could Have Been Any Of Us. From its opening rub of caustic riffs and the menacing rumble of Fenn’s beats, the track devoured the passions. The heavy grumble of Chick’s bass and Hardy’s vocal and lyrical antagonism equally hit the spot just as the metal nurtured exploits of MacBeth and the floating harmonies which did little to temper the ire but added to the pleasure all the same.

Two of our majorly favourite moments come next, They Saved Us with its sinister character and opening lead to anthemic uproar the kind of protagonist lust was made for while A Half Life is a glorious fusion of punk and power pop drenched in bile and magnetism. Male vocals make for a riveting union with Hardy’s raucously irascible holler; it matched in invention and captivation by the swinging riffs, lithe hooks and rapacious rhythms which shape the outstanding encounter.

At fourteen tracks the album dares attention to wander but there is never a moment for that possibility to take hold as the likes of the sonically and emotionally fractious Nobody, the slice of dirty and crabby punk ‘n’ roll that is Anslinger, and Peanut Gallery with its melody bound calm and ultimately tempestuous challenge perpetually proved gripping, manipulative incitements so easy to feast upon and get involved in.

There was no change with the aggression fuelled 39 Souls. To be honest all tracks are built on a certain depth of truculence even with the regular injections of mischief and tongue in cheek opportunities across the release, but this turns in into a rabid trespass which Stagnate echoes in its delicious half minute of concussive virulence and Pull Me Up hones into the breath of its old school punk nurtured catchiness; both tracks again especially inflaming an already firmly set appetite for the record.

The final trio of tracks ensure 2.0 is as powerful and thrilling as anything up to this point; No Longer a song entwined with melodic wiring as again male vocals stand eye to eye with the forcibly supportive Hardy which led the passions into greedy lust while Until It’s Gone casts a skilfully infectious and thoughtfully provocative raw temptation upon ears and imagination.

Closed out by Always Exist and its verbal goading surrounded by just as pugnacious sounds though equally there is plenty of irresistible melodic teasing to bask in, 2.0 from start to finish is quite simply magnificent; right up there with some of the best punk offerings heard in recent times. Not much more to say…

2.0 is out now on limited White 12” vinyl, CD and digital formats through TNS Records and Mass Prod; available @ https://www.tnsrecords.co.uk/shop/distro/cds/brassick-2-0/ and https://tnsrecords.bandcamp.com/album/20

https://www.facebook.com/brassickmusic

Pete RingMaster 24/04/2020

Copyright RingMasterReview: MyFreeCopyright

Loose Fit – Self Titled

If we had taken the time to contemplate a fusion of the essential juices of bands such as The Raincoats, Essential Logic, Au Pairs, and Noseholes we might have conjured up something not too far removed from the pleasure now brought to ears by Australian post punks Loose Fit. In saying that though, the Sydney quartet has an openly distinct voice in sound and enterprise, it all in thrilling evidence within a self-titled debut EP.

Formed by vocalist/saxophonist Anna Langdon and drummer Kaylene Milner, fashion school friends who had bonded over their mutual love of experimental music, Loose Fit soon found itself taking creative shape with the addition of guitarist Max Edgar and bassist Richard Martin. Across 2019, the band earned a rich reputation for their live presence as they captivated a growing mass of fans around the release of their first single, Pull The Lever, earlier this year. It was a track which only enticed eager acclaim and support and they can expect more of the same through their irresistible EP, a “moody critique of the absurd” taking on themes of frustration, disillusion, fear, love, and rage.

That first single opens up the EP, Pull The Lever instantly gipping attention through the hulking drawl of Martin’s bass. Within a breath it sparks the groove and swing of the track, beats skipping alongside to escalate the temptation as the guitar teases from behind, it becoming more vocal and manipulative as Langdon’s voice with a spicing of disdain to its lilt again increases the organic addictiveness of the track. The infectiousness of the song has a touch of The Mo-Dettes to it, a punky contagion eagerly aligning to the post punk virulence just as rapaciously inspiring body and inspiration.

Riot is next up, surrounding the senses in a sonic mist before again the bass leads a voracious dance for song and body to launch themselves upon. Langdon’s vocals again mix confrontation with eager catchiness; attitude soaking both as Milner’s rhythms spring their voracious swing and Edgar’s guitar infests it all with a sonic ravening while the synth of Jonathan Boulet adds its lure.

As the first song, it proves a seed in an inescapable addiction quickly brewing which is only further stoked by the following pair of Reflux and Black Water. The first saunters in on another gripping bassline, Langdon’s sax chirping away alongside before matching its groove with its own cunning stroll. It had us hook line and sinker within seconds, only tightening the hold as again Langdon with Milner flirtatiously taunt ears with their Delta 5-esque vocal union. The second is the band’s new single and it too was soon preying on a readily given submission to the EP’s manipulations. There is a whiff of The Slits to the outstanding encounter, a spicing which only accentuates its calm but feral majesty.

The EP is concluded by Delete, a track enticing ears with the caustic persuasion of guitar and the glowing discordance of the sax, that alone enough to spark a lusty attention only spiralling with the grungy gurning of Martin’s bass and Langdon’s persistently persuasive and alluring vocals.

The EP is superb, manna for our post punk appetites with plenty more in character and sound to feast upon. We are sure we will not be alone.

The Loose Fit EP is out now via FatCat Records: available @ https://loosefit.bandcamp.com/album/loose-fit

https://www.instagram.com/loose___fit/

Pete RingMaster 18/04/2020

Copyright RingMasterReview: MyFreeCopyright

Blast Bomb – Live and Explosive in the UK

We may all be in lockdown right now but there are plenty of distractions to isolation with one mighty one coming up from Germany based outfit, Blast Bomb. May 1st, they unleash a live EP in the roaring shape of Live & Explosive in the UK; seven tracks of their voracious rock ‘n’ roll which epitomise the band’s sound to date as their powerful stage presence while hinting at new enthralling attributes openly evolving in their creative character and music.

Emerging from Hamburg in 2017, the quintet of guitarists Torben and Klaus, bassist Kai, drummer Tobi, and vocalist Johnny Rose quickly grabbed praise and attention when releasing their three track debut single, Born To Lose, at the year’s end. That and their immediately powerful live presence led to the band soon sharing stages with the likes of Honeymoon Disease, Conan, Monolord, El Colosso, and Grumpynators. The following year saw the Burn History & Live Today EP uncaged, again through the Undead Artists label. If the first single urged attention, the four track beast demanded it with acclaim in tow. Their fusion of heavy rock, punk, and feral rock ‘n’ roll grabbed the listener by the throat, luring a fresh horde of new fans far beyond their national borders that now can get a real taste of their stage prowess and thunderous dynamism via Live & Explosive in the UK.

The show the EP was recorded at took place at The Queens Head, Redditch in England on the 28th of February this year, just a few weeks before the country went into lockdown courtesy of the global Covid-19 pandemic. Having relocated to Germany a couple of years or so ago it was a homecoming for English born Johnny, who before joining Blast Bomb as renowned as the founder/frontman of Thirteen Shots, Recently we got to talk with him about the show and the EP it has spawned, touching on the fact the gig was a homecoming in the truest sense.

“When we realised there was a real possibility of going to the UK to play a few shows I thought it could be really cool and unique in a band at our level to actually record a live record at one of the shows.  When it was 100% confirmed that we would be playing my hometown, it was the only show I felt could be recorded from a sentimental side.”

From EP opener, Rock`N´Roll Junkie, the band and their inescapably rousing sound grabs ears and body, leading both in to its raucously anthemic holler. Equally you can sense a real passion and energy in the band’s attack and a roar echoing the song’s title. We asked Johnny about that noticeable vigour and spirit; was the show particularly emotional because of where it was and why he has talked of it as a farewell concert.

“Well things moved so fast when I had the option to move to Germany that I never got chance to say goodbye to a lot of people. One Minute I was thinking about moving to Germany (Berlin originally), the next I had a job in Hamburg that needed me ASAP so I was packing a car and leaving… also by some cruel twist of fate (or superb planning) the gig just happened to take place on the exact date four years before I left. So yeah when the days running up to the show I was feeling a little insecure, but once the night began and I saw so many friendly faces I relaxed and we delivered a Killer show that was captured for all time!”

The following pair of Gambler and Born To Lose more than confirmed his declaration, the first of the two a virulently nagging contagion of sound and enterprise. From the senses punching rhythms to the addictive groove of bass and guitar, the song had the crowd there and us in the office bouncing punching air in unison while its successor springs a snarling belligerent incitement in sound and performance. Both tracks also epitomise the great clarity of sound and production which not all live recordings elsewhere bear. Johnny pointed to that in our conversation too, saying “We was incredibly lucky to have of been able to ask a very talented producer in Elliot Vaughan to help us out. With him on board we were able to make the recorded as professional as possible. That made it even more special, because to me it (as mentioned earlier) kinda felt like a farewell concert.”

That striking sound and the band’s equally potent songs continue on Live & Explosive in the UK with the gloriously untamed provocation of Outta My Mind and the old school garage punk meets hard rock instincts of Burn History; each track a cauldron of ferocious rock shaped by the excellent guitar enterprise of Torben and Klaus. listening to the latter especially also reminded us of the successful journey the band has been on over the past year or so; something else we got Johnny’s thoughts on…

”2019 was a great year for us, We focused mostly on writing new songs and the bands direction is coming more and more clear, this accompanied by some superb support slots. We actually got invited by Life of Agony to open for them on their Hamburg show. This gig made us all so hungry to keep pushing forward and that momentum carried on into 2020 with some superb shows and a very successful UK tour… Then sadly all stopped, as it has for every band out there!”

The EP and show is concluded with firstly Maiden Hero and in turn Game Over. Each track is a slap in the face and spark for the spirit; even through the speakers feeling like we were there in the venue sweaty and raucous. The final track is a real favourite of ours and one of those clues to where the band’s sound is going; anticipation of which a high we have to say thanks to the EP alone.

At its conclusion we tapped into the band’s vocalist’s thoughts on the year so far and the major disruption to life as a band and personally.

“Well it’s not fully stopped us; we continue to write new songs although at the moment we are forced to only share ideas via WhatsApp! I am not actually allowed to our studio or to even meet up with the other guys as we live in separate countries and that’s now banned. We have a fantastic studio booked for May to begin work on the next chapter of the band, but its currently unknown if we are allowed to use it or not! I mean it’s not the greatest preparation for such a high quality studio session! but you know we are lucky because we still make music for love; we have friends who do this as a full time job. We feel the pain for every band, every sound guy, every venue, even the companies making merchandise … it’s a chain reaction that’s going to take a very long time to recover. All we can do is work together and try and protect each other.”

Finally we simply asked Johnny what is next for the band and to sum up their new offering…

“So as I said before we have the studio booked in May. We are working with a great producer and we are excited to get these songs recorded to a level we believe is fitting to us; I just hope we are ready and able to do it but we are very grateful to for now have this live EP to fall back on. You know it feels very much like a best of release, because it shows our past, gives a clue to our future and we can’t wait to see where this ride takes us next!”

Live & Explosive in the UK lives up to his words but more than that is it simply one explosive slab of Blast Bomb which any rock fan will find a feast of honest, heart bred and rousing rock ‘n’ roll.

The EP is released May 1st via Undead Artists digitally and on limited 12″ Vinyl; both only available through the label’s store @ https://undeadartists.bandcamp.com/album/live-explosive-in-the-uk with the latter running out fast on pre-ordering so go get!!

Check out more about Blast Bomb @ https://www.facebook.com/pg/blastbombhamburg

Pete RingMaster 26/04/2020

Copyright RingMasterReview: MyFreeCopyright

Harry Stafford – Gothic Urban Blues

photo by Richard Davis

Every sprawling city, each urban street it holds and the shadows that drape their households and corners provide a kaleidoscope of tales and drama and it is here that the new album from Harry Stafford sets its sights. Gothic Urban Blues is a collage of just some of the stories and secrets you may find within that sprawl, dark gothic tales smoked in equally tenebrific sounds and simply one gorgeous incitement for ears and imagination.

Stafford is no stranger to inspiring a hungry appetite for his sounds as frontman/guitarist founder of post-punk rockers Inca Babies but his solo venture is a whole new adventure drenched in intrigue and intimation. The Manchester hailing artist seeds his personal creativity in a love of blues piano and barroom ballads and as his 2017 debut album, Guitar Shaped Hammers (and the title of the band his has brought together around him), revealed it has quickly shaped its own identity fully proven by the even more irresistible Gothic Urban Blues. The new album feeds the interest we all share on what happens behind closed doors and in the lives of strangers, supping on possibilities within to breed its own suppositions. Every track within the album draws ears and thoughts into a myriad of intimately caliginous worlds whilst carrying a certain contagion, an instinctive swing swiftly proving as addictive as the narratives it harbours.

With the Guitar Shaped Hammers made up of Rob Haynes (The Membranes, Inca Babies), trumpeter Kevin Davy (Lamb, Cymande), guitarist/bassist Nick Brown (The Membranes) and Vincent O’Brien on Weisseborn slide guitar alongside, Stafford immediately uncages that almost primal infectiousness talked of with album opener, She Just Blew Me Away. Its initial caress of guitar is enough to provoke attention, an intrigue quickly escalated by Stafford’s fingers on piano keys and the swarthy shimmer of guitar beside him. In no time his distinctive voice is strolling through the imagination too, his dirt laced tones equipped with the catchiness equally infesting the surrounding sounds and accentuated by the slow but lively crawl of rhythms. As throughout the release, there is a Nick Cave meets Tom Wait meets The Filthy Tongues scent teasing away and inevitably just due to his unique voice a touch of the Inca Babies but in one track alone there is no disguising the individuality of the quickly potent incitement.

Cruel Set of Shades follows and just as eagerly infests ears and the psyche with its slow prowl of a saunter, one instantly wrapped in the inimitably spun strands of Brown’s guitar as the suggestive flames and lure of Davy’s horns, as in its predecessor, just escalates the evolving picture and emotions it bears. Haunting and rousing, the track hungrily wormed under the skin in no time, is rhythmic rove and sonic scintillation heightening the creative manna before the album’s title track delves deeper into the cinematic prowess and troubadour rapport that lines Stafford’s writing. It is another song which instinctively set feet, hips, and vocal chords to work, its jazz cured breath an almost feral protagonist to thoughts alongside Stafford’s ever descriptive and darkly poetic lyrics.

Across the piano driven urban waltz of Painted Ocean and the earnest balladry of Infinite Dust, the album only tightened its grip, the first as much an evocation to thoughts as to an eagerly swaying body whilst the second melancholically wraps its arms around the listener with sorrow and crepuscular beauty. The sonic tempestuousness lining its walls, Brown again creating a rare incitement which almost defies the sure craft behind it, provides a persistent taunting only adding to a compelling presence soon eclipsed slightly by new single Black Rain. It too is a heady seduction of a ballad with Stafford’s keys accentuating the pull of his words amidst another reserved yet illustratively potent tapestry of guitar and melody.

It has proven hard to choose a favourite moment within the album, many contenders but the irresistible stroll of Sideways Shuffle always makes a potent case, the track a jazz and blues nurtured amble lit by gothic shadows around lamplight bearing street corners with a great Bauhaus like hue to its emotive gaslight. The track is quite superb though straightaway matched in temptation by the magnetic and resonating observation of Man In a Bar, another slice of blues bearing suggestion as infectious as it is evocative.

The final pair of Disappearing and Into The Storm bring the release to as striking and enthralling a proposition as it unveiled itself as; the first of the two a fuzz luring, shadows and melody embroiling drift into the darkest corners of life and a despondency of it with its successor a physically swaying, temptation spraying canter which was so easy to get involved and wrapped up in.

In a world now in isolation and hours with little to do on our hands the mind might be wondering what is indeed going on behind those curtains in the streets outside of the glass. Harry Stafford has a host of suggestions within Gothic Urban Blues, one of the best distractions and albums you are likely to come across this year.

Gothic Urban Blues is out now via Black Lagoon Records; available @ https://harrystafford.bandcamp.com/album/gothic-urban-blues

https://www.facebook.com/harrystaffordUK/   https://twitter.com/harrystaf62

Pete RingMaster 23/04/2020

Copyright RingMasterReview: MyFreeCopyright

Mayflower Madame – Prepared For A Nightmare

photo by Sven Santelmann

Through the striking propositions found within their debut album of 2016 and a following EP, it is fair to say that eager anticipation for the release of a new album from Norwegian band Mayflower Madame was fired up upon news of its release, one only accentuated by a recent single taken from the ten track encounter. It was an intrigue and hope which has been quickly replaced by sheer pleasure as Prepared For A Nightmare is one of the most captivating and hauntingly fascinating pleasures of the year so far.

That first album, Observed in a Dream, shared a sound which bred from a fusion of post-punk, shoegaze and psychedelia hungrily gripped and fed our ears and imagination. It proved a compelling proposition which the following Premonition EP in 2018 only echoed as it built upon the prowess and strengths of the previous release. In turn Prepared For A Nightmare has taken the potent attributes of those before it and evolved them into its own impressive strengths and temptations and indeed a real uniqueness which was may be not quite there on its predecessors. Without distilling any of the cold shadows and apocalyptically hued romance and intimation which has made their music in sound and character so compelling to date, there is a warmer dare we say slightly poppier aspect to the new album and one which has only accentuated the rich imagination and breath of the Oslo hailing trio’s sound.

Prepared for a Nightmare opens with its title track, a shimmer of light drawing attention as a darker hued sonic sigh lures the subsequent full body of rhythmic incitement and melodic intimation to emerge. It is a weave of almost menacing psych rock temptation and crystalline suggestion, the guitars of Håvard Haga and Trond Fagernes spinning strands of sonic luminosity across rhythmic manipulation. With Fagernes’ vocals an equally magnetic draw and, in the first of two appearance within the release, Petter G. Marberg’s bass a heady tenebrific grip on the senses, the track was swift and inescapable captivation.

Recent single, Vultures, is next up to be quickly followed by its successor in Swallow. The first of the two tracks similarly entices with a lone lure, a guitar suggestively teasing ears before the virulent gait and enterprise of the track erupts to join its persuasion. The senses nagging beats of drummer Ola J. Kyrkjeeide alongside Fagernes’ moody bassline were swiftly under the skin, the latter’s tones again a thick lure into the kaleidoscopic beauty of the track. Yet there is a predatory edge to it all which grips just as firmly, post punk rhythms and steely grooves colluding with spiralling psych guitars and harmonic vocals to escalate the guileful nature of the song.

The second single opens with a percussive clipping of the senses aligned to a delicious intrigue woven hook; its intimation alone a rich lure of espionage and flirtation soon taken up by the darker hues of bass and the melodic entanglement of guitars. A warmer hug comes through the synth of Kenneth Eknes who features across numerous tracks within the album, the song a calmer engagement compared to those before it but again the organic volatility within the band’s sound adds to its drama and adventure; its energetic infectiousness sparking thoughts of Modern English as its psych/shoegaze nurtured enterprise hints at the likes of Jesus & Mary Chain and House Of Love.

The instant rhythmic drive of Ludwig Meidner had us greedily hooked, the quickly surrounding smog of melodic and vocal insinuation building the fascination until the song is a thick almost concussive but invigorating engagement. The dark grumble of the bass is delicious alone; its post punk inclinations an infection to which the band only add further virulence in voice and sonic endeavour while the following   Never Turning (In Time) breeds a tenebrific seduction from its cinematic opening which enthralled as it subtly devoured. The track proved pure temptation, a dark haunting again where beauty and jeopardy collude.

Across the equally sinister Sacred Core and the crepuscular romance of The Night Before a form of addictive captivation with Prepared For A Nightmare only grew closer; the first of the two bordering on the radiantly nightmarish as the second seduced with its own Gene Loves Jezebel hued serenade while Goldmine straight after illuminates a shadow hungry dance-floor with its animated but still rapaciously intense trespass. An electronic effervesce underlines the denser touch of the song yet everything about the drama and opaque climate of the track is inescapable catchiness.

A Future Promise is another where dark intrigue oozes from every note and syllable, guitars and bass alone weaving a darkly intimating theatre within the brighter dye and optimism of the keys. As with all tracks the imagination is fuelled with an adventure to build upon, ears soaked in a bewitching sound setting Mayflower Madame apart from the rest as finally endorsed by album closer, Endless Shimmer; a song which gently radiates upon the senses as it enraptures ears and thoughts.

It is a bewitching end to an album which had us embroiled in its tantalising breath and creative web from start to finish and with greater lust by the listen; Mayflower Madame surely casting a lure to major attention.

Prepared For A Nightmare is out now digitally via Only Lovers Records @ https://mayflowermadame.bandcamp.com/album/prepared-for-a-nightmare with its vinyl and CD release on May 15th in collaboration with Portland’s Little Cloud Records and Parisian label Icy Cold Records.

https://www.facebook.com/mayflowermadame   https://www.instagram.com/mayflowermadame

Pete RingMaster 23/04/2020

Copyright RingMasterReview: MyFreeCopyright

Eyemouth – Cut

We will admit straight away that we are not sure if our words can do justice to and truly convey the creative realm and dark majesty which breeds the sound of Swedish band Eyemouth but they can certainly reveal the striking and thrilling effect their new EP had on ears and the imagination.

The Cut EP is quite simply superb, an adventure into the compelling world of one of the world’s truly unique propositions. We first came across and were seduced by the rarefied invention of Gothenburg hailing Eyemouth through their third and fourth EPs, Noera Genesis and The Flood. Each provided a journey into the unknown as captivating as it was disorientating, a creative adventure continued through debut album A Newly Planted Grain in 2017 and the Spiral EP two years later. We shamefully admit we managed to miss both encounters and can only say it has to have been to our major loss going by the magnificence of Cut.

Eyemouth consists of Marcus Lilja and Joakim Åberg, the band deriving in 2014 from the demise of Estrange and includes Dark Abstract in its member’s history. As suggested it is hard to accurately expose the creative palette to the Eyemouth sound. There is an electronic breeding which entangles with classic, atmospheric and psychedelic nurtured rock as well as a dark folk and occult scented imagination at play but that still only conjures certain aspects of a sound at a new high within the new Eyemouth offering. With four tracks making up its body, each a tale in sound, word, and intimation, Cut is pure fascination which entangles ears as it dances with the imagination; emotions just as easily caught in its dark and at times demonic embrace.

The EP begins its captivation with A life of its own, the track emerging on a sonic shimmer which within a few breaths is already casting a sinister edge to its atmospheric expansion. The magnetic presence of the band’s vocals is as potent as ever, again a harmonic dexterity accompanied by a more primal fringe. As the sonic winds build, a compelling cacophony of sound and suggestion brews, darkness a cloud of emotive intimation within the rich array of diverse ethnic instrumentation, including the bagpipes of Per Stjernkvist, making up the fixation.

Stay quiet is all there is to it follows, shaman drumming enticing attention with controlled but magnetic resonation as again darker hues erupt and interrupt the track’s emerging climate that itself tenebrific. Similarly vocals bring a fusion of shaded and darker intimation. All the while, the track wormed into the psyche like a hungry threat to eventually brew and erupt in a throbbing infestation aided by the guest drums of Håkan Aspnäs, before folk lilted vocals accompanied by an infectious canter rise up within the senses enveloping atmospheric corruption.

Both tracks are sheer captivation for ears, attention and a premise evoking imagination; all swiftly seduced again by At the opening of the gate. Stygian hues once more immediately challenge thought, the declaration of vocals soon escalating the creative weave as melody kindled and electronically summoned sounds share virulent flirtation. With those vocals just as magnetic and another spectrum of instruments colouring the instinctive imagination, the song simply enslaved and in quick time, emerged one of the best things heard here in recent years. As within every track, every second brings a seed for unpredictable enterprise and pleasure with every syllable another spark for the listener’s thoughts.

The album closes out with To open up the skin, a Tartarean glimpse upon the real world seemingly under scrutiny and manipulation of otherworldly protagonists. Melody and harmony unite in a warm comforting hug within a portentous sonic incantation, the crepuscular atmosphere darkening and becoming more leaden and overwhelming until the final melodic sigh.

It is a magnificent end to a glorious release which again we suggest is like nothing you will have explored before. Eyemouth have teased and warranted the biggest attention for a far while now, the Cut EP now demands it.

Cut is out now; available @   https://eyemouth.bandcamp.com/album/cut

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Pete RingMaster 18/04/2020

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