öOoOoOoOoOo – Samen


Every year seems to have one month where riveting surprises and essential releases come at ears in a keen flood. This year it is maybe two as October follows September in unleashing records which simply inflame the imagination, an increasing list now added to by the irresistible and rather deranged offering from öOoOoOoOoOo (“Chenille” in French, “Caterpillar” in English).

A new collaboration between former Pin-Up Went Down vocalist/lyricist Asphodel and multi-instrumentalist Baptiste Bertrand, öOoOoOoOoOo creates a theatre of sound and imagination within debut album Samen. “Visually built as an art exhibition”, the release is a kaleidoscope of styles and invention cast in an avant-garde/experimental metal/rock adventure. Helped by the rhythmic prowess of session drummer Aymeric Thomas who is no stranger to creating off-kilter and seriously unpredictable exploits with Pryapisme, the duo ignite and enslave ears and psyche from the very first seconds of Samen, never relinquishing their magnetic grip of mercurial enterprise driven alchemy.

Rules Of The Show opens things up, the track initially enticing with a tender melody as a darker groan lurks before quickly welcoming the instantly impressing tones of Asphodel. Her voice is as magnetic as the sounds brewing around her with a growing blend of bewitching harmonies courting as the song slips into a catchy stroll with a poppy air. Soon it unleashes its hellish heart in a ravenous metallic outpouring as honed in gothic and epic metal as it is through orchestral and melodic rock. It is a virulently infectious affair, its tempestuousness icing on the compelling cake with Bertrand’s barbarous death bred growls extra engaging bait.

Its increasingly deranged presence is followed by that of Fucking Freaking Futile Freddy a track wearing Pryapisme like scent at times but equally sparking thoughts of bands like The Creatures and Stolen Babies. Thomas is a blur of rhythmic tenacity, Asphodel vocally captivating, while Bertrand creates a tapestry of sonic and melodic bedlam shaped into one fluid skittishly versatile weave.

cover_RingMasterReviewFrom one pinnacle within Samen to another and the creative devilry of Meow Meow Frrru, a track teasing with melodic intrigue while taunting with bolder energies, the first shaped by electronic fingering with a slight medieval essence and the latter through climatic crescendos which become more irritable and prolonged with each expulsion. The deeper into its insanity the song goes the more it evolves, an espionage loaded hook and System Of A Down flavoured revelry especially tempting.

Straight away the suggestive lures of cello from guest and Psygnosis member Raphaël Verguin charm ears and imagination as the following No Guts = No Masters launches its bruising and increasingly dramatic rock ‘n’ roll upon ears. A blackened air grabs the senses at times, its occasional trespass imposing on the glorious melodic seducing surrounding the shining vocal prowess and class of Asphodel and a psychotic majesty which would be almost sinister if it was not so glorious and irresistible.

Verguin also features on next up Bark City (A Glimpse Of Something), his bow on strings the poetic shadow to a track which merges the melodic beauty of a Nemesea with the dark secrets of creative dementia, all on show in a track which kisses the senses as it corrupts the psyche. Again understandably there is a touch of Pryapisme to the song but equally Russkaja, Siouxsie and The Banshees, and Die So Fluid are pointers to the uniqueness of the band’s sound.

There is a Fleetwood Mac/Stevie Nicks feel to the bewitching Purple Tastes Like White, the track yet another brazenly diverse aspect to the landscape of Samen with the brooding bass a particular treat alongside the melodic might of Asphodel while I Hope You Sleep Well is a cracked and bedlamic web of ideas and imagination stirring sounds hard to describe in words but so easy to physically indulge in with its sinister nursery room childlike innocence and crazed invasive genius.

With Adrien Cailleteau guesting as on its predecessor, Well-oiled Machine draws ears next with its soulful R&B infused balminess. With a flaming sax igniting the jazzy noir atmosphere of the brief song, all courting the somewhat pub-singer like fun of the male vocals, the song only leaves a smile in the imagination before the outstanding Chairleg Thesis dances with the listener in an eighties spiced affair which is at times as ruggedly boisterous as it is erotically seductive and ravenously stormy.

Across the screwy pop/hip hop soaked metal of Fumigène, a song revelling in a Lady Dynamite meets The Sugarcubes meshuga, and the gothic rock drama of LVI where band and album explore even more enjoyable expectations defeating adventures, the latter with Germain Aubert and Verguin bringing their individual craft, the inescapable lure of Samen just strengthens.

Completed by the fierce death metal toned blaze of Hemn Be Rho Die Samen, a song soon showing an array of contrasting yet perfectly uniting strands to its inventive disorder and predacious appetite, Samen leaves an exhausted and blissful pleasure in its wake. Even in the most off-kilter sounds and releases there is an order, an underlying texture which links all. Within Samen it is only the members of öOoOoOoOoOo themselves as unpredictability and unbridled imagination locked into one glorious ride.

Samen is released October 21st via Apathia Records, available @ https://apathiarecords.bandcamp.com/album/samen


Pete RingMaster 20/10/2016

Copyright RingMaster: MyFreeCopyright

Art Of Burning Water – Between Life And Nowhere


It is fair to say that any proposition from Art Of Burning Water is not for the faint hearted or anyone looking for melodic refuge. The trio’s sound though, and indeed new album Between Life And Nowhere, is something that a passion for ruthless noise with a penchant for violent infectiousness should and will eagerly embrace.

The London based threesome of drummer Mike, guitarist/vocalist Grief, and bassist Kunal create hardcore sandstorms of sonic intolerance and rhythmic barbarity; twisted punk ravages which are as pestilential as any plague but built on grievous grooves and piercing hooks ridden by the rawest of throat ripping vocal squalls. It is a trespass which has fuelled a host of releases from the band since 2003 and provided one half of an impressive split 7” with Nervous Mothers earlier this year. True to say, the band’s sound may have alienated as many as it has befriended but those hooked on their creative hostility come with zeal many bands would pay for.

A fury of ten songs over twenty minutes, Between Life And Nowhere has no times for niceties and flies at the senses from its first breath. A sonic lance and sample triggers Rambo Survival Techniques into life, the guitar an intrusive wave of sound backed by the thumping beats of Mike and Kunal’s grievous bassline. With Grief’s flesh wilting vocal spite soon infesting all, the track grumbles and rumbles like a bear with toothache, searing the senses whilst teasing them with an underlying catchiness which in turn lines the even more hellacious heart of Prime Example Of A Lonely Child. The track ebbs and flows in its intensity, never releasing ears from a sonic abuse but taunting the imagination with its primal instincts and another sampled incursion as spicy grooves and hungry riffs join in cantankerous intent.

The excellent Barbara O’Reilly comes in on the final sonic twine of its predecessor; swiftly uncorking its caustic toxicity with a punishing persuasion before the twenty odd seconds of You simply erupts in primal cancer upon the listener which in turn is followed by the less nasty but just as intrusive adventure of To Be Brave. With swinging beats linking up with a growling brooding bassline, the song makes a calmer entrance, the guitar teasing and inviting before the full tempest of emotion and rage at the track’s heart ruptures into its virulent sound. Twisting from raucous hostility to predacious stalking across its irritable body, the song quickly hits the sweet spot.

The acerbic melodic nature of Voivodian Solutions To Die Kreuzian Problems just as rapidly ignites ear though any kinder essences are lined with their own venom and soon involved with unbridled rancor as shown again within the infectiously woven drama of Alesha and the scathing rapacity of Prone To Bouts Of Hopelessness. The first of the two entices and brutalises with every harsh rhythm and heavy metal infused grooves, its punk ‘n’ roll almost welcoming but only to an awaiting destruction while its successor crawls over the senses with its poison on full show before savaging with full malevolent energy.

A handful of seconds is all that Baby Without Your Love has and needs to share its distorted enmity, leaving the quarrelsome and increasingly violent punk ‘n’ roll of Kindness Is Strength to bring the album to a fine and feverish close.

As suggested earlier, Between Life And Nowhere is not going to find a home in everyone’s ears, something it and the underrated Art Of Burning Water seem to revel in. Both offer punk/hardcore which leaves the kind of scars which sorts the men from the boys and both deserve a portion of your flesh and attention.

Between Life And Nowhere is out now via Bigout (France), Sleeping Giant Glossolalia (USA), and SuperFi (UK) and available @ https://artofburningwater.bandcamp.com/album/between-life-and-nowhere

https://www.facebook.com/aobwmusic   http://www.superfirecords.co.uk/aobw/

Pete RingMaster 21/01/2016

Copyright RingMaster: MyFreeCopyright

Magoa – Imperial


If nothing else, these past couple of years have revealed that the French metal scene is at a striking high if maybe still not truly recognised outside of its national borders. That might be on the verge of changing if it continues to persist in producing bands and releases like Magoa and their new album Imperial. An outfit established within the French metal underground, the Paris hailing band has unleashed a proposition which just demands the richest attention.

Imperial sees the band’s tapping into and unleashing a brutality and a grouchily uncompromising attitude not as vocal in their music to date; a coincidence that the band kept everything about its creation in house? It is emotionally and physically raw yet woven with an imagination which makes its grievous groove infested sound stand out from the crowd. Imperial is a cauldron of varied strains of the fiercest metal genres honed into a virulence which infests ears, appetite, and psyche alike.

The successor to their well-received second album Topsy Turvydom of 2013, Imperial swiftly hints at something having stirred within the Magoa heart and creativity which eclipses all before with each passing minute let alone song. It opens up with its title track, a rousing call to arms which drifts in on a sonic mist broken up by warlike strikes. A melancholic melody slips into the brewing climate, vocalist Cyd Chassagne close behind sharing his dirt encrusted snarls as that lone melodic lure begins to flame with greater intensity within a growing tempestuous air. As grooves begin winding around bruising rhythms, the track rises to real anthemic heights, its roar of a chorus as defiant as it is provocative and contrasted superbly by the beauty of keys and mellower caresses of emotion.

It is a potent start which is soon over shadowed by the snarling brutality of Resistance, grievous riffs and senses shuddering rhythms to the fore. The track is superb, an angry beast of a proposal but one unafraid to show melodic elegance and sonic grace like oases within its vicious onslaught. As its predecessor, the song is a spirit raising anthem which arouses body and emotions before Sailors swings in with its own host of irritable beats and riffs, they soon evolving into one ridiculously infectious and addictive incitement. A great blend of vocal ire is matched by the array of textures within the track’s fiery sound, guitarists Vince and Drayton spinning an imagination snaring web of intrigue and suggestiveness, the bass and drummer  Martin’s lethal swipes antagonistic weight to be feared and embraced.

pochette_RingMasterReviewThere is something familiar about the encounter but an indefinable essence which just spices things up here and within tracks like the following heavyweight swing fest of Kill Us. It descends upon the senses with raw aggression and intent, taking them on a groove spun, melody enriched ride of fearsome yet anthemic savagery which just sparks the instincts.

Through the haunting melancholy of Merge, a less imposing affair but just as emotionally intense as cleaner vocals and resonating rhythms court piano nurtured melody and electronic atmospherics, and the brief and equally impacting Remember and its reminder of conflict’s casualties and protagonists, Imperial strikes another stirring chord with both setting up emotions for the thumping roar of Faith. Like a reassuring beacon within the more murderous aspects of the album, it is pure contagious revelry with its own truculent presence.

The calmer nature of Afterglow follows uncaging a nu/groove metal trespass which bellows with warrior strength and countenance but equally engages in less bruising exploits which further entangles the imagination. Sonic and melodic invention is as prevalent as another great mix of vocal confrontation, all topped off by deliciously scything strings.

Physical barbarism and emotive reflection unite within Endlessly next, the track a mix of bloodlust and warmer enticement, emotionally and musically, with the former holding the reins throughout, while Pray for Us is an emotion driven sonic clamour which whilst maybe lacking the spark of other tracks before it, leaves ears enjoyable ringing and appetite hungry for more which the bewitching Untouchable delivers with its low key but atmospherically thick and emotionally commanding serenade. Cyd’s clean vocals glide over the senses, the gentle haunt of keys and guitar fingering the imagination as the song resonates in thoughts as darker clouds loom on the back of heavier lumbering rhythms.

The album ends with the ruthlessly addictive and mercilessly anthemic The First Day, a track which will either have you cowering or raising a fist in defiant unity while summing up everything impressive and compelling about album and the new character of Magoa’s songwriting, invention, and inescapable sound.

If Imperial came from a Lamb Of God, Slipknot, or In Flames people would be raving about it; hopefully they still will just with the name Magoa upon their lips.

Imperial is out now across most online stores and @ http://magoamusic.com/shop/

https://www.facebook.com/Magoaband/   http://magoamusic.com/   https://twitter.com/magoamusic

Pete RingMaster 21/01/2016

Copyright RingMaster: MyFreeCopyright

The Last Ten Seconds of Life – The Violent Sound


Having beat up on and seduced the US metal scene, Pennsylvania hailing The Last Ten Seconds of Life are abut to do the same to a global attention with new album The Violent Sound. It is a success not too hard to imagine almost expect as the release unleashes twelve brutal alternative/nu/groove metal furies that just grip and excite ears and imagination. The band’s sound has plenty more in its arsenal of flavours and temptation but a mix of Korn, Mudvayne, and Britain’s own Anti-Clone is a fair indication to the downtuned tempest the Mansfield based quartet uncage.

Formed in 2010, The Last Ten Seconds of Life has risen through the local and national US metal scene, earning a potent reputation for their fearsomely impressive live shows and releases like debut album Know Your Exits of 2011. The past year though has seen the band evolve their sound into a whole new and striking adventure with new vocalist John Robert C. coming in, his irritable grouchy growls and impressive broader versatility seemingly, on the evidence of The Violent Sound, just bred for the band’s evolution in songwriting and imagination.

Engineered by Grant McFarland and produced by Carson Slovak (August Burns Read, Texas in July), The Violent Sound is the first offering from the new line-up and pretty much goes straight for the jugular as Little Black Line opens things up. Its initial lure though is the clean tones of John Robert, enticing within brewing discord honed tempestuousness which blossoms into a predatory stroll that as good as stalks the senses. The harsh rhythmic tenacity of drummer Christian Fisher is bound to the barbarous groove and tone of Mike Menocker’s bass, both a formidable invasion of ears as the guitar of Wyatt McLaughlin creates a sonic smog of portentous temptation.

Though the song never brutalises, its intent and weight takes no prisoners, setting the listener up for the intensive examination of The Drip. That Korn-esque texture to the band’s sound swiftly seduces ears within the encounter, interrupting a primal trespass equipped with scything grooves and vocal antagonism around rhythmic animosity. The track is glorious, another aural predator further impressing in melodically bred moments of emotive resonance before Bloodlust lives up to its name in tone and emotion. It is a savage uncompromising affair but again one with twists into unpredictable and sinister passages which even if only brief draws the imagination further into the violating tempest.

cover_RingMasterReviewThe following Six Feet is just as diverse in its attack and simply imperious, its volatile climate and grievous intensity skilfully contrasted by the melodic and harmonic swoops upon ears; the two colluding in bewitching espionage before the track is back devouring all before. As much death metal seeded as any of the flavours previously suggested, the track is a carnal incitement igniting an already keen appetite with the album’s title track reinforcing its increasing hold. The Violent Sound roars with sonic spittle lying upon vocal ire as rhythms pounce with animalistic predation, a vicious stalking leading to the calmer melodic and cleaner vocal enterprise of the band which is as virulently infectious as anything escaping the crushingly relentless ferocity.

A Marilyn Mansion air accompanies the flirtatious swagger of Casanova, an irresistible track with all the grooved swerves and salacious moves of a venomous pole dancer while Bag of Bones worms into the psyche with a niggling groove prone to discord fuelled expulsions of sonic unpredictability. Around it, the track brews another fury which buffets and abuses the senses, every swipe and incursion eagerly welcomed as the track swings like a hungry hound with a creative deviousness just as eagerly abound within successor Switch, a volatile fusion of metal and heavily boned rock which either licks at the psyche like a demonic lecher or presses in on the senses like a murderous vice.

That sanguine essence is even more prevalent and zealous within next up Blind Faith but equally the band’s harmonic imagination is a rich lure, so much so that you do not know whether to bow to its seduction or run for the hills, the former ultimately the only reaction to the brilliant protagonist.

It is a success and creative endeavour matched by that within Wise Blood, The Last Ten Seconds of Life again creating a concussive, sublimely seductive siege of ears and senses, trapping the imagination with exotic grooves and spicy melodies amidst vocal dexterity before Social Suicide casts a paradox of contrasting textures which simply captivates with ridiculous ease.

With the groove entangled, sinisterly shadowed Last Words completing the ferocious proposition, The Violent Sound is destined to push The Last Ten Seconds of Life firmly into the broadest metal scene. If not, there is something seriously wrong.

The Violent Sound is released by Siege Music on October 21st.

https://www.facebook.com/thelasttensecondsoflife   https://twitter.com/TLTSOL?lang=en

Pete RingMaster 20/10/2016

Copyright RingMaster: MyFreeCopyright

Coalition – Bridge Across Time


Coming almost five years after the band’s last album, British progressive rockers Coalition release Bridge Across Time, an encounter which takes ears and imagination on a colourful creative journey. Over nine melodically and lyrically suggestive tracks, the album engages on every level, sweeping the listener up in accomplished and stylish endeavours sure to please all prog rock favouring appetites.

Since the release of In Search of Forever as 2012 opened its eyes, the 2010 formed, Reading hailing Coalition has seen its line-up change around the constant presence and songwriting of multi-instrumentalist Steve Gresswell, the man also behind the just as enthralling project The Inner Road. A long time in the making, Bridge Across Time sees guitarist Colin Tench of BunChakeze/Corvus Stone and vocalist/lyricist Blake Carpenter from The Minstrel’s Ghost/Corvus Stone alongside Gresswell, both adding their own distinctive presence and talent to a release showing Coalition at a whole new level of songwriting and adventure.

Steve Gresswell

Steve Gresswell

With Gresswell handling keyboards, drums, and bass guitar, Bridge Across Time swiftly captures the imagination through opener Across the Sea. From the inviting sound of a coastal scene, a picture of melodic beauty courtesy of Tench quickly involves the imagination with darker rhythms in close attention as the warm tones of Carpenter caress the senses. Straight away the gentle climate and welcoming air of the song seduces; its subsequent catchy stroll just as persuasive as Tench’s captivating melodies and craft wrap around it. It is a potency matched in Gresswell’s keys, their presence floating across the picturesque landscape with the emotive heart of the song portrayed by the fine vocals. Jazzier elements add to the enjoyable aural scenery though the operatic background cries do less for the appetite.

It is a potent start to the album which only blossoms further as Fantasy Island escapes the imagination of the trio. For no apparent reason thoughts of a Wicker Man solitude and secrecy is sparked by the opening setting of school children within another pastoral setting, though soon lost as keys and guitar weave an intimate yet broad canvas of sound and suggestion. A festival of riveting hooks and infectious ideas, whether brief or lingering, the track hits the spot in no time, Carpenter’s voice a thought engaging narrator to it all. Across its eight minutes, there is a plethora of things going on which eventually unveil themselves across further listens, something applying to the whole of the release, with the wonderful almost mischievous flames of sax a treat which instantly excites, as too the rolling bouts of piano and floral strings.

From its initial colder climate, the following Labyrinth becomes a festival of folkish hues and catchy revelry, again a more insular atmosphere to the song’s story coming over; a village bound character accompanying its sound as emotive outpourings line words and voice. That operatic texture is repeated again and makes a better fit if still not for personal tastes but only adds to the eventful elements and character of the magnetic track before Land of Dreams serenades with its simple but so potent melodies and Carpenter’s intimate presence within rising orchestral breezes. Bewitching and increasingly powerful with every outing, the track keeps the album in command of attention with sublime ease especially as its livelier side takes care of a physical involvement.

Through the melancholic yet vivacious Lost Soul and the Celtic spiced River Song, the track more with an undercurrent of that flavouring than openly wearing its charm, Bridge Across Time invites greedier attention from ears and imagination, that even though neither quite matches up to their predecessors. This alone shows the strength and quality of the album, a potency more than reinforced by The Light with its flirtatiously bubbly keys and evocative melodies and Valley of Shadows where wistful but bold melodies join the poetic enticement of brass and strings.

Completed by the worldly and epically compelling exploits of The Watcher, a final major highlight, Bridge Across Time is a progressive treat to embrace and take your time with, the rewards a continuous offering. Its tracks are certainly lengthy but no track feels anywhere near its distance and only holds ears and focus tight throughout to defuse any prior objections from a punk bred appetite.

Coalition is back and revelling in the imagination of three rather talented and technically adventurous musicians.

Bridge Across Time is out now and available @ https://coalitionprog.bandcamp.com/album/bridge-across-time


Pete RingMaster 21/01/2016

Copyright RingMaster: MyFreeCopyright

Stoor – Self Titled

stoorJosef K meeting Wall Of Voodoo at the behest of Dead Kennedys with the rhythmic virulence and discord of The Fire Engines

No idea what is in the water over at Stereogram Recordings but this past twelve months has seen the label release a clutch of albums that simply ignite ears and connect with the imagination like no others. Amongst them have been encounters with bands such as St. Christopher Medal, The Filthy Tongues, and The Eastern Swell. Now adding to that adventurous collection of treats is the self-titled debut album from Dundee based outfit Stoor, a release which just might be the most impressive and ridiculously addictive of the lot.

The Stereogram Recordings offering is actually a full re-release of the band’s first album which was self-released on vinyl last year but sure to be the first real engagement for a great many with a quartet which rose up back in the first breaths of the nineties. Musically Stoor seem to embrace post punk/new wave sounds found in the couple of decades before their emergence, and though it is bordering on impossible to pin down their sound imagine Josef K meeting Wall Of Voodoo at the behest of Dead Kennedys with the rhythmic virulence and discord of The Fire Engines and the warped imagination of Pere Ubu in close attendance.

Centred around the off kilter invention of bassist/vocalist Stef Murray, drummer Scott McKinlay, and guitarist Ross Matheson with guitarist Davie Youngblood completing the current line-up, Stoor get straight into ears and psyche with album opener Secret World Of Cement. It is an instrumental which gets right into our already existing passion for post punk devilry, sparking the imagination with its cinematic urban soundscape. Hips and feet are swiftly indulging in its virulent Fire Engines hued strains as hooks and melodies tease and tantalise within something wonderfully akin to the most addictive sixties TV theme tunes.

It is a wonderful start quickly matched up by Liberator, a track just as rapid in its persuasion as spicy lures of guitar link up with the tenacious rhythmic bait laid down by McKinlay. The vocal tones of Murray attract like a mix of Jello Biafra and Pere Ubu’s Dave Thomas, expelling their earnest cries from within another seriously catchy stretch of invention before the brilliant Aye, No raises the ante. A fiercely seductive bass line invades first, strolling from the initial clash of sound to be quickly joined by equally salacious guitar hooks following the same route as Murray’s grooving. Like a pied piper the union draws the listener into an explosive crescendo, riffs and rhythms colliding before the temptation begins all over again with even greater strands of delicious discord involved. All the time Murray places a potent vocal grip on an already eager appetite, backed by the band within what is one gloriously repetitive and enthralling swagger of a song.

art_RingMasterReviewInfect Me steps forward next to keep the enslaving of ears tight, its Gang Of Four like rhythmic escapade chaining attention alone, the brooding basslines and stabs of guitar extra chains to trap attention and ardour. Bursts of raw rock ‘n’ roll only adds to the magnetism as too the distinctive and increasingly flavoursome vocals of Murray, here finding a Stan Ridgway flavour to his excellent theatre of voice. Between them Murray and McKinlay rhythmically have the passions chained up like Houdini, though no escape is possible especially as Matheson and Youngblood create a web of melodic intrigue and deranged drama.

Through the heavier almost muggy escape of Devil Rides Out, a song with a touch of Scars meets again Pere Ubu to it, and the pulsating psych rock infested instrumental of March Of The Molluscs, the album adds further diversity and creative theatre to escalate an already established habituation to its additive prowess, backing their success up with the punk rock of Frack where thoughts of bands like Swell Maps and television Personalities are sparked, though, as constantly across the release, Stoor conjure up proposals unique to their own senses entangling invention.

The calmer saunter of Open The Box comes next, its character a more stable affair but prone to Devo-esque twists and turns before making way to allow the psychedelically spiced Hold That Thought to serenade ears. To its warmer and gentler nature though, there is an underlying tempestuousness which channels its energy into a swinging post punk canter a la The Three Johns.

The bands new single Witchfinder General has ears and lust over excited next, its rhythmic romp alone an unshakeable grip with Murray’s bass swing a predacious seduction reinforced by the tangy weave of guitar and the eager dance of the vocals. Dark and mischievous, compelling and shadowy, the track is superb, a certain doorway into the album come its release though fair to say any track is a suitable invitation.

Going out as it came in with a mouth-watering, imagination stoking instrumental going by the name of Sure Beats Me, a piece which plays like B-52s engaged in carnal knowledge with The Shadows, the album leaves only an urgent urge to dive right back into its body of fun.

Stoor may have been around for a fair few years now but this is the moment they should be enveloped by the biggest spotlights, courtesy of an encounter which has to be considered as an album of the year contender.

Stoor the album is released October 28th on Stereogram Recordings digitally and on CD with the single Witchfinder General out on October 21st.

STOOR are supporting Brix Smith & The Extricated on Sunday 30th October 2016 and The Membranes on Friday 27th January 2017, both nights at Beat Generator in Dundee.

https://www.facebook.com/stoormusic/   http://www.stereogramrecordings.co.uk/artists/stoor/

Pete RingMaster 19/10/2016

Copyright RingMaster: MyFreeCopyright

Mannequin Death Squad – Eat Hate Regurgitate


After the rousing scuzz enticement of latest single KYMS, Australian duo Mannequin Death Squad uncage their debut mini-album Eat Hate Regurgitate to confirm all the mightily good things found in said single and it’s just as magnetic predecessor.

Emerging last year, Mannequin Death Squad consists of El and Dan; one girl, one boy who between them play and swap guitar and drums whilst offering their potent union of vocals. A striking presence on the Melbourne underground scene, the pair sparked attention with the single Sick earlier this year, following it up with the even more impressive and gripping KYMS a few weeks back. Both feature upon Eat Hate Regurgitate alongside a trio of new proposals which simply whip up attention and appetite for their scuzz punk devilry.

Released via the excellent UK indie Integrity Records (Million Dead, Horse Party, Valentiine), the release opens up with the raw magnetism of KYMS, a track raging “against the relentless pollution of our planet, the song inspired by a hatred of those who continue to defile and pollute the earth.” Plaintive strains of guitar make the first touch, swinging rhythms and caustic riffs the next as Dan vocally bursts into view with the warm tones of El in close attendance. It is raw and inviting, fiery and captivating, hooks and grooves a weave of temptation as the pair vocally dances around the senses. The track’s infectiousness is virulent but only part of the picture as darker shadows and textures blossom as the song progresses, its finale of an imposing and enjoyably oppressive nature breeding blues grooves and a sludgy climate before going out in a blaze of raw rock ‘n’ roll.

The impressive start is followed by Sick, a volcano of scathing pop punk with more bluesy flames in its melodic kiln as thumping and slightly predacious rhythms roam. Like a mix of My Baby, Karn8, and Valentiine, the track seizes ears and appetite swiftly, only tightening its hold midway as again the band suddenly twist into a whole new creative landscape which lifts things to another addictive level.

The muscular poppy romping of Sky comes next, its feisty canter carrying hues of bands such as Jack Killed Jill and The Melvins whilst creating its own character of unpredictability while Van Gogh snarls and aggressively bounces along before slipping into something more melodically and seductively comfortable. It is a strain of persuasion which switches between full-on assault and that bordering on salacious coaxing, casting a tempting which weakens knees in between having them feverishly stomping around. A great live air to the track only accentuates its glory, it challenging the opener for best track honours.

The album is concluded by the similarly addictive and enterprising Down, another swinging from bold energy to harmonic calm and leaving a greed for more in its wake. The track sums up everything great about Eat Hate Regurgitate and the Mannequin Death Squad sound in its four minutes plus and why so many are becoming rather excited about the twosome.

Eat Hate Regurgitate is released October 21st via Integrity Records.

https://www.facebook.com/mannequindeathsquad/   https://twitter.com/MannequinDsquad

Pete RingMaster 19/10/2016

Copyright RingMaster: MyFreeCopyright