Bloody Knives – I Will Cut Your Heart Out For This

BK_RingMasterReview

The tone of its title, I Will Cut Your Heart Out For This, pretty much sets you up for the emotional trespass and sonic attitude of the new album from Texan trio Bloody Knives. It is a dark invasive suggestion echoed throughout the eight tracks’ scarred nihilistic hearts and a sound which crawls over and smothers the senses. Equally, it comes fuelled by melancholy thicker than Victorian London fog which at times is just as oppressive and invasively enveloping as the caustically natured sounds and as compelling as the raw beauty also invading ear and imagination.

Consisting of Preston Maddox (bass, voice, keyboards, samples, programming), Jake McCown (drums, noise, programming, art), and Jack O’Hara Harris (guitars, noise), Bloody Knives creates soundscapes which immerses the imagination in the darkest corners of life and emotion, into the harshest shadows within fiercest betrayals and deeds. Trying to accurately pin down their sound, lyrically and emotionally, is like trying to grab air, music and album simply a dense kaleidoscope of flavours and thought grasping dramas. The trio certainly find the coldest and rawest aspects of styles like dream pop, shoegaze, and psych pop to weave into intoxicating tempests also shaped by essences of post punk and industrially honed ethereal droning. It is a mesmeric and disturbing mix stealing attention instantly within the opener of the Maddox and Ian Rundell (Dead Space, Ghetto Ghouls, Xetas) recorded and Adam Stilson (New Canyons, Airiel, The March Violets) mixed and mastered I Will Cut Your Heart Out For This.

The album opens with Cystic, an instantly blistering nagging on the senses as guitars and keys sizzle venomously around the infectious stroll of the bass and Maddox’s morosely inviting and solemnly mellow vocals. Like a mix of My Bloody Valentine, The Jesus and Mary Chain, and Crispy Ambulance yet, as all tracks, something uniquely Bloody Knives, the song bites, grumbles, and entices with an inescapable virulence before it evolves into the following Blood Turns Cold. There is an even darker, almost desperation hued emotion and air to the second track, its character uncompromising and ravenous as icy melodies and melancholic vocals lace the transfixing drone of the encounter.

art_RingMasterReviewA bolder, antagonistic post punk undercurrent runs through the next up Reflection Lies, the bass leading those magnetic textures within another imagination sparking smog of sonic and melodic dissonance cast by guitar and synth, while Black Hole swings and rumbles with celestial and almost carnivorous washes of sound and emotion, each evolving and expanding in the ears with every passing minute. Both tracks majorly beguile and intimidate in varying ways and each ignites the senses, but the second of the two with its punk growl and techno flirtation within ravenous atmospheric explorations is especially irresistible.

Through the plaintive tone and sonic trespass of Static, where a great catchy Leitmotive like nagging emerges, and the dark, deranged almost funereal waltz of the instrumental —-, ears and thoughts continue to be potently challenged and eagerly involved whilst Poison Halo offers an even fiercer  wall of aural and emotional density. As ever the raw and suffocating hues of sound are expertly tempered by the coldly engaging delivery of Maddox and the often seemingly toxic melodies, the bass again sparking the contagiousness underpinning every song in one way or another.

Finishing with Buried Alive, a captivating assault of sonic and emotional discordance equipped with keenly edged scythes of guitars, psyche invading keys, and that ever successful rousing bass tenacity not forgetting the fiercely persuasive vocals, I Will Cut Your Heart Out For This is a thrilling confrontation and adventure. It takes the listener to new, invasive places in body and emotion yet rewards with spirit arousing challenges. With only the drums having their bite dulled by the swamp of sound around them as a minute niggle, I Will Cut Your Heart Out For This is simply one easy recommendation.

I Will Cut Your Heart Out For This is out now via Saint Marie Records @ https://saintmarierecords.bandcamp.com/album/i-will-cut-your-heart-out-for-this available digitally and on Vinyl limited to 500 (200 Black and 300 Ox blood / Electric Blue)

https://www.facebook.com/thebloodyknives

Pete Ringmaster 16/05/2016

Copyright RingMaster: MyFreeCopyright

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Cute Cute Death – Vessels

Cute Cute Death Promo Shot_RingMasterReview

With a name which certainly sparks intrigue, Cute Cute Death back it up with a sound just as attention grabbing and now an album which climbs over the senses, trespasses their boundaries, and leaves fierce satisfaction in its wake. Vessels though is a slightly curious affair for personal tastes, an album which for its first third certainly pleases yet without sparking much more whilst its remainder is a different type of protagonist sparking real excitement about itself and the band’s future.

The seeds of Cute Cute Death began in 2008 when drummer Wayne Kopman and guitarist Johnny Correia relocated from their home city of Johannesburg, South Africa to the UK. Settling in London, the pair met and subsequently linked up with vocalist Niko Forster. After a few line-up changes, guitarist Ricky Gurung and bassist Robert Pipe were enlisted, at which point the band properly emerged, initially under the name Set The Air On Fire. They were soon lighting up stages with their American Metal/hardcore influenced post hardcore endeavours, taking to their growing sound inspirations from the likes of Lower Definition, Alexisonfire, Gallows, Finch, Refused, Deftones, and Glass Jaw, who especially come to mind at times listening to Vessels. The subsequent time since starting has seen the band play across the UK with bands such as Broadway, Atlantis, Flood of Red, They Say Fall, Confessions of a Traitor, and Rival State, all the time adding to their potent reputation which is now pushed again by their debut album.

Produced by Joseph Grouse with Justin Hill (Sikth) mixing, mastering, and co-producing, Vessels opens up with its title track; a song needing little time to get a firm hand on ears and attention. The guitar prowess of Correia and Gurung quickly casts a web of enterprise that lures the imagination, their sonic touch soon wrapping the impressive clean tones of Forster. Straightaway he impresses, increasingly so as his delivery springs rawer, dirtier, and grouchier roars to equally fine success. As the rhythms rumble and prowl the resourceful landscape of the song, there is no escaping the lure and vibrancy of the encounter yet, and we emphasize for personal ears and tastes, it never quite taps into something which really stirs up the passions.

Cute Cute Death Cover Artwork_RingMasterReviewAll the same it is a powerful and dramatic start to Vessels continued by the Sikth meets Incubus personality of Alarm. Once again, the guitars dance with invention and craft as rhythms crowd the senses with their hungry shadows, all colluding to burn fiercely around the equally inflamed and rousing tones of Forster. The track enjoyably blisters on the ear before seamlessly evolving into the rawer antipathy of Pockets. Sonic tendrils and band shouts bring fresh drama to the album whilst the bass of Pipe borders on predatory as it robustly swings through the web of unpredictable and intoxication grooves and scything hooks. There is something extra about the track, if indefinable, which its predecessors lacked, an essence which and hints at the adventure waiting to escape the album further on.

Red Lights makes a calmer entrance next, though walls of bruising rhythms led by the tenacious swings of Kopman amidst intimidating riffs are soon descending on the senses before the song grows into another skilled and magnetic blend of contrasting textures and intensity, as ever echoed in the vocal enterprise of Forster. From its success the brief instrumental of Interlude looms upon ears with electronic suggestiveness on board, it drawing the listener into the awaiting revelry of DMT. It is from here that Vessels suddenly triggers a lustier reaction, though again it is hard to say exactly why, the major differences between the qualities and invention of songs before and after the melodic break not an open reason. With persistently twisting grooves and unpredictable rhythms aligned to writhing tendrils of sonic imagination adding to its temptation, there is no denying that the song simply enthrals and sparks a new breed of pleasure.

There is certainly greater diversity across the songs from hereon in on the album, starting with the warm caress of Statues. The song is an emotive melodic hug and vocal croon with the guitars spellbinding and Forster bordering on majestic with his again wonderfully varied tones. Taking best song honours, the track almost alone tells you all you need to know about the potential and already established invention of Cute Cute Death and that is without sharing any invasive trespass, which they have already proven to be equally adept at.

Leave This City follows and quickly holds courts as its web of spidery grooves and melodic acidity lies magnetically upon the rapier like thrusts of Kopman and another darkly juicy bassline from Pipe. There is a theatre to the hooks and the lively invention which grips the imagination as forcibly as the song’s underlying rhythmic rumble and fiery catchiness takes the body. It is an almost imposingly persuasive proposal matched by that of the enjoyably volatile and often irritable Glass Eyes and eclipsed by the closing might of Dinosaur. The final track is a tempest of anthemic hardcore, rebellious punk rock, and psyche infesting noise rock persistently involved with progressive and melodic ingenuity. The song is rebel rousing, a spirit igniting finale to the album offering a creative call to arms for the impressive invention and presence of Cut Cute Death.

Vessels is an excellent first full-length from the band; one which, even with that odd impact initially, left us thrilled and eager to recommend all fans check out what is a fresh breath in the post and hardcore scene.

Vessels is out now through all outlets on Friday 13th May.

http://www.cutecutedeath.com   https://www.facebook.com/cutecutedeath/     https://twitter.com/cutecutedeath

Pete RingMaster 13/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Amaryllis – Nova Initium

Pic Joe Brady Photography

Pic Joe Brady Photography

There is an honesty to the Amaryllis sound, a raw pureness in heart and feel which is as magnetic as the music cast by the British band. The alternative/pop rock quartet comes from London and has already awoken keen interest with a pair of previous EPs; now it is debut album Nova Initium doing the asking of attention as the band’s most resourceful and imaginatively crafted proposition yet.

Formed in late 2012, Amaryllis was a potent live proposal by the following year, backing up on stage and more the promise found in the band’s self-titled debut EP of 2013. It was a release which clocked over 10,000 downloads and 25,000 plays/views. Since then the quartet of vocalist Sante Moonie, guitarist Alex Whiteford, bassist Stewart Whiteford, and drummer Michael Mann have expanded their sound as first hinted at in their 2014 second EP, Revolt, and earned an increasing reputation for a live presence taking in shows with the likes of Elliot Minor, The Dirty Youth, Boy Jumps Ship and more over time. Nova Initium now reveals itself a clear step up on those previous strong successes; in songwriting, sound, and impact whilst still suggesting there is potential of even bigger and bolder as well as increasingly unique things to come.

The album opens with new single Thorn and straightaway an air of drama lines the initial keen strokes of guitar and the darker scythes of the same which soon arise around then with meaty rhythms in tow. In no time those early spark on ears become a rousing stroll with enticing band calls deep within the catchy roar of sound. Things settle down a little as the emotive tones of Moonie join the tempting, her voice as emotionally honest as the sounds fuelling the character of the album and in many ways their lead. There is also an instinctive snarl to her delivery echoing the rawer energy and attitude of the song; every aspect uniting for a potent and highly enjoyable not forgetting memorable start to Nova Initium.

amarcover_RingMasterReviewHold On steps up next, matching its predecessor in tone and intensity as well as organic drama. Riffs and hooks collude to quickly create an ear catching canvas through which the bass prowls and beats land upon with intimidating intent. Again there is an infectiousness which is pop bred but more so a beefiness which unmistakably announces Amaryllis firmly as a hungry rock band. With some great imaginative hooks and unpredictable twists, the song simply builds on the success of the opener before making way for All We Have, a slightly lighter affair with its own depth of emotive reflection and ear pleasing enterprise. Moonie again only impresses, especially when she brings a bolder roar to her delivery, whilst the Whiteford’s guitar and bass enterprise show great invention in uniting calm and explosive contrasts and textures.

Bounding along with emotive and energetic liveliness, Basement has attention and appetite for the release firmly held, if without quite leaping through ears with the same immediate potency as those before it. With an infectious swing led by the vocals of Moonie and band, it is not too long before the song has convinced and involved feet and voice though, with the atmospheric Nova following to tantalise and reinforce the album’s capture of the imagination. There is a great theatre to its brief presence; a shortness suggesting it is more a lead into its successor Initium than a standalone proposal which in a way is a shame because the piece really grips attention with its provocative tone and craft and feels like unfinished business by the time it drifts away. It is a missed opportunity maybe, though Initium provides its own tapestry of invention and adventure to quickly lure all attention its way.

The groove infested rock ‘n’ roll of Drown hits the spot straight after, the track a heavier rumble with certain grouchiness to riffs and rhythms; they contrasted by the warm harmonies and melodies crowding round Moonie’s engaging voice. Emerging as one of the bigger favourites within the album, it departs for the accomplished balladry of Rain which brings Nova Initium to an increasingly mesmeric close.

Across Nova Initium, Amaryllis reveals their most expansive canvas of variety and imagination yet. It might lack that final explosive spark at times, the last element to ensure that the release explodes on the ear but there is no escaping that it is also an encounter which announces the band as something different and exciting, with as suggested earlier, the promise of even more impressive things to come.

Nova Initium is out now @ https://amaryllisuk.bandcamp.com/album/nova-initium and http://amaryllis.bigcartel.com

Upcoming Live Dates:

May

20th – B2, Norwich

21st – Scruffy Murphys, Birmingham

22nd – Leeds, Milo Bar

June

4th – Camden Rocks Festival

https://www.facebook.com/AmaryllisUK   https://twitter.com/amaryllisuk

Pete RingMaster 13/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Devildriver – Trust No One

pic by ben hoffmann

pic by ben hoffmann

There is no mistaking Trust No One as a Devildriver incitement. From the recognisable throat scarring vocals squalls of Dez Fafara to the anthemic rhythmic antagonism of bassist Diego Ibarra and drummer Austin D’Amond, through the grooved and sonically caustic imagination of guitarists Mike Spreitzer and Neal Tiemann to the pure carnivorous roar of the groove metaller’s sound, the Californian’s seventh album is familiar Devildriver animosity. Yet there is something different to the beast; its body slimmer, almost stripped back to the core elements of the band’s sound whilst its contagion of venomous grooves has become even more creatively vocal and more virulently compelling. Whether Trust No One in this state is the band’s best proposal to date is under debate but it is fair to say that the album might just be the most physically and emotionally enjoyable encounter with Devildriver yet.

Linking up with producer Mark Lewis again at the Audio Hammer Studios, Devildriver show their intent from the first seconds of opener Testimony Of Truth, the want to savage the senses with hellacious rock ‘n’ roll. An inviting groove winds around the initial hefty jabs of D’Amond first with already the climate of the song a fiery challenge which only imposes further as the song evolves and Fafara’s raw tones further fire up the spirit of the song. It is prime Devildriver incitement but already devilish designs of melody and grooving is gripping the imagination, bringing individual character to each twist and turn here and in due course, to each subsequent proposal within Trust No One.

The thick and potent start is quickly surpassed by the barbarous exploits of Bad Deeds. The torrential assault of the invasive beats and the ear accosting rapping nature of the vocals aligns perfectly with a sultry melodic weave spun by the guitars within their own corrosive tide of predacious riffs. It is gripping stuff, irresistible hostility fuelled by a drama and imagination individual to that of the band’s previous outings. The track’s impressive success is soon matched by that of the even more grievous My Night Sky, though its own animus of emotion and intensity is tempered by the equally potent magnetism colouring the web of sonic invention and suggestiveness.

Devildriver_CMYK_RingMasterReviewThree tracks in and already the senses are numbing and energies breathless such the force and creative weight of the tempests. No respite is given though as This Deception, from a waspish coaxing round melancholic keys, tears into the listener with nostrils flared over a rabid rhythmically jagged ire spewing jaw and in turn, Above It All crawls all over the senses and into the psyche with what can be best described as a swarming surge of ravenous belligerence and aural irritability. Both tracks are not short on their own array of expectations defusing and imagination sparking essences either, the first through seductively flirtatious grooves and the latter with exotically hued strings and melodies which entice and bewitch even within the raging storm of the outstanding ravishment.

Daybreak spins some bluesy grooves into its maelstrom next, they colluding with addictively heavier cousins as riffs and vocals unite for some savaging with the backing of infectiously mercurial rhythms. Spreitzer and Tiemann simply shine throughout Trust No One, here especially as they conjure a landscape as unpredictable and fascinating as it is blistering, while in the album’s title track, they help shape a tempest as sonically elegant as it is uncomfortably threatening.

Arguably the nastiest and most uncomfortable track on the release is Feeling Ungodly, though it too is unafraid to spring some of the catchiest grooves and hooks across the whole of Trust No One while devouring the senses in body and emotion. Again, it is hard not to be swept up by the spiteful air and invasively infectious nature of the excellent track before Retribution grows from a melodically alluring proposal into one which nags and growls like a rabid dog infested with the inescapable irritancy of niggly grooves and the biting incessancy of beats and riffs. It is an irresistible incursion followed with equal ferocity and compelling adventure by For What Its Worth and an adversarial and merciless sonic malefaction which might not quite live up to many of its predecessors but leaves only a craving for more.

As we said at the start, whether Trust No One is Devildriver’s final hour we cannot say yet, even after a dozen listens, but it is hard to remember many encounters with them bringing as much raw enjoyment and the same kind of urge to go straight back into the turbulence as their new album.

Trust No One is out now via Napalm Records on CD @ http://devildrivertrustnoone.com/  and digitally @ https://itunes.apple.com/gb/album/trust-no-one/id1091651702?app=music&ign-mpt=uo%3D4

http://www.devildriver.com/   https://www.facebook.com/devildriver

Pete Ringmaster 13/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Peekaboo Primate – Misanthropical

PP_RingMasterReview

Bedlam suggests an element of chaos to its madness, an uncontrolled essence which certainly does not fit the character of Misanthropical, the new album from Finnish alternative metallers Peekaboo Primate. Yet in every other way the word best describes the creative diversity and inventive loco of the band’s irresistible incitement. The release holds ten tracks which twist and turn like a kinetically sonic kaleidoscope weaving an eclectic array of flavours into their own distinct imagination fuelled escapades.

Peekaboo Primate is like the joker in the pack of modern metal; not the fool playing with a lunatic demeanour just for attention, though mischief is never far from their imagination and songs, but the bold protagonist using unpredictable exploits to ignite the senses and inspire thoughts towards, in the case of Misanthropical, a world where “as ugly, brutal and harsh but sometimes also beautiful as it is – everybody wants to be part of the greatest party of our time before our species go extinct solely by our own hand.

Hailing from Tampere, and originally under the name of Airhead, Peekaboo Primate was formed in 2004 by vocalist Lauri Lepokorpi and drummer Riku Airisto. The original line-up also included Hannu Kumpula and Tuomas Kumpula up to the release of the band debut album Peek-a-boo Primates in 2011. Following its release, the band changed its name to Peekaboo Primate with its personnel subsequently completed by the addition of guitarist Matti Auerkallio and bassist Juhani Rytkönen.

The time between albums has seen the band’s sound evolve and become even more defined in its real uniqueness, though if looking for a hint to what band and Misanthropical offer, imagine a mix of Dog Fashion Disco, American Head Charge, and Five Star Prison Cell with a touch of 6:33 to it. From its first heartbeat the album has ears and attention gripped; Spray Tan opening things up with an assault of tenaciously unpredictable rhythms and hungry riffs as wiry grooves wind around their thick bait. The vocals of Lepokorpi are just as dynamic and impressive, carrying an air of Chad Gray to their rousing presence at times as keys and guitars create a masterfully tempestuous and exotically dramatic theatre of sound

PP_Cover_RingMasterReviewIt is a thumping start matched in quality and irresistibility by the psychotically cultured Ha Ha. Sonic and rhythmic stabs court vocal shenanigans from the start with heftier beats soon adding their instable intent to the quickly compelling mix. Slithers of jazz and groove metal flirt with avant-garde psychosis as the track grows and writhes as well as anthemically incites in equal measure before allowing Nothing the opportunity to prey on an already submissive appetite and imagination for the release. The song saunters along with flirtatious and intimidating hues to the fore, Lepokorpi like the ringleader in its midst as his narrative challenges and highlights the issues theming the magnetic proposal.

From its initial intriguing low key start, The Unleashed soon unveils a pulsating and sinister body of synth bred sound as exotic and sultry hues in female voice and melodic suggestiveness add an alluring invitation. The challenging words of Lepokorpi probe and echo in the background before with unpredictability as enjoyable and prominent as ever, the track slips into a reggae cultured shade of character, though it is just one moment in the revolving journey of the encounter.

An addictive dose of pop ‘n’ roll grips next in the outstanding shape of Heroine, its catchy colour led by the great guest vocals of Noora Louhimo from Battle Beast. The rest of the song is a predacious prowl with the again effect coated tones of Lepokorpi stirring up riffs and rhythms between the flames of pop temptation. Within moments, it is sure to have bodies bouncing and voices fully involved, as ours, before Mama Earth rumbles as sonic spices zoom in and out across its growling tone and nature; that American Head Charge reference coming to the fore here, across a wonderfully grouchy yet fiercely inviting proposition.

As its predecessor, Star has a more ‘straight forward’ adventure to its body, though as the last treat too, there are plenty of unexpected and seamlessly woven together twists to catch out expectations and enthral the imagination, especially when uncaging some creative aberration midway. It’s more composed sanity and boldness is contrasted by the delicious raw frenzy of Peekaboo Primate, the track a demented slice of noise rock infested avant-garde/nu metal mania and quite irresistible as it stalks and bruises the senses.

Some of its punkiness survives in the cantankerous luring of ears by Follow My Lead, though the song is unafraid to bring some pop seeded melody and contagion into its imposing metal shuffle between even more irritable and aggressive trespasses.

Ending with the melodic caress of 291112, an emotively suggestive instrumental which fits easier into the scheme of the album with each full listen, Misanthropical is ripe pickings for the imagination and enjoyment. It offers a canvas and adventure which persistently provides fresh twists and surprises even after numerous listens. We will admit, we had not heard of Peekaboo Primate previously, a band which right now it is hard with their music to get out of our heads.

Misanthropical is released on CD and digitally May 12th via Inverse Records.

http://www.peekabooprimate.com/   https://www.facebook.com/peekabooprimate  https://twitter.com/peekabooprimate

Pete RingMaster 12/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

The Pulsebeats – Fiction Non-Fiction

The Pulsebeats_RingMasterReview

Every two years or so we seem to get a new stomping encounter with The Pulsebeats; a regular occurrence, certainly over the past four years, providing so far highly memorable and rousing adventures. Nothing has changed with new album Fiction Non-Fiction either, a riotous ten track affair which has the body and spirit leaping with the band’s distinct fusion of garage and punk rock with power pop contagion.

Formed in 2010 by a quartet of musicians from Manchester and Santander in Spain, The Pulsebeats soon had an increasing flock of fans bouncing live and with their self-titled debut album of 2011. A raw but captivating romp, it awoke a new wave of attention and media interest which was further stirred up by the band’s three track 7” single Don’t Turn Your Fucking Back On Me two years later. That release immediately revealed a new imagination and diversity in the band’s songwriting and sound which has now been taken to yet another plateau with Fiction Non-Fiction. Released a couple of weeks ago by FOLC Records and Action Weekend Records, the recording of The Pulsebeats’ new roar of energetic fun saw the band return to Santander’s Drive Division Studio with Alex Pis handling production. What emerged was a collection of songs eager to reveal the band at its most musically adventurous and indeed creatively tenacious yet.

What Can I Do? is the first slice of engaging incitement on the album; a welcome instantly wrapping ears in jangly guitar and crisp beats. The distinctive British tones of Nathan are soon adding to the already potent lure of the song, his and fellow guitarist, Luis’ riffs and hooks surrounding his tones with matching zeal and expression The track is a tidy slice of power pop mixed with sixties spiced R&B, a warm an catchy start soon eclipsed by Dead School Marching Band. New wave like guitar insurgency rubs the senses first; their almost duelling bait soon accompanied by the swinging rhythms of drummer Ral and the almost haughty bassline of Alex. In no time, the outstanding song has feet and hips bound in its virulence whilst a Who/early Jam hue blossoms to ignite the imagination. It is also an inventively busy proposal, vocal growls and writhing harmonies colluding with spiky hooks and tangy grooves to add to its ear gripping devilry.

Cover_RingMasterReviewThe punk ‘n’ roll of Eyes On You leaps straight from the closing breath of its predecessor, the track a glorious old school incitement with a touch of early Buzzcocks meets The Freshies to it; indeed Nathan adding a Howard Devoto like toning to his raw vocal persuasion. Like the previous track, it quickly and easily has body and passions involved while showing more of the variety in sound shaping Fiction Non-Fiction.

The following All I Give also has some of that nostalgic spicing to certainly its acidic hooks and uncluttered body, bringing a lighter infection of pop ‘n’ roll for its magnetic chorus, while Carrie-Anne is a less forceful proposal creating a flirtatious smoulder with sultry surf like melodies within a power pop/new wave hug with just a touch of The Only Ones to it. Both songs easily command undiluted interest and an increasingly greedier appetite for the album, if without quite matching up to the major heights of those before them and the thumping garage rock ‘n’ roll of Baby Girl. The anthemic punches of beats alone have limbs involved, vocals and riffs taking care of the rest of quickly seduced attention.

The mischievous nature of the band in word and sound is never far from the surface of the album and especially dynamic and irresistible in The Man Without A Head. The stomping slice of rock ‘n’ roll is an epidemic of sonic contagion with a host of additional strands drawn from blues, vintage R&B, and pop punk. Many tracks have a claim for best track honours within Fiction Non-Fiction, this one of the most vocal though so too is its successor, the resourcefully infectious and melodically lusty September Calendar Girl.

To be honest most tracks create an unforgettable peak within the lofty stature of the album, the glorious Everybody Wants Some intoxicating punk rock revelry almost aflame with raw energy and attitude to match earlier heights. It offers an uncomplicated two and a half minutes of breath-taking and seriously addictive rock ‘n roll which just ignites body and soul.

Completed by the even briefer punk riot of The Ballad Of Medicine Stu, again a track impossible not to get fully involved in, Fiction Non-Fiction is the kind of release you turn to for pure fun, knowing it will not disappoint in sound, adventure, or attitude. As for The Pulsebeats, they just get better and better, which means so do their records which Fiction Non-Fiction can testify.

Fiction Non-Fiction is available now on CD and download through Folc Records/Action Weekend Records and @ https://thepulsebeats.bandcamp.com/album/fiction-non-fiction

https://www.facebook.com/The-Pulsebeats-378049614144

Pete Ringmaster 11/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.co

Bootlegs – Ekki fyrir viðkvæma

Bootlegs_RingMasterReview

With the band recently inking a worldwide management deal with GlobMetal Promotions, we thought a look at Bootlegs’ recent album, Ekki fyrir viðkvæma, was in order.  Formed in 1986 and soon becoming one of the bigger names in Icelandic metal history over the next five years or so, Bootlegs released two highly praised albums in that period before disbanding in 1991. Since then the band has come and gone through a couple of brief comebacks before returning more permanently in 2012. Released last year, Ekki fyrir viðkvæma is the Reykjavik quartet’s latest incitement of raw and ferocious thrash metal, a release metal fans will not want to be missing out on.

WC Monster and their self-titled second album, released 1989 and 1990 respectively, certainly pushed Bootlegs from national success towards recognition upon the broader metal map as too appearances on compilation albums over the next couple of years and a live presence which saw the band break into the likes of Denmark. After coming to an end, the band did come back together for a big reunion concert which was recorded and subsequently released as a live album a few years later in 2006. Before its release though, Bootlegs were already active again, returning in 2004 for a two to three year presence.  Then in 2010, they arose again with original members back; the fresh return followed by releases of the band’s first two albums in 2014 via Minotauro Records. Last year saw Bootlegs enter the studio for their first recordings in over two decades, and emerging with the rather impressive and rousing Ekki fyrir viðkvæma.

With the vocal roars of guitarists Jón ‘Junior’ Símonarsson and Jón Örn ‘Nonni ‘ Sigurðsson to the fore and its energy and intensity driven by the rhythmic predation of bassist Ingimundur ‘Elli’ Ellert Þorkellsson and drummer Kristján ‘Stjuni’ Ásvaldsson, album and sound is old school, thrash in its irritable prime. It is unafraid to offer some punk attitude too, at times songs breaching a Suicidal Tendencies like punkiness, but for the main and in its individual style, Ekki Fyrir Viðkvæma is the perfect fit for tastes bred on the likes of Voivod, Exodus, Metallica, Slayer, and Subhumans.

Front_RingMasterReviewFrom the hungrily abrasive and riotous punk ‘n’ roll of Gervigleði er ógleði, the album has ears and appetite in league with its ferocious intent. It is a great opener quickly matched in success and persuasion by the thrash prowl of Fullur á Facebook. Grooves and hooks collude with rapier like swings from Stjuni in the second song, luring in the listener before uncaging a ravenous assault and devilment reminding of the crossover thrash sounds of the previously mentioned California hailing band.

As the likes of the senses nagging KúkurPissOgÆl and the glorious exploits of Bootlegs fyrir börnin come and go, it is fair to say that major surprises are few yet fierce temptation and unbridled enjoyment unmistakable and inescapable. Within the second of the two, there is also something very familiar about certain melodies and flavoursome hooks yet all escape comparison to anyone in particular as the track steals ears and passions with ease. There is an occasional sense of early Stam1na, passing essences fleetingly bringing the Finnish band to mind as the track provides the first major pinnacle within the album.

Tribute to Thrash is one of the few English sung tracks and more than lives up to its title, swinging along with a snarl and swagger while being as multi-flavoured as its predecessor. With some great guitar interplay involved it is followed by Eitur naðra which explores a darker and heavier canvas of textures and character as sonic flames vein its intimidating posture and tone. The track is just one more highly memorable proposal, whether stalking the listener or in a rampage of niggling riffs and the snakiest of toxic grooves, and swiftly irresistible as too the in the face predation and roar of the excellent Gjallarhorn.

By this point it is fair to say that Ekki fyrir viðkvæma had us hooked, sharing physical and vocal, where we could language wise, involvement with instinctive eagerness. The pair of Fórnarlamb tískunnar and Kjörkassasvín only add to the album’s temptation and uncompromising thrills; both tracks providing an immediate and merciless trespass as anthemic as they are grouchy. They are highly addictive proposals carrying an array of imagination pleasing twists and turns backed by the band’s individual craft; the latter especially intriguing and devilish in shape and resources.

Making less of a dramatic and lingering impression is Poser though fair to say that its antagonistic attack leaves only satisfaction in its wake before Haleluja adds its own creative incitement and SOD III uncages the album’s shortest and most hostile offering yet. Again both leave pleasure full without matching earlier triumphs with the closing Ó Reykjavík providing a final spirit arousing galvanic punk ‘n’ roll stomp to greedily devour.

It is a great end to an excellent release. Ekki fyrir viðkvæma might not be the best thrash album you will have heard this past year or so, though it is in with a real shout, but it is undoubtedly on the frontline of the most enjoyable and ridiculously easy to return to propositions you will come across.

Ekki fyrir viðkvæma is available @ https://bootlegsthrash.bandcamp.com/releases

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Pete RingMaster 11/05/2016

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