The Great Game – Self Titled

band 3

It is a kaleidoscope of diverse sounds, a maze of unpredictable twists, and a tapestry of imagination bred adventure, but most of all, the self-titled album from The Great Game, is one captivating joy. Consisting of thirteen fascinating and invigorating celebrations of world bred sounds, the release is a delicious creative devilry which at times has the passions sighing in lustful pleasure and always has ears and imagination engrossed.

The band is the creation of Belgian composer and classical guitarist Mounzer Sarraf, and a union of musicians from across Europe, the Middle East, as well as North and South America. The band’s songs draw on the background and musical influences of each band member, entwining it all into exploits which defy precise description whilst creating aural travelogues which again embrace a myriad of flavours and styles in each individual creative emprise. Created from May 2014, when the full band came together for the first time, they make up one fun and mouth-watering introduction to The Great Game. Now released as a free download to “give as many people as possible the chance to get to know the music”, the band’s album is a fascinating and thrilling entrance by The Great Game.

The album opens with Science, and instantly has attention in its grasp with its opening electro like dance. It is a keen enticement which continues to coax ears as a warm caress of brass and the magnetic lure of rhythms unite with the instantly likeable tones of vocalist David Hastings. Its straight forward start is soon showing signs of unpredictability, warped essences teases in the background of Sarraf’s guitar enterprise and the continuing lively shimmer of Paul Chamberlain’s accordion which set it all off. Evolving through a blend of funk, jazz, and worldly sounds, to name just three of the textures, the song forcibly bewitches before making way for the rawer rock of Religionism. Crisp jabs from drummer Bruno Meeus and an understated but vocal bassline from the strings of Manuel Saez Canton shadow the scuzzier touch of Sarraf’s guitar. It is a tempting start if lacking the spark of its predecessor, but takes little time in welcoming flames of sax from Martin Fell and an animated stride into an emerging gypsy punk like proposal. Melodies and vocal causticity combine as a mellower rock croon also breaks out, it all again combining for a fluid and intriguing, not forgetting enjoyable encounter.

The Turning Of The Wheel Of Dhamma steps up next, its jazzy swing and rhythms a new twist in the album’s scenery. Vocally there is an intoxicated lilt whilst the guest trombone of César CD CoverRalleyguieb and trumpet of Jimi Garcia croon with melancholic expression within a smoky atmosphere. That sombreness is a deceit though, a creative smile and brass vivacity wrapping its charm around ears with an almost mischievous glint in their melodic eye. It is a bewitching offering, if one not quite holding its grip in the livelier finale, and matched by the folkish embrace of Television straight after. Featuring the lead vocals of Inbal Rosenblat, the entrancing song moves from a gentle sway into an energetic shuffle, ignited further by great and slightly psychotic backing vocals.

Another peak is hit with Bipolaroid next, the track initially a grunge seeded proposition bringing a feel of Tool to ears, which suddenly drifts into a second long quiet before returning with a psychotic look on its creative invention. It still roars with that grizzly rock breath and attitude but is soon discovering an agitation in its rhythms and a bedlamic character to its devilry, especially in the guitars and Fell’s blazing sax calls. Thoughts of French band Toumaï spring to mind at this point, the track an ingenious web of slightly disturbed twists and that fiery rock roar, vocally and musically.

Calm returns with the sultry Elhechizo De Hoy next, a kiss of Parisian charm blessed by the returning mesmeric vocals of Rosenblat alongside the more dour but as alluring tones of Hastings. Its endearing melodic flame brings a smile to ears and emotions whilst the fuzzier Poetry in Motion sparks another slither of greed in the appetite with its fusion of funk, reggae, and progressive pop. Featuring the also captivating voice of Medina Whiteman, the track dances with body and emotions, offering a flavoursome seventies tang to its appealing vivacity. Both songs are like melodic magnets and matched by the Eastern European spun revelry that is Hungarian Dream. Carrying a whisper of Les Négresses Vertes to its spicy melodies and especially its robust gypsy swing, the song transfixes ears and imagination whilst setting down another major moment in an already thrilling album.

There is that glimmer of real mischief in Pax Romana which sidles in next, guitar and bass a restrained devilment against the more solemn vocals. An essence of Yello also tints the swiftly riveting encounter though as the brass gently but vocally spread their heated expression, they spark a fiercer yet still controlled rock ‘n’ roll tenacity in the track’s heart. It like so many simply grips attention and emotions, though soon shaded a little by the sensational And The Blind Man Lead The Way. It opens with a reggae honed enticement, a UB40 like tempting, before digging into a fierce and raw rock sculpted bellow. It is the discord which flirts with vocals and hooks which steals the passions though, its angst fuelled derangement and the aligning raging, twisting a strong song into an inescapable favourite.

The enjoyable melodic and harmonic croon of Elemental Raven Storm comes next, another smouldering landscape of reflective melodies and brass colour over a bracing and unpredictable canvas of rhythms and enterprise. With a seriously compelling vocal climax, the track departs for Slave Magic, an enthralling mix of rock and blues colours. It might not quite light the flames as previous songs but burns away with craft and enticing endeavour to ensure ears and thoughts are fully satisfied.

Final track is The Great Game. Listed as a bonus CD track on our promo but included on the download version too, the closing is a solid shuffle of melodic and vocal invention combined with a jazzy pop crooning. It can be described as The Tom Tom Club meets Spandau Ballet in some ways, and again offers a pleasing companionship though not quite on the par with anything before it. Nevertheless it is a good end to a great release from a band already facing an eagerness to hear more from.

The Great Game has a sound with something for everyone, though arguably that might also be a hindrance in their appeal for some who want more stable offerings. Safe to say though that this is a band we will welcomingly be hearing a lot more of and easy to suspect with increasing clamours of acclaim and eagerness.

The Great Game is available now on CD and as a free download from http://www.the-great-game.com/

https://www.facebook.com/pages/The-Great-Game/255555954610404

RingMaster 17/03/2-15

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

 

 

Zoner – Euharmonic Elevation

Cover

Here we have an album which if in the mind to, you could pick at and suggest a few deficiencies but there is no escaping it is also one compelling and enjoyable proposition. The release in question is Euharmonic Elevation, the second album from rock/metal band Zoner. That is a simple description for a proposition with a sound which draws on a myriad of styles and flavours in its almost deranged invention. Release and band are a one of a kind, though each also draws on open inspirations which we will come to shortly. It all results in a collection of songs which hold few major surprises yet are one big and riveting surprise.

Zoner is the solo project of Antonis Demetriou, a musician and songwriter hailing from Nicosia, Cyprus. His music as mentioned is bred from a vast array of spices across numerous decades, and his band as described by Demetriou himself, “a rock/metal band with influences ranging from ‘ABBA to Zappa’ via all the VERY best in pop, rock, prog, punk, funk, disco, hard, heavy and thrash!” 2012 saw the release of debut album Spectraphonic Deviation, and now the artist returns with its successor, again a self-released, recorded, and produced offering, deserving of intrigued attention.

As opening track In the Name of Creativity establishes itself in ears, the first thing with captivates about the sound is its strange similarity to Bill Nelson, well his Red Noise guise certainly. Zoner is a more voracious and heavier proposition but from vocals to the sonic invention, there is a definite if coincidental feel of the ex-Be Bop Deluxe man to proceedings. The first track strides with muscular rhythms and stirring riffs from its initial sonic invitation, swiftly settling into a heavy rock and classic metal fusion. Vocally Demetriou is engaging and though he is arguably not a natural vocalist, any weaker moments are more than compensated by his inventive expression. The song itself continues on to explore new progressive and melodic textures, its technical intricacies as potent as the simplicity in which everything successfully fits together.

The enjoyable start is swiftly continued by the stronger lures of Hail Rock ‘n’ Roll, a rock ‘n’ pop romp living up to its title with hook laden riffs and an equally addictive bassline. Thumping beats only add to the contagious drama whilst the swing of the song forms the lead into a catchy chorus as flirtatious as the intrigue wrapped guitar work. Its finale of persistent title chants is irresistible and sets ears and imagination up nicely for the melodic elegance and croon of Patience of a Saint. A smouldering landscape of sonic enterprise, the song is an easily endearing encounter. The vocals are similarly mellow and it all makes for a partly mesmeric offering until it unlocks its heart of classic rock tenacity. It loses some of its grip from this point but still holds attention with unpredictable twists and keys sculpted tempting.

Politics of Modern Love steps in next and soon steals top honours on the album. The song makes a low key start, coaxing the listener gently before revealing a predatory prowl of riffs and dark toned vocals. It is a transfixing and thrilling turn, a post punk/ experimental adventure with a minimalistic air leading to a full blaze of striking imagination and creative exploration.

Both A Wasted Life and Are You the One keep ears and appetite satisfied, the first again bringing an eighties new wave/ post punk tempting to its theatrical hard rock canvas. As its predecessor, the track is riveting scenery of pungent sonic interplay and tenacious enterprise, an enthralling dance with recognisable flavours and expectations defeating invention. Its successor is equally unpredictable but does not have the same success with personal tastes. At times it is a stirring and invigorating exploit but in other moments, especially its start, leaves emotions flat. When it does hit the mark though, primarily when it unleashes its aggression, the song is a feisty enjoyment ending on a much loftier peak then where it started.

Early thoughts and expectations of The Sabbath Waltz arising from its name alone are soon confirmed by its muscular riffs and heavily landed rhythms. It is heavy metal with a sinister tang and melodic flaming, but again reaping spices from previous decade in its colourful web of sound and creative thought. Imposingly magnetic, the track crawls over senses and psyche, leaving another lingering lure easy to want to hear more of.

The closing Turning Point of No Return is an acoustic crafted ballad with Latin bred drama and character, another which misses our appetite but easy to see being a rich pleasure for others. It is a decent end to a release which keeps luring attention back its way. It has shortcomings; the production in certain areas shallow and not helping vocals at times but Demetriou himself has admitted that he is not really an engineer/producer but handles these tasks out of necessity. It cannot defuse the core quality, passion, and invention of the music and songs though. There are also other elements which at times you might wish for something different or for them to be tweaked but it is all relative to taste and again only increases the weight of the potential of the artist and sound, suggesting that given the chance to record with the right people and circumstances, Zoner might just have something very special lurking inside.

Euharmonic Elevation is available now on CD and across most digital stores.

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

RingMaster 17/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Finister – Suburbs of Mind

1888894_10152631497486669_2584340356410882998_o

The Italian rock and metal scene is ripe with striking emerging talent right now and proven by their new album, one of the most exciting of the impressive bunch of artists is Florence bred Finister. Debut full-length Suburbs of Mind is a ten track adventure of sound and imagination sculpted upon a progressive/psychedelic rock canvas and coloured with an array of diverse rock essences. It is an instantly captivating proposition with a collection of striking songs which just get more compelling and enjoyable with every listen. The band’s sound can be described as something like Muse meets The Horrors but there is plenty more to its body in flavour and originality which perpetually adds to the rich introduction of the band through their thoroughly impressive album.

Formed in 2009, Finister made a potent impression locally and within the Italian underground scene with a couple of EPs but it was their third release, the Nothing Is Real EP that they ignited stronger attention. It showed a new thrust and exploration in their sound, an evolving imagination and adventure with broader flavouring and imagination. It is a direction pushed into even greater psychedelic spiced landscapes through the progressively honed creative offering within Suburbs of Mind. Released via Red Cats Records, the album is a fascinating and immediate temptation for ears and thoughts from a band still young in years. Such its maturity in songwriting and sound though, and the impressive craft shaping it, it is impossible not to anticipate a big future for and from the band ahead.

The album opens with a wistful flame of sax against a sturdier stroking of guitar, both creating a melodic and sombre coaxing which easily enthrals ears before emerging jab of beats, a pungent dark bassline, and equally melancholic vocals. Within a few chords and seconds The Morning Star has the imagination lit, especially as it slowly expands and almost taunts the listener with its minimalistic but potent sonic tempting. The guitar and voice of Elia Rinaldi is soon holding reign over the evocative sounds which at times seem to be prowling his vocal delivery. It is a scene continually shifting and evolving though, the keys of Orlando Cialli, with his sax skills, as well as the rhythms of drummer Lorenzo Burgio providing an unpredictable and fluid stroll of adventure.

It is a strong start to the album, those Muse spices already adding enjoyable hues to the offering, but things are soon taken up a notch with the following Bite the Snake. Also the band’s new single, the track is a predatory bait of creatively agitated beats and sonic causticity aligned to a great grizzly bassline from Leonardo Brambilla. There is a primal essence to the encounter though one tempered by the mellower tones of Rinaldi and a melody rich caress of keys. Alternative rock, with an extra snarl of punk, the track lights ears and emotions instantly, but subsequently surpasses its early glories with an exotic dance of keys and sultry melodic enterprise which erupts from its contagious presence.

The Way (I Used to Know) breezes in on a melodic haze next; skittish rhythms providing a smiling additive to the opening and smouldering croon of the song. Guitars and sax soon add to 51QQyJUGhnL._SS280the sultriness of atmosphere and sound, embracing the senses whilst Rinaldi again shows endearing expression and potency in his voice and delivery. Addictive drama emerges to coat the track as it evolves; the sax of Cialli an especially inflammatory essence in the inventive theatre of the increasingly bewitching track.

Already three songs in and the diversity of sound and imagination in the album is striking and continued in the more volatile yet addictively mesmeric A Decadent Story. Feeling like it is going to explode in a muscular rage at any moment, the song instead seduces and sways with harmonic and melodic ingenuity as its progressive heart explores an almost chivalric psych fuelled canter. In brief glimpses a sense of Hawkwind makes a suggestive spice in the infectious proposition whilst its passage of pure peace midway is the appetiser to a rich Muse like ascent of voice and sound which leads to a gripping climatic finale.

Both the fiery and dramatic progressive croon of My Howl and the spellbinding Levity grip ears and attention next, the first from an understated but alluring start building to another tempestuous and enthralling confrontation with the cello of guest Lea Galasso a potent tinge to the exploration. Its successor is a glorious flight of intrigue and addictive drama. Opening with a scuzzy climate of guitar and keys it soon creates a web of sinister yet rigorously tempting hooks and melodies. They are noir lit, like moments of cinematic espionage within enticing sonic smog and accentuated by again expressive vocals and technical enterprise. The track is sheer temptation, creative intrigue for ears and imagination to immerse in and the latter to sculpt its own theatre for alongside the lyrical reflection of the song.

One of the major pinnacles of the release, it is contrasted in tone by the balladry of Oceans of Thrills but matched in appeal. The song is an engrossing melancholic yet warm embrace with shadows brought by the cello of Galasso and the bass of Brambilla entwined by the melodic poetry of Davide Dalpiaz’s violin courted by the keys and sax of Cialli. As all the tracks there is much more going on than first recognised, this song alone a maze of twists and imagination which increasingly enthrals and impresses over time.

Another exotic tempting is unveiled with The Key, the song a mix of psych pop and alternative endeavour kissed by a blues whisper and jazz bred ambience, though again that is only part of the colouring boldly seducing ears and emotions. The song is another hypnotic tantalising, maybe not as immediately persuasive as previous tracks but ultimately enslaving emotions and appetite for another big success.

Suburbs of Mind is brought to a close by firstly the classically charmed and melodically tempting Here the Sun, the keys of Cialli a play all on their own but a seamless fit in the accompanying drama of guitars and vocals. This again is a slower burner in thoughts but also with a seriously merciless persuasion before final song Everything Goes Back shimmers with psychedelic radiance and smoky atmospheres to bring the album to a turbulently enchanting close. With a flurry of dramatic and towards its end explosive textures, it is one final lingering ride into the full spectacle of the band’s sound and invention.

Suburbs of Mind is one of those unexpected treats and delights which startle from out of the blue, its creators announcing their presence on the largest stage in impressive style. As mentioned Finister is young in age but with a mature presence and craft which belies that. You can only feel there is more to come from and be discovered within themselves though, an excitement and anticipation for which is already ripening nicely here.

Suburbs of Mind is available from March 16th via Red Cat Records on CD and digitally @ http://www.amazon.co.uk/Suburbs-Mind-Finister/dp/B00UDB9WPK

https://www.facebook.com/finisterband

RingMaster 16/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

 

 

Kyshera – Circle

Kyshera 1

Not only did the release of Made In China, the second album from Welsh alternative rockers Kyshera, in 2012 ignite a lusty appetite and passion for the band’s sound and invention right here it also declared a coming of age of a band already stirring up the UK music scene. It was a stunning fusion of styles and intense flavours defying classification whilst sparking a fresh exploration of modern rock ‘n’ roll. It was a pinnacle which you could not complain if the band had merely continued to emulate its success with its successor. But this is Kyshera and they have pushed things on again with new album Circle. It is a release which in many ways has toned down the band’s ‘deranged’ inventive attack of sound this time around yet everything about it from songwriting, imagination, and again sheer diversity is a kaleidoscope of new maturity and irresistible enterprise.

Kyshera (pronounced K-eye-she-ra) consists of vocalist/guitarist James Kennedy, bassist Matt Warr, and drummer Glyn Bateman, the latter joining the band between Circle and its predecessor. Made In China was as mentioned a wake-up call for a new horde of fans and media interest towards the Cardiff trio, a tsunami of warped inventiveness and melodic ferocity which ignited ears and imagination with invention and ease. Circles does the same but with a less dramatic onslaught of startling wrong-footing moments, showing less incendiary twists of gait, time changes, and conflicting yet seamlessly entangling styles. This is not to say that it does not have moments of ingenious unpredictability though, just less dramatic and more smoothly infused ones. It would be fair to say that personally those mouth-watering moments of psychotic adventure are missed at times but replaced by explorations which simply catch the breath with their creative grandeur, the band again simply igniting the passions.

Circle is a concept album based around the tale of a “central character and the journey of his life in the modern age. His rise from the bottom to the top of our consumerist, celebrity culture only DIGIPAK WITH POCKET template INHOUSEto realise that in doing so, it came at the price of losing everything that was ‘real’ and on the last song, he dies alone.” The exploration of death, morality, celebrity, love, and consequence begins with opener Napoleon, a track which in its first breath is stirring up rigorous attention and involvement from ears and emotions. Rhythms pound with intensive hunger whilst a sonic mist brews around an early scrub of riffs. It is an initial coaxing which only intensifies as thick hooks and melodic enterprise colludes with the expressive tones of Kennedy and the throaty lures of Warr’s bass. Though subsequently relaxing a little, the song does not hang around and swiftly turns into an even spicier creative roar, returning to the more aggressive and voracious essences which it started with whilst spinning a web of diversely flavoured and inventively intriguing exploits. Groove metal and melodic rock merge with electro mischief and grungy tenacity as the track continues to grow and seduce with increasing imagination.

It is an imposingly impressive start matched immediately by the scintillating stomp of Behind These Lies. Weaving in mouth-watering nu metal revelry and quirkiness, the track strides and prowls ears, revolving through varied gaits and flavours to create a Korn meets Manic Street Preachers meets System Of A Down like devilry. The track is superb, an unrelenting temptation laying an addictive and rebellious bait of metal and heavy rock which is emulated through its own unique design by Demon straight after. The third song has a similar attitude and creative nature but an even rawer snarl and a stronger whiff of the just mentioned Welsh rockers to its captivating persuasion. The track is an inescapable anthem, vocally and musically a tenacious call to arms for senses and imagination with, as the previous songs, a very healthy twisted ingenuity in its otherwise direct and raucous rock ‘n’ roll.

     New single Gone steps up next, an inviting if unspectacular harmonic croon within a melodic bellow with a southern twang to its expression and acoustic elegance to its emotive touch. Personal tastes determine it is the full-blooded stomps which go down most riotously in tastes but there is no avoiding the increasing potency of the song and the fresh ideation emerging in the band’s new direction of sound. Its smouldering persuasion is followed by the pop rock bred The Wrong Size, a magnetic stroll swiftly involving the energy and voice of the listener , pleasingly setting them up for the outstanding Break This. Courting emotional and sonic shadows in its tempestuous web of emotive discord and musical intensity, the track blazes with rich grooves and sharp hooks, they in turn aligned to fuzzy electronics and turbulent rhythms. It is imposing and contagious, a master-class of dark and light in one furious yet inviting creative outpouring.

Endgame leaps at ears right after, no breath allowed to be swallowed as its invigorated dance of vocal and sonic bedlam bounds over the senses with vivacious appetite. It is a funk fest of pulsating basslines and swinging hooks, almost pop punk at times with leanings to electro rock in other enticing moments, and a constant revolving shuffle of diverse and unbridled rock ‘n’ roll.

The entrance of Coma next is spellbinding, simple vocal lures cast by Kennedy resonating in the psyche as they bask in the effects accentuating their coaxing. The song is soon providing a fiery and provocative mix of sonic and emotional turbulency with reflective and haunting balladry, its persuasion a transfixing and fascinating slice of songwriting and sound with simplicity as gripping as its fierce invention and claustrophobically atmospheric beauty. It is a creeping darkness contrasted by the fire like radiance and energy of Inertia which follows with its Manics meets Soundgarden like proposal. An early taster of the album as a single, the track provides a lingering pleasure matched by the more explosive but similarly melodically blazing Helen. Reminding of fellow Brits An Entire Legion, the song is a rugged and robust incitement unafraid to allow its rage and seduction to simultaneously embrace the listener.

The heavy funk romp of Full Circle strides in rigorously right after, offering a heavy rock swagger with punkish attitude as grooves and hooks enslave attention, though all is outshone by the mesmeric vocal and melodic smile of keys within the sturdy charge of the track. As you should assume here, and in all songs, there is much more going on though, heavy and classic rock a strong additional breeze and unpredictability permeating this particular impressive offering.

Circle comes to a close with acoustic ballad The End, a song which satisfies without leaving a deep mark but as a musical and lyrical epilogue to the premise of the album, ensures a potent closure. The album as a whole is simply outstanding, not a greater beast than Made In China but certainly a just as enthralling, and thrilling, unique continuation of the band’s masterful invention which in turn creates another unmissable proposition from one of the UK’s most exciting and inventive bands.

Circle is available from March 16th through Konic Records @ https://kyshera.bandcamp.com/album/circle

In April, the band embarks on their UK wide ‘Full Circle’ Tour, stopping at:

15th April – Cardiff, The Globe

16th April – Brighton, The Albert

17th April – Harlow, The Square

18th April – London, Underworld

21st April – Wolverhampton, Robin 2

23rd April – Nottingham, Rock City

24th April – Selby, The Riverside

25th April – Sheerness, The Ivy

16th May – Sheffield, The Mulberry

**Support comes from Gooding and The Broken Chords**

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

RingMaster 16/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

Treedeon – Lowest Level Reincarnation

Treedeon_Vinyl_test

Surely bred in the depths of hell, Lowest Level Reincarnation is the ultimate seduction. Like a Hieronymus Bosch painting, the new album from German noise abusers Treedeon is a visceral kaleidoscope of vibrant addictive aural colours and inescapable temptations within a landscape of sonic and emotional torment. It is bestial, it is carnally intimidating, and it is an all-consuming swamp of savage confrontation but most of all it is one exhilarating trespass of the senses.

Treedeon emerged in 2012 when vocalist/guitarist Arne Heesch and vocalist/bassist Yvonne Ducksworth linked up after the almost simultaneous demise of their respective bands Ulme and Jingo de Lunch. Initially Treedeon was an acoustic proposition and made its live debut at 2012’s South Of Mainstream festival filling in for the by now disbanded Ulme. At this point Christian “Boomer” Böhm linked up with the duo, pledging himself as “the missing link” as he offered to play drums in the band. As songs were written and created, leading to an early demo, there was no escaping the heavier voracious element fuelling their sound, fury audiences soon heard at events like the infamous Roadburn Festival, where the band played as part of Exile On Mainstream’s 15 year anniversary showcase. The digital unveiling of the demo swiftly brewed up attention and buzz around the Berlin trio though it was a mere taster of more corrosively impressive things to come. Recorded at Studio Wong in Berlin last November, Lowest Level Reincarnation sets a striking marker for not only Treedeon but doom/sludge spawned noise punk in general.

The eight track sonic tsunami begins with Love Turns Liquid and immediately has ears and attention on board as the punch of Böhm’s premeditated slow swings rock the senses. It is not hostile bait he lays down but it is imposing and highly anthemic as each incessant jab awakens a keen appetite which is swiftly fed further by the grouchy voice of Ducksworth’s bass and the abrasing causticity of the guitar. Hooks are already flirting from within the building tempest of noise, leaping out on the subsequent sonic smog as Heesch’s grizzled vocals croon expressively and angrily. The rhythmic persistence of the eight minute plus track creates an inescapable trap for instinctive and primal needs whilst the doom soaked crawl of the song simply ignites ears and imagination; the encounter the perfect blend of erosive persuasion and addictive invention.

The following Blankapitation similarly attacks on two fronts, its rhythmic and grooved taunting a commanding contagion whilst the thick sludginess of the guitar’s enterprise is a suffocating and alluring raw embrace. It is the vocals of Ducksworth, who takes the lead this time, which strikingly ignites the track though, her delivery pure punk with an attitude to match. It is a thrilling contrast to the highly pleasing caustic attack of Heesch in the previous song and in his backing here, a creative aural stabbing of ears at times from the lady and a constant roar of belligerence.

Satan’s Need takes over next and within seconds consumes the senses in a tempest of fiercely heavy riffs and matching intensive rhythms, all bound with inflamed heavy grooves. The two singers share the track, duelling rather than dueting across its ravenous and exhausting turbulence. It has a harsh and acerbic canvas but also reveals an underlying swing to beats and grooves which does not temper the tempestuous nature of the encounter but certainly makes its punishment bewitchingly palatable.

Through the superb Extinction with its a rhythmic tempting, which is almost like a call to arms for body and emotions, and a sinisterly hued grooving, and the snarling Wendigo, band and album only heap on further corruptive influence and pleasure. The first of the two is the kind of flirtation you know will only lead to destruction but with the deepest carnivorous bass growl and tart grooves, not forgetting exceptional vocal endeavour, the track is the master of lustful submission. Its successor again embraces a stronger punk rancor in its erosive sonic squall. Ducksworth vocally is a fiery temptress and with basslines predatory confrontation as Heesch creates a warlike maelstrom of antipathy with voice and riffs, the song is an animus which flows in all ways into the equally venomous and scarring Venus With Teeth. There is no shelter from its sonic and intimate enmity or from the transfixing rhythmic craft and enticing of Böhm. It writhes like a plague ridden scavenger, spilling and spewing sonic spite and magnetic invention with every intensive and exciting twist.

The album’s title track worms into the psyche next, its insidious crawl of sound and malevolent emotion encroaching ears like a tar thick virus, consuming every pore whilst immersing the senses and thoughts into the darkest pit of depressive and oppressive toxicity. The song is spellbinding, an infestation of sound and intent you only want to devour more of, even if it provides the longest and darkest twelve minutes of your life.

Lowest Level Reincarnation is completed by the outstanding Terracide, another imaginative torrent of crippling and gripping rhythms aligned to incendiary grooves and impressive vocals from both Ducksworth and Heesch. That imagery of a Bosch composition again seems to fit the track, its presence and premise a sonic opening of hell’s pits.

Treedeon is that nightmare you can never be rid of but truthfully you look forward to, its challenge and adventure a dark and dangerous endeavour but cathartic and seriously rewarding. The same applies to the magnificent Lowest Level Reincarnation, an album sure to expose one intensively exciting prospect to the fiercest spotlights.

Lowest Level Reincarnation is available now via Exile On Mainstream digitally and on CD/vinyl @ http://www.mainstreamrecords.de/shop with its US release in April.

https://www.facebook.com/Treedeon

RingMaster 12/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Inca Babies – The Stereo Plan

INTREPID FOX oct[1] copy

From the days when the devil thrust his evil designs into music, dark rock ‘n’ roll has been a persistent and endearing temptation. From the leather clad hip and vocal lures of Sweet Gene Vincent to the modern psychotic seductions of Dedwardians, it is a delicious trespass of ears and imagination that continues to evolve rich adventurous psyche twisting pastures. The likes of The Doors, The Cramps, The Birthday Party, Bone Orchard, The 69 Eyes, Eighties Matchbox B-Line Disaster, The Dropper’s Neck to name a few, have continued to expose the senses to new ravenous depths of sinister sonic exploration over the decades. One band which from their emergence in 1982 has also sculpted a perpetual warped seduction is Inca Babies. Their almost serpentine invention and dark musical incitements have continued to inspire and invigorate, even during the near on twenty years they were absent from the music scene, but since returning in 2007 you can only suggest that the UK trio must have shaken hands on a new deal with Lucifer as they have risen to truly become one of the leading lights and template setting protagonists of British rock ‘n’ roll.

The evidence is already boldly apparent in their two albums since reforming, the acclaimed Death Message Blues and Deep Dark Blue of 2010 and 2012 respectively. Both releases ignited an already ravenous gothic rock scene and duly deserved all ardour given but each in many ways was just an immense but leading appetiser for the glory of The Stereo Plan. Released towards the end of 2014, the band’s seventh studio album is a masterpiece of the dark aural arts. The third instalment of their death blues trilogy, its fourteen-track proposal twists and turns through the primal essences of post punk, surf, garage punk, trash blues, and every other dark flavour available, but bred in the imagination of Inca Babies transforms into a recipe of ingenious alchemy. It is a transfixing and slightly menacing proposition which has everything from feet to the passions ablaze.

Listening to The Stereo Plan is almost like immersing in a greatest hits collection of songs, every encounter of such irresistible and impressive invention and contagion that there is no time to take a breath and reflect until the final note of the release drifts away. It all starts with the album’s title track and its opening tangy lure of surf bred toxicity. It is an instant inescapable invitation for ears and imagination, the percussive shuffle which soon adds its bait only increasing an enticement which deepens again with the thick bass prowls of Vince Hunt. Continuing to bind ears in his guitar’s delicious spicery too, Harry Stafford pounces with his vocal and lyrical dance, as everything in the song colludes to create satanic rock ‘n’ roll majesty, especially as rhythms grow in intensity and devilment with the vocals to arouse an even lustier persuasion.

How to follow such a magnificent start would have many bands in a cold sweat but not Inca Babies as they match its majesty with a just as compelling incitement going by the name of Scatter. Stereo Plan Front 1The swinging beats of drummer Rob Haynes recruits eager attention right away, swiftly adding appetite as riffs and bass grooves unite with his anthemic beats and the incoming catchy vocal delivery. Into its stride the song expels a punk causticity around its driving rhythmic spine, the fingers of Stafford continuing to dance over the strings of his guitar to create a web of sonic addiction. The aforementioned Dewardians comes to mind as the song bounces with venomous mischief and also Eighteen Nightmares At the Lux with its scuzzy textures.

The salty smoulder of Damnation comes next, an Orson Family like countrified shimmer fuelling the temptation of guitar and rolling beats. As the opening pair of songs, psychobilly bred rapacity coats the song but also here a more garage punk tenacity emerges and grows to an even more potent persuasion in the following River To the Centre of the World. A haunting slice of upbeat balladry with a chorus which simply infests the senses, the track is dark poetic manna for ears and imagination. It also continues the mouth-watering diverse landscape of the album, each song a blossoming of individual and unique gothic theatre bred in sinistrous ideation.

The Cajun cast spell of Stand Down Lucifer keeps listener and album in lustful realms next, its sinuous shimmer and invention a creeping and inescapable seduction whilst Feast With Panthers strolls in with stalking rhythms and demonic hooks within again a fine and alluring vocal proposal. Like Th’ Legendary Shack Shakers meets The Screaming Blue Messiahs, the latter a band easy to offer varying degrees of comparison to across the album, the track swings it frame and flirtation with mischief in its eyes and a wicked lick on its melodic lips. The Stereo Plan began on a lofty pinnacle and this pair again sublimely ensures that there is no slip from such heady heights.

   Last Flight Out of Saigon with its pulsating bassline and acidic sonic veining croons suggestively in ears next, its minimalistic yet cavernous presence a mesmeric hex before the garage pop feistiness of Absolute Leader of the World leaps at the senses. Holding a great raw seventies/eighties punk essence to its contagion, the song is a sweetly caustic roar of blues rock which re-ignites body and energies after the resourceful ‘rest’ found in its predecessor.

Returning to the insidious charms which festered wonderfully in the early songs, Devilfish Anarchy stalks and romps with that gothic blues meets psychobilly predation and devilry. Beats and basslines are the instigator to lust fuelled whiplash as vocals and melodic toxins work away on thoughts and emotion. It is an exhausting pleasure whose rigorous nature is swiftly tempered and contrasted by the funereal stance and classical elegance of Still Mountain, a bewitching ballad wrapped in imposing and provocative shadows.

A dirtier yet restrained heavy rock pushes the walls of Damn Our Hides next, its persuasion not as instant as elsewhere, though swiftly a captivating companion for ears, but slowly burning away behind the scenes and repeatedly nudging thoughts after the event, as so many other songs on the album. Its enduring temptation is another striking aspect of The Stereo Plan, each twist of its design able to return at leisure and with potency, just as the heated jazziness of Ghost Ship. The track is ablaze with sultry trumpet flames, filthy basslines, and delirious sonic enterprise combining for a fiery musical sunset on an apocalyptic landscape.

The album is finished off by the excellent psyche/ surf rock stomp of Blacktop Speedway and finally the garage rock serenade of Late Night Frankie Brittle, a croon which simply grows in weight, intensity, and sonic rabidity with volcanic imagination. The pair makes a thrilling end to one irresistible encounter.

Admittedly having a soft spot for the type of sounds Inca Babies revel in went in their favour, but also it brings more demands but once again the Manchester trio stand tall over them as they again help lead British rock ‘n’ roll into new and exciting explorations.

The Stereo Plan is available now via Black Lagoon Records

http://www.incababies.co.uk/   https://www.facebook.com/incababies/

RingMaster 11/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

XII Boar – Pitworthy

XII Boar - Photo Landscape 2

Trampled under the heavy booted sounds of their excellent self-titled debut EP four years ago, UK heavy rockers XII Boar have just got sonically fiercer and more virulently compelling over time. Subsequent releases have continued the ignition of a hungry appetite in the British underground rock/metal scene for their rampantly aggressive and virulently grooved sounds, though nothing before matches up to the thrilling Southern fried might of debut album Pitworthy. Bulked up with ten tracks of muscular temptation with a mischievous glint in their eyes, the album is a thunderous stomp of virulently primal and dirty rock ‘n’ roll.

XII Boar hail from Aldershot and first came to light in 2010. It was not long before their blend of voracious metal and heavily slung rock ‘n’ roll was breeding a potent and loyal local following around Hampshire and the South East of the UK. Growing increasingly more distinct and individual to the band over time, their sound takes the richest and most aggressive strains of stoner, doom, blues, and southern metal and turns it into one incendiary blaze of sound, imagine Black Sabbath and Corrosion of Conformity colluding with Motorhead and Black Tusk for an inkling. It is probably fair to say that their early days which included that first EP, the band musically was offering a familiar if exciting proposal but as the Split Tongue, Cloven Hoof EP of 2012 and especially the single Truck Stop Baby last year came and went, XII Boar showed they were breeding their own musical identity, a presence now grabbing the passions in Pitworthy. It still has an instantly recognisable flavouring but now from the band’s own open sound rather than having a thick feel of others, though ripe hints are still a welcome spicing.

Live XII Boar has continued to impress and lure acclaim too, shows over the years with Corrosion of Conformity, Crowbar, ASG, and Karma To Burn as well as appearances at Bloodstock, Desert Fest, and Hard Rock Hell adding to their rising stature. It is a live feel which also seems to vein the new album, its tracks rampaging with that edge generally stages only inspire and immediately adding extra potency to the creativity and energy of album opener Sharpshooter. The song is introduced by a wrestling/boxing match like ring barker, and its entrance lit by a flame of sonic coaxing from the guitar of Tommy Hardrocks. That initial expulsion is swiftly left behind though as grooves flirt with and immediately entice ears as the thumping beats of Dave Wilbraham begin the incessant and invigorating battering which charges up the whole album. With the great heavy throated lure of Adam Thomas’ bass snarling with bestial temptation within it all, the trio has attention and imagination gripped. Hardrocks vocally roars and growls as the music around him, but already there are unpredictable twists and adventures crawling through the song. With older tracks in many ways once established you knew where they were creatively going but in the first song alone, Pitworthy reveals a fascinating depth and exciting tenacity to pull Coverout the middle finger on expectations. Bottomline though is that the track is one commanding irresistible stomp, with all guns blazing and nostrils flared.

It is the same with the following Young Man, and to be honest the rest of the album too. The second song has a stronger blues spice to its fiery blood, toxic melodies and tantalising grooves providing the intoxicating liquor veining and flowing through the Down meets Desert Storm like shuffle. Rhythmically the track is a strongly enthralling and agitated groan whilst vocally it bellows and melodically it flames within a sultry climate embracing ears and emotions. It is compelling stuff igniting the air before the bruising weight of Crushing the P lumbers in and proceeds to press its own intensive and imposing bulk on the senses. Again though, grooves temper the rugged nature of the proposition, whilst inescapable infectiousness wraps the swing of rhythms and riffs. The song is an on-going predation too; every aspect increasing in magnetism until by its conclusion the crawling posture of the song is pure addiction.

The outstanding flirtation of The Schaeffer Boogie emerges out of those final throes of intensity, the track swiftly breaking into a robust and contagious slab of heavy temptation. Grooves swing with inescapable persuasion, casting an irresistible invitation for all to join their devilry, though we warn that their weighty movement will even worry young hips getting involved over long term exposure. Never taking a breath or allowing one, the song is sheer heavy rock majesty; not demanding, except on the body, and seriously exhilarating.

The grouchy tones of the album’s title track comes next, Hardrocks’ vocals a grizzly web of confrontation and attitude, and backed strongly by Thomas whose bass simply oozes cantankerous sounds and ferocity within the thick tapestry of temperamental and predatory sounds. The track is a tempest of drama and shadowed intrigue too, again every subsequent unexpected detour or twist in the nature and journey of the climactic offering surrounded by a rhythmic and riff sculpted catchiness which has feet and neck muscles exhausted.

The short Cajun aired instrumental Crawdaddy Blues is an ok interlude for the first couple of listens but to be honest ignored as appetite wants to dive back into the punk fury of Chicken Hawk again and again thereon in. The track is a brute of a companion, that punk seeded hostility and urgency a ripe tempting against the pungent heavy metal and ravenous rock ‘n’ roll it is aligned to. Pantera meets Converge yet different again, it is another major pinnacle of the already impressive release, a peak matched by Battle Boar. The rumbling rhythmic heart of the track is an anthemic call in its own right, and the fuse and detonator to a turbulent and hellacious conflict of intensive and insatiable energy. Riffs and rhythms collide with hostile intent, ridden by the equally abrasing and assertive vocals, whilst grooves are venomous and flailing in their scything enterprise. The track is a glorious sonic conflagration but too damn short at less than three minutes.

   Rock City is smoky and at times like sonic vapour on the taste buds, a fine musical whisky which slips across the senses with smooth ease before unveiling its bite and spicy tang. As you would expect grooves and riffs make a tapestry of tart and colourful temptation whilst vocals and the deliciously imposing basslines help spark the old school predation fuelling all classic slabs of uncompromising rock ‘n’ roll. Compelling and rousing, the song is another towering anthem setting emotions up for the closing Quint, an eleven minute savaging unafraid to explore every avenue of heavy rock and ferocious metal whilst painting it all with a sludgy stoner hue. Arguably over long for some, every minute of the track is a new scene to run with and imaginative corner to dive down.

XII Boar has had little difficulty impressing and exciting since their first release but have creatively and musically come of age with Pitworthy. It thrusts the band to the frontline of British rock ‘n’ roll with even broader spotlights potentially awaiting as their excellent album surely begins to lure in the world.

Pitworthy is available now digitally and on CD via http://xiiboar.bandcamp.com/

 https://www.facebook.com/xiiboar   http://xiiboar.bigcartel.com/

RingMaster 10/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/