Victorian Whore Dogs – Afternoonified

VWD_RingMasterReview

From the voracious trespass of Afternoonified there is no hiding place for the body and emotions, no safe haven within a sludge/doom metal bred consumption of the senses from a band ready to devour far broader attention than already incited by previous releases. Afternoonified is the eagerly awaited debut album from UK quartet Victorian Whore Dogs and the next punishingly irritable and rousing exposure to the band’s self-named “Sexy Hobo Trampcore.”

The Guildford hailing and 2010 formed Victorian Whore Dogs have already whipped up potent attention and keenly offered praise through their first pair of EPs, starting with the three track rabid assault of Fetch in 2013. Fair to say, Hobo Chic two years later stirred up even greater awareness and support for the band whilst pushing their stripped back and hungrily abrasive sludge metal cored sound on again which Afternoonified now continues. The album’s eleven corrosive roars are as unashamedly raw and boldly cantankerous as ever but equally show a new creative imagination and greater resourceful design to their ravenous and invasive ferocity. It is a wake-up call to those still blind to their sonic antagonism and gripping humour lined devilry, and sure to enhance a formidable reputation already earned by the band’s live presence which has already seen them crush venues alongside the likes of Conan, Ortega, We are Knuckle Dragger, Lord Misery, and Burden of the Noose as well as the New Blood Stage at Bloodstock in 2015.

Afternoonified opens with Mutton Shunter where an initial sonic lancing quickly invites inescapably anthemic beats and caustic stabs of guitar. Their union becomes more abrasive and compelling as psyche infesting grooves from Adam Crawley seduce as they wander through ears. The-hardcore/noise seeded side of the band’s animosity soon emerges too as vocalist Danny Page uncages his throated shredding roars matched in forceful kind by the vocal squalls of bassist Andy Nuttall. The track is superb, quickly in control of attention and an eager appetite whilst being purposefully guided by the rhythms of drummer Stephen More.

Front_Cover_RingMasterReviewIts creative animus is followed and matched by that cast by Captain Kirk Was My Favourite Stormtrooper. Straight away a web of spicy grooves and rapacious riffs unite beneath a mercurial atmosphere ablaze with the jaundiced vocal ire of Page. Like a psychotic mix of Neurosis and William English, band and track create a thick and swinging incursion of the senses finally making way for the even more antipathy toned challenge of I Have Become. The next track immediately shows an even darker and heavier gait which only becomes more intense and atmospherically tar thick as it insistently lumbers through ears on the way to spreading its cancerous hues to Murder Boner which breeds a whole new inhospitable sonic malignancy from them. Again the merciless aspects are offset by infectiously demanding rhythms and fearsome yet engagingly waspish grooves and piercing hooks; a combination resulting in a highly alluring landscape around more vocal enmity.

Both tracks commandingly stir up again the hungry focus and emotional involvement already in motion though the pair soon finds themselves eclipsed by the calmer invasive flirtation of Barrington Monroe. It’s droning elegance and fiery ambience smothers the senses whilst simultaneously invigorating them with a dark almost nagging touch and charm crawled over by the fiercely rasping vocal delivery of Page. The track beguiles as it scars, a quality found again in the far more predacious and equally enthralling (I Can’t Believe It’s) Nutbutter which stalks ears from its start before breaking into a repetitive and addictive groove veined grind/sludge metal woven grudge.

An infectious persistence of grooves and predatory rhythms shape the similarly captivating Agœcia next, the track another which seems to instinctively incite the primal wants of any slab of galvanic aural barbarism. It is admittedly, a quality gracing the whole of Afternoonified which will keenly entice those with an emotionally and sonically dissonant tooth, and repeats its success in the likes of the melodically and emotively rancorous Snatch Files and in turn the rhythmically enslaving Nååñshååg. The first of the two expels a coarsely bracing blaze whilst its successor creates a tapestry of rhythmic incitement before soaking its frame in doom fuelled sonic and vocal venom. It is another which infests the psyche and passions with little resistance whilst showing a strain of diversity which maybe not all songs as openly show but for the main hold.

The album comes to a close through the virulent feud of Southern Fried Homicide and the crawling aural malice of Sebastian Tenderhoof, another duo pushing the blend of textures and flavours to greater variety within their individual conflicts of sound and intent. Together they make for a heavily pleasing end to a thoroughly gripping and enjoyable invasion of body and spirit.

Though Afternoonified will impress those with an appetite for sludge, doom, and debilitating metal swiftly it is over numerous plays that it truly comes into its own and reveals its depth of invention and character. Victorian Whore Dogs is a band on the prowl with its finest vindictive growl about to be let off the leash.

Afternoonified is released April 1st via Hibernacula Records @ http://victorianwhoredogs.bandcamp.com/ and http://www.hibernacularecords.com/product/afternoonified-by-victorian-whore-dogs

https://www.facebook.com/VWDBAND

Dates for the Victorian Whore Dogs UK Tour:

01/04 – Reading, Facebar*

02/04 – Southampton, Firehouse *

03/04 – Portsmouth, Edge of the Wedge

07/04 – Worcester, The Pig & Drum *

08/04 – Leicester, The Firebug *

09/04 – Leeds, Bad Apples*

10/04 – Nottingham, The Running Horse *

14/04 – Bristol, Stag & Hounds +

15/04 – Cardiff, Fuel +

16/04 – London, The Black Heart +

17/04 – Brighton, The Prince Albert *

22/04 – Worthing, Bar 42

*With Morass of Molasses

+With Greenhorn and Tides of Sulfer

tour_RingMasterReview

Pete Ringmaster 31/03/201

Copyright RingMaster: MyFreeCopyright

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

Lody Kong – Dreams and Visions

Photo-Joey Nugent

Photo-Joey Nugent

Let us get the most publicised aspect about Lody Kong out of the way first. The Arizona based band is the creation of Zyon and Igor Cavalera, the sons of Sepultura/Soulfly/Cavalera Conspiracy famed Max Cavalera and brother of Incite frontman Richie Cavalera.

Now to the important bit; the release of the band’s blistering and increasingly impressing debut album Dreams and Visions. It is a ten track infestation of the senses as debilitating as it is invigorating as it uncages ravenous tempests forged in sludge thick, raw metal toned raging infused with punk belligerence and fuelled by post and hardcore causticity. Band and album challenges ears and incite the imagination at every turn with an array of invasive textures and flavours uniting in rabid exploits which generalising as psychotic punk ‘n’ roll would not be to deceptive.

Formed in 2011, the Phoenix hailing Lody Kong soon made a potent mark the following year with debut EP, No Rules. It was an introduction to the quartet of guitarist John Bauer, bassist Shanks, vocalist/guitarist Igor, and drummer Zyon reinforced and more by the band’s part in the 2013 US/Canada/European Maximum Cavalera tour and more recently last year’s Cavalera Conspiracy US tour. Now it is the turn of their eagerly awaited debut album to stoke up broad attention and for the major reasons of sound and fierce invention rather than band personnel.

The album opens with the outstanding Chillin’, Killin’; a venomous assault of a track offering searing bait from its first breath. That sonic intrusion soon erupts into an antagonistic rumble of raw riffs and hostile rhythms urged on by the emotive scowls of Igor. Piercing repetitive grooves only add to the compelling and exhaustive incitement, shifts in the predatory state of the track’s gait and character increasing its irresistible lure with a full throttle thrash kissed charge simply icing on the scintillating cake.

art_RingMasterReviewThe album’s title track keeps the grip on pleasure and appetite just as tight, its bruising weight and cantankerous intensity carrying an air of Pigs and Discharge to its irritable storm. It too is a song which twists through a host of inventive changes and detours, leaving a lingering psyche infesting dark presence and tempting which carries on into the likes of the emotively and sonically cancerous Kreative Center and the stalking animus of Pig In The Pen. The first of the two chews the senses with its nagging riffs whilst hooks and wiry grooves vein the scything swings of Zyon which cross another bestially toned bass trespass by Shanks. It is an unrelenting pressure of sound matched in its individual way by its successor whose initial doomy prowl soon expands into tar like sludge voracity interspersed with frenzied canters of energetic animosity.

Both tracks are spiteful punk rock with the virulence of numerous styles involved, much like the body of the bad-blooded Rumsfield where again band and sound enjoyably crush the senses with their creative and emotive jaundice. As across the album, there are moments of familiar hues and textures running headlong into ears yet each and every time their appearance is woven into something fresh, inventively damaging, and individual to Lody Kong.

Smashed and Blasted is proof as it presents its own hellacious and intensely imposing proposal next. The track is arguably the heaviest and most merciless on the release yet one with a host of imaginative hooks and sonic enterprise which hints as much at post punk and noise rock as it embraces extreme metal and post hardcore ferocity. Its thick enticement is followed and eclipsed by the predacious crawl of Some Pulp. There is liveliness to the song’s attack though it clambers over the senses rather than charges them, vocals and citric grooves the lead bait in its animalistic stalking with again numerous unexpected and incendiary twists.

Through the excellent old school punk/grunge feud of The Dangerous Quest and the dirty and schizophrenic Pistols-esque rock ‘n’ roll of Topaz, the album adds more aspects to its increasingly adventurous character. There are no major deviations from the heart of the songs before, but each explores another inventive hue and discord nurtured variation which continues with the closing sludge ’n’ roll consumption of the senses cast by Venomous Kool-Aid. It is a suffocating weave of thrash and doom metal with classic and hard rock strands, the guitars of John and Igor almost flirting with their bitterness laced craft around the latter’s rasping tones.

Though for personal tastes the loftiest highlights are found in the first two thirds of the album, Dreams and Visions is an unrelenting rousing of body and spirit, and indeed the debilitating devourer of both, which simply leaves a want for more from start to finish.

Dreams and Visions is out now via Mascot Label Group @ http://www.mascotlabelgroup.com/lody-kong-dreams-and-visions-cd.html

https://www.facebook.com/lodykong7   https://twitter.com/lodykong

Pete RingMaster 30/03/2016

Copyright RingMaster: MyFreeCopyright

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

Inwolves – Involves

inwolves-front_RingMasterReview

In music the imagination needs feeding as much as ears and that is certainly what Involves masterfully achieves. The new album from the dark cinematic invention of Inwolves, the release takes the listener on a host of individual journeys and sonically eventful adventures which, whilst carrying their own suggestive dramas, sparks the mind to create its own imagined exploits in tandem. It is one of the most fascinating and provocative collections of aural experiences and sonic explorations for thoughts and emotions to immerse in, and in turn one of the most beguiling listens in a long time.

The project consists of Karen Willems, previously a drummer for a.o. Yuko who has also worked with Dirk Serries on Cycle and the Zita Swoon Group among several side projects, alongside Jürgen De Blonde and Ward Dupan. Their sound draws on the inspiration of seventies “kosmische musik” as it ventures into explorations of electronic and spatial soundscapes drawn from the predominant palette of drums, guitars, and synths textures. To be honest listening to Involves shows that any attempted hint to their music is persistently redundant as each track comes, infests, and seduces the imagination with its own uniqueness. To put it simply, the band creates expansive tapestries of sound and styles which certainly our interpretations can only attempt to provide a clue to.

Involves opens with I Va Va Vimedoom, an initially shadow wrapped persuasion swiftly engaging ears and thoughts with its melancholic synth cast entrance. There is a childlike innocence to the single melody courting the darker hues, though it soon, as the senses, enveloped by the portentous electronic smog that rolls in like stormy invasive clouds. Peace becomes tempestuous, emerging finally again to stand as that lonely initial charm within an absence of everything which shaped its birth.

It is a magnetic thought provoking start, though further contemplation is put on hold as Minimal steps forward next to bewitch and seduce. From its post punk scented electronic opening, exotic melodies and rhythms jostle for attention; eventually sharing ears as a south west Asia flavoured tempting wraps the senses and imagination. Closing eyes and allowing thoughts to wander brings a personal flight across Abyssinian and Mesopotamian landscapes but one surrounded by lurking dangers and encroaching dark times which in turn leads to thoughts to the destruction of ancient sites by modern terrorism.

The track is irresistible, as too is the following sinisterly toned Vladimir. The track is again an imagination nurturing episode on the album’s creative narrative. It easily incites mental and emotional involvement as its popping beats become entangled in a dark web of sonic and suggestive intrigue which blossoms around them. There is a kinetic virulence to the rhythmic shuffle also gripping attention before the track suddenly turns on its head and swims with synths into a dark bluesy and increasingly intensive devouring of the senses. There is a sixties hue to its controlled yet intimidating new tempestuousness, Procol Harum coming to mind initially as streams of orchestral and gothic flames rise up to evoke further persuasion upon the listener.

Strange Waltz provides exactly what its name implies; its opening muggy sonic climate eventually descending into clarity and a slow and flirtatious but again sinister three step shuffle as darkly romantic as it is emotionally apocalyptic, and ridiculously compelling. Maybe not the intention but the instrumental plays like a death dance within the imagination, suggesting and enthralling before the cosmopolitan business of Intown takes the listener down a whole different highway. Krautrock and slimline but pungent industrial essences converge on ears, the analogue embraced romancing of the recording, as across the album, memory provoking as too the bordering on obsessively rhythmic prowess which invites thoughts of bands like Kraftwerk and Neu! to the hypnotic endeavour.

Involves is completed by firstly, the invasively dark and increasingly distressed and psychotic Dirty Monks, a track unleashing a maelstrom of tortured voices and souls within its cathedral spawned ravenously shadowed depths. Its suffocating majesty subsequently makes way for the closing suggestive alchemy of Be Kind. The track is a cosmically spiced venture with Devo-esque tones to its electronics and Landscape like mystique to its discord and melody woven spatial drama. It is also another enslaving attention as it leads ears into a revolving flight of intimate and broad aural stimulation, every turn fresh from the previous with vocals an extra stirring spicing to the array of captivating textures.

It is hard to accurately describe Involves or its individual temptations but fair to say each will feel a unique experience for every singular exploration into a band which specialises in creating, to borrow the last words of their press release, “a world of endless possibilities.”

Involves is out now via Consouling Sounds and @ http://inwolves.bandcamp.com

https://www.facebook.com/Inwolves-266399616750821

Pete RingMaster 30/03/2016

Copyright RingMaster: MyFreeCopyright

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

City Of Ashes – Rise

City Of Ashes_RingMasterReview

Making a big impression with their well-received debut album back in 2013, UK alternative rock band City Of Ashes now release its successor Rise; an encounter easy to imagine finding an equal if not bigger success. Consisting of eleven heart bred and melodically provocative tracks, the album confirms and pushes on the promise of predecessor All We Left Behind. In some ways, the band’s sound has not made any major leaps from the last album, or the EP before it, yet there is an open new maturity to songwriting and the bolder emotive imagination involved which alone grabs attention.

Since forming in 2009 and releasing the Then There Was A Hand In The Darkness EP, with All We Left Behind swiftly following, City Of Ashes has played all across the UK, sharing stages with the likes of Skindred, Exit Ten, Polar, Shadows Chasing Ghosts, Fei Comodo, Hildamay, and Young Guns along the way. Subsequent performances on their tour with Trapt only enhanced a reputation already ripe through their first album. Now it is the self-released Rise about to lure fresh attention the way of the Eastbourne quartet; an aim, as suggested earlier, easy to see succeeding to some potent degree.

Uprising is first up and swiftly lays an evocative melodic caress on ears as darker hues bring just as alluring shadows. The impressive vocals of Orion Powell quickly add their prowess backed by great band harmonies. The track is only a brief lure into the album but an attention grabbing one setting up the appetite for the following Vipers Nest. A sonic web of hooks and riffs descend on the senses first as the firm beats of Dan Russell make a thick impact with the brooding bass line of Dan Frederick in close attention. Soon bound in the melodic enterprise of James Macdonald and coloured by the expressive tones of Powell, the song easily catches the imagination with a touch of Placebo meets Manic Street Preachers to its broader alternative rock character.

RISE Artwork_RingMasterReviewBoth Battles Of My Youth and Walk Away keep the strong start going; the first with its anthemic roar and intimate tone amidst vocal and melodic suggestiveness whilst the second shares even more intensive angst in its melancholic cry. Again Powell impresses; the drama of his delivery an emotive flame within the more subdued but no less enticing rhythms and the creative adventure of Macdonald’s fingers on strings.

A delicious brooding bassline and core riff marks out Bittersweet next, that and a climatic feel to its emotional and sonic intensity, whilst Save Me carries a lively simmer to its bubbly melodies and crisp beats to equally grip ears and appetite. Whether there are any major surprises within the songs and indeed album can be argued, but each offering has something fresh and imaginative to its character and invention which draws attention easily as here or greedily as by the outstanding Iliad. Unstoppably emerging the album’s favourite track, it is a haunted and darkly lit proposal with a slow prowl as portentous as it is inviting. Matching his surroundings, Powell’s voice also ebbs and flows in raw emotion as rhythms and riffs border on stalking the senses. Provocative theatre in the ears, the song simply steals the show.

Bloodlust has a similarly hued nature to its canvas but a far lighter and vivacious air to its emotive outpouring and subsequent fiery expulsions whilst Sometimes provides a croon fuelled by apprehensive words and emotions cradled in orchestral like melodic sensitivity. Both songs keep enjoyment high before Confessions raises the album’s game again with its earnest roar.

Closing with the sober but potent sharing of the heart that is We Own The Night, band and album leaves pleasure a strong reaction to its imaginative and tenacious endeavours. Rise is a strong continuation of the band’s previous releases, if not a dramatic leap forward. As suggested earlier though, it is a more rounded and mature adventure embracing all the already recognised City Of Ashes qualities and more; and their most impressive outing yet.

Rise is out now @ http://cityofashes.bigcartel.com/

https://www.facebook.com/cityofashesband   http://www.twitter.com/cityofashes

Pete RingMaster 25/03/2016

Copyright RingMaster: MyFreeCopyright

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

American Head Charge – Tango Umbrella

AHC_RingMasterReview

Like many others we are sure, there was a surge of excited anticipation when the new American Head Charge album was announced. It was the first since 2005 full-length The Feeding and the band disbanding two years later. Their return after six years subsequently brought the excellent Shoot EP, a release bristling with hints of a new bigger and even bolder adventure to the AHC sound. Now those clues are realised and reinforced with Tango Umbrella; a maelstrom of prime AHC moments, new imaginative adventures, and exploits seemingly inspired by some of their companions in the nu-metal/melodic metal scene first time around. The result is a riveting and galvanic tempest of sound and imagination which for the main hits the spot dead centre.

From the first breath of their first album for Napalm Records, AHC go straight for the senses and imagination with opener Let All The World Believe. Its entrance is calm and coaxing, electronic pulses and beats gathering within an increasingly sinister ambience before the doors burst open and predatory riffs and rhythms eagerly crowd and trespass ears. It is a forcibly enticing start only blossoming again as the band unleashes inventive industrial metal rabidity. The keys of Justin Fowler sizzle and incite with devilish enterprise whilst the intrusive beats of Chris Emery descend with uncompromising intent. All the while Cameron Heacock vocally prowls like an apocalyptic ringmaster; his expression and words scathing and confrontational and just as alluring as the thick mesh of sound around him. With touches of Fear Factory and Static X to it, the track is a glorious start; an anthemic death dance bursting with the dramatic sonic devilment of guitarists Karma Cheema and Ted Hallows.

Drowning Under Everything quickly follows with another industrial sculpted invitation, its initial clang soon immersed in a robust tide of riffs and grooves. The growling bass of Chad Hanks quickly steals a chunk of the attention, backed by the matching potent bait of guitars and vocal laced with a Manson-esque hue soon evolving into a richer melodic flame bred with the familiar AHC dexterity and invention. It too is a swiftly shifting and changing passage within the tantalising track, a moment soon becoming entangled with all the other textures in a muggy creative maze. Inescapably the track ignites ears and again an already awoken appetite before the more thunderous assault of Perfectionist flares up to place its virulent grip on attention too. Atmospherically suggestive and vocally provocative, the song merges grunge and nu-metal traits and flavours to infectious effect as essences of Korn, Mudvayne, and Alice In Chains spice its enthralling proposal. Epitomising the whole album though, for all spices and influences openly shown, the track is unmistakably American Head Charge through and through.

art_RingMasterReviewThe latter of those three references nudges thoughts again as the thick mesmeric and emotive embrace of Sacred takes over, the track crawling seductively over the senses as vocals, guitars, and keys charm and tantalise ears. With the bass grumbling and beats swinging in tandem, the track beguiles from its first second, before being followed and overshadowed by the quite irresistible I Will Have My Day, a fiercely rousing and relentless White Zombie incitement with again great AIC sounding harmonies and melodic caresses.

The emotion loaded A King Among Men comes next; the ballad a requiem of piano, voice, and harmonies likely inspired by the loss of previous band guitarist Bryan Ottoson in 2005 and more recently friends like Wayne Static but equally a sentiment for anyone losing someone. It is a potent piece leaving a lingering touch much like, but in whole different way, Suffer Elegantly. The call of the wild springs a charging, invasive surge of riffs and grooves driven by hellacious rhythms. There is no escaping a Ministry incited dynamic to the track or its savagely tenacious energy and sound but again AHC twist it into their own ravenous ideation and aggressive imagination. Many major favourites emerge from within Tango Umbrella, this right there on the frontline.

The twisting rapacious tone and grooves of Antidote enslaves ears and thoughts next, its flirtatious melodies and off-kilter slithers of sound rich pickings for the imagination whilst the Down like hostility which seeps from the track’s uncaging of raw intensity has the spirit as inflamed as the rest of the song has ears gripped. Increasingly more impressive and addictive with every listen, the song entices and snarls like a beast in heat much as the Trent Reznor like Prolific Catastrophe which sidles in with a devilish glint in its creative eye and a rousing fire in its sonic belly.

Completing the album is firstly the musically and lyrically antagonistic Down And Depraved, a grouchy and mercurial blaze of voice and sound, and finally the atmospherically cast When The Time Is Never Right. It is another which needed time to convince as heartily as previous tracks within Tango Umbrella but persistently has satisfaction and involvement fully engaged whilst bringing the album to a magnetic end.

It is fair to say that Tango Umbrella lives up to the promise of the band’s last EP and more. It is like a kaleidoscope of their highlights to date and inspirations picked up along the way, in turn almost like trip through the listener’s own nu/industrial metal inspired soundtrack but most of all, the album is one thoroughly thrilling, inventively fresh and varied slab of American Head Charge imagination re-establishing the sextet as one of our prize assets.

Tango Umbrella is released via Napalm Records on March 25th through most online stores.

http://www.headcharge.com/    https://www.facebook.com/AmericanHeadCharge   https://twitter.com/AHC_Official

Remaining dates on the AHC/Mushroomhead UK tour

26.03.16 UK – Bristol / The Marble Factory

27.03.16 UK – Plymouth / The Hub

29.03.16 UK – Cardiff / The Globe

30.03.16 UK – London / Electric Ballroom

31.03.16 UK – Brighton / Concorde 2

01.04.16 UK – Southampton / Engine Rooms

02.04.16 UK – Norwich / Waterfront

03.04.16 UK – Reading / Sub89

Pete RingMaster 24/03/2016

Copyright RingMaster: MyFreeCopyright

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

Blood Ceremony – Lord Of Misrule

pic_Ester Segarra

pic_Ester Segarra

Dancing on the imagination like a village maiden in the throes of a pagan celebration, the new album from Canadian quartet Blood Ceremony is a bewitching and evocative adventure to get wrapped up in. It is called Lord Of Misrule; its title inspired by “a tradition that dates back to Late Antiquity, the Lord Of Misrule or “Abbot Of Unreason” was the doomed figure elected to preside over the Feast Of Fools, an annual Saturnalian bacchanalia in which masters became servants and servants masters, while drunken revelry and strange entertainments pervaded Britain and parts of mainland Europe for 30 days. At the end of the month’s festivities, the Lord Of Misrule’s throat was cut in sacrifice to Saturn.

Its body is a collection of highly provocative and melodically fiery encounters; aural rites and mystical endeavours awash with psychedelic/ acid-folk imagination amidst doom and progressive rock scented landscapes. Exploring the secret corners and depths of rural villages and pagan practices, it is an encounter playing like a sonic Wicker Man of dark festivities from across the decades in tradition and sound.

Recorded to analogue tape with producer Liam Watson, Lord Of Misrule opens on The Devil’s Widow, a song slipping into view upon an inviting guitar spun melody. Its tantalising lure is soon joined by crisp percussion and the magnetic caress of keys, then in turn by the throbbing resonance of bass. It is a masterful beckoning leading into a feistier stroll with vocalist/flautist/organist Alia O’Brien at the helm in voice and melodic craft. The wiry tendrils of Sean Kennedy’s guitar adds fire to the proposal, its rawer touch backed by the dark tones of Lucas Gadke’s bass and the swinging beats of Michael Carrillo. Recently Kennedy called Lord Of Misrulea very English album”, and straight away it is easy to hear what he means as particular British folk hues spice the vivacious energy and melodies sweeping through ears on the wind of the O’Brien’s  flutist craft.

album cover_RingMasterReviewLoreley is next to entice and please ears; electronic pulsing early attraction alongside O’Brien’s ever potent vocal presence and style before a catchy rhythmic swing sparks a livelier saunter to the song. Perpetually, Blood Ceremony fuses sixties, seventies, and other decades of rock ‘n’ roll into their music, the first pair the seeds to the refreshing colour and blues scented shade of this track’s gentle but pungent creative drama.

A fiery air to flaming textures shape the following exploits of The Rogue’s Lot, its darker shadows equipped with sinister threat and hidden dangers as O’Brien and the melodic enterprise of guitars embrace lighter infectious essences in their captivating persuasion. Twisting and turning in energy and dramatic flavours, the track is glorious; a rousing slice of rock ‘n’ roll easy to free a lively spirit and lustful appetite for, much as with the album’s title track which smoulders and tempts next. With raw blues touches colluding with the almost Horslips meets Jethro Tull like folk enchantment which shines within the track’s dark landscape and tale, ears and thoughts are quickly bound up in a theatre of sound and suggestiveness.

An earthy character is shown by Half Moon Street straight after; its air carrying a dirty tone around a less joyfully tempered nature, though hooks and melodies again have a shine to their invitation. With the flute like rays of sun skipping across the darker strains of endeavour, band and song commands full attention before The Weird Of Finistere slips in with an evocative climate of sound and voice becoming catchier and more, if gently, tenacious with every passing minute without ever breaking from its reserved sway.

The wonderful sixties pop inspired Flower Phantoms takes over and quickly steals ears and the spotlight. Carrying a Crystals meets The Ronnettes glow to its contagious pop enterprise, the song flirts and seduces with inescapable success, its warm magnetic revelry aligned to flames of raw guitar and sinew brought beats, and quite delicious.

The album closes with the blues rock fuelled Old Fires and lastly by Things Present, Things Past; two tracks which individually provide resourceful and unpredictable drama within the recognisable Blood Ceremony invention. The first is another spirit arousing incitement whilst its successor is an acoustic hug which simply serenades body and soul for an enthralling end to another highly flavoursome offering from the Toronto foursome.

There is no apparent blood shed at the end of Lord Of Misrule as the tradition dictates but for stirring creative and tenacious fun under the glare of a full moon or dusk shaded sun, the album more than fits the bill whilst increasingly thrilling.

Lord Of Misrule is released March 25th via Rise Above Records.

Upcoming Live Dates:

April

15 – Paris, France – Backstage by The Mill

16 – Tilburg, Netherlands – Roadburn Festival

17 – Hamburg, Germany – Rock Café St. Pauli

18 – Berlin, Germany – Privatclub

19 – Vienna, Austria – The Chelsea

20 – Munich, Germany – Backstage Club

21 – Madonna Dell’alberto, Italy – Bronson

22 – Milan, Italy – Legend

23 – Olton, Switzerland – Coq D’or

24 – Nurnberg, Germany – Hirsch

25 – Frankfurt, Germany – Nachtleben

26 – Cologne, Germany – MTC

28 – Manchester, UK – The Deaf Institute

29 – Glasgow, UK – Audio

30 – Birmingham, UK – The Rainbow

https://www.facebook.com/bloodceremonyrock

Pete RingMaster 24/03/2016

Copyright RingMaster: MyFreeCopyright

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

Horse Party – Horizons

Pic by Jeff Higgott

Pic by Jeff Higgott

Regular readers to The RingMaster Review will know we have enjoyed an on-going affair between ears and music with UK trio Horse Party ever since they emerged in 2012 and unveiled their first pair of songs in Clarion Call and Back To Mono.  Since then, as their sound and imagination has grown and evolved, each single, EP, and indeed debut album, Cover Your Eyes, has bred a lustier and greedier appetite for their post punk/indie rock seeded adventures. Now the Bury St Edmunds hailing band has a new album to excite and draw spotlights their way, and in Horizons, one suspects and hopes, the key to deserved major attention.

Horizons is a compilation of sorts; a collection of the tracks released by the band across 2015 through EPs and singles. For fans there is the added bonus of a previously unreleased track and for newcomers, Horizons is an A-Z to why Horse Party is for so many British rock ‘n’ roll at its inspiringly majestic best. Released via R*E*P*E*A*T Records, the album is a kaleidoscope of the imagination and dark yet vibrant sounds which the threesome of vocalist/guitarist Ellie Langley, vocalist/guitarist/bassist Seymour Quigley and drummer Shannon Hope weave into their songwriting and acclaimed live shows. The fact that the tracks are laid out in release order also reveals the growth in the band’s sound over the past twelve to eighteen months alone.

It opens with the two tracks which started 2015 off in major style as a 7” vinyl single. Out Of Sight is first and instantly entices ears with a dour yet flirtatious bass riff. From its first breath, the outstanding song prowls ears and imagination, a predacious air to bass and guitar leading the seduction as beats crisply land around the just as swiftly alluring voice of Langley. Though it broadens its expression and melodic touch, the song never loses its darkly hued and persistent beckoning, even as rawer rock flames accompany the new zeal and energy fuelling the vocals. With psych rock lighting adding to the potency, the track is inescapable anthemic rock ‘n’ roll which is quickly more than matched by Receiver.

The second track shows a fleeter foot in energy and rhythms, almost bounding into view as riffs jangle and entice around the just as thickly coaxing vocals of Quigley. A delicious nagging seeded in post punk and punk with a slither of noise rock to it, the song dances around the senses, only increasing its tempting as transfixing harmonies expose lust in an already eager appetite and hooks toy with an alternation of slim and inflamed bait. Like a mix of like Au Pairs, Joy Division, and Morningwood, the track is simply irresistible.

album cover by Kate Wood

album cover by Kate Wood

What I’d Do steps forward next, its strolling gait and intensity another reserved but vibrant beckoning with emotive hues lining voice and melodic enterprise. The steely tone of bass holds ears tight from within the hazy but openly textured song, its dark touches courting the melancholically evocative tones of Langley as well as the more sultry strains of guitar. A slice of psych/rock pop, the song has a Forever Still meets Stevie Nicks air to it, and easily casts its spell on attention before Horizons shares it’s more relaxed but no less provocative presence. Quigley again takes the vocal lead, his potent presence nestling compellingly within a landscape which uncages moments of tempestuous energy and sonic voracity. There is surprisingly a touch of The Housemartins to the song and indeed a whiff of Paul Heaton to Quigley’s expression though once more what emerges is a song as distinct to Horse Party as their name.

A brand new song in the shape of For All I Know follows and swiftly has ears engrossed and enjoyment stirred as a solemn mix of guitar and bass suggestiveness wraps the equally mellow vocals of Langley and the magnetic rhythmic enticement of Hope. It is another with fire in its belly though that is held in check for the main even with the thick nudges of Hope’s swings, the drummer as shown throughout the album, able to create anthemic incitement without disrupting the emotive flights of songs.

A hypnotic nagging steers Paydirt into ears next, its persistent jab of beats colluding with scuzz kissed riffs as minimalistic but potent grooves flirt. In full swing, the track is a bracing proposition which sonically sizzles whilst in its more mellow moments it is monotone sculpted romancing of the senses, and throughout, an addictive breath-taking stroll cast in dark emotions and predatory shadows. It just lights up air and ears, melancholy lined vocals a single seduction among many shared by the song before Animal similarly provides a rousing and compelling experience. As Langley’s almost challenging tones align with choppy rhythms, the track enforces quick submission to its expanding lures. Everything about the song provokes with aggressive intent yet only flirtation is felt as Hope harries and bass and guitars stalk and erupt. That tempting is especially arousing in the passage of surf rock seduction which has body and thoughts aflame in a moment, as echoed by the lyrics, which is like the glorious eye of an equally thrilling storm.

The acoustic hug of the darkly lit and captivating October enchants next, Langley alone and in vocal union with Quigley mesmeric within the blues expressed guitar before Money Talks saunters in on a scuzzy lure of riffs. Gentle slithers of guitar and catchy beats align with the initial tenacious draw and subsequently the siren-esque call of the vocals, it all finding extra drama in the occasional bursts of intensity which punctures the highly infectious persuasion.

Essences of noise rock and new wave creep into Rocket Science next; its canter a lively enticing within post punk shadows and blues lit sonic suggestiveness. Predictability is never an element within a Horse Party song, a point tenaciously shown here as volatile textures and energies engage with the outstanding encounter’s absorbing and seductive serenade.

Smouldering surf rock inspired melodies shape the beauty of Looking For Life next, the song an elegant and radiant shimmer of melodies and harmonies around resonating rhythms. It is a bewitchment of ears, a sonic smooching of the senses and quite delicious epitomising of another quality in the Horse Party creativity, that every listen just makes a song more compelling and impressive.

The emotive soothing of Howling At The Sun surrounds the imagination next, the twin vocal seducing as rich and dramatic as the brooding atmosphere and sounds around them whilst Gratitude Falling brings the album to a spellbinding close with its evolving tapestry of beguiling sound. From a single melody, the track courts a thick growl of bass and a sharp guitar jangle, going onto breed scuzzy expulsions of tempestuous sound whilst all the while Langley grips ears with her narrative and magnetic tones.

Horizons is simply one of the year’s musts; an essential invitation not only into the creative arms and charms of Horse Party but to one of the new breed destined to inspire the future of British rock ahead.

Horizons is released on download and CD on April 1st via R*E*P*E*A*T Records and @ http://horsepartyparty.bandcamp.com/

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Pete RingMaster 22/03/2016

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