WITCHRIDER move ‘Unmountable Stairs’, out 3rd Nov via Fuzzorama Records‏

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WITCHRIDER DEBUT ALBUM AND EUROPEAN TOUR ANNOUNCED!

Fast rising Euro stone rocksters ‘Witchrider’ release ‘Unmountable Stairs’ on Monday 3rd November through Fuzzorama Records/Code7/PHD, and tour throughout Europe with Truckfighters.

When listening to Witchrider, you cannot help but be drawn in by their magnetism. They have a haunting beauty that proves to engulf and ignite. As frontman Daniel Dorninger says, “the thing about making music is there are no boundaries. It’s like a spirit of emotions that eventually passes through your body…you never know what you’re gonna’ end up with”.

Formed in 2012 and hailing from Graz, Austria, Portsmouth, Witchrider sport a mutual love for the quirky riffage of heavyweights QOTSA and Eagles Of Death Metal, as well as affection for the dark elements of Soundgarden. Siphoning fuel from these powerhouses, Witchrider offer a genuinely refreshing take on their own brand of stripped down, fuzzed up alternative rock.

Living and breathing their music is crucial to the four-piece, and as such, they are constantly writing and honing their craft. “Being able to work on music all the time is essential for all of us. That’s why we record most of our stuff at home if we can. There’s even a freakin’ drum kit next to my bed!” states drummer Michael Hirschmugl.

Although the songs work with each other as a collective piece of work, Witchrider’s music is diverse and has an array of influences. “I always found musical style not really that important. What counts the most is whether you can identify yourself with the music or not. I know I can and I am happy about every person who can as well. I think that’s what makes music ‘cool'”, says Hans-Peter.

As well as basking in the writing process, the band are supremely dedicated to playing live and fans will have ample opportunity to see the quintet as they hit the road this autumn supporting label mates ‘Truckfighters’. For a complete list of all European shows, check out http://www.facebook.com/witchriderband

In early 2014, Witchrider signed to Truckfighter’s Fuzzorama Records and they now release their new album ‘Unmountable Stairs’ on Monday 3rd November. With eleven killer cuts of low-strung scuzzy alt-rock, the record contorts and burrows itself deep into your skull. Look out for new single ‘I’m Outta Breath’, and don’t miss the band on tour throughout October and November.

http://www.witchrider.com http://www.facebook.com/witchriderband
https://twitter.com/Witchriderband

WITCHRIDER LIVE (as main support to Truckfighters):Nov 10 – Brudenell LEEDS;
Nov 11 – Sound Control MANCHESTER; Nov 12 – King Tuts Wah Wah Hut GLASGOW;
Nov 13 – The Basement NOTTINGHAM; Nov 14 – O2 Academy Islington LONDON; Nov
15 Hard Rock Hell – PWLLHELI; Nov 16 – Oobleck BIRMINGHAM.

DIE NO MORE unleash their ‘Elected Evil’, on 3rd November via Rocksector Records‏

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ASCENDING BRIT METAL CREW DIE NO MORE RELEASE DEBUT ALBUM

UK metallers ‘DIE NO MORE’ have just signed to Rocksector Records and they unleash their debut album ‘Elected Evil’ worldwide on Monday 3rd November, through all good stores.

Bursting out of Penrith, Cumbria, UK newcomers Die No More merge together a formidable sound which lifts from the Bay Area Thrash metal scene and fuses elements of such intensity they call to mind legendary British bands such as Iron Maiden, Judas Priest and Saxon. Born in 2011 and consisting of four friends who had, and still have, the same passion for creating modern metal that also acknowledges classic influences, Die No More’s sound is heavy, yet melodic, and it grabs a hold of you with its jack hammer guitar riffs and frenetic solos. While reminiscent of the greats, they bring a fresh and hugely enjoyable slab of Thrash Metal to a young audience.

The band’s rise has been progressive and certainly productive. Last September they unleashed their debut EP ‘Blueprint’ which secured wide praise throughout the metal underground. The record also gained the attention of Rocksector Records who swiftly signed the band to their roster. The quartet continued to successfully hit the live circuit before heading back into Axis Studios to work again with revered producer Matt Elllis (Black Spiders, Absolva and Massive Wagons) for their soon to be released debut album ‘Elected Evil’. Yet again, the band have pulled it out of the bag. The album is rammed with eight beefy metal cuts, from their new single ‘Dark World’, which hammers at your eardrums with true grit and conviction, to the dynamic and driving ‘Absentia’. ‘One In The Chamber’ further showcases the foursome’s craft and guile. Now with European dates and a UK tour confirmed to support the album, the band are destined to break the UK metal scene.

– DIE NO MORE RELEASE ‘ELECTED EVIL’ WORLDWIDE ON MONDAY 3rd NOVEMBER
THROUGH ROCKSECTOR RECORDS / CODE 7 MUSIC AND ALL DIGITAL STORES –

www.facebook.com/DieNoMore

Late Cambrian – Golden Time

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Our introduction to US indie rock band Late Cambrian came with their Social Season EP and became a lustful attraction through second album Peach, a release offering a thrilling dance of vibrant personality with matching sounds and imagination. It was an encounter of at times stunning brilliance within a constantly refreshing and warm temptation which stirred up the passions within seconds of contact. Now the band returns with its successor Golden Time, a release bred from the same eclectic invention and making a potent first impression, but working with a slower more sultry seduction and smouldering pop vivacity reaches the same captivating heights. The album reveals another leap in songwriting and sound maturity without relinquishing the bands almost mischievous use of hooks and melodic grooves. It takes its time to reveal all its depths but Golden Time emerges as another irresistible proposition from the Brooklyn quartet.

Late Cambrian has continued to make impressive marks from debut album The Last Concert released in 2011, onwards. Their Social Season EP of the following year raised the bar and bred one of their most successful and greedily devoured songs to date, Ryan Gosling. It was with Peach though that John N Wlaysewski (lead vocals, guitars, synth, percussion), Nunzio Moudatsos (bass, backing vocals), and Olive ‘O’ Hui (vocals, synth) sparked a much stronger and global spotlight. Now with the addition of drummer Alex to its line-up, the band offers a new tantalising treat with Golden Time. The band has often been compared to Wheatus, who Late Cambrian are touring the UK and Europe with as this review is posted, but the new album shows a unique and distinctive bloom to its summery sound and presence, which flourishes in that maturity spoken off earlier.

The PledgeMusic funded release opens with an immediately enthralling and virulently infectious Throwing Shade. As soon as guitar stabs, with a tone quite distinctive to the band, crosses ears there is a warm glow in emotions and imagination bred from past experiences with Late Cambrian’s invention. There is the quirky manner and enterprise which fuelled the last album on immediate show but also a melodic elegance and relish which provides new scenery to indulge in. The welcoming and harmonically bracing vocals of Wlaysewski backed by Moudatsos and O, embrace like an old friend but again with a new hue to their enterprise and stature. It is a thrilling entrance which the song reinforces across its length with a transfixing wash of radiant keys and punchy rhythms, but it is the Steely Dan like caress, vocally and musically, which steals the deal.

The following title track is no less compelling and invigorating. Electronic pulses lead to a coaxing guitar twang, which in turn moves into a bold stride of crisp rhythms across rich and magnetic melodies. The song’s title fits the sound Golden Time album Artworkwithin it perfectly, the duet of vocals between Wlaysewski and O as seductive and bright as the feisty pop melodies dancing around them. Again there is a contagion to the song which is inescapable for ears and an energy enslaving feet but it is its melodic swing that ignites another hungry urge in an already keen appetite.

Illamasqua swiftly installs its insatiable persuasion next, rhythms and vocals the prime lure initially, before the song slips into a tenacious stride of jabbing beats and lively yet sultry keys. As with many songs on the album, there is an instant familiar breath and touch to it which by the close you realise is simply from the band having their own distinct sound and presence. Also noticeable is that the song hints it has a fire to expel but instead remains in its enjoyable smouldering. This happens a few times across Golden Times and though at times you wonder how things would go if the band had ignited that extra mystery spark, the album flourishes in its inventively controlled and imaginative calm.

Both Game Show and Now keep the creative and appealing flames in ears and emotions sizzling. The first is a gentle canter of a song with potent and varied vocals against eclectic melodies and unpredictable endeavour, all flirting around a deliciously throaty bassline, whilst the second flows with a slow seducing of mellow yet vivacious vocals within a web of sharp hooks aligned to wispy blues kissed melodies. Though neither quite grips the heights of certainly the opening pair of tracks, both shine with a blaze of charm and bold imagination before making way for the thrilling romp of Objects May Appear. Big riffs and beats dance with ears straight away, their tango irresistible and only enhanced with the joining of similarly jaunty vocals from the band in turn. There is no escape for body, voice, and emotions to the album’s anthemic lure, the track a beguiling and fascinating stomp taking best song honours.

DYBIL with its crystaline melodies alongside riveting vocals and harmonies, provides a powerful romance for ears and senses to immerse in and passions to grow for whilst the following acoustic hug of the emotive Montauk simply whisks the imagination off on a seductive waltz to leave satisfaction brimming. Both reveal more of the evolution in, and growth of, enterprise and songwriting within the band before Shiny Cars brings the album to a healthy close. The outstanding final song has a thick and heavy resonance absent from much of what came before which again only offers another enjoyable shade to the album, whilst it’s gentler but lively vocals and melodic adventure only declares that this is a band coming of age.

There is no go for the jugular stand-out on Golden Time, no jaw dropper like Ryan Gosling or Wolf, but every track has a body and heart which outshines plenty of Late Cambrian’s impressive catalogue and combine for the band’s finest moment yet. For beautifully sculpted and dramatically radiant rock pop it is hard to think of many better offerings this year than Golden Times.

Golden Time will be available in November, for more details and remaining dates on their tour with Wheatus and  MC Frontalot go to http://www.latecambrian.com/

https://www.facebook.com/LateCambrian

RingMaster 17/10/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Target: Renegades – [Press Start]

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Heavy, imposing, and rigorously compelling, [Press Start] the debut album from UK rockers Target: Renegades, may not be a ground-breaking offering but it is a release demanding attention and inspiring perpetual returns to its muscular arms. Everything about it snarls and confronts, but with rugged charm and passionate intensity which turns familiarity into a raw asset, the album is a potent and riveting declaration of the accomplished craft and rich potential within its creators.

Hailing from the North-West of England, Target: Renegades has been earning strong attention and acclaim with their ferocious hard rock bred sound, 2012 seeing them voted by music fans as the Unsigned Revolutions Award winners. Alongside the release of their debut release, the Corruption For Beginners EP and the band’s stature as an impressive live proposition, which has seen them play with the likes of The Vibrators and I Am Giant, it has been a powerful emergence which [Press Start] only reinforces and pushes to another level. Produced by Daniel Lovett-Horn of another of the UK’s best formidable underground talents, Promethium, [Press Start] hits hard and with ferocious relish from the start , showing the quartet of vocalist Adam Hulse, guitarist Daniel Fide, and bassist Jack Hamnett, alongside drummer Steven Erskine who has since left to be replaced by Matt, as a thoroughly masterful and thrilling incitement.

The album opens with Once Was Strength and an initial web of sonic enticement from the guitars. It is an imagination awakening start which intrigues without setting a fire, though the addition of a dark throated bassline and crisp percussion certainly enlivens the lure. A great roughly touching groove soon ignites infectiousness in the song, egged on by the great abrasing and potent tones of Hulse, whilst a heavy swagger is soon in charge as the encounter increases its impressive persuasion. Rhythms badger ears with the same composed relish as elsewhere throughout and though it lacks a final spark to explode into an outright storm, the track is an exciting and captivating opening to the album.

The following I’m Not Emotional is more of the same but with an openly distinct character. Contagious and clad in intimidating sinews, the track strides with imposing antagonism and creative tenacity to push the release up another step 1011910_473542209405259_773939138_nright away. Vocally Hulse again impresses whilst rhythms dangle addictive bait before ears, it all glazed with a sonic mist and causticity woven skilfully by Fide. The bass of Hamnett almost stalks everything around it, again its heavy grizzle of a tone magnetic within the sonic smog. The track is riveting and makes a raw tempest to which the following melodic beauty of emotive Wounded offers a superb contrast and companion. Showing more of the vocal depth of Hulse and creative potency of the band, the song plays, as its predecessor in many ways, like a mix of nineties band Skyscraper and Pearl Jam. It is a tantalising and bewitching mix of power balladry and raging passion, which with the last song sets the pinnacle of the album.

Oro provides a swift and muscular kick spawned from scarring riffs and menace drenched rhythms whilst vocally Hulse whips up an anthemic dirt ball of confrontation and antagonism. It is a great addictive track continuing the lofty plateau of the album, and a riot you can only imagine whipping up live audiences in an eager frenzy. Its hostile stomp makes way for the similarly intensive but more restrained Vulture, another song employing recognisable essences but turning them into a flavoursome spice within the band’s own honest and accomplished recipe. Once more a grungy infusion makes its potency known to add further flavour, though ultimately the enjoyable encounter does not manage to rival certainly the trio of excellent triumphs before it, nor the insatiable rampage of These Eyes Judge which follows. Storming ears with fiery riffs and rapier like beats the track roars and charges with merciless intent across its length, merging this rabidity with more restrained moments which lack the spirit and fire of the rest of the nevertheless gripping encounter but certainly does its potency no harm at all.

Its imaginative and stirring finale leaves an enthralling enticement which is immediately taken up by Say Goodnight and its opening dark roaming bass shadows and spicy sonic weave of guitar. The final track of the album stalks ears and thoughts with its persistent heavy footed and evocatively intensive presence, providing an atmospheric landscape unafraid to visit elegant and melodic embraces which in turn explore rawer and more impassioned blazes of adventure and sonic bluster. It is a glorious end to the alum, its most adventurous and sublimely provocative offering leaving the listener basking in the potential it alone offers for the band.

[Press Start] is a striking and exciting debut from a band you can only see growing stronger and more boldly inventive as they evolve and explore. Target: Renegades is the name to watch out for, one as it is easy to assume we will be hearing plenty more of ahead.

[Press Start] is available now digitally and on CD @ https://itunes.apple.com/gb/album/press-start/id890500862 and http://www.targetrenegades.bigcartel.com/product/press-start-album-cd respectively

http://www.targetrenegades.co.uk

RingMaster 17/10/2104

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

Kruger – Adam And Steve

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There is probably a masochistic side to us all that get off on being swallowed up by a vicious wall of blisteringly hostile and sonically destructive noise but also the ability to see and appreciate the beauty in such tsunamis of unbridled animosity. It can be a seductive corrosion at times and none more so than that found on Adam And Steve, the new merciless album from Swiss noise sculptors Kruger. The eight track inferno of sound and antagonistic invention is a glorious exploration of abrasion, causticity, and sonic savagery but equally a purveyor of some of the most toxic hooks and inescapable contagion bred by venomous imagination. Every note and syllable comes with malice and each twist with ingenious captivation, resulting in an encounter confirming the band as one of the most thrilling alchemists of noise.

Formed in 2001, the Lausanne quintet has been on a steady and impressing ascent since debut album Built For Speed unleashed its ruinous charm upon the senses a year later. 2004 saw second full-length Cattle Truck draw greater attention towards the band, including that of Listenable Records who signed the band and have released their assaults on the senses ever since, starting with the Kurt Ballou mixed Redemption Through Looseness of 2007.Its success and acclaim was matched by the band spreading across Europe with shows and tours, but it was last album For Death, Glory and The End of The World three years later which thrust Kruger into a global spotlight, something Adam And Steve will only intensify. Last year saw the two-track EP 333 tease and spark eager anticipation of things to come but in many ways it only hinted at the triumphs destined to devour the senses and psyche courtesy of the new release.

Complete with a new guitarist and the success of a tour with Gojira last year behind them, the band instantly goes for the jugular upon the Magnus Lindberg of Cult of Luna mixed storm. Rampaging heavy booted riffs and boulders of rhythmic violence descend on ears from the first breath of opener Bottoms Up, the track an immediate onslaught but almost as swiftly employing enticing vocal harmonies behind the caustic squalls of Renaud right away sparking an even keener appetite for the abuse. The raw throated tone of Blaise’s bass snarls and preys on ears with predatory intent whilst the guitars of Margo and Raul sear and swarm across song and senses with deliberate irritancy. It is a deliciously bracing and compelling assault, the vocals across the band continuing to seduce whilst acidic melodies and grooves worm under the skin for a lingering tempting.KRUGER-A&S_cover_sm

The stunning start is rivalled by the following Discotheque, its entrance on a building rhythmic wave instant anthemic bait enslaving thoughts and passions straight away before the band unleashes a barbarous cauldron of merciless beatings and synapse flailing sonic design. Creating a reined in yet uncompromising brawl of essences potent in the flavouring of a Converge and Unsane and aligned to the creative ferocity of a Coilguns, who the band are sharing dates with as the album is released, the song is a tempestuous fury. Unafraid to explore more progressive and post metal scenery within its cavernous depths, it soars and brutalises its soundscape before making way for the infectious tenacity of the album’s title track. Grooves and sonic lancing almost swagger with their vicious hues and ideation whilst vocally and rhythmically the track exchanges another unpredictable and addictive web of spite and craft for a black and blue bruising of the listener’s senses.

Both tracks, and especially the second, set a new hunger for the raucous seduction working within Adam and Steve, something the pair of Charger and Mountain Man toy with and ultimately reinforce. The first of the two prowls ears and thoughts with seeming relish, its roar a severe yet magnetic intrigue drenched predation soaked in infectious imagination and intensive examinations from drums and guitars especially. Within its fury though there is a charm and sonic elegance which escape their binding to cast a masterful calm and resourceful beauty midway in, like the eye of a storm settling fears until the track explodes once again into its hellacious but inviting tempest. Its successor as all tracks almost swings from the fearsome skills and invention of drummer Raph, his wild but perfectly and precisely conjured attacks the irresistible core for which here, grooves and riffs can shape enthralling designs whilst vocals croon and bawl with equal strength and appeal. It is a numbing and invigorating fury, its voracity as unbridled as its invention and raw passion.

For personal tastes the pinnacle of the album comes with the next two tracks, the album reaching new plateaus with firstly The Wild Brunch, a track as melodic and harmonious as it is acutely ravenous and brutal. Across the album hardcore, heavy rock, metal, and more all add rich hues to the hurricane of noise and on this majestic emprise, the weighty thunderous riffs and tonal bruising you would imagine of a Mastodon or Gojira stake their claim to the passions. It is a devastating and engrossing treat but soon surpassed by the brilliance of the heavily unpredictable Herbivores. Easily one of the best songs heard this year, it at times soothes and riles in the same breath as vocals and guitars fuel the passion and incendiary imagination of the riveting track. In others it simply bewitches through bestial rhythmic slaps and grizzled bass suasion, all the time exploring a simultaneously destructive rabidity and insatiably seducing invention.

The album is brought to an end by Farewell, an expansive exploration of sound, emotional landscapes, and the listener physically and mentally. The instrumental is a journey all in itself and the fitting masterful finale to a thrilling encounter. Adam & Steve uses noise as if it is on its own personal vendetta against the senses but also as a commanding colour in the maelstrom of textures and imaginative hues which permeates its raging exploration. Kruger has created an engrossing and irresistible conflict with an album which plays like an aural judge and executioner, and seductress.

Adam & Steve is available now digitally and on CD via Listenable Records @ http://www.shop.listenable.net/en/5725-kruger-adam-and-steve-ltd-digipack-with-slipcase-t-shirt-bundle-pre-order.html and on partially black, partially sin-red vinyl through Pelagic records @ http://pelagic-records.com/vinyl/

http://www.kruger.ch

RingMaster 14/10/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Zoo Harmonics – Business In The Front…Party In The Back

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Creating a flavoursome and captivating fusion of alternative and punk rock with a power pop vivacity, Israeli rockers Zoo Harmonics may not set the passions blazing but certainly with new album Business In The Front…Party In The Back, they leave a very healthy and hungry for more appetite in its wake. There are no major surprises within the sound and body of the release but equally there is plenty which is refreshingly inventive and individual to the Tel Aviv quartet to make them a compelling work in progress.

Written and recorded across 2012 with producer John Goodmanson (Blond Redhead, The Blood Brothers), Business In The Front…Party In The Back contains eleven tracks which roar and mischievously tease with accomplished invention and slightly warped imagination. It instantly and continually backs up the reputation the band has forged since forming through their live presence at home and across the UK and Europe. The band’s sound has been referenced to the likes of Bayside, Brandtson, No Use For A Name, and Lagwagon, something the album does confirm though we would suggest they are more akin to Russian punks/rockers Biting Elbows with a devilish squeeze of System Of A Down for good measure.

The album swiftly slams into ears and attention with Stemweder Open Air, the opener rife with scythes of acidic riffs across thumping rhythms ridden by the strong vocals of Dror Goldstein. It is potent and infectious bait which subsequently relaxes without losing its urgency and lure into a melodic shuffle with country twanged banjo. It is a mild twist though in the relentless stomp and energy of the song, the guitars of Goldstein and Ron Minis expelling catchy riffs and hooks whilst the bass of Tal Levi provides a great throaty tempting and enterprise. It is a song which dares feet and emotions to remain unaffected by its irrepressible contagion, something neither is able to do of course.

The great start is matched by Henry & Claire, another catchy web of spiky hooks aligned to anthemic rhythmic enticement from drummer Priel Horesh. Equally there is a melodic mellowness and warmth which has its say within the 10264299_512940428834136_3915992718798314287_ntrack’s otherwise riveting agitation of sound and ideation, everything combining for a second thrilling and potent anthem to put the pressure on the next up Awake At Night to emulate. Though it lacks the spark of the first pair, the song still strolls with an unrelentingly catchy and inviting countenance to capture ears and imagination before the slightly rawer presence of Ipek makes its play for attention. It is a strong and pleasing track but offering little to set it apart from the pack, unlike its predecessors. Nevertheless it is a thoroughly enjoyable tempting to feet and appetite just as its successor Bring Me Back, a pop punk canter with quickly accessible charm and energy cast in a less intensive presence which as the previous song, keeps the album’s party feistily alive.

The opening of Butterfly does not quite convince, guitar and vocal alone attempting to lure in the listener but once the band explodes with a blaze of sinew driven beats and fiery riffs, the track is a fiercely enticing proposition wrapped in the rich individual and group vocals of the band. It twists and flirts with intriguing ideation and open enterprise to make an enthralling and impressing imaginative offering, a triumph straight away matched by the excellent Club Sin(atra), a song with a loud whisper of Red Hot Chili Peppers, certainly to its entrance, and a feel of Smashmouth to its emerging creative tango.

On My Own launches its engrossing drama and ingenuity with immediate agitated relish. Its entrance charges into the passions with an urgent addictiveness lying somewhere between My Chemical Romance and Fall Out Boy, before weaving and flirting with a stunning mesh of ideas and gripping adventure right up to its final note. The best track on the album, it leaves a lofty benchmark for the rest of the album to match and the band to emulate in their journey ahead.

All Amazing Songs takes the touch task to follow the peak in its stride and straight away forges its own heights, bass and vocals from an opening bright flame of sound, prowling with emotive tension and drama over thoughts and passions. It is a bewitching track with aggression and elegance all boiled up into another unpredictable and anthemic tempest. As the earlier mentioned Biting Elbows, Zoo Harmonics have the knack and ability to write and sculpt truly magnetically unpredictable and inventive songs just not on the same consistent level. What they can do with unrelenting skill is create attractive and infectious propositions as shown by their album and the final pair of songs. He Wishes He Knew is a radiant and melodically seductive croon which holds full reign over ears and emotions from start to finish whilst closer Romania is simply an addictive stomp regaling in the exploits of touring the source of its title.

Both make a varied and highly enjoyable finale to an album which from start to finish leaves a heavily satisfied pleasure in its wake and at times reaches heights which suggests that Zoo Harmonics has the skills and ingenuity to become a big inspiring player in global punk. As suggested surprises may be rare on Business In The Front…Party In The Back but fun and thrills are bulging assets of the album.

Business In The Front…Party In The Back is available via Pet Harmony Records now @ http://zooharmonics.com/?audio=business-in-the-front-party-in-the-back

http://zooharmonics.com/

RingMaster 14/10/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

We Were Promised Jetpacks – Unravelling

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Pungent in sound and emotion, Unravelling is a proposition which simultaneously makes a big impact and worms sneakily away under the skin and into the psyche. The new and third album from Scottish rockers We Were Promised Jetpacks, it is a riveting exploration, an adventure capturing ears and imagination like there is no tomorrow. Everything about the album is thick, in rhythmic persuasion, emotive intimacy, and raging melodies, but equally there is a clarity allowing every individual drama to play out their narratives musically and emotionally. The Edinburgh band has never been low on attention grabbing enterprise and songwriting but Unravelling is a coming of age, We Were Promised Jetpacks gracing a new plateau in invention and sonic expression.

Formed in 2008 by friends and vocalist/guitarist Adam Thompson, drummer Darren Lackie, bassist Sean Smith, and guitarist Michael Palmer whilst the four were at University, We Were Promised Jetpacks soon became a potent presence on the Glasgow music scene and almost as quickly were snapped up by FatCat Records. Debut album These Four Walls was unveiled in 2009 to critical acclaim, leading the band to an intense run of shows and festival appearances as well as supporting bands like Frightened Rabbit and The Twilight Sad. After the release of The Last Place You’ll Look EP the following year, the band set about second album In the Pit of the Stomach, which was recorded at Sigur Ros’s Sundlaugin Studios in Iceland. Again fans and media devoured it keenly and with praise whilst the band’s live reach saw them hit the US to great success. Now the band is set to recharge the passions with Unravelling, a release looking lyrically at “the notion of a conflicted protagonist struggling to keep their life on course, while battling a creeping sense of uncertainty and impending doom.” The first release featuring new member and multi-instrumentalist Stuart McGachan, and recorded with Paul Savage (Teenage Fanclub, King Creosote, The Twilight Sad, Mogwai), Unravelling is a tempestuous flight for senses and thoughts. Its climate is sultry and sonically hazy, its emotion tense and tenacious, but mostly the album is simply an inescapable captivation.

Safety In Numbers opens up the release, an increasingly brewing caress of keys the first touch before melodies and shadows slip into the emerging landscape of the song. Thompson’s vocals bring a plainer but no less expressive essence, his Scottish accent adding to the colour of the unveiling narrative. Instantly it is an enthralling persuasion, the walls and intensity of the track growing and thickening as an emotive wash reminding of fellow Scots Letters, immerses the imagination. There is also an unrelenting persistence to the encounter which is almost erosive in its effect, a potency which is never far away from the heart of every song on Unravelling, but a relentless baiting unafraid to share time with flowing enterprise and inventive twists which flirt across the track.

Its successor Peaks And Troughs is the same in many ways, a seduction of even catchier endeavour and sonic ingenuity which blossoms on the muscular and intensive persistence. The bass of Smith digs into darker throatier but virulent temptation whilst the imposing beats of Lackie swing with strong and imposing relish, the combination a gripping core and driving energy upon which the evocative and colourful design of guitar and keys matched by the excellent vocals flourish. The song pushes the strong start up another level with ease, a peak swiftly matched by the shimmering warmth and melodic calm of I Keep It Composed. To that elegant side though, the song explores another almost cavernous expanse of rhythmic intimidation and contagion resulting in an absorbing and hypnotic embrace. Its texture is as thick as smog and presence as radiant as the sun’s touch, and quite scintillating.

The following Peace Sign brings a less intensive and imposing approach to ears but is similarly as chunky in its rhythmic growl and weight and as slim in its excesses. The bass of Smith again excels, swaggering and flirting with grizzled majesty whilst the guitars of Palmer and Thompson weave engrossing structures and hues around the latter’s ever potent vocal suasion. Less an epidemic than a slow infestation with its resourceful might and beauty, the song is dazzling and the perfect set up for the similarly impressing Night Terror. A heavy stroll of beats sets up a frame around electro funk revelry at first, keys and drums subsequently aligning for a bubbly and vivacious coaxing before a sultry haziness kisses the surface of all and a Josef K like causticity treats the senses. It is an intrigue drenched offering which is less urgent and compulsive than previous songs whilst giving a new aspect to the album’s expanding character and richly satisfying experience.

The dark and moody drama of Disconnecting comes next; weighty keys spawning a sinister, noir wrapped climate within which vocals shimmer and percussion dances. It is a slow haunting embrace with sinew sculpted textures and melancholic radiance, which may not quite match those tracks before it in some ways but surpasses them in menacing scenery and emotional shading. Its success is matched by both Bright Minds and A Part Of It, the first a lighter but no less emotionally attentive encounter and its successor a rawer, abrasing swamp of sonic mystique and craft around a hungry rhythmic persuasion. Again neither quite lives up to the opening clutch of songs but certainly bring new delicious twists to the flight and emotional examination of the album.

Through the darker air and almost predatory intent of the excellent Moral Compass, a song just as striking in its melodic grace as it is in its bordering on caustic breath, and the mesmeric almost stately beauty of Peace Of Mind, band and album enslave ears and thoughts majestically. The almost epic instrumental grandeur of the second of the pair is a journey all of its own, the imagination unavoidably wrapped up and sparking from its sonic emprise, before final song Ricochet provides a lasting tempest of dramatic clouds and melodic tenacity within another blistering frame of invention and emotion.

Unravelling is an album which grips from the off but makes an even greater and thrilling impression the more time it is allowed to submerge and colour the senses. It is the finest hour of We Were Promised Jetpacks with ease and surely the doorway to a new level of attention and fervour towards the band’s spellbinding sound.

Unravelling is available via FatCat Records now @ http://fatcat.sandbaghq.com/we-were-promised-jetpacks-unravelling.html

http://www.wewerepromisedjetpacks.co.uk

RingMaster 14/10/2014

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