High Tiny Hairs – LP

HTH_RingMasterReview

It is fair to say that High Tiny Hairs do not waste too much time thinking about names for their releases, their introduction being called EP and a debut album going by the name of LP, their names the distinction between two self-titled proposals. Where they do centre their attention is on a sound which tantalises and captivates. Creating a compelling mix of garage and psych rock as sultry as it is infectious, the band captured ears and imagination with their first EP, a tempting which has blossomed into something even more beguiling in its full-length successor.

The beginnings of High Tiny Hairs came in the spring of 2014, the band starting out as a solo project for Minneapolis songwriter/vocalist/guitarist Ben Bachman. He recorded and produced the High Tiny Hairs EP soon after before joining US garage rock band Fuck Knights on their European tour prior to its release. It was on the Spanish leg of that adventure where he met Spanish troubadour Cristina Mirica and found a union in music and loves. They kept in touch after his return to America, an emotional bond growing which Bachman put down to the cure to his writers block. Towards the end of that year, he returned to Spain and Mirica, the pair also creatively uniting for what stands before us, the band’s magnetic first album.

Mixed by Ross Nueske, the album opens up with Bcna, guitars quickly wrapping engagingly around ears as the warm serenade of keys flirt with the senses. Seriously catchy from its first breath, the song only grows in tempting as Mirica’s warm tones joins the swagger of bass and crisp beats. There is a surf rock scenting to the track alongside its sixties flavoured garage pop, a mix which has hips and appetite dancing and all warmed up for the just as lively and enjoyable stroll of Upside Down. Hooks and melodies entangle as rhythms bound with an irresistible swagger, Bachman’s vocals and keys sauntering along the infection loaded encounter.

As Night Walking engages ears next it is clear that the punk essences of that first EP have been more or less replaced with a richer wash of variety, the song’s warm and seductive swing embracing psych blues and broader rock elements. There is no escaping getting hooked up in its masterful sway or the seventies glam pop flavoured rock ‘n’ roll of the following Rattlin. With more than a passing nod to bands like Sweet, the song romps along with ear enslaving virulence as Bachman’s guitar weaves a web of melodic enterprise around beguiling vocals.

art_RingMasterReviewRolling Smoke dips back into the seeds of sixties garage rock next while Stained smoulders with psych rock imagination from the same era straight after; both tracks as diverse and unique as they are mutually captivating and creatively stylish. They are qualities which again shape the hazy canvas of My Mind, a track with a whiff of bands like The 13th Floor Elevators and The Electric Prunes to its dark pop romancing.

The album is completed by firstly On a Plane, a humid summer of psych and garage rock with underlying tempestuousness, and finally Sunset. The closer is a riveting controlled stomp of punchy beats, brooding bass, and exotic melodies aligned to just as hazy vocals and steamy keys. It is a delicious end to an album which is just as flavoursome and more as a whole.

With a line-up now expanded by the addition of Coda’s Guillem Gabarró and Raül Romero of Flashback Five, High Tiny Hairs is looking at a rather exciting year on the back of one rather fine release.

The High Tiny Hairs LP is out now @ http://hightinyhairs.bandcamp.com

https://www.facebook.com/HighTinyHairs   http://hightinyhairs.wixsite.com/hightinyhairs

Pete RingMaster 25/02/2017

Copyright RingMaster: MyFreeCopyright

Renegade Twelve – Self Titled

renegade-twelve-promo-shot_RingMasterReview

With a character which refuses to be pigeonholed yet openly embraces every flavour of melodic metal and heavy rock you care to mention, the self-titled debut from Renegade Twelve is oh so easy to like. Offering ten rousing slices of rock ‘n’ roll as inventive as they are seemingly familiar, the release is a formidable and increasingly captivating introduction to the British outfit.

Hailing from Suffolk, Renegade Twelve emerged in 2014, formed by long-time friends in lead guitarists Jacob Mayes and Dan Potter, bassist Josh Barnard, and drummer Jack Mcsloy. It was with the addition of vocalist Sam Robson that the jigsaw of talent was finally complete, a union driving the band through over 100 gigs in 2016 alone in support and preparation for the release of their first album.

Recording it with producer Rupert Matthews who has collaborated with the likes of Rolling Stones, Led Zeppelin, The Who, The Eagles, and Black Sabbath, Renegade Twelve quickly unleash their individual and united enterprise with opener Mad Max. It opens from afar, sonic melodies and fiery energy brewing up their engines at a distance until ready to stand toe to toe with the listener. Once in place it is an imposing yet not overtly aggressive proposition, Robson soon leading the surge of adventure with his quickly impressive tones as guitars weave their sonic tapestry around the swinging rhythms of Barnard and Mcsloy. A definite Avenged Sevenfold colouring coats the song but it also offers plenty more to get the teeth into.

Vanity follows with its own blistering weave of melodic and heavy metal, its instinctive roar equally brewed on an array of textures from alternative and groove metal to classic rock. With ease, as its predecessor, it sparks the spirit and energies before Heroes Of Mine embraces ears with its melody rich, almost folk metal spiced enterprise before settling into its muscular melodically persuasive rock ‘n’ roll canter. Though the track is eclipsed by those around it, there is no lessening of appetite and enjoyment already bred by the album especially as the technical imagination of the guitarists dance evocatively on ears.

A carnivorously toned bass growl is just one ingredient in the thickly riveting success of Bipolar, anthemic vocals and raw virulence another as it energetically and at times venomously prowls the senses. It too just misses out on matching earlier heights yet has attention solely in its inventive hands especially when the organic animosity of its heart erupts and fuels a great passage of irritability.

renegade-twelve-cover-artwork_RingMasterReviewThrough the predatory landscape and infection clad swing of the outstanding This Town the album hits a new plateau, the track a boisterous funk lined stomp with a defiant snarl on every corner. Its individual nature adds to the already open variety within release and Renegade Twelve sound, a diversity further stretched by the power balladry/classic metal blaze of War Plane and in turn the epic yet intimate bellow of Somme. The first of the two leaves nothing to be dissatisfied with but is overshadowed by its surrounding companions with the sensational second of the two pure creative theatre with no signs of indulgence or wasteful seconds.

Yeah Boi swaggers in straight after, grouchy basslines and punchy beats joining cantankerous riffs in an irresistibly compelling instrumental unafraid to reveal a Pantera inspired swing bound in spicily toxic grooves. It sets ears and pleasure up perfectly for the fiercely catchy antics of MFC, a blistering sonic ravaging of ears, and straight after the melodic hug of closing track Bill & Chief. From its gentle, acoustically nurtured start, the song catches ablaze with melodic and emotive flames to bring the album to a conclusion as impressive as its start.

Renegade Twelve is a stunning debut sure to appeal to fans of most flavours within the metal realm such its richness of styles. The fact that the band still finds a pretty distinct sound even with its familiar essences is testament to the imaginative writing and unmissable skills of its individuals.

Renegade Twelve is out 27th January.

http://renegadetwelve.co.uk/   https://www.facebook.com/Renegade-Twelve-1393405887586971/   https://twitter.com/renegadetwelve

Pete RingMaster 25/02/2017

Copyright RingMaster: MyFreeCopyright

Discomister – Cool Is Dead

digi_album_RingMasterReview

In its celebration of “uncertainty, vulnerability, and authenticity”, Cool Is Dead is one of the year’s first mouth-watering surprises. From its first moments and touch, the debut album from British duo Discomister had our ears and imagination ablaze with eager intrigue, sparking lustier pleasure with each subsequent listen of its psych rock ‘n’ pop nurtured adventure.

Anticipation in a great many for the band’s first album had been sparked by a pair of limited edition 7” coloured vinyl singles over the past year, both featuring songs destined to make up part of its magnetic proposal. For us newcomers to the creative imagination of Robin Parmiter and Ian Wilson, Cool Is Dead is an unexpected pleasure which swiftly inspires captivation and an eager appetite to know more.

The York based two open up the album with the outstanding Magical, a tasty slice of feisty rock ‘n’ roll just as tempting in its mellow moments as its fiery roar. A thrust of guitar makes first contact, its squeaky grooves and rousing riffs paving the way for melodic vocals and seductive tone of bass as the song slips into calmer waters. All the while it is secretively prowling the listener though, building its drama and energy for another raw crescendo as infectious as it is raw. Vocal harmonies only add to the potency as too their lyrical dance, the track simply a riveting participation commanding treat.

Feed The Rich quickly follows with its own dynamic tempting, guitars poking at the senses as exotically nurtured melodies mingle with ears. Rhythmically also, the track anthemically picks its spot, jabbing away as it incites feet whilst vocal cries spark the spirit. Lyrically crawling over the state of education, the track is pure magnetism, hips and vocal chords as drawn as thoughts and energies in its persuasive stomp before Dissolve allows a small breather, though it too is ultimately a seriously catchy and compelling offering. A psychedelic tinge colours melodies and atmosphere within the song, its lure carrying a mix of Billy Momo and Rain Parade in its intoxication with further eighties new wave flavouring in its bolder twists.

Thoughts of Billy Momo are again inspired by next up I Am You; though only as a shade in the full melodic palette of the seriously superb slice of flaming pop while The Cool Cowboy takes the imagination on a psychedelic ride through a Doors meets The Monochrome Set theatre of suggestion and sound. Its creative lines are a shimmering, haze soaked beauty, the track glorious and as its predecessor, a proposal which if it connects with personal tastes is manna for the senses.

The gentler caress and romancing melodies of Your Faults charms ears next, its alluring minimalistic body perpetually evolving and brewing broader, stronger adventure and intensity with each of its four passing minutes. Its increasing inner fire is magnetically tempered by again inescapably catchy harmonies before it all sizzles out for the advancing revelry of Let It Roll. There is something indeterminably familiar to the song which only adds to its warm and welcoming acoustic hug, a seduction with its own emerging creative and emotional snarl only adding to the already thickly impressive character and presence of the album.

Middle Eastern spices breed another fresh trespass of the imagination in Kettle, its sultry air and exotic hues irresistible within a landscape as strange and sinister as it is beguiling. Track by track, the band and album twists the kaleidoscope of adventure and invention on offer into new designs, the track and its successor, Traitors & Saints no exception, the latter providing a blend of melody coaxed elegance and rhythmic predation in a slowly burning but increasingly bewitching incitement.

Cool Is Dead closes its journey with its title track, a radiant croon of melancholy with its own spiral of psych seeded mystery and temptation heading towards a dramatic blaze of intensity in a rousing climax. It is a gripping close to a slavery of fun and imagination, Cool Is Dead to the fore of the most enjoyable and impressive encounters in 2017 so far and though we have barely touched the closing walls of January it is hard to see that changing over the next eleven months.

Cool Is Dead is out now via Traitors & Saints Records, digitally on iTunes and on CD @ http://discomister.bigcartel.com/product/cool-is-dead-signed-cd-album-free-between-spaces-ep-download fully signed and in full colour card gatefold packaging with artwork by Rachael Burnett and coming with a FREE Digital Download of the Between Spaces EP, written  by the band during the 2016 Cool Is Dead European Tour.

https://www.facebook.com/discomister/    https://twitter.com/discomisteruk

Pete RingMaster 25/02/2017

Copyright RingMaster: MyFreeCopyright

Frau Pouch – Fairymares

cover-image-social_RingMasterReview

I am sure we were not alone in eagerly anticipating a first album from British no wave post-punks  Frau Pouch. They are a band which captured and ignited our imagination on our introduction to them in a split release with fellow Kent outfit Houdini back in 2012. Their sound is a sonically and creatively gurning fusion of post and garage punk with other feverish forms of wonderfully irritable and imaginatively twisted rock ‘n’ roll. Each release, since that first meeting, has seen the Medway trio stretch, twist, and inject their imagination with new creative psychoses, nurturing their most irresistible outcome yet in debut album Fairymares.

Released via Skingasm Records and recorded with Greg Webster of Houdini/ Punching Swans, Fairymares is warped manna for the ears especially if they have been nurtured on a diet of post punk seeded bands such as The Fall, Pere Ubu, and The Victorian English Gentlemens Club. The album swiftly enforces the fact that Frau Pouch has its own sound though, even with essences reminding of others, it stands boldly unique and creatively salacious to the threesome of vocalist/guitarist Joe Wise(also of Punching Swans), bassist Ollie Crook, and drummer Suzanne Freeman.

As previous tracks and the All Hail Space Chicken EP before it, Fairymares swiftly entangles ears in a web of sound and invention, opening up with the band’s lust breeding single of last year Biscuit Beard. From the glorious carnivorously natured, bestial toned growl of Crook’s bassline setting things off, the track infests body and soul. Wise’s riffs are just as carnal in touch and sound, his flowing grooves equally rapacious as Freeman’s controlled swings punch further subservience to the song’s call on an instantly lustful appetite. The track is pure addiction, its Gang Of Four soiled rhythmic tempting alone irresistible and the wiry web of sonic endeavour and vocal nagging Mekons like.

It is just the start of the album’s insane grooving and rhythmic baiting with the following Dracula Pukes revealing its own nest of creative vipers as cutting scythes of guitar and punch happy rhythms challenge and enthral for a mere fifty seven seconds; a gripping minute of cantankerous confrontation leading to the virulently infectious stroll of Ham Planet. Like Pere Ubu on steroids as Turbogeist writhes under the punk influence of The Fall, the track dances with pop infused boisterousness though every swinging movement of its creative hips comes with seductive venomous intent as Wise declares his vocal desires.

The exceptional Burn Baby keeps the lust hungrily burning next, its lo-fi canvas a tangle of steely petulant grooves, intimately flirtatious beats, and crabby bass groans as vocals install their own brand of psyche trespassing persuasion. It is aural corruption leaving a lingering touch though Witch Fingers straight after soon steals all attention. With we assume Freeman taking vocal lead, the track is like a demented fusion of Daisy Chainsaw and The Fire Engines, off kilter toxic melody and dancing vocals uniting in an adult nursery rhyme like trespass of sanity.

Ghost Fire offers its own cranky invention, stabbing riffs and sonic vining shadowing Wise’s compelling stabbing vocals as another gloriously testy and intrusive bassline sparks feverish submission across its single minute before the repetitive prowess of Erotic Clocks has ears tempted hook, line, and sinker. With a slight whiff of Spizzenergi to it, the track is another sure fire infestation of body and psyche with its rhythmic nag and caustic expulsions.

With seductive danger to its cartoonish and creative loco, Gotham Piper lures the listener in next, continuing to lay a certifiable creative hand on the senses before intermittently uncaging its inner meshuga in ferocious style. The Cardiacs comes to mind within the thrilling encounter, Mark E. Smith and co even more so in successor Cat Curfew though once more as Wise lords over his own weave of sonic wiring and the rhythmic union of Crook and Freeman, Frau Pouch imprint only their own uniqueness.

Sleepstalker completes the line-up of treats, its sombre yet vibrantly magnetic fingering of the senses the stuff of nightmares; Crooks’ grievous bassline the stalker, Freeman’s beats the trap, and Wise in voice and sonic intrusion the swamp impossible to escape from. They are all delicious ingredients in a thrilling end to not only the best thing to come from Frau Pouch but potentially 2017 as a whole.

Fairymares is released 27th January via Skingasm Records.

https://www.facebook.com/FrauPouch/    https://fraupouch.bandcamp.com/

Pete RingMaster 24/01/2017

Copyright RingMaster: MyFreeCopyright

Threatpoint – R.I.P.

threatpoint_RingMasterReview

Inescapably enjoying their second album Careful What You Wish For when being introduced to it and the band last year, we suggested that it was easy to see US groove metallers Threatpoint “making their presence a global one if not now certainly on a near horizon.” That album evaded the luck to make the bridge but now expectations of such success are rising again with its successor R.I.P., a release which eclipses the last in every department.

Formed in 2012, the Scranton, Pennsylvania hailing quartet quickly showed themselves a formidable and exciting proposition through debut album Dead to Rise in 2013 and a live presence eagerly devoured locally and further afield. Taking inspirations from an array of metal and heavy rock borne flavours for their groove metal seeded sound, Threatpoint merged familiar and increasingly inventively fresh essences in the following Careful What You Wish and it is fair to say that the latter side has grown yet again within R.I.P., that alongside imagination and sheer creative ferocity.

With newest member and bassist Matthew Van Fleet alongside founding members in vocalist Chris James, guitarist Alex Olivetti, and drummer CJ Krukowski, Threatpoint immediately absorb ears with the portentous lure of the album’s title track. Its initial coaxing is a dark harmonic drone courted by drama carrying atmospherics. From within the evocative draw, riffs and rhythms gather and surge hungrily through ears, quickly finding their assault bound in just as rapacious grooves. Death and thrash nurtured textures are soon fuelling the rousing starter, the raw ire loaded tones of James orchestrating the anthemic prowess of the chorus whilst Olivetti’s enterprise only blossoms across each invasive groove and melodic flame.

It is an invasively potent beginning to the release reinforced by next up Deadend Machineland. It too needs a mere handful of second before settling into a predatory confrontation equipped with its own senses stirring confrontation. Like a gunslinger, it stands sizing up the listener as James’ prowls the imagination, subsequently uncaging a blast of multi-flavoured metal with a good sense of restraint to emphasize its invention before Tombstones of my Enemies presents a riveting trespass of scowling riffs, intrusive rhythms, and a sonic web woven with melodic dexterity, all emerging from a great initial melodic haunting. As each song before it, the track reveals a new character to the Threatpoint sound, R.I.P. already outshining its predecessor in diversity while matching its raw intensity.

art_RingMasterReviewThy Will Be Done is a grievous groove fest littered with invasive hooks and sonic irritability around the equally fuelled growls of James while Light Bleeds Through the Black straight after is a sinister at times almost darkly lecherous protagonist of ears and imagination interrupted by predatory bursts of volcanic ferocity. Both crowd around barbarous basslines from Van Fleet and the wickedly swung beats of Krukowski, a union of dexterity as addictive as the ravenous enterprise around them. The fade out of the first is annoying but a minor gripe in one of the album’s major highlights, a height matched by its successor and the demonian seduction of Bury the Wicked where again lava-esque enterprise meets provocative malevolence.

Through the classic and thrash metal spiced theatre of Laugh Now…Cry Later and the carnivorous canter of Writings on the Wall, the band continues to enthral an eager appetite for the magnetic adventure of the album even if neither quite stirs personal tastes to the same lusty responses as those before them or  the outstanding One in the Chamber…One in the Chest which follows. Its grouchy growl alone whips up unbridled attention, its predacious bassline and similarly natured grooves just as masterful in enslaving the passions as the song twists and turns with inventive rabidity.

The murderous swing of Face Your Fear is the foundation to another pinnacle within R.I.P., a track which courts a host of varied metallic styles as it venomously struts around body and thoughts before making way for the equally gripping theatre of Angels with Broken Wings which features the striking vocal presence of Lauren Balogh, vocalist for DramaScream and SuperRadical; her union with James a major reason for the track sparking another wave of lust.

Completed by the thunderous charge and choleric tempest of Death Rides Again, the album hits a whole new plateau in its second half following a nothing but impressive and thoroughly enjoyable first. It is the spark for expectations that Threatpoint will finally find worldwide awareness for their ever growing and increasingly inventive sound. R.I.P. may be its name but the album is the birth of greater things and success for the band.

R.I.P. is out now across most online stores.

http://www.threatpointofficial.com    https://www.facebook.com/threatpoint

Pete RingMaster 24/01/2017

Copyright RingMaster: MyFreeCopyright

Circle of Dust – Machines of Our Disgrace

As treats go, the re-release last year of all four Circle of Dust albums was rarely rivalled, until the last sigh of 2016 that is and the unveiling of a brand new collection of songs from the 90’s emerging industrial / electronic-rock project. Circle of Dust was the introduction to the craft and stirring talent of artist/producer Klayton, the fore-runner to his acclaimed and inspiring project Celldweller though the differences to the pair of propositions is an open roar no more potent than in the breath-taking Machines of Our Disgrace.

The quartet of Circle of Dust releases in Circle of Dust, Brainchild, Metamorphosis, and Disengage and also the Misguided album from his side project Argyle Park had been ‘lost’ to our ears for over twenty years with the rights to all unavailable to Klayton after the labels they were released through shut down back in the nineties. After two decades chasing, he re-gained ownership of the rights in 2015 and set about re-mastering each of the five full-lengths last year, expanding all with additional demos, unreleased bonus tracks, acoustic/alternate versions of tracks as well as some new remixes.

Whether they were the spark to writing new Circle of Dust songs and creating a brand new episode in its distinct landscape of adventure or a new album was an idea already in motion matters little in the face of an imagination lit and gripping proposal offered by Machines of Our Disgrace. Entangling metal and electronic essences in a virulently infectious industrial incitement, Klayton and album set another bar for others to be inspired by. There is formidable steel to riffs and a backbone of rhythms which invade the senses with a crunch throughout the release while surrounding them a multi-varied and ever present snarl stalks sound and lyrics.

machines_of_our_disgrace_cover_RingMasterReviewOpening with the suggestive air and throbbing ever intensifying lure of brief encounter re_Engage, the album swiftly consumes ears and thoughts with its title track. From behind an initial sample, repeated throughout, Machines of Our Disgrace looms, advancing with rapacious intent before launching its metallic riffs and wiry guitars grooves. Electronic provocation unites with this predacious embrace, senses and imagination infested and pleasured by the predacious tapestry as Klayton’s tones prowl with harmonic enterprise and invasive potency.

It is an exceptional full start sparking body and emotion and backed just as powerfully by next up Contagion. Living up to its name, the track soon surrounds ears with a treacle like melodic tempting, subsequently beginning a relentlessly catchy enticement with just a whiff of Ministry to it, that evolving into a more Dope/Society One like trespass as Klayton’s vocals prowl and question while the song reveals its full repertoire of creative stimulation.

There is no relinquishing of imagination and appetite with Embracing Entropy next. Featuring Celldweller, i.e. the combining of Klayton’s two unique creative sides, the track pulsates with intrusive drama and invasive energy. As across the whole of the release, samples are skilfully and evocatively used whilst sounds feverishly bubble, igniting senses and thoughts in turn. From blisteringly agitated to melodically seductive, the song is a theatre of sound and texture, inescapably persuasive and hungrily addictive.

Just as powerful is the ferocious presence of Humanarchy, the track a ravenous threat of metallic and vocal rabidity locked in allegiance with a just as imposing electronic swing while after the warning of Signal, the following alt_Human uncages a sonic tempest as enjoyably challenging as its lyrical examination of science and morality. Fuelled by rapacious infectiousness, the song easily infests body and imagination with a swift and almost prurient craving.

Hive Mind is a simmering, bordering on predatory croon tempting ears like a blend of synth pop era Ministry, Ghost In The Static, and Nine Inch Nails while straight after Outside In and Neurachem serenade and growl respectively. The first of the pair is an absorbing melodic embrace, almost warm in its touch, whilst its successor is an irritable and fiercely captivating trespass binding ears with metallic and introspective melodic seducing, both adding further pinnacles to the lofty heights of the release.

A sonic kaleidoscope evocatively devours ears next with k_OS, samples narrating its dramatic landscape before Neophyte bubbles and bursts in electronic espionage for another irresistible, contagion loaded adventure for the imagination to lose itself in.

The album closes with Malacandra, a brooding fog of sound and atmospheric suggestion haunting ears and thoughts alike across its instrumental soundscape. It is an edgy and emotionally charged piece of noir lit evocation bringing a superb adventure to a powerful and magnetic close.

Even though Celldweller has forged pleasure and lust in ears and imagination, Circle of Dust has been missed, its distinct industrial presence an absence never filled until now with the exceptional Machines of Our Disgrace where Klayton swiftly suggests he is ready to push genre boundaries once again.

Machines of Our Disgrace is out now via FiXT across most online stores and @ https://circleofdust.bandcamp.com/album/machines-of-our-disgrace-2 or http://fixtstore.com/circleofdust

http://circleofdust.net     https://facebook.com/circleofdustofficial    http://klayton.info

Pete RingMaster 17/01/2017

Copyright RingMaster: MyFreeCopyright

Beware! Monsters – Friend or Faux

beware-monsters-friend-or-faux-cover_RingMasterReview

An invigorating kaleidoscope of sound amid rousing creative dramatics, Friend or Faux is the debut album from British outfit Beware! Monsters. It is an encounter bred on a fusion of electro infused rock ‘n’ roll, rap, drum ‘n’ bass, and dubstep; like a fusion of Hadouken!, G.R.I.M, and Abandon All Ships but swiftly finding its own character in a provocatively fun album with a snarl in its heart and lyrical suggestiveness.

There is also a more than light touch of Semitt Falls to the Manchester band’s proposal which is no surprise as Beware! Monsters features former members of that band in guitarist Paul Kendrick and bassist Sidge Rushton. In fact vocalist Jay Kane was also one of the founders of the unpredictably inventive Semitt Falls, linking up once more with former band mates and newcomer in drummer Corentin Neyran for a new adventure in 2016. Beware! Monsters swiftly found eager appetites devouring their boisterous sound live and subsequently with Friend or Faux and its enjoyably intrusive and bold sixteen track proposal.

Book ended and broken up with ‘skits’ of evocative aural suggestion, the album starts proper with Make Wubz Not War and a deliciously heavy bassline with funk in its heart. As electronic and guitar cast essences attach themselves, the irresistible coaxing leads ears into a lively stroll abound with rock bred devilment and electro enterprise. With Kane’s rapping an equally persuasive motion in the thrilling scheme of things, the song sparks thoughts of previously mentioned Londoners Hadouken! and fellow Mancunians G.R.I.M but as also suggested earlier shows plenty to forge its own identity.

A mightily anthemic trespass on body and imagination, the great start continues with Truth, a milder mannered encounter sound wise but with a bite to its words and an underlying defiance to its intent as melodies seduce and rhythms bounce. Rushton’s bass again is an imposing treat more than matched by the frantic urges of the electronic antics around it and Neyran’s tenacious beats.

A wonderful nagging quality is shared by Kendrick’s guitar in the following Higher, its riffs and grooves a magnetic persistence supported by funk fuelled rhythms and an instinctive catchiness brewed in quick time by the aligning of individual revelry. With a touch of Axis Mundi to its body, the fiercely enjoyable track is followed and eclipsed by Beware of the Monsters, a pop rock scented affair with classical strains in its melodic endeavour and rapacity to its captivation loaded rock ‘n’ roll; it ultimately a resourceful carnival with the snappy raps of Kane as its side show barker.

The brief Project Dystopia is a similarly alluring affair at ease either snarling or roaming through ears in a reggae graced haze before making way for the punchy dynamics of A Long Way From Home, a track epitomising the album in the diversity of styles and textures employed in its imaginative carousel. Though it lacks the same spark as its predecessors for personal ears, the song is a compelling and skilfully woven proposition before the short almost gothic lure of In Ravens We Trust pulls intrigue into the waiting drama of We Are The 48. The track is another rock heavy slice of goodness with a predatory edge to its rhythms and vocals amidst the entwining of fiery grooves and smouldering melodies.

The Messengers of Deception rumbles and grumbles next without skimping on veins of seductive melodic enticement and its own distinct web of rousing creative espionage while No False Idol smoulders around another earthy bassline as an Enter Shikari meets Electric Six escapade blossoms into something fiercely unique and explosive to Beware! Monsters.

The cosmic toned A Revolution in Progress stirs the senses and emotions next, its intimate yet worldly challenge a tempestuous blend of rock and metal as at ease gently caressing involvement as forcibly stirring it up, all with a craft and invention which sets another certain highlight within Friend or Faux.

Closing with The Haunting is Over, a short evocative instrumental, Friend or Faux is one of those striking debuts which lingers in ears and thoughts long pass its presence. Certainly some tracks surpass others but from its first eventful second through to its suggestive last, the album is an impressive introduction to a band already outshining its member’s previous successes.

Friend or Faux is out now @ https://bewaremonsters.bandcamp.com/releases

https://www.facebook.com/bewaremonstersuk/

Pete RingMaster 11/01/2017

Copyright RingMaster: MyFreeCopyright