Nihilistinen Barbaarisuus – Synkkä Tuuli / Väinämöinen EP

 original lineup — with Manuel Rodriguez, Mika Mage and Serpent Ov Old


original lineup — with Manuel Rodriguez, Mika Mage and Serpent Ov Old

Creating an aural blizzard within which you can feel skin and senses being flayed by artic spite and stark winds, US atmospheric black metallers Nihilistinen Barbaarisuus is one of the propositions not many know of yet but should make the time to bravely investigate. Which is why we are looking at their debut album Synkkä Tuuli and the since released VäinämöinenEP. The Philadelphia band is one of the rawest encounters in intent and presence you are likely to hear at the moment but one which below its tempestuous emotional wastelands breeds a virulent intrigue which binds attention and appetite. Neither of their releases are an easy listen or kind experiences but both leave you wanting more with the thought that given the chance recording wise they have the potential to be a commanding force.

Formed in 2012, Nihilistinen Barbaarisuus was initially a trio of vocalist, bassist, and synth player, M.W.S. (Serpent ov Old) with guitarists Mika Mage and Manuel Rodriguez. A self-titled demo appeared their first year followed by Synkkä Tuuli in 2013. Following its release both Rodriguez and M.W.S. left the band leaving Mage the sole force behind the band and the Väinämöinen EP. Before then though Synkkä Tuuli drew good attention and reactions for its intensively expressive and intrusive presence which is no surprise once immersed in its sonically caustic cold and ambient frost.

The album opens with the two parts of Ylittäen Jäätyneen Pohjoisen; the first opening with footsteps through crunchy snow as wind Nihilistinen Barbaarisuus coverbites at the senses and an increasingly brewing intensive atmosphere chills bone and air further. With rhythms urgently imposing, guitars swarm over the senses, their touch restrained but sinister and icy. Courted by dark bass lines and the haunted squalls of vocals, the track is a smothering tempest but with a melodic and drone bred seduction which tempers the corrosive breath of the piece. Shivers run down the spine throughout until a respite mid-way brings a melodic beauty and peace to the track, it’s still cold hands caressing the imagination whilst offering a sheltering incitement before a venture back into a tortuous climate within part II. The second part if anything is harsher and more destructive than its predecessor, the climate a vicious antagonist but its beauty more evocative whilst its landscape moves from being an aggressive predator to a portentous siren, danger and emotive sufferance never diminishing in the heart of the track.

The production on the album is as abrading and raw as the sounds, never giving an inch to the senses and at times almost suffocating the sculpted melodies of the songs. It is in many ways a demo quality glaze adding extra harsh textures to tracks but as shown with the wonderful Itämeri Anomalia it never stands in the way of the beauty within the release. A lone acoustic guitar emerges from a wave buffeted beach, its melancholic breath and radiance irresistible and refreshing as keys and further stringed elegance paints a skilled and mesmeric canvas,

That scenic passage is soon submerged under another pestilential storm as firstly the dulled yet appealing Anhedonia erupts across the ears to be followed by the exploration of Arktinen Välisoitto. The first of the two erodes the senses from first second to last, allowing no escape from its intensity whilst its successor opens on an acidic ambience, keys soaring gracefully through its emotive soundscape. The instrumental is delicious, an aural travelogue of emotions which again shows the craft and invention of the composing as well as that of the band members, and to be honest it is these moments where Nihilistinen Barbaarisuus really shine the most.

The release is completed by the rapacious uncompromising stroll of the title track, a song which preys on the senses with curt rhythms and toxic vocals whilst soothing them with mellow expressive keys, and finally the dark instrumental Ketamiini, a piece which is as seemingly venomous as it is radiant.

Nihilistinen Barbaarisuus cover 2   It is a testing album but a highly rewarding one, as is the Väinämöinen EP. With the band now just Mage, though he does invite guest contributions from the returning M.W.S. on bass, Lawrence Wallace (Shadows in the Crypt, Lawrence’s Creation) on keys and drum programming, as well as James McClellan Dorton III (Nightfire, Antikythera, ex-Shadows in the Crypt) on vocals, the two track release is equally as dark and sonically ravenous as its predecessor. The vocals though are allowed a greater clarity within the tsunami of intensity and sound whilst production also finds a more open presence for the songs. The title track marauds over the senses first, the cold expanses of the album revisited again but with a more intimate and precise investigation. Across the rare atmosphere and vitriolic weather of the song, bass and guitars converge in a corrosion intended union but also make their own individual frost bitten temptations for a stronger and more compelling adventure than found on the album.

Second track Yo Jolloin Han Kuoli finds the skills of Mage caressing the imagination once again, his acoustic craft and storytelling a riveting incitement which relishes the emotional colour it brings alone or within the courting of similarly descriptive keys. It is a mouthwatering close to the EP, leaving a lingering warm and thrilled impression of release and band.

If you are looking for something acerbically fresh and raw from an emerging force with the potential to blossom into a quite breath-taking and remarkable proposition, then taking a look at Nihilistinen Barbaarisuus is definitely a strong suggestion. Whether they realise their promise time will tell but you imagine it will be a rewarding time watching and listening.

Synkkä Tuuli is available now on Horror Pain Gore Death Productions http://www.horrorpaingoredeath.com/store/hpgd062.html

The Väinämöinen EP is available from Infernal Kommando Records as a limited edition cassette and can be downloaded for free from http://gunshyassassin.com/news/exclusive-nihilistinen-barbaarisuus-stream-and-download-vainamoinen/

Synkkä Tuuli 8/10 Väinämöinen EP 8.5/10

RingMaster 2/04/2014

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The Van Burens – Presidential Lovefest

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Mischief and good music is always a healthily attractive mix and that is exactly what you get with Presidential Lovefest, the second EP from US indie/reggae funksters The Van Burens. The nine tracks it holds captures the imagination and feet from start to finish; the six full tracks and trio of equally magnetic samples which split the earlier songs on the release creating an intriguing web and compelling party to get wrapped up in. The release is fun with a giant F but also an expertly sculpted and devilishly presented slice of slavery.

Formed in 2008 and taking their name from the eighth President of the United States, The Van Burens has built up an eager following for their vivacious and energetic sound. They have a presence which toys with theirs and the listener’s imagination, their songs certainly on the new EP eager to ride unpredictability with contagious adventure. Presidential Lovefest is the successor to the 2010 Eager EP, the former’s success and appeal helping the Boston band to go on to tour the US. Drummer/singer Matt Spitz speaking about their new release said “Presidential Lovefest captures both our fun live set and our meticulous studio sound; it’s a dance record you can hear a thousand times and always find something new”. It is impossible to disagree as even after numerous tangos with its pleasing body, new temptations and depths reveal their seduction ensuring the release just gets better over time.

Taking an irreverent theme of American history to its humorous premises, Presidential Lovefest opens with the introductory scenery of TVB coverMiss Lola Overture, a forty second lead into the following Tricky Dick. It is here where the release really wakes up, rhythms and a blaze of brass heralding the funk driven stomp ahead. The track immediately stomps with a rhythmic swagger courted by a great dark bass tone provided by Emmett Knox whilst alongside them the vocals dance with revelry and a welcoming enticement. With the guitars of Greg Smith and Greg Spitz teaming up with the keys of Jeff King to weave a melodic web which simply seduces emotions and appetite, the song continues its rampant persuasion bursting continuously with the trumpeting calls of Leenie Doran beside the equally magnetic flames of trombonist Pete Fanelli and saxophonist Joel Edinberg.

It is a flaming bait to set the EP off in irresistible style, an entrance after the atmospherically wrapped bye bye with its ‘FoxMulder’/child sample, which is backed potently by the more restrained Hey Everybody. The song is a sultry breeze of smouldering brass and clinging melodies, band vocals and harmonies similarly gentle in their caresses. The track does not inflame as dramatically as the previous song but instead provides a persistent embrace which envelops and soaks the senses for a just as compelling capture.

A continuation of the previous sample comes with hello before Reagan raises its rhythmic knees and keen melodies for a vibrant wind of reggae fuelled enterprise. The beats of Matt Spitz pulsate and rap around the ears, alone triggering a festival in the feet whilst the mesmeric vocal sweeps which span across the punchy canter of the song manipulate the passions. Not for the first or last time, song and band inspire comparisons to the adventurous and inventive mischief of nineties band Honky, as well as offering essences of Fun Lovin’ Criminals. The song is a blaze of charm and inventive vitality, again the brass flumes emotively colouring the expressive canvas provided by guitars and keys framed by the ever tantalising rhythms. With flumes of scuzz kissed sonics and the guest trumpet insurgences of Sam Dechenne, the song steals passions and memory alike.

Lee Harvey emerges from a sinister atmosphere, a sampled public warning stepping from a noir haze right before a jazz/funk bred guitar teasing wraps its lures around the body. Again that Honky reference is at play, experimental hip hop elements swerving their inviting hips from within the fullness of the funk fuelled dance. There is a very familiar toxin to the track but it only accentuates the mystery and seduction, rogue keys and percussive exploits adding further sparks for the imagination to devour as greedily as the ears. Making its way to a climax of fifties swing and rock ‘n’ roll, the track is an irresistible treat to lose inhibitions and breath to.

The smokey air of This Town wafts gently over ears next, its shadowed emergence bringing a reggae built climate of condensed brass heat and stroking guitar evocation. Trumpet and vocal guesting from Doran as in the final song adds to the thick coaxing of the song, melodies and vocals swarming tenderly over the inventive nature of the guitars and rhythms. It is an engrossing, slightly more serious suasion than other tracks, flirtation raising another flush of warm ardour for the EP before the infectious closing of LBJ, it an experiment of intrusive melodies and invigorating imagination.

Presidential Lovefest is a delicious and boisterous encounter, one to lose your reserve and inhibitions to whilst The Van Burens climb your list of favourites with each and every tempting note.

The Presidential Lovefest EP is available as buy now name your price download @ http://thevanburens.bandcamp.com/album/presidential-lovefest

http://www.vanburenmusic.com

8.5/10

RingMaster 21/04/2014

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Glory Glory – So Long

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Seemingly holding a torch for eighties new wave and indie pop, Canadian band Glory Glory unveil their new tantalising EP, a release which mesmerises and tempts with a melodic seduction which is hard to find any resistance to. So Long is an encounter which makes a pleasing impression on first listen but evolves into an irresistible and essential breeze the more you allow it to stroke and coax the imagination. There is a smile to the music of the band which radiates incessantly from within the release, an enticing charm which caresses senses and thoughts whilst an understated but rich invention blossoms deep within the songs. It all adds up to a rich persuasion which maybe does not give its recipient a blood rush but certainly leaves them smouldering with content.

Hailing from Halifax, Nova Scotia, Glory Glory was formed in 2006 with a sound which was said to be more post punk sculpted. They create a brew though which merges a wealth of styles and essences to defy any exact labelling, So Long just as its slightly rawer and darker predecessor, the You Need a Heart to Live EP of 2011, providing the richest evidence. The new three track proposition was mixed by Grammy nominated producer Justin Gerrish (Vampire Weekend, The Strokes), and pushes the band’s presence into an even greater potent spotlight which is sure to open up wider attention on the band. The trio of Adam Warren, Ryan Brown, and Gavin Maclean has already drawn references to the likes of Rush, Grizzly Bear, Caribou, and Twin Shadow their way but as So Long wraps its suggestive arms around the ears there is a definite feel of China Crisis and Scritti Politti to the offerings.

The first of those two comparisons is loud in opening track Take My Time. From its opening lure of dark bass tempting the track has GG coverintrigue and attention gripped and primed for the swiftly following tangle of guitar crafted melodies, they having a ABC whisper to them, and excited percussive endeavour. It is a gentle but lively start given extra warmth by the flowing mellow vocals and occasional backing harmonies. The song strolls with relish through the ears, casting a dream bred elegance and glaze over its captivating narrative, whilst a slight Two Door Cinema Club air adds to the textured beauty of the song.

The impressive start is backed up by the slower gaited but equally absorbing and immersive Indigo Son. The atmosphere of the song is part celestial and part sultry, its melodic romance nestling provocatively with thoughts whilst the poised joyful swagger of the song provides that Scritti Politti enticement to its enthralling textures. Though not as dramatically gripping as its predecessor, the song holds imagination and appetite firmly in its resourceful enterprise whilst providing a hazy climate to the emotively engineered suasion.

The closing Everybody Lies envelopes and dances with the senses much as the opening song, it’s certainly individual adventure wrapping a refreshing weave of invention and evocatively hued melodies around body and reflection like a graceful temptress, one as across all the tracks driven by a dance seeded pulsing and rhythmic ensnaring. Though much like the surface of the music lyrically everything seems a peaceful soar, beneath shadows and flirty twists play their part in trapping imagination and emotions. It is a clever and imaginative underbelly which only adds to the overall caressing whilst forging deep textures and colour to the songs.

Though So Long is the first we have heard of Glory Glory, a swift look at their previous and also thoroughly appealing EP shows the evolution in progress within the band’s songwriting and sound. It is an exciting emergence which is increasing its potential to spark a greedy anticipation for their forthcoming horizons. Glory Glory looks like being a band we are destined to hear and enjoy for a long time to come.

The So Long EP is available now @ http://gloryglory.bandcamp.com/

http://www.glorygloryband.com/

8/10

RingMaster 20/04/2014

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Two-Bit Sister – The Jackal EP

Two Bit Sister Online Promo shot

Whilst not setting burning fires with their debut EP, UK alternative rockers Two-Bit Sister make a sizeable and lingering impression with the very enjoyable release. The Jackal EP consists of four rock/pop songs infused with valid essences of blues, grunge, and punk. It is a mix which took a little time to entrench its seeds into the imagination but once there blossomed into a rather pleasing and accomplished endeavour.

The band is the union of Leon Peskett (guitar and lead vocals) and Connor Bluemel (drums and backing vocals), two musicians from Margate who from knowing each other at school and jamming together over previous years united last year for Two-Bit Sister. It was not long before the pair had a clutch of songs and was lighting up shows across the summer of 2013 and beyond. Taking influences from the likes of Nirvana, Jack White, Arctic Monkeys, Blink-182, Led Zeppelin, The Beatles, Queens Of The Stone Age, and Band Of Skulls into their stripped down yet full sound, the band then set about creating this their first release. The Jackal provides a rich insight into the open potential and imagination of the band, not a release to send the passions on a fevered rapture but certainly one to ignite an eager appetite for them and their future.

The title track opens up the release and despite its vibrant sound and bouncy stride is a little bit of an underwhelming proposition. Though Two Bit Sister Cover Artworkwarming to the song over time it never really hits the spot, its folk touching presence lacking the creative and impacting spark which lights up the other tracks. Nevertheless with crisp beats and strolling guitar suasion, the song does swing along with the sound of summer and an engaging melodic prowess matched by the smiling vocals of Peskett. As with all the tracks there is a familiarity to the song, the band’s inspirations an open colour, but it only goes to give this and subsequent offerings an extra contagious element to their adventures.

It is a decent start holding attention but it is the remaining trio of tracks which wake up a keen appetite starting with Turbulence. A shadowed guitar coaxing lures in thoughts first before a wider weave of enterprise from the strings of Peskett allied to the rhythmic temptation of Bluemel increase the temptation. Vocally the tones of Peskett also find a darker lilt whilst the backing of Bluemel brings a mixed weave of croons and harmonies to continue to keep things interesting. A Nirvana-esque expression erupts around the eager chorus whilst the tempered canters in between them explore a more Audioslave like premise. The track is a riveting encounter which seduces more and more over time, potent hooks and grooves persistently marking its passage, and at times reminds a little of fellow British band Feud though it forges its own identity for Two-Bit Sister.

The following Wanna Know has an immediate punk feel to its rawer sound, opening hooks coming with a spice of the Sex Pistols whilst once into its stride the track has a feel of early Buzzcocks to it. With its uncluttered presence and unfussy intent there is also a flavour of Television Personalities to the song, it all adding rich hues to another compelling slice of rock pop from the band. Once more riffs and rhythms combine to offer fully magnetic bait whilst vocally the pair provides a solid and expressive swagger to the stroll of the persuasion. This and its predecessor are the pinnacles of the release, tracks drenched in exciting endeavour and rich promise revealing much more about the songwriting and band than the opening song.

The closing track Times also stands tall, its decent opening caress of guitar and vocals giving no hint of the Weezer styled romp to follow. Though the song never bursts into an over energetic urgency it undeniably strides vivaciously through ears with grooves making gentle persuasions and rhythms providing a sinewy frame. A blues expression breaks out inventively midway, vocals and sounds soaking it up, to further spark up a keen attentiveness towards track and EP. As it entices and romps with the senses, an understanding of why Queens Of The Stone Age references, which have been kindled about the band opens up, though the band again provide a not exactly distinct but a certain individual presence for themselves.

The Jackal EP is a richly satisfying introduction to Two-Bit Sister; a very appetising and enjoyable base for the duo to build and spring from. Creating songs which truly linger long after departure is a craft many bands take time or fail to master, but Peskett and Bluemel do it with ease on their debut which makes them a proposition to watch closely.

The self-released The Jackal EP is available from Monday 21st April from http://two-bitsister.bandcamp.com/

http://www.twobitsister.co.uk/

8/10

RingMaster 20/04/2014

Copyright RingMaster: MyFreeCopyright

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Kristy And The Kraks – Self-Titled EP

kristykraks

Casting a seductive web of sixties and garage punk, Kristy and the Kraks has a sound which sidles up to the imagination with lips pouted and provocatively swaying hips before adding a sonic glaze to the affair which permeates psyche and passions with equal tenacity. Hailing from Vienna, the band has just released their debut self-titled EP, a release consisting of four songs said to be inspired by Le Tigre and Julie Ruin. It is a raw and enchanting blaze of punk enterprise which croons and teases as its scores the senses in a presence which for us is best described as The Cramps and The Creeping Ivies meets The 5 6 7 8’s and The Crystals.

Kristy and the Kranks is the creation and union of Kate Kristal (Rabe, Dot Dash) and Ana Threat (The Happy Kids, Bretzel Krake Hoffer), the two coming together for the project in the spring of last year. Providing a temptation of two sets of vocals, a single guitar, and a basic stand-up drum set, the pair alternating instruments for certain songs, Kristy And The Kraks mesmerise with their sound. Like the best strains of garage punk the band makes a startling first impression, one which challenges and intrigues predominantly but it is not long before their lo-fi wiles and simple melodic toxicity become an irresistible and captivating temptress.

A resonance of drums opens up the EP as I Don’t Love You No More steps into view, the initial beckoning soon joined by sultry calls of coverguitar, both aspects gentle in their persuasion and gait at first. As the vocals come forward a more flaming voice emerges in the guitar strokes, their acidic tempting deliciously raw edged as they align with the smouldering harmonies which skirt the similarly heated vocal lead. The chorus brings a flush of urgency behind its melodic enticement which then switches to and fro with the previous more even tempered but fiery narrative. The song and sound is quite compelling, like a humid union of The Shangri-Las and The Fall and thoroughly absorbing.

The following Twentyone is forty two seconds of irresistible addictiveness. It is simply a hypnotic stride of beats inflamed by scuzz grilled guitar with intermittent vocal shouts striking across its bow. There is very little more to it but boy is it effective and inflammatory for the passions, riling and lighting them up for the next up No No No No No. The third song, which has also been the source of the band’s debut video, opens on a sensational throaty twang of guitar, its resourceful baiting of the imagination complemented by harmonic waves of vocals and a courting percussive coaxing. The song flirts with its moves and sounds, its swerves and tempting as raw and seductive as you could wish for. There is something primal about the song and the overall sound of the band, an instinctive lure which you cannot tear yourself or emotions away from, with this track arguably the most naturally bewitching of the four.

The just as masterfully magnetic Suicide completes the contagious incitement, the song veining its shadows with sirenesque harmonies entwined in rich guitar colour as well as a rhythmic punctuation. It all combines to provide a gripping drama with a healthy whisper of The Slits to its invention.

The EP is a magnificent debut, a release which increases its persuasion and beauty over each dive into its vibrant uncluttered depths. A release for garage punk, post punk, and lo-fi melodic punk fans, Kristy And The Kraks has announced themselves with one lingering fascination of a debut. Expect to hear and enjoy a lot more of this charismatic band.

The EP is available as a limited edition 7″ as well as a digital download via Totally Wired Records now!

http://totallywiredrecords.bandcamp.com/album/kristy-and-the-kraks

http://www.facebook.com/kristykraks

9/10

RingMaster 19/04/2014

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Mind Museum – One Blood

MM_SHOOT-1

The potent ascent of UK alternative rock band Mind Museum continues unabated as they release their riveting new encounter, the One Blood EP. Since unleashing their attention grabbing debut EP Rat Race in 2011, the Bristol trio has continued to impress and outweigh other emerging bands with their weave of heart bred passion, riveting sounds, and gripping enterprise. Each release the band unveils takes their presence and reputation up another level and One Blood is no exception, the maturity in songwriting, sound, and simply presence mouthwatering.

Formed in 2010 from the ashes of several bands including most notably I AM THE DOOR and Full Scream Ahead, Mind Museum has persistently presented a proposition impossible to ignore or not find a deep rooted attraction for. Since forming the band has made as big an impact live as they have with their releases, sharing stages with the likes of Young Guns, Twin Atlantic, The King Blues, and The Royal Republic as well as lighting up their own headlining shows. Taking inspiration from bands such as Biffy Clyro, Coheed and Cambria, The Cure, and Placebo, the trio of vocalist/bassist Justin E Percival, guitarist Will Slater, and drummer Chas Bacon have honed a sound which holds a vague familiarity which makes it instantly accessible before taking the imagination and emotions on an incendiary ride of raw angst dripping vocals, rich sonic colour, and melodic passion. Their 2011 Rat Race EP made a potent entrance for the band, one just as powerfully backed up by The Power Of Three EP the following year but the George Lever produced new exploit immediately shows a big leap the band has taken from those earlier releases, confirming and expanding the promise and adventure hinted at by the 2012 single Lie To Me.

The release opens with The Get Go and immediately has a resonating bass note and a tart guitar wash soaking the ears whilst the already OneBlood-EP_ScreenResemotion drenched squalls of Percival wail in the back ground. As expected from the band on past experiences, it is a dramatic entrance but one which regroups into a restrained and melody kissed persuasion which still retains its raw edge but seduces rather than demands attention. It is a riveting enticement, the dark throat of the bass almost prowling the senses, though without menace, whilst guitars and rhythms keep imagination and appetite busy. Intensity and energy all the time are building their intent though, biding their time until the fiery chorus where everything is ablaze with passion and emotive colour. It is a thrilling encounter which finds a band never short on invention anyway, exploring and interlocking stronger varied textures and washes of sound than ever before. The song is thoroughly infectious and evocatively poetical, Percival’s vocals providing potent and at times emotionally desperate feeling hues to further light up the whole narrative.

The title track strides in next, bass and drums again casting a sinew built frame for the guitar and vocals to drape their emotive designs upon. The punchy touch of Bacon transfixes throughout, commanding the course of song and thoughts whilst the heavier rock bred veining from Percival sparks another level of greed for the extensive tapestry of the song. With its predecessor the song shows the full scope of the band, the first a more heads down rock attack and the second a pungent and intense emotional incitement; both soaked in a provocative passion and dramatic intimacy which inflames the thoughts and emotions of the listener.

   Wake Up steps up next, throwing a towering heavy rock weight upon the senses before again flirting with reining in its assault. This is short lived though as the song erupts into an exhausting and scintillating fire of energy and sonic provocation, rhythms and riffs sculpting a tempest of blistering voracity and aggressive entanglement within, whilst all is flushed with the passion and emotive flames which marks out Mind Museum from the pack as much as their sound. It is an exhilarating song setting senses on edge for the next up Lie To Me to sooth and then inflame further. The song smoulders and nestles closely whilst digging in masterful sonic claws from Slater and rhythmic barbs from Bacon, and once entrenched exploding in a climactic fire. The song is one of those which lingers and returns long after it has made its last sear on the ears, a masterful puppeteer of memory and passions, much like most of songs to be fair.

Both Answers and All The Kings Men keep the temptations and impressiveness of the release foaming at the mouth, the first an initially mellow song but one which soon has its nostrils flaring as it aggressively croons and uncages another furnace of emotional and impacting sonic flames aligned to inciting vocals, and its successor a bewitching weave of choppy riffs and anxiety soaked vocals honed and fused to a virulently contagious blaze of imaginative and skilfully explored melodic causticity. It is a sensational conclusion to what is easily the most emotionally imposing and creatively explosive thing from Mind Museum, and the finest.

Actually it is not quite the finish of the EP as the band treat us to very engaging acoustic versions of Wake Up and Lie To Me, and a couple of remixes of The Get Go and One Blood by Icon Roller which are decent enough. Whether the four tracks are something you would return to time and again like the main body of the release commands is debatable but they make an enjoyable extra all the same.

As declared One Blood is Mind Museum at its most powerful and inventive yet plus their most insatiably imaginative, and you still feel there is so much more to come.

The One Blood EP is available via Secret Chord Records now!

http://www.mindmuseum.co.uk/

9/10

RingMaster 17/04/2014

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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Discharger / The Uprisers Split EP

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If you ask us there really are not enough split releases around these days, not enough bands/labels really exploiting their potential in spreading the word and sounds of emerging and established but maybe still to be discovered bands. Rebel Sound Music has stepped up to the plate though with the outstanding link up of Dutch Oi! punks Discharger and US punk ‘n’ rollers The Uprisers. Consisting of four diverse contagions, the 7” single is an irresistible riot of uncompromising rock ‘n’ roll, one gleefully leaving an exhausted and impossibly contented glow over ears and passions.

Hailing from Amersfoort, Discharger has never been slow in unleashing anthemic and compelling encounters to ignite punk appetites starting with debut album Born Immortal in 2004. Our Hate Is Justified two years later and the following The Sword of Our Ancestors in 2008 reinforced the band as a truly provocative proposition whilst the 2012 album Desecrated Ground recruited another wealth of engaged attention and fans, with the band re-embracing their Oi! background they started with than the more metal rooted influences which marked its predecessor. The quartet with their new songs stay rooted firmly in their punk roots on the single though that is not to say that the band has neglected any of its adventurous intent in sound.

Everytime We Drink opens on a relaxed chord and melodic coaxing before lifting its sinews and knees to burst into a muscular stomp, enthralling grooves lacing the aggressive urgency of the band. Seemingly already a firm favourite with fans and newcomers to the band since its appearance on YouTube a few weeks back, the track roars and recruits with open anthemic revelry around a thumping rhythmic punctuation. A fiery rampage with more contagion in its walls than many bands breed in a whole album, the track ignites an instant greed in ears and appetite for the following No Place For Our Kind. Opening on an acoustic invitation, the song erupts into a rampant confrontation with infectiousness again dripping from every note and digging hook. The great gruff vocals and almost brawling stride of the song has a thick texture which is part metallic and part rockabilly, the combination reminding of Danish motorbillys, The Grumpynators at times. It is a thoroughly incendiary and riveting anthem, quite irresistible and quite brilliant.

Discharger gives a high benchmark for New Hampshire’s The Uprisers to match, but it is no challenge as they rival their companions in Printsound and contagion. Emerging from the ashes of The Radicts, the band sees the reunion of Todd Radict and Rodger Shosa of The Bruisers, the pair having played together in punk band Five Balls of Power in the eighties. The band opens up their contribution to the release with a reworking of an old song of The Radicts. Led by the captivating vocals of Britney Noyes which have more than an essence of Poly Styrene meets Wendy Wu to them, Everybody’s Got A Reason takes a mere breath in time to draw a firmly attentive reaction with its opening thump of beats and classic rock flavoured guitar tempting. Keeping to a controlled stride with strikes of rhythms and guitar around catchy hooks, the song makes a tasty infectious appetiser for the band’s main course, the outstanding Ghetto Blaster. A brand new song from the band, it captures thoughts and emotions right away with its old school/modern punk bait, the track within seconds reminding of bands such as Penetration, 4 Nin Blondes, and Juliette And The Licks. Riffs and rhythms surge through the ears as devilishly as the vocals; every stride leaving a coating of anthemic toxicity which builds into a virulent seduction speared by sonic endeavour and melodically crafted hooks for the strongest bait. The song is punk rock at its purest insatiable best and takes tops honours amongst four quite magnificent beasts.

Whether the bands are intriguingly new to you or you just want punk rock in its strongest guises then the split between Discharger and The Uprisers is essential listening and owning.

The Discharger/ Uprisers split 7” is available now through Rebel Sound Music now coming in 200 Black vinyl, 200 Red vinyl, and 100 White vinyl options.

https://www.facebook.com/dischargerholland

https://www.facebook.com/theuprisersnh

http://www.rebelsoundrecords.com/

9/10

RingMaster 16/04/2014

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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Cave of Swimmers – Self Titled

 

CoS

Originally self-released last year, the self-titled debut EP from Cave of Swimmers now has its deserved wider release with The Path Less Traveled Records, and an insatiably magnetic treat it is. Consisting of four irresistibly flavoured tracks which are unpredictable and compelling, the release ignites ears and imagination with a contagiously adventurous and dramatically enthralling encounter. Fusing the rich essences of varied metal and rock ventures into mouthwatering landscapes, band and EP provide one surprising and wholly captivating encounter.

Cave of Swimmers consists of Guillermo Gonzalez (vocals, guitar, synth) and Arturo Garcia (drums/backing vocals), two musicians hailing originally from Venezuela who relocated to Miami a few years back. The pair met in school but it was only nine years after their first meeting when Garcia git his first drum kit that the pair started making music together. They played in a few projects including a Rage Against The Machine cover band before Garcia moved to Miami followed four years later by Gonzalez. More years passed before the pair linked up musically properly, forming The Tunnel before renaming it Cave of Swimmers.

Their debut release instantly tells you all you need to know about the pair, their influences, intentions, and undoubted musical skills. From  CoS coverthe opening track Hangman, the band unveils a superbly textured and provocatively spices weave of styles and flavours ranging from seventies heavy metal and psychedelic rock to stoner and doom as well as a stirring progressive encrusted spicery. As the first song proves it is a riveting and refreshing concoction which hits the sweet spot time and time again. Song one instantly has attention at its will with eagerly coaxing rhythms framing expressive and inventive guitar suggestiveness. It is a heavy and melodically infused invitation which losing a little of its grip when relaxing into a less surprising stride, though it soon regains its potency with the outstanding vocals of Gonzalez. His voice soars and roars simultaneously, complementing and driving the sounds around him whilst his guitar, as the rhythms of Garcia, tie up any lingering doubts with anthemic arms.  As confirmed by all songs, there is never a moment to assume you know the destination of a track, a thrilling jazz/funk like salsa of Latin rhythmic temptation and melodic seduction tripping up expectations towards the middle of the first song before excellent guitar craft entwines ears and thoughts.

The outstanding start is soon matched by the initially bewildering Materia. A sinister atmospheric embrace coats the senses first, the breath of the moog synthesizer lying provocatively upon the ears as a rhythmic hurrying pushes the listener into the thick doomy arms of the song. It is a slowly tempered prowl which courts the imagination before being torn apart by the vocal flames of Gonzalez, his delivery verging on operatic and a shock to assumptions, a very welcome and absorbing jolt to expectations. The track continues to stalk with a noir clouded ambience and heavy footed muscular persuasion. It is an irresistible bewitchment, a beautifully thought out and presented drama which explores a brighter but still doom bred scenery. Keys and guitars cast further twists in the haunting narrative as they drop into a frightening textures and sonic mystery before reaching skywards with emotive invention to close the song.

The song Cave of Swimmers steps up next instantly employing open homages to the likes of Sabbath and Pentagram in riffs and melodic grooving whilst vocally they are again sparked by a heavy metal seeding. It is only part of the song’s colour though; it’s contagious hooks and winding sonic bait offering thoughts of Kyuss and Metallic in varying degrees. Inventive and persistently shifting in its gait, intensity, and pure imagination, the song escorts the listener on a breath-taking ride across scorching melody draped scenery and sultry sonic climates, closing out in a blistering vocal crescendo.

The strikingly impressive and immense infection of the release never abates across its length, the closing Catch ensuring the EP ends on the same lofty heights as it started on. The track arguably is the least adventurous of the four but still treats with stoner visited psychedelic temptations and the ever impressing vocal suasion, whilst samples and progressive tinkering only enhance the recipe. It is a fine end to a masterful and rapturous debut by a band with all the potential to make major strides and deposits in the world of metal. Make a note of the name Cave of Swimmers you will be hearing a great deal more of these guys we suspect.

Cave of Swimmers is out on The Path Less Traveled Records now!

https://www.facebook.com/caveofswimmers

http://thepathlesstraveledrecords.bandcamp.com/album/cave-of-swimmers

10/10

RingMaster 16/04/2014

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KING GOAT uncages new EP on Monday 28th April‏

King Goat Online Promo Picture

NEW EP UNVEILED AND TOURING TO BE ANNOUNCED BY KING GOAT!

 

Brighton noise chiefs release their sophomore self-titled EP on Monday 28th April and plan a widespread assault on the UK!

Crafting together the more engaging key elements of psychedelic and doom, along with carefully measured Eastern influences, ‘King Goat’ hammer out gargantuan grooves, producing a sound that is hypnotic, dynamic, progressive and ultimately alluring.

Hailing from Brighton, King Goat were born at the start of 2012 and swiftly released their debut EP ‘Atom’, which garnered praise from many stems of the underground. Soon after its release, the band changed frontmen and the newly rejuvenated quintet quickly solidified, commencing work on their next EP. A plethora of shows followed as the band laid siege on London and throughout the South coast. With a growing reputation for delivering memorable performances packed with earnest energy and genuine presence, it’s no wonder that the Brighton bruisers soon amassed an army of followers.

Towards the end of 2013, the band hit the studio to work on their new self-titled EP, and they’ve absolutely nailed the songs to the wall. Culminating in an epic journey, the record features three killer tracks that masterfully claim their own identities and plot their very own courses. The EP starts off with the psychedelic-doom infused texturing of ‘The Final Decline’, which sways and flows from hypnotic eastern-influenced early passages to a climatic conclusion complete with weighty riffage and impressive vocal work. ‘Cult Obscene’ is next up and it’s a gut-punching musical stampede stocked with changing patterns and intricate structures. ‘Melian’s Trance’ closes the record as it unleashes a barrage of cutting riffs that ever so slightly nod in the direction of Sabbath; aided by pounding drums and punchy bass, the track is a stunning piece of doom metal, and clearly highlights the five-some’s songwriting craft. Now armed with an explosive EP, the band plan to hit every sweatbox throughout the UK. Dates are imminent, so stay tuned to their Facebook page for more.

BAND MEMBERS: Trim (Vocals); Petros (Lead Guitar); Reza (Bass); Joe (Rhythm Guitar); Jon (Drums).

FOR FANS OF: Bison B.C.; Black Sabbath; Mastodon.

King Goat Cover Artwork

www.facebook.com/kinggoatbri

 

 

 

 

 

TWO-BIT SISTER unleash ‘The Jackal’, on 21st April‏

 
Two Bit Sister Online Promo shot
ASPIRING ALT-DUO TWO-BIT SISTER RELEASE EXPLOSIVE DEBUT RECORD NEXT WEEK!
 
Compressing a wide assortment of influences stemming from the energy and buoyancy of Weezer and Nirvana, through to the texturing of Jack White and Queens Of The Stoneage, Two-Bit Sister are certainly a fresh and animated take on alternative rock. With a tight and solid rhythm section, driving guitars, and soaring vocals, Two-Bit Sister set loose their own brand of infectious rock-pop nationwide this Spring.
Hailing from Margate, Kent, Leon Peskett (Guitar and lead vocals) and Connor Bluemel (Drums and backing vocals) formed ‘Two-Bit Sister’ in 2013 after dissolving their previous bands. Knowing each other from their school days and having jammed together for the past few years, the pair soon clicked and amassed a strong string of songs. The alt-rockers then began to play a flurry of shows throughout the summer of 2013, ahead of recording their debut EP.
Soon after, the industrious duo cut ‘The Jackal’, which proves to be an inspiring debut that potently flaunts the band’s live sound and vigour. The EP’s namesake starts proceedings, and it’s a highly infectious affair complete with a stunning up-tempo hook. From the get-go, it’s clear that the two-some have a natural knack for addictive melody. Next up, ‘Turbulence’ shifts gears, nodding towards the angular rock of ‘QOSTA’ and ‘Nirvana’, while ‘Wanna Know’ is a brilliant slab of pure contagious pop-rock. ‘Times’ rounds up the record with engaging dynamics and a driven refrain that will cement itself in your head for days. Look out for the duo as they prepare to hit venues throughout the UK in support of their EP.
Two Bit Sister Cover Artwork