The Rubys – Jesus Girl

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As The Rubys work on their new album for release later in the year, we slightly belatedly look at their last single Jesus Girl. Fuelled by a compelling melodic persuasion from the Manchester sextet, the song is a vibrant hug for ears providing a lively and evocative adventure of sound and enterprise. It is not a track to set a new template for indie rock pop but instead emerges as a lingering romance of warm sounds and just as potent enjoyment.

Though new to us, The Rubys have already earned a strong reputation and supportive attention from fans and underground media alike through their live performances and a host of singles and EPs leading to debut album Limelight Parasite which came out in 2012. Taken from the band’s album, Jesus Girl provides a confirmation of the band’s captivating presence to those in the know and a rich introduction to newcomers, but also stands as a tasty appetiser to the next release which is loudly rumoured to take the band’s invention and songwriting to new heights.

Jesus Girl instantly grasps ears with a great deep toned bassline amidst radiant flames of guitar which in turn lead to a gentle but expressive melody from keys and more guitar endeavour. The vocals of Lee Hunter just as swiftly add a new bright colour to the calm yet energetic proposition, his strong mellow voice sitting nicely in the embrace of Kevin Barry’s evocative keys as guitarists Barry Kirkwood and Tat Sing Kong bring additional expression and spice to the melodic poetry of the song.

For personal tastes it is the wonderful contrast of the throaty bass sound and firmly jabbing beats of Mike Hamilton and Dave Earlam respectively which provide the spark taking a strong song into something more impacting and memorable, though take away any aspect and it is easy to suggest the song would lose all potency.

Accompanied by a sparkling unplugged version of a new track Song For Me, which will get its fully robed outing on the upcoming album, Jesus Girl quite simply leaves a warm glow and a keen appetite to embrace the band’s second full-length ahead.

Jesus Girl is available now for download on iTunes, Amazon, and more.

http://www.therubys.co.uk/

RingMaster 22/01/2015

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Desert Storm – Omniscient

Photo by Matt Winyard.

Two years on from their acclaimed second album Horizontal Life, British heavy blues metallers Desert Storm unleash a new cauldron of ridiculously addictive temptation in the ravishing shape of Omniscient. Before listening to the new release we would have been ecstatic to announce that the album was an equal to its brilliant predecessor. But it is not; just like the last album was a fascinating and thrilling step forward from the band’s outstanding debut full-length Forked Tongue, the glorious Omniscient is a leap to new plateaus. Everything about the encounter is a gripping evolution of adventure and maturity; riffs are dirtier, grooves keener edged, and it has a contagion which borders on slavery, all without losing any of the blistering uniqueness and raw power which has always soaked Desert Storm’s sonic invention.

Where many similarly styled bands seem like servants to the riff, in that it predominantly consumes their songwriting, Desert Storm enslave that feature of their sound and twist it into a web of just as forceful and potent grooved and melodic exploration. As proven by their previous album it means each track has a distinct character and creative emprise of its own, and in Omniscient all songs come from an even broader canvas of imagination and craft. Since forming in 2007, the Oxford quintet has challenged and lit ears right through to the passions with their persistently gripping releases. Equally they have earned a formidable reputation for their live presence through shows and tours with the likes of Karma To Burn, Nashville Pussy, Peter Pan Speedrock, Honky (ft. members of Down/Melvins/Butthole Surfers), Orange Goblin, Red Fang, and American Head Charge, not forgetting igniting festivals like The Bulldog Bash, The Desertfest, Brisfest, and Roadkill. Their stature and reputation already goes before them but now with Omniscient global recognition and spotlight has to be on the cards.

The band’s fans are sure to break into a broad smile as opener Outlander instantly collides with ears through excited rhythms and imposing riffs. As spicy grooves swiftly join the revelry it is prime Desert Storm psych blues flavouring, intent on seducing senses and imagination with concussive beats and intoxicating sonic temptation. Already there is a sense of new adventure though, OMNISCIENT_FCbackground melodies and atmospheres adding their suggestiveness as vocalist Matt Ryan roars. His voice is as bracing and gruffly coated as ever but also seemingly carried on a new clarity and variety. As expected it is impossible to escape the lures of guitarists Chris White and Ryan Cole or their weave of sinew driven riffs and toxic grooving, every note spilling temptation and virulence to match the similarly seductive dark throated tones of Chris Benoist’s bass and the anthemic heavy footed swipes of drummer Elliot Cole. It is an enthralling and incendiary start to the album, body and emotions already aflame from its creative bait and blues spirit.

The following more predatory Queen Reefer is just as irresistible. The source of the band’s new video, it is a ruggedly charming temptress with bulging beats and acidic invention. Far heavier and threatening compared to its more devilish predecessor, it casts a darker more volatile demonic air in its breath around a corrosive touch. In saying that though, the song is still irresistibly catchy and commanding, and with a mesmeric slip into a gentle embrace of expressive melodies and low key drama cast by guitars and bass at one point, mouth-wateringly adventurous.

Horizon continues to spread thick almost doomy textures of intensity and emotion next, drums creating a clash of percussive disorientation which only adds to the power of Elliot’s swings and the tangy blues grooving binding song and senses. It is just one part of the track’s scenery though as halfway it explodes into an explosive rhythmic tango which in turn seems to incite greater energy and venom to flush through the brawl of vocals and sonic enterprise. The track never quite ignites into the fury you suspect it might but is the better for it, the relative restraint adding to the dramatic tension of the song, a scintillating theatre which again turns Sway of The Tides into a battlefield of hostility and contagion, and Home into a folk ballad of sheer beauty. The first of the pair comes with flared nostrils and a rhythmic blood lust as heavy metal and stoner-esque blues rock clash in ears. The song is breath-taking, especially when it switches to a folkish pasture of cleaner vocals and a simple but expressive melody midway. It only impresses more as the scene and sounds start building back up to another fire of intensive emotion and searing grooves. Its successor is even more tantalising and enslaving. Voice and guitar again align to create a mesmeric smoulder of blues folk and southern tinged melodic rock which simply delights. Whereas the last album had the transfixing unexpected melodic delights of Gaia, Omniscient has this absorbing treat to wrong-foot, surprise, and thrill.

Not that the album has a moment where it does not do all those things in varying degrees anyway, as proven by the boozy swagger of House of Salvation which stomps in next. The track with its bar room like blues grooving and abrasing riffery reminds of N Ireland band Triggerman in some ways, especially in the melodic toxicity veining the devilment and the magnetic flame of a groove which has the appetite licking its lips and body swerving in subservience. The excellent temptation is matched straight away by the funk nudged stroll of Night Bus Blues. Making the perfect soundtrack to those times after a show where the cold flirts as you wait for the over-due conveyance to take you home and that is only part of the recognisable drama, the track proves humour is never a missing ingredient in the recipes Desert Storm conjures. Obviously it is not lacking addictive sounds either, an adjective which perfectly fits both Bandwagon and Blue Snake Moan which follow.

The first revels in a seventies blues rock seeding, spawning its sonic tempting from a psychedelic scent as fresh as it is familiar. The song provides yet another shade of colour and striking originality to the album, Omniscient easily the bands most excitingly and enjoyably diverse and expansive offering yet. The second of the two bristles and bellows with the heavy rock ‘n’ roll sound that the band has always bred its imagination through. Again though, it is widely spiced and commandingly robust with an array of rock bred flavours inviting feet and soul to roll with its rigorous devilry.

The album closes with Collapse of The Bison Lung, a summing up of things in a way as ripe grooves and intimidating riffs collude with rampant rhythms and snarling basslines to bind attention and light fires in the passions. A masterful end to a mighty release it reinforces and confirms what Omniscient suggests and we declare, that Desert Storm should be mentioned in the same breath as bands like Black Tusk, Red Fang, The Sword, and yes maybe even Mastodon.

Omniscient is released worldwide via Blindsight Records on January 26th.

Following the album’s release Desert Storm will be going on a short European tour:

Fri 6th Feb – Antwerp Music City, Antwerp BE w/ Atomic Vulture

Sat 7th Feb – Rock Cafe Jinx, Zaandam, NL w/ Millstone

Sun 8th Feb – Bassy Club, Berlin, DE w/ Samsara Blues Experiment

http://www.desertstormband.com/

RingMaster 22/01/2015

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Tripod – Devil Feeder

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You just have to like a release which makes a more than solid first impression but then almost sneaks up on you song by song to present itself as one seriously enjoyable and impressive slab of rock ‘n’ roll. This is what Devil Feeder does. Consisting of thirteen stoner and grunge bred roars, the new album from Norwegian metallers Tripod is a sizeable proposition from its first play but over time and as mentioned almost track by track, becomes something irresistible. It is not an encounter stretching boundaries or redesigning templates but it is an album to leaves ears and pleasure full to bursting with its enterprise and inspiring passion.

Formed in 2002, its Nordfjordeid / Trondheim hailing creators have been stirring up appetites and attention for a long time and especially since their Trøndercore Records released debut album Nevermind This Black Album came out in 2008, though it was with its successor Four Coins in 2012 that Tripod awoke even broader awareness of their sound. In saying that though, the quintet did already a successful tour of China under their belts before it’s unveiling. A subsequent remix of the album came next after producer Beau Hill (Warrant, Ratt, Twisted Sister, Alice Cooper) approached the band with that intention, followed by a line-up change which saw guitarist Jørgen Sporsheim Berg link up with vocalist Knut Arne Lillestøl, guitarist Stein-Inge Øien, bassist Espen Bjørnholt, and drummer Åge Solheim. The recording of Devil Feeder began in 2013 and here we are, with one increasingly thrilling and potent release from a band it is easy to suspect will breach even richer attention through it.

The release opens with Safe Place and a gentle inviting stroking of guitar. It is a coaxing soon lifting its restrained skirt to unleash rampant rhythmic kicks and a muscular dance of guitar and great varied vocals. It is an instantly gripping and infectious proposal revealing that Tripod has a sound which embraces both grunge and stoner with the urgency of tenacious rock ‘n’ roll. There is also a melodic charm and enterprise to the song which only captures the imagination as the opener launches the album off in fine and robust style.

The following Love Stake reveals a great predacious tone is lurking within the bass of Bjørnholt and ready to enslave emotions as a blues kissed sonic weave escapes the craft of the guitars. There is a hard rock essence to the song as well as a Stone Temple Pilots blaze to its sonic and emotive textures, two rich spices aligning to the potent vocals of Lillestøl. The song as the first, roars in its own individual way before letting the album’s title track throw some heavy metal ferocity and folk metal like drama into the maelstrom of adventure brewing up within Devil Feeder. The track bewitches with every twist and fusion of those respective fiery and melodic flavours, leaving thoughts and passions engrossed before making way for the more reserved and gentle I Used To. It and the following Possible open up more varied colouring to the album, the first of the two a soulful croon under blues rock shaded gradually tempestuous skies and the second a song venturing into rock pop scenery with rumbling rhythms and also a changeable melodic climate. Both songs lively simmer in the passions compared to the earlier songs, but each still holds attention and appetite for the album firmly in their enterprise.

The next up Zubr is something different again, a bordering on bedlamic swagger of rhythms from drummer Solheim within a tantalising weave of groove metal enticing, immediate incendiary bait for ears and emotions. It is when the song flirts with a System Of The Down like invention and devilry that the track explodes into an even greater breath-taking and thrilling beast. The best track on the album, it leaves ears and desires greedily hungry for more, something not as forcefully provided by Meant to Be, though it’s piano and stringed ballad like beauty is still a pleasure embracing the senses. Breaking out emotional and physical sinews the deeper into its presence it goes, the track reveals yet another facet to the songwriting and imaginative songwriting of Tripod, with increasing enjoyment coming with every listen.

Ride is next and straight away it is stirring the air with raucous riffs and a throaty bassline within a web of jabbing beats. On top of this appealing proposition Lillestøl provides a flame of passionate and lyrical energy but it is the brush of strings and ever shifting landscape of the song which impresses and excites the most. We said earlier that the album does not exactly set new unique markers down but with songs like this and of course Zubr it is a thought challenged at times.

The pair of Inside My Head with its blues rock spiced bellow and All for Granted fascinates and pleases if without rising to the heights of the previous and other songs t. The latter features some magnetic female vocals to rival the strength and range of Lillestøl and easily leaves ears wanting more, a request fed to some degree by the rebellious rock ‘n’ roll of What You Wanted where grunge and rock pop collude to design another contagious success within Devil Feeder.

The excellent We Own the Night stands before ears next with an intensity which is not exactly a brawl in attitude but certainly has a rebellious nature to its muscular flexing and sonic creativity. There are moments like here where Tripod remind of fellow Norwegians Pigeon Lake in the ability to fuse varied styles in one confrontational yet welcoming storm of enterprise, a craft shown again in the closing If I Die, a piece of emotional and melodic melodrama with a beauty and imagination which ignites the imagination and seduces ears.

It is a potent and masterful end to a quite refreshing and inescapably enjoyable album. Rock ‘n’ roll is there to be anthemic, invigorating, and passionate, all things fuelling Devil Feeder with high grade potency. With the additional inventiveness and devilment which Tripod also adds though, it becomes a must search out and enjoy recommendation.

Devil Feeder is available now!

https://www.facebook.com/Tripodofficial

RingMaster 21/01/2015

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Kirra – Run Away

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With the release of their Sounds from an Empty Room EP last year, US rockers band Kirra suggested they were a prospect with the potential to make great strides in the rock world. Now the release of debut album Run Away compounds that theory whilst showing some of the strong evolving steps expected. The twelve track encounter is a seriously accomplished and forcibly solid proposition, aspects alone making Kirra a band to culture an appetite for and the album something to thoroughly enjoy. With moments of inspired invention and explosive imagination on board too though, it also shows a promise and ability to light addictive fires. If you are looking for a hard rock proposition with a freshness and increasingly striking adventure to spark the day, then Run Away is worth a long hard look.

It is fair to say that the Oklahoma City quartet has been healthily feeding an increasing spotlight and growing fan base at home with a live presence which has seen them play across America whilst taking in shows with the likes of 3 Doors Down, Primer 55, Puddle Of Mudd, Kill Devil Hill, Screaming for Silence, and Saving Able along the way. With its seeds coming in the wish of lead guitarist Daxton Page, after leaving a rock school program, to start a band, Kirra began coming together once drummer Zach Stafford was introduced to Page through friends. Subsequently bassist Ryne McNeill was found through an ad, who in turn suggested vocalist and rhythm guitarist Jesse Williamson to the band. With the line-up completed, Kirra worked on songs and released that first EP in 2014, with the single from it, Downfall finding strong acclaim and support from online media and social media fans alike. Run Away is the band’s offering to the bigger picture of the rock scene, and a sizeable nudge on their awareness and attention the self-produced, Ricardo Sasaki mixed is.

The electronic opening of first song Tappy Gilmore instantly livens up ears and imagination, its initial lure soon bolstered by sinew driven rhythms and a strong caress of riffs. It is a bright Kirra_Cover_1600X1600-2opening enhanced again by the vocals of Williamson and a slight Alter Bridge like enticement in the muscular and welcoming proposition. It is also a punchy introduction to the album with great flare-ups of aggression and energy in the melodic landscape of the song.

A darker predatory intimidation comes with Fly next, especially through the great throaty bassline of McNeill and the raw brush of riffs. Swiftly putting the previous song in its shade, it prowls ears as vocals again provide a pleasing if less incendiary colour to the antagonism. With alluring craft and sonic enterprise from Page igniting the imagination and senses as the song relaxes into further inventive temptation, it continues to impress and like the album as whole, gains greater strength and potency over subsequent listens. It is a definite grower much as the following Lies and its successor Lay You Down .The first of the two has a Chevelle spicing to its potent persuasion whilst the second is like a boxer jabbing away from its first breath before building a pungent stroll of darkly tempered and fiery rock ‘n’ roll. Though neither song finds the same level of energy in emotions and praising, each leaves ears fully contented and thoughts hungry for more, a want straight away encouraged by the album’s gentler title track and fed fully by the outstanding stepping forward of Chemicals.

     Run Away the song, is a great croon with another imposing bass sound to match as emotional and sonic flames provide a lingering incitement but it is Chemicals where things catch fire, and for us the album offers it’s seriously stirring and thrilling moments. The song again through the bass, immediately opens up new provocative shadows. It is gripping dramatic bait soon complimented and expanded by the stomping beats of Stafford and an abrasing scrub of riffs. Just as impacting in the triumph though is the continually twisting and riveting ideation which veins the song, guitars and rhythms never staying in one place or offering any particular intent for too long. It helps create a predator of a song with a metal and sonically progressive breeding as flavoursome as its melodic rock enterprise.

This new plateau is continued through the mellower but no less exciting and dramatic Downfall and the sturdier confrontation of Should’ve Been Gone where muscles and textures show as much a threat as they do an inescapable seduction. Both songs reveal new depths and imagination to songwriting and sound, pulling every skill and inventiveness of the band members into enthralling and gripping scenarios. The latter for no obvious reason reminds of Bush at times but both tracks show an originality which lurks in Kirra and shows itself in varying strengths across the album.

Drown and Stay keep satisfaction and enjoyment high, even though neither can quite match the might and exploration of its predecessors despite showing more contagious sounds and courageous invention, especially through the devilish lures of bass and guitars. As in all songs the lyrical narrative comes packed with emotion and reflection on the two tracks, as evidenced again by the mellower and increasingly magnetic balladry of Forgive Me. The song ebbs and flows in its power a little, but with a chorus which just feel bigger and bolder with every roar it is another memorable pleasure from Kirra.

Completed by the brash energy and invigorating creativity of Too Far Gone, the album is a mightily promising and exciting full introduction to the band. It shows a few wrinkles which should naturally iron out in the band’s organic evolution, like the excellent vocals of Williamson lacking a rawer spark or snarl at times to match the more rugged sounds around him. There are songs too which never explode as they hint they might, and you wish they would, but all are things easy to expect being worked out as the band grows into the force their album suggests is in the making. Most importantly Run Away leaves nothing but fattening satisfaction and enjoyment in its wake, and a want to hear much more from Kirra.

Run Away is available from January 21st @ https://itunes.apple.com/us/album/run-away/id956087310

http://www.kirramusic.com/

RingMaster 21/01/2015

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North Seasons – Eyes For The Blind EP

Photo: Luke Million

Photo: Luke Million

Even with the post and melodic hardcore scene being as vibrant as ever, with some impressive bands releasing similarly potent propositions over certainly 2014, personal tastes have come to a point where they need something more than just great angst harsh vocal roars and skilfully emotive atmospheric sounds to stand out and ignite the emotions. There is want of real inventiveness and rigorous unpredictability making demands on the genre and its exponents, a requirement UK band North Seasons and their Eyes For The Blind satisfies with ease. Their debut EP is a blistering and striking adventure which never allows expectations a footing or attention to develop wander lust as it unveils its web of fascinating ideation and sonic hostility. It is not the perfect proposition either which such its strengths and imagination, only breeds an excited anticipation for the growth and evolution of the band ahead.

Newcastle upon Tyne hailing, North Seasons consists of five members said to have come together from very different musical backgrounds to “breathe new life into a rather tired scene.” That diversity would certainly explain and inspires the exploration fuelling each track on Eyes For The Blind, a release recorded in one of the band’s bedroom, to the angst of their neighbours you suspect such its force and roar. Released via LA based record label Kill/ Hurt Recordings, who the quintet recently signed to, the EP is a fresh and intriguing voice in a lively melodic hardcore scene.

A haunting and heavily shadowed ambience provides a brief intro to the release, luring ears and thoughts into the following tempest of Silhouettes. Also a recent single for the band, the song is 1476090_379723218852764_6836217005933357258_na swiftly imposing and threatening stroll of predacious rhythms and corrosive riffs squalled over by the raging tones of vocalist Harvey Tuck. It is an impressive start but arguably one you might expect in texture, though already there is a feel of adventure and daring to the song. With great clean vocals from guitarist Mattie Turner tempering the threat of Tuck and riffs, the song is soon a maelstrom of endeavour and provocative twists. Meshuggah kissed riffs and spicy grooves add to the increasing drama of the song but just as potent is the slip into calmer waters where the outstanding dark bass bait of George Collings and equally predatory beats from Kris Quinn are giving clarity to cast their gripping coaxing before the guitars of Turner and Elias Jamous return alongside Tuck’s raw passion and turn up the earlier furnace of sound and emotion.

The song is breath-taking and attention binding, powerfully backed by the following A New World Order. The second song is straight away raging under an initial restrained breath, a protestation given the floor on the back of a tide of hungry riffs and rhythmic intimidation. Tuck spills animosity with every caustic syllable he shreds but with a canvas of staggered beats and guitar thrown hostility, there is a different shade shown to the conflict bringing immediate variety to the release. Though the song lacks the startling uniqueness of its predecessor, the song is a pleasing protagonist setting up the turbulence of Bitter perfectly. This is a song which took time to convince and still lies uneasily in places but it is sculpted in an imagination and invention which can only be applauded and admired. Opening with an electronic seeded emotional wasteland of sound over which Tuck vents with a more spoken word delivery, the track seeps into cavernous shadows and emotional turmoil sound-tracked by stalking rhythms and guitar causticity. It is a challenge which only adds to the EP’s weight but not yet as persuasive as the earlier songs and next up Good News. Clean vocals bring this into view on a sonic caress before it all develops a rawer edge as both singers unite to shape and colour the melodic landscape of the song. It is scenery soon slipping its restraint and stomping with metallic ferocity and rugged enterprise, though it still embraces the charm and radiance which ignited the initial tempestuous thrust of the track.

The final pair of songs re-ignites some of the ingenuity that marked out Silhouettes before. Never Forget This is first, merging a melodic croon and bloodthirsty intensity as it ignites air and ears with creative fury and atmospheric soulfulness. Vocally, the track is not as strong and impacting as elsewhere but with more fluid twists than a maze in its invention, it makes a pleasing and tantalising proposal before the EPs title track provides its impassioned fury of uncompromising aggression and mouth-watering invention. Getting imaginatively wilder and more bedlamic as it reaches its biggest triumph in the blaze of its finale, the track is an excellent and compelling end to a similarly impressing release.

Eyes For The Blind is a thoroughly enjoyable and powerful platform for North Seasons to dig deeper into the invention and brave songwriting which you just sense is there waiting inside them. Not faultless but undeniably impressive it declares exciting times ahead for them and us.

Eyes For The Blind is available now via Kill/Hurt Records and for free. For info go to www.facebook.com/northseasonsuk

http://www.northseasons.co.uk/

RingMaster 21/01/2015

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Dethfox – Natural Media Teleforce

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Providing no hiding place for ears and senses, the new EP from Canadian anarcho-punks Dethfox is a furious incitement which is just as virulently seductive as it is uncompromisingly caustic. Bracing and abrasive, Natural Media Teleforce is a raw and addictive introduction to a band we are already finding it hard to get enough of. Consisting of five punk hostilities which rarely break the two minute mark, the release is dirty and fierce with a touch which can make ears cower, but it also has a repetitious nature to grooves and riffs which when aligned to barbarous hooks only makes one seriously contagious persuasion.

Scowling out of Montreal, Dethfox emerged in late 2012 working on their sound and attack before releasing their first demo in the October of the following year. Their live presence stepped forward swiftly after with the band making its first live appearance at A Varning from Montreal Fest late 2013 whilst last saw them year sharing stages with the likes of Cress, Rick Agnew, Kicker, Dekoder, Parasytes and many more. Released via Chaos Rural Records, Natural Media Teleforce is looking like being able to breed new attention and, in matching appetites to ours, hunger for the band’s continuing emergence. Certainly its uniquely challenging morose punk sound is not going to be manna for all, but it is an addictive provocateur all punk and noise rock fans should contemplate braving.

The EP’s title track launches at ears first, heavy riffs and matching rhythms an instant wall of noise and temptation pierced by a keen and infectious punk grooving. Just as raw and appealing vocal squalls swiftly join the quickly brewing contagiousness of the track, delivering what are, to quote the accompanying press release,   “Mysterious, dark and sometime incomprehensible lyrics exposing religious-media-space-traveling-matters and other obscure themes.” It only adds to the drama and irresistible tempest though, as does the post punk nagging which helps spice the web of inescapable and thrilling hooks and wiry grooves.

It is an outstanding start matched straight away by the slightly lighter but no less intensive examination of Fear Pope Departure. Once again hooks enslave from the first breath of the song whilst the lyrics are even more disguised by the great unpolished vocals. Short, sharp, and rigorously infectious the song evolves through a sonic rasp into Deathray Spec, another ridiculously addictive and viciously imposing track. As portentous in atmosphere and tone as it is catchy in imagination and enterprise, the song unleashes a harsh belligerence of attitude and a sonic rapacity which in itself is imposing and successful persuasion.

In many ways the nagging and addictive repetition sculpting grooves and riffs is akin to the early days of bands like Killing Joke and Gang Of Four. They are unrelenting and seductive, reeling in ears and passions with consummate ease whilst voice and other sounds bring their own corrosive incitement. The very short Amplified Truth Disclosure a prime example, its thirty eight seconds lust sparking insistence which is only here to savage the psyche.

The release closes as impressively and grippingly as it started; Run State Wrong coming forward as a seventies punk seeded anger with hardcore ferocity and Buzzcocks like hooks whilst spilling ravishing invention bound in noise bred majesty. It is a glorious end to a thrilling and enthralling encounter. To be honest Dethfox had us hooked by the time it’s first song departed ears and only compounded and broadened its slavery with each subsequent offering. Given the chance it is easy to expect the same happening to hordes of new drooling fans too.

Natural Media Teleforce is available via Chaos Rural Records from January 20th @ http://chaosruralrecords.bandcamp.com/album/natural-media-teleforce

http://www.dethfox.com/

RingMaster 20/01/2015

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Crack House – The Hits Just Keep On Coming

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Beating on ears, mugging the senses, and corrupting the psyche, The Hits Just Keep On Coming is a punk metal violation which just keeps coming. Unleashed by US antagonists Crack House, the EP is a corrosive brawl of crossover ferocity bringing hardcore punk, crust and thrash in on a tempestuous and belligerent dirt caked rock ‘n’ roll rampage. It is not for the faint hearted or those with a nervous disposition, nor those wanting frills and extravagant excesses to their sounds, but for ruinous and degenerate metal punk animosity, this is one EP well worth being ravaged by.

Featuring members of Eat The Turnbuckle, Javelina, Call The Paramedics, and Bitchslicer, Crack House has no redeeming features to its character and everything riveting in punk bred hellishness. From its opening track, also called Crack House, the band is roaring, abusing, and providing an unrelenting and blistering incitement which beneath its scourge of a surface has a maelstrom of riffs, hooks, and enterprise giving each onslaught’s depravity depth and weight. The first song flings abrasing riffs and vocal causticity at ears as soon as it’s opening brief skit sets the scene. Thumping rhythms are just as full of enmity, every swipe a resonating punch entwined in either a tempest of varied vocal squalling or a sonic whipping of guitar. With thrash and grind just as vocal as punk in the rabid stomp, the song makes a formidable entrance to the release, an opening taking to rawer destructive heights by This Emergency Room Is Gonna Need A Fucking Emergency Room.

The second song has fear and juices flowing from the first rumble of rhythms, the drum’s wanton bait soon joining an opening sonic coaxing. In no time the track becomes a contagious and violent seducing of ears and passions, leading the senses into a visceral landscape which could be described as Motorhead meets Hellbastard at a brawl organise by The Exploited. Grooves spray venom and beats destruction yet the heavy metal spiced sonic insidiousness which veins the storm is almost inviting in its resourcefulness. It is an anthemic intrusion, a description fitting most tracks on the EP, and especially the following title track. Again launched on a torrent of rhythmic contagion, the track smothers the senses in a wave of defiling sonic adventure whilst the rhythms increasingly feel like they sense blood as every scything swing comes with greater rancor to match the increasing bile in the vocal delivery.

Without quite matching its predecessor, the song still ignites ears and emotions impressively as does the briefer animus of Junkie Fucker. It is pure hate and defiance in one accusing sonic fury which leaves ears and emotions ringing as it makes way for the final grudge, March Of The Crackhead. Metal and punk collude here to provide a senses scorching, psyche bruising squall which is as irresistible as it is intimidating. Grooves and hooks are ridiculously addictive whilst the rhythms find new and greater bait in their armoury, building a song which is a total seduction even as it violates your veins and steals your sanity.

   The Hits Just Keep On Coming leaves a real hunger for more by its end. You will feel dirty and violated from the encounter but certainly for hardcore/thrash lusting fans more than likely will breed a real appetite and addiction for sound and band that just will not go away.

The Hits Just Keep On Coming is available via Horror Pain Gore Death Productions http://www.horrorpaingoredeath.com/store/hpgd102.html, as well as Buriedinhell Records http://buriedinhell.bandcamp.com/releases, and Useless Christ Records from January 20th.

https://www.facebook.com/CRACKHOUSEROCK

RingMaster 20/01/2015

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