Antigone Project – Stellar Machine

Last year French outfit Antigone Project not only took their sound to a more accomplished plateau with the From Its Room EP but hinted it was just the beginning of a whole new soundscape to their already easily engaging sound. It was a clue now realised by the band’s debut album, Stellar Machine a journey through spatial clouds of invention and diversity but as universes lead into new universes, equally feels like an adventure leading to many more bold journeys.

The creation of Frédéric Benmussa, a multi-instrumentalist, songwriter, producer and no doubt much more, Antigone Project has grown from a solo project in 2002 to be one of France’s most engaging electronic rock/metal proposals. With the talented prowess of bassist Manu Ventre and drummer Fred Monaco alongside Benmussa, the band had its hands on attention with the release of a self-titled first EP in 2015. It was the debut clue to the expansive and expanding sound growing within the outfit, a suggestion taken further by From Its Room a year later and now truly unfurled within Stellar Machine.

Inspirations to the band’s sound and certainly new album range from Soundgarden to Deftones and Nine Inch Nails on to the likes of Depeche Mode, Jean Michelle Jarre, and Devin Townsend. That is enough to suggest the kaleidoscope of flavours making up the band’s album; they all involved with an even richer vein of Muse meets Radiohead like drama. Do not think you have a handle on Stellar Machine just yet though as ears will soon find a far thicker and greater carousel of the band’s own individual invention across its unpredictable body, one placing the listener into “the skin and shoes of a futuristic cosmonaut following the adventures of outer space travellers on a “stellar machine”.”

Climbing on board, ears are fastened into their seats by the powerful creative straps of opener Poison, its electronic/industrial lift off instantly swarming around the imagination. In turn, it leads to the virulent rock ‘n’ roll heart of the starter where riffs and rhythms are swiftly harrying and enslaving body and instincts, the calmer almost floating tones of Benmussa glazing the infectious exploits with a plaintive Matt Bellamy scented delivery. A compelling groove reinforces the song’s hold, the lively beats of Monaco dancing tenacious across the senses as keys bring cosmic scenery to bear on the imagination. Even in its calmer drifts, the song is forcibly infectious, the trio painting their creative canvas with an array of textures within skilfully woven enterprise.

The following Schizopolis needs mere seconds to have the body moving with its heated funk lures and enveloping synth pop enticement. A few seconds more brings a steelier tone and intensive edge to things, Ventre’s bass a darker brooding incitement which continues to lure and court the twisting infectious exploits of the song. Imagine The The meets Nine Inch Nails and the second track feeds expectations before taking them into deeper richer realms, leaving ears and appetite on a high ready for the moodier, crepuscular skies of III. The song’s air is as enticing as its predecessors, but within its emotional and atmospheric twilight a smouldering seduction matched in energy by the similarly calm vocals and keys.

Another fresh climate is brought by Mantra Nebulae, a dirtier rugged rock/metal contemplation over which vocals and melodies glide while Raphe Nuclei surrounds ears with an almost glacially reflective electronic embrace. Neither track quite lit up ears here as those before them but with the snarling dexterity of the first and the emotionally intensive vocals of Benmussa crawling the second, both tracks enthral and increasingly ignite the imagination over time.

In contrast The Black Widow instantly ensnared instincts and the passions, its intrigue ridden, noir coated web of dramatic coaxing as threatening as alluring. Hooks and grooves collude in seduction, vocals prowling with infectious devilry as bass and beats just flirt; a mix addiction was intended for. There is a touch of Fad Gadget to the song, eighties electronic/new wave essences as readily embraced as other more rapacious textures by the band and the increasingly volatile moments of the outstanding proposition.  The song is superb, a major highlight of Stellar Machine which Pretty Pain straight after easily backs up with its Mike Oldfield/ Devin Townsend nurtured symphony. As all tracks, every passing minute is unique to the last yet a continuation of their revealing cosmic travelogue and emotional revelation.

Cardio Machine is simply raw temptation, a fusion of predatory rock ‘n’ roll and synth pop virulence which has a firm restraint on both yet employs their attributes along another highly addictive body of enterprise. There is something enjoyably familiar about the song but nothing which can be pinned down, just simply and greedily enjoyed with every listen.

The album’s title track is eleven minutes of sample built introduction within senses stroking atmospherics, moving into electronic painting and progressive weaving where every minute adds to a flight feeling far shorter than its actual length such the beauty and captivation on offer. The song alone captures the mood and adventure of the theme; playing like a recap but of another past or future heroic planetary flight.

The album concludes with the atmospheric grace and beauty of Sun’n’rain; a rhythmically bold, melodically heated serenade beneath earthly pleasures. Drawing on the strongest Muse like flavours yet, the track with its almost Bond like theatrical lining brings the album to a powerful and more importantly thrilling close.

Stellar Machine confirms that Antigone Project just go from strength to strength, from bolder adventure to adventure yet still you get the feeling we have not come close to their most monumental exploit yet. Another must investigation for you all.

 Stellar Machine is out now through Lazy Freddy Records via most online stores.

https://www.facebook.com/antigoneproject    https://twitter.com/projectantigone

Pete RingMaster 18/07/2017

Copyright RingMaster: MyFreeCopyright

White Noise Radio – Cosmos

Offering an eagerly tenacious union of hungry riffs and resourceful grooves, Cosmos is the second EP from UK outfit White Noise Radio. The band’s ear catching alternative rock owes plenty to inspirations ranging from Porcupine Tree and Karnivool to Incubus and Opeth but proven across four eventful tracks to carry a host of distinctive and potential carrying attributes likely to set the Bristol quintet a couple of steps  aside from the crowd.

Formed in 2014, White Noise Radio has forged a potent reputation and stature across the South-West, pushing broader awareness with their self-titled debut EP last year. Recorded at the legendary Sawmills Studio in Cornwall, Cosmos is poised to draw greater attention the way of the band with its captivating tapestry of melodic and sonic enterprise around a clutch of choruses which simply demand involvement.

The EP opens with the excellent Siren, a song instantly baiting ears with a fine percussive lure, their clipping touch an inviting dance to which melodies and the dark throb of Mark Detre’s bass add even greater potency. Soon the song opens up a teasing web cast by the guitars of Antoine Maas and Ben Lampard, a draw intensifying in weight and trespass before the lead vocals of Lampard grace a mellow breath coming forth within the encounter. There is still a dark edge to the song, the rhythms of drummer James Gill and Detre almost as portentous as they are progressively funky. It is a bold and compelling mix, only increasing its snarl and draw as the song blossoms across a more tempestuous yet controlled and always evolving landscape, with adventure in its creative hills.

Without knowing their influences it is not too difficult to guess the touch of bands like Karnivool and Incubus but similarly that individual character of the White Noise Radio sound is apparent and just as vocal within the equally striking Gone Inside. The wiry riffs of its entrance again make for a richly appetising lure, the guitars and bass seductive and sinister as they continue their invitation whilst subsequent mystique lined grooves flirt alongside before a heavier breath sweeps through it all. As its predecessor, the track twists and turns through a revolving spiral of aggression and intensity, each bringing new textures and drama to easily embrace as the five-piece technically and creatively weave with increasing dexterity.

Latest single, Dawning is next, the song a calmer proposal with a celestial tone to its melodies and bouncy energy to its rhythmic enticement. Vocally Lampard again swiftly impresses, his guitar play also engaging alongside the suggestive flare of Maas. A mellower encounter in comparison to the first pair, it too has a fire in its belly which erupts in sonic bursts and though for personal tastes lacking the final bite and boldness of the first two songs, the encounter has ears and appetite bound in no time.

Wires bring things to a similarly collected close, its Tool-esque tranquillity almost deceitful of the emotional and fiery energy waiting to break at certain times. Throughout there is a dark almost predacious edge to the bass and riffs, a fine tempering to the spiralling sonic lights of the guitar and the ever harmonious and inviting tones of Lampard just as magnetically backed by Maas. With a Bush like scent also seeping from the song, it makes for a fiercely gripping conclusion to a firmly pleasing release.

White Noise Radio has not quite found their unique voice yet but Cosmos suggests it is coming whilst offering songs which quickly get their highly enjoyable hooks into the psyche. The fact the EP only gets stronger and more impressive over listens just adds to the fun.

The Cosmos EP is out now and available @ https://whitenoiseradio.bandcamp.com/album/cosmos

https://www.facebook.com/WhiteNoiseRadioRocks/    http://whitenoiseradio.rocks/

Pete RingMaster 18/07/2017

Copyright RingMaster: MyFreeCopyright

Mils – We fight We love

There is a boldness to French outfit Mils which is within every aspect of their sound and invention, a fearless creativity and spirit within songwriting and its imagination, their sound and its execution which makes  We fight We love, their latest EP, one compelling encounter and pleasure.

Based in Montpellier, Mils began in 2008 initially as a studio seated collaboration. The release of their debut album, Man is a lonely Soldier, in 2012 lured strong attention the way of the outfit, especially with its re-energised push the following year through Dooweet Records. Praise carrying reviews and a host of new fans came with its reboot; support accelerated by the single Come Home in 2015 which was the first release with recently joined singer Mélodie alongside lead guitarist Tristan, rhythm guitarist Cerise, bassist/keyboardist Jack, and drummer Ben. Weaving a sound inspired by a host of flavours from varied rock, industrial, electronic, and new wave landscapes, Mils create a proposition as unpredictable as it is intriguing, again the evidence vocal within the Thomas ”Drop” Betrisey (Samaël / Sybreed / MXD) produced We fight We love.

Looking at themes inspired by “the confrontation of man with his own emotions and with others”, the EP opens up with that earlier mentioned single Come Home. The early steely union of guitar and keys is quickly joined by the alluring tones of Mélodie, an engaging growl to her tones matching that of the sound which already reveals an array of spices in its brewing roar. Once hitting its broad stride, electro and rock melodies weave their patterns around the firm kiss of beats, a more intimidating edge added by bass and riffs as things only continue to blossom and evolve. The track is sheer magnetism and easy to see why its potent draw and success as a single as well as the anticipation it nurtured for the EP.

The outstanding start is quickly and as powerfully backed by No Body; it’s opening electronic glide across industrial textures a blend of M83 and Nine Inch Nails. Soon the impressive tones of guest vocalist Duja, from electro rockers MXD, are captivating, his rich darker presence perfectly united with Mélodie’s fiery presence. Carrying a great eighties essence, the track is as thickly compelling as its predecessor, almost lava-esque in its emotive and energetic heat yet masterly controlled and harmonically elegant within its potent smoulder.

It is fair to say that Escape had a hard task to live up to the first pair but soon has the body bouncing with its lively electro shaped, muscular rock ‘n’ roll. Again there is a tempestuous edge to the great vocal presence of Mélodie, an aggressive instinct as tenacious in the broadly textured sound and boisterousness of the song. If it does not quite match up to those before it, it is a paper thin size miss as body and appetite can attest to as they devour its spirit rousing incitement.

A mellower but no less dramatic embrace comes with next up Strange Night; the song’s climate electronically seductive but with a sinister hue pushed by the controlled but rapier swings of Ben. Reminding a touch of Danish outfit Forever Still at times, the track smoulders and boils time and time again across its inflamed landscape, never being anything less than one incandescent proposition.

The EP closes with the equally roasting climate and emotive power of Casus Belli. Though the song has a firmer rein on its fire it persistently singes ears and stokes the imagination; a blaze which may have not lit the fires within as others before it but brings things to a striking piping hot conclusion.

Like for us, Mils may be a prospect which is new to ears. We suggest that you swiftly change that situation through the forcibly impressive We fight We love; and as to those in the know, the band has just grown to major new heights which real attention surely can no longer ignore.

We fight We love is out now via most online stores.

http://www.milsxperience.com/    https://www.facebook.com/MilsXperience/

Pete RingMaster 18/07/2017

Copyright RingMaster: MyFreeCopyright

Tunabunny – PCP Presents Alice In Wonderland Jr

PCP Presents Alice In Wonderland Jr is the new and fifth album from US Transcendental Dance Poppers Tunabunny, a huge adventure which sees the Athens, Georgia hailing quartet at their most poppy, darkest, experimental, and compelling. A double album breaching 28 imagination stoking tracks, it is a kaleidoscope of sound; no track like any other or pretty much any offering from the band to date, and a carousel of creative drama which pushes the listener into places they might not know exist let alone have contemplated.

Apparently PCP Presents Alice In Wonderland Jr is “structured as a song-by-song response to The Beatles’ White Album” and through its songs explores themes such as surveillance, futility, alchemy and winter, metamorphosis and anger whilst its fourth side features a twisting song cycle about motherhood; from pregnancy to birth, through postpartum emotional desolation, to the rebirth of self. Whatever their inspiration, the album’s songs challenge and arouse physically, mentally, and emotionally ensuring you get a full and thrilling workout with the foursome of Mary Jane Hassell, Scott Creney, Brigette Adair Herron, and Jesse Stinnard.

Rather than do our usual track by track look, such its bulging size, we are going to pluck the moments which ignited the imagination most forcibly but be assured barely a moment passes within the whole release without making a potent and appealing impact. From the opening atmospherically sinister Cartesian Theater, a track which appears like an intro but is so much more, Tunabunny set the speakers and passions on fire with Incinerate. A recent single, the track is glorious; a slice of indie pop which has the head bobbing, feet shuffling, and ardour brewing within its first round of seduction. Adding one’s own breath is inevitable to a sublime chorus, the vocals a flirtatious beauty matched in temptation by the gentle swing of the sounds cradling their charm.

There is no better moment within the album but plenty of times rival the height of the superb encounter, the following Noise Problems a swift example with its post punk/new wave canter carrying a definite resemblance to eighties UK band The Passions. The stroll of the bass is as deeply appealing as the wiry jangle of the guitars, vocals again an inescapable magnetism in diversity and harmony whilst the song’s emerging discord is simply delicious.

The indie/psych pop of Seek Consequence is another major magnet; the swaying vocals siren-esque as darker hues brew and evolve behind their lyrical wiles until heatedly bubbling up with a drone like fever while Blackwater Homes rises up from a gentle melodic murmur into another virulently infectious and shadowed canter playing like a mix of Stevie Nicks and Pylon. Worryingly easy to be seduced by its haunting lures, and not for the first or last time fiercely tempting post punk bass bait, the track swiftly worms into the psyche.

The bass again grips the instincts within Oracle, its Psycho Killer like coaxing backed by shiny tendrils of guitar as vocals procrastinate; its success followed by the matching triumph of Start It where PiL meets The Breeders is a good hint to the track’s melodic post punk clamour. These tracks alone show the diversity within PCPPAIWJR, The Raincoats tinged pop clang of Nevermind The Cobblestones and the Slits scented monotone shuffle of Yellow Heart Is My Sky Sign further evidence, both tracks bringing fresh greed in a healthy appetite for the release.

A healthy addictiveness is spawned by the raw swing and charm of the boldly infectious The Way The World Works, the song a dulled yet sparkling gem in the album’s jewellery box of sound and another collusion of band and listener rarely matched outside of the album though within, the minimalistic pop of Me And Nancy, a track with an echo of The Cure on their very first outing, and the dark scuzz fuelled post punk of Pretending To Bend as well as the similarly styled but oh so different Count To Ten rise to the challenge.

There are tracks on the album which explore noise and its depths of suggestion, each inciting the imagination even when they barely grasp a handful of seconds in length; times which really test  but reward the listener’s ability to compose and interpret. With further moments of never less than thoroughly enjoyable and provocative adventure across the album, songs like It Could Be Something, the absorbing and inexplicable Shiftchanger featuring Jason Jackson Wellz, and Magic January all tantalising and enthralling, things are brought to a lengthy imposingly and enjoyable close with the fuzz pop clamour of I Thought I Caught It (With You).

As suggested, every track is a fresh and rewarding twist in the landscape of PCPPAIWJR, not one of them merely filling space and all firing up ears and imagination. Not for the first time Tunabunny has provided not only a real treat to mull over and enjoy, but another new plateau in their invention and imagination.

PCP Presents Alice In Wonderland JR is out now via HHBTM Records @ http://hhbtm.com/item.php?item_id=640 and https://tunabunny.bandcamp.com/album/pcp-presents-alice-in-wonderland-jr

https://www.facebook.com/Tunabunny/

Pete RingMaster 12/07/2017

Copyright RingMaster: MyFreeCopyright

Rat Fancy – Suck A Lemon EP

There is nothing artificial about the saccharine sound of Californian trio Rat Fancy or indeed excessively sweet yet a particular tooth is still a requirement for their sugary melodies and the intimate affability of their music. An instinctive almost sour look at life and its fake lures, often found in the Los Angeles climate the band springs from, ensures things never get too sickly and a similar underlying discordance to their music which ensures intrigue and unpredictability is a potent essence.  It all comes nicely together within Suck A Lemon; the band’s new captivating EP.

Consisting of vocalist/guitarist Diana Barraza (ex-Sweater Girls), guitarist/keyboardist Gregory Johnson, and drummer Gavin Glidewell and formed last year, Rat Fancy has already blessed 2017 with a trio of tracks via their Bandcamp. Each has been a fresh breeze of their shoegaze glazed indie pop now blowing even more eventfully within Suck A Lemon. Across the EP, the threesome resemble a fusion of eighties band Weekend and The Pixies with a light Belly-esque scent to it all; a mix emerging as something deceptively familiar yet distinct to Rat Fancy.

The release opens with I Can’t Dance To The Smiths Anymore and swiftly has ears drawn to its guitar jangle and the sweet tones of Barraza. Keys equally cast an amiable lure as the guitar weaves a magnetic twee toned melody; it all uniting in an infectiously lively serenade at times reminding of another British band from times past, The Freshies.

It is a bright and tempting start which is built upon by the more boisterous exploits of Five Fingers. Rhythms are a tenacious guide into the raw melody woven web of the song, everything from voice and sharp words to a wandering keys bred warble offering enticing hooks taking the EP to another level in no time.

It is a height backed up by the title track, the first of two versions found within Suck A Lemon. This first take has an energetic swing to its melodic carousel and bare sonic dance; a rawness which exposes all of their alluring attributes with honesty as Barraza’s vocals again captivate.

Beyond Belief is a gentle frank caress in sound and emotion with a smouldering melancholy in its charm while About You seduces with a Young Marble Giants like minimalism and beauty which with an emerging darker snarl to the guitars, takes best track honours. Both songs leave intrigue with a greedier focus; the second especially memorable even in its brief tenure of ears.

The EP closes with an equally impressive offering in a slower version of Suck A Lemon and boy does the already strong song blossom in this alternative guise. It is a siren of ears and imagination, so much more than simply a tempering of its earlier energy with Rat Fancy finding a richer presence and allure in its slimmer but more radiant variation.

Rat Fancy make a proper introduction to themselves with the Suck A Lemon EP, a thoroughly enjoyable encounter offering the promise of adventurously bright times ahead with the band.

The Suck A Lemon EP is out now through HHBTM Records and available @ https://ratfancy.bandcamp.com/album/suck-a-lemon and http://hhbtm.com/item.php?item_id=639

http://www.ratfancyla.com/    https://www.facebook.com/ratfancyla    https://twitter.com/ratfancyla

Pete RingMaster 12/07/2017

Copyright RingMaster: MyFreeCopyright

Kabbalah – Spectral Ascent

For everyone there are certain encounters which forge an instinctive union with personal tastes; records which more than most tap into the creative imagination. We have come across a great many over recent years, having the privilege to listen to and assess a constant flood of offerings, but few have made the immediate lustful impact as Spectral Ascent, the new album from Spanish psych/doom trio Kabbalah. The release is a siren for the senses, an enchantress for the imagination, and one of the most desirable proposals heard in recent times.

Kabbalah is the creation of Carmen and Marga, former members of Pamplona rock band Las Culebras. 2013 saw the well-received release of their self-titled debut EP, its success followed and backed by the Primitive Stone EP fourteen months later. Both lured keen attention towards the band’s fusion of occult rock, 70s retro, and classic heavy-psychedelic sounds of the late 60s; a mix creating a cauldron of temptation and dark suggestion, a snarling trespass of predacious uniqueness nestling often irritably under the beauty of alluring vocals and swarming harmonies. With Alba completing the current line-up in 2015, Kabbalah sound has blossomed again for Spectral Ascent, hints of its fascinating evolution coming in the 2016 single Revelation and earlier this year its successor Phantasmal Planetoid, both prominent lures within nothing but across the album.

Spectral Ascent quickly coaxes attention with its opening title track; a short intro of melodic flirtation with a shadowy undercurrent which plays like a music box enticing entrance to an alluring dark realm. It’s elegant if sinister coaxing leads into the equally beguiling lure of Resurrected where from the heavy throb of bass and the magnetic pull of vocals the song has ears and appetite swiftly engaged. Guitars similarly draw the senses with their melodic sparkling, teases leading into the more formidable and imposing heart of the track. Never deviating from its seductive swagger though, the song twists and crawls through ears right into the psyche, moments of almost carnal intensity and calmer flows of romancing melodies igniting the imagination and body like few other encounters.

The sheer drama of the outstanding proposition continues through next up Phantasmal Planetoid. Its climate is instantly darker and more formidable as the bass snarls, never losing its heavy trespass as the song moves on to court a boisterous gait with turns of tetchier growls. It is masterful stuff, stoner and doom essences colluding with those earlier mentioned flavours as vocals and harmonies soar. No lightweight on addiction loaded hooks either, the song is manna for ears and instincts, a consuming persuasion also bred in the voracious antics of The Darkest End and immediately after within The Reverend. The first of the two aligns carnivorous riffs and bass irritability with spell spun grooves and the ever bewitching vocal union across the band. It resembles a fusion of Blood Ceremony and Jess and The Ancient Ones, yet is as individual to Kabbalah as you could wish for. Its successor is almost punk like at times, an underlying crabby edge flaring up across its psych and post punk spiced tapestry like a hybrid growth from a union of Au Pairs, Cradle, and Deep Purple.

Following their triumph, The Darkness of Time offers a funk fuelled swing of psychedelic rock, its body a web of heavy and classic rock honed enterprise which might miss the more predatory traits of its predecessors but has body and spirit wrapped up with ease. Its occultist lure only adds to its relentless charm; bait which is taken to more threatening places within the outstanding Dark Revelation. Its first breath has a garage punk taste, the subsequent canter more of that Au Pairs like post punk tempting before Kabbalah turns it all into a compelling and virulent, almost unruly, tango of creative flirtation.

The Shadow slinks up to ears in its own inauspicious way, tempting and warning with portentous charm before its fires break from an initial smoulder into a white hot rock ‘n’ roll stroll while the album closing Presence shares a calmer though no less heated weave of retro and modern nurtured adventure to further enthral. The dancing prowess of the drums, not for the first time, is almost consuming in its rousing and resourceful drive of the magnetic sounds bringing the album to a masterful conclusion.

The need to go again is controlling as Spectral Ascent drifts away, and the pleasure in doing so ever rewarding. The album is immense and rich food for a passion for psych/doom infused rock ‘n’ roll. Some bands feel destined for greatness from their first moments; Kabbalah is one and their new offering commandingly intensifies that belief.

Spectral Ascent is out now via Twin Earth Records and available @ https://kabbalahrock.bandcamp.com/album/spectral-ascent

https://www.facebook.com/Kabbalahrock/

Pete RingMaster 12/07/2017

Copyright RingMaster: MyFreeCopyright

Suicide Generation – 1st Suicide

Basking in its own dirt and scuzz, the Suicide Generation sound is a fervid rush of trashy goodness which ensures the band’s new album is an unmissable treat for all fans of uncompromising rock ‘n’ roll. The bastard son from a salacious collusion between members of Atomic Suplex, The Cavemen, and Trash Culture, the London based punksters feverishly graze ears with a raw wash of garage punk/rock from start to finish within their debut full length 1st Suicide, sucker-punching the senses along the way with rapacious hooks which just worm into the psyche like a virus.

Supposedly coming together “to fill in for cancelled support slots across the Tuesday night London gigging circuit”, Suicide Generation has quickly become an eagerly devoured proposition on the capital’s live scene with their chaotic and explosive shows; their attack and intent as unpredictable as their sound. Recently linking up with Dirty Water Records, the band is now gunning for bigger attention with 1st Suicide, a release which swarms through ears like a plague of buzzsaw carrying harpies.

The album descends on ears with opener Suicide Generation first of all; one minute and a handful of seconds of clanging rock ‘n roll led by the exasperated tones of frontman Sebastian Melmoth. Every aspect of the track is as muggy as it is concussive but veined by intricate melodic acidity which winds seductively around the fuzzy antics of Emily Crowler’s rhythm guitar. It is a potent, enticing smog of sound swiftly out powered and shone by Why Can’t I Play With You. The second track needs mere seconds to lay down heavy seductive hooks within a similarly intensive weight of sound. A Cramps-esque hue smokes vocals and sound alike, Suicide Generation finding a gripping rawness which even their assumed inspirations would have eagerly embraced as the song flirts and dances with garage rock and punk irritability.

Set Me On Fire has a certain air of The Reatards to its similarly crotchety rock ‘n’ roll straight after, guitars scything across the senses as rhythms rumble with tenacious zeal, while Nora aligns a fifties smoulder with seventies punk waspishness for its individual stomp. Both tracks have the body and imagination eagerly throwing discord loaded shapes before London Blues strolls along with dirty blues punk falling like drooling saliva from every note and syllable. An open psychosis oozes through voice and music alike, its mercurial heart unpredictable and constantly in flux as it captivates and assaults the listener.

They are instantly involved with the brawling escapade of Love Is Hate straight after, the track a beguiling animus of sonic and emotional testiness enjoyably harassing the senses with the clamour of guitars and the spite of rhythms. It is a mix also fuelling next up Little Mama, the track resembling The Phantom basted in rock ‘n’ roll filth whilst sending the hips into an anxious frenzy.

That same instinctive primal sound infests Evil Everywhere and once again the band twists it into something distinct within the release and other propositions; the track a hyperactive dirt ball of sound and energy leading into the closing treat of You Love Me. Initially prowling ears with a devious glint in its creative eye, the band’s punk instincts soon ignites in a high-strung blaze of sonic causticity and wired verbal dexterity driven by rhythms which just seduce attention whether the track smoulders or roars.

1st Suicide is a collection of songs which just please themselves with a similarly arrogant creativity, in turn their brashness and swagger turning on ears and an ever keen appetite for unpolished rock ‘n’ roll. The Suicide Generation is here and openly ready to tear up your world.

1st Suicide is out now on Dirty Water Records @ https://suicidegeneration666.bandcamp.com/releases and http://www.dirtywaterrecords.co.uk/shop/#!/Suicide-Generation-First-Suicide-album-download/p/86922972/category=2749844

https://www.facebook.com/suicidegeneration666/

Pete RingMaster 12/07/2017

Copyright RingMaster: MyFreeCopyright