Freak Injection – Freak Is Fashion

Unleashing in the words of its press release, “Blood, Sex and Psycho!” the Freak Is Fashion EP is quite simply a temptation rather hard not to get down and sweaty with. It is a new slice of devilment from French industrial/electro rockers Freak Injection, a rousing four track escapade fusing the familiar and the fresh in a roar sure to inspire the freak in us all.

It is fair to say that big surprises are not as prevalent within Freak Is Fashion as flavours which tempt like old friends yet the Paris hailing quartet create an aural captivation and physical incitement many unique offerings can only dream of. Inspiration to Freak Injection comes from the likes of the Prodigy, Nine Inch Nails, Nina Hagen, Madonna, and Marilyn Manson, though Freak Is Fashion leaps upon the listener more like an insatiable fusion of Animal Alpha, Die So Fluid, and The Guilt with Kontrust like lunacy leading and fuelling it all.

With the raw essences of metal and punk colluding with electro and industrial revelry, the Freak Injection sound needs little time to infest ears and psyche as EP opener and title track reveals. As soon as its initial electro spiral is joined by distortion kissed vocal coaxing, there is no r escaping the song’s devilry and rebellious intent. Within a breath rhythms are pounding upon the senses like migraine, riffs simultaneously harrying them with their dirty tone as hooks and electronic bait are unleashed with insatiable intent. The vocals of Charlie RED just as swiftly get a hold of ears, her infectious guile and mischief accompanied by the melodic teasing of guitarist MAC-F as Kevin Hapexia’s bass heavily prowls. Continuing to probe with the swinging beats of Anthony bordering on the psychotic at times, the track makes a riveting and body rousing trespass to kick things off, its schizophrenic character increasingly unveiled as its bounds along.

The following Sex Me is an instantly panting arousal of sound and creative intrigue, its introduction a slower, more controlled yet insatiable proposal with instinctive seduction lining every note, beat, and vocal taunting. With an increasing swagger, riffs grow in weight and rhythms in impact but equally so too does an unpredictable web of twists and deceitful turns never going quite where you expect and greatly pleasing because of it. Again it is hard to say that the song is truly unique, certainly not across its whole body yet there are only fresh and enthralling times in its midst. It is qualities equally found within successor Crosses, a meaty stomping of electro pop ‘n’ roll which has the body bouncing,  hips swerving, and vocal chords induced within its first anthemic roar. Charlie is again a beacon within a blaze of tenacious captivation naturally fitting and sparking rock ‘n’ roll instincts.

The release is completed by Psycho (Russian Boy), an emboldened motivation of sound which arguably fits expectations of the tags given to the band’s sound more than most but brews volatility in its rock ‘n’ roll which just detonates in ears. It is a high-voltage end to a creatively bustling and animated, not forgetting fervour driven, rampage that the inner freak just cannot refuse.

Freak Is Fashion is out now.

https://www.facebook.com/Freakinjectionmusic/    https://twitter.com/Freak_Injection

Pete RingMaster 23/05/2017

Copyright RingMaster: MyFreeCopyright

Codex Alimentarius – The Infinite Growth Paradigm vs Finite Resources (Mk II)

June 1st sees the re-release of The Infinite Growth Paradigm vs Finite Resources, the debut EP from British metallers Codex Alimentarius. Going a big way, alongside their imposingly potent live presence, in earning them an immediately loyal fan base, the band’s introduction has been “re-fired and re-forged” in such a way that it not only commands but simply demands fresh attention. Like a great many we are sure, Codex Alimentarius evaded our radar first time around and indeed with its successor The Hand Of Apophis. Listening to the MK II version of The Infinite Growth Paradigm vs Finite Resources though, it feels more like destiny than annoyance that the Exeter outfit has taken to now to grab ears and an immediate appetite for their melodic death metal nurtured roar, the EP a searing wake-up call to the world of one fiercely exiting proposition.

Formed in 2009 by the quartet of vocalist Stephen Bending, guitarists Stan Kemble and Tim Wright, and bassist Andrew Dicker, Codex Alimentarius were soon making a strong imprint on the local live scene in their first year before expanding the line-up with the addition of third guitarist Elliott Alderman-Broom and drummer Frank Dennis in 2011. The Infinite Growth Paradigm Vs Finite Resources in 2010 only added to their growing reputation and appeal, its release followed by the band going on to tour with the likes of Vader, Krisiun, and Furyborn as well as share stages with bands such as Sonic Syndicate, Malefice, Evile, Revolker, Ted Maul, Demonic Ressurection and many more over the next handful of years. The well-received release of The Hand Of Apophis in 2014 followed the recruitment of Ray Arrell as the band’s new vocalist and the From Hell To Oblivion UK Tour with Enemy Reign the previous year. Despite all that, Codex Alimentarius was still a passing name for many but it is hard to see that remaining the situation as the revamped The Infinite Growth Paradigm vs Finite Resources resets and re-energises the inevitable emergence of the sextet to the fore of the European metal scene.

Mixed and mastered by Alderman-Broom and wrapped in the artwork of Dicker. Mk II opens up with Baptised and swiftly gets down to catching the imagination with nagging riffs and suggestive melodies within an electronic mist. It is an enticing start which does not force attention but teases and seduces it, coaxing intrigue into the venomously lined tones of Arrell and richly toned grooves just waiting to make their impact. Becoming bolder and in many ways even more toxically attractive, the song blossoms in presence and adventure with Arrell the source of animosity and rhythms the seed of imposing trespass; all bound in the simultaneously seductive and predatory adventure of the guitars.

It is a potent and quickly enjoyable start but one soon eclipsed by the mighty proposal of Collapse. It too harries the senses with riffs and flying beats, their rapacious intent matched by the brooding antipathy of bass. Yet there is a swing and hunger to it all driven by almost rabid grooves and gutturally celebratory vocals which simply enslave ears and imagination. With tinges of thrash and folk metal in its dynamic assault, the track is glorious; only growing to greater heights with reserved passages of melodic endeavour and craft woven into a web of senses entangling temptation.

Good Slaves swaps the boisterousness of its predecessor with a more controlled state but still with a heady drama of energy and portentous suggestion. Sweeping melodies add to its dark edge and cinematic climate, grooves and riffs colluding to provide a heart as rousing as it is invasive as the song ignites body and thoughts with ease before passing its success over to the infectious almost envenomed charm of No Return. It feels calmer and physically kinder than those before it yet makes up for it with a tonal animus which infests vocals, melody, and imagination alike. If missing the extra spark of the previous pair of songs, it is a compelling journey through impressing craft and aural discontent; a merger of light and dark, melody and antagonism which heightens an already keen appetite for band and sound.

There is a bait of real catchiness within the quickly persuasive Symbiosis which follows, a devilish grooving which has swift control of body and attitude as the track grows in virulent contagion and emotional jaundice. It is a beast of a tension strapped, malignant stomp providing another major moment within Mk II, a peak matched by the closing mystique cloaked Arise. With Middle Eastern hues flirting with ears and thoughts from within its feudal proposal, the song breeds and widens its tapestry of creative and physical dexterity; guitars weaving a net of emotional and expressive suggestion around plundering rhythms and vocal causticity. It is a gripping affair which though a slow burner compared to earlier tracks leaves the listener provoked in thought and greed to hear and explore more.

With hindsight now available, Codex Alimentarius have not only given their first EP a new lease of life but released and developed its true character as indeed that of their keenly adventurous and eventful sound. Infinite Growth Paradigm vs Finite Resources (Mk II) feels like the moment that the band will truly step out from the shadows or certainly stoke a fire of awareness and attention; the former most likely such the striking presence and also potential found within the release.

Infinite Growth Paradigm vs Finite Resources (Mk II) is released June 1st.

http://www.codexthemasses.co.uk/    https://www.facebook.com/codexalimentariusband/    https://twitter.com/codexthemasses

Pete RingMaster 23/05/2017

Copyright RingMaster: MyFreeCopyright

No Religion – Self Titled EP

There seem a few bands with the same moniker across the globe but the one making a really potent impression with their latest release is a British duo crafting highly enjoyable and suggestive instrumental rock as heavy as it is melodically potent. There is not a great deal we can tell you about Bradford hailing No Religion apart from it consists of guitarist Andy Ledder and drummer Darren Brearton who together made up one half of the sadly demised melodic rockers One Day Remains who grabbed attention with The Agony Is Abated EP back in 2011/12.

In sound though, the pair make a real vocal statement; the three songs making up their latest and we are assuming debut EP, an adventure for ears and imagination alike. Opening track, One Line, quickly takes the senses to a darkly intriguing place. Its opening coaxing is almost portentous, a sonic vapour from within which wiry grooves and spiny melodies collude as the swinging beats of Brearton land with purposeful intent. The hook lined surface of those grooves make for a nagging appeal, Ledder using every note as suggestive bait for ears and thoughts. The cinematic air of the piece is a mix of danger and adventure, a creative emprise which is as compelling as it is enterprising with a nice essence of Irish project Arcade Messiah to it.

Second song is Devils Grin, a thick embrace of sound more emotionally intensive than the bolder almost heroic escapade of its predecessor. Ledder again spins a web of melodic exploration as Brearton’s rhythms roam with weight and poise, punctuating every twist and turn in the sonic design of the track. The shadowy depths of the piece add to its emotive design, ears and imagination firmly and increasingly engaged before Blind brings the release to a fine conclusion.

Though it never quite matches the strengths and temptations of the previous pair, the song rises up around ears like a dawning melodic sunrise. Its bluesy air and country-rock scent are fresh hues within a piece of music hinting at dark moments and danger trespassed surrounds but keeping them at bay with its elegant melody woven poetry.

There is no obvious connecting theme to the three pieces of music making up the EP, each seemingly offering individual premises, yet they still feel like they are part of a bigger adventure; glimpses of a broader creative travelogue and emotional subterfuge. Most importantly though, they offer a first listen to the potential loaded imagination and sure craft of No Religion in a release which may not provide major surprises but has ears enthralled and an appetite for more eager with ease.

The No Religion EP is out now through iTunes and other stores.

https://www.facebook.com/noreligion2016

Pete RingMaster 23/05/2017

Copyright RingMaster: MyFreeCopyright

Voyager – Ghost Mile

There is no denying the eager grin which broke upon faces here when the new Voyager album was sent through, having been seriously tempted by the band since their second album uniVers in 2007 and lustfully hooked through their fourth and fifth in the acclaimed shapes of The Meaning of I and V. The later in 2014 set a plateau it was easy to wonder if the Australian band could eclipse thereon in. Hopes and a quiet confidence have just been realised with the release of Ghost Mile, an album which brings a truly fresh breath to progressive metal as instinctively catchy and virulent as it is technically and inventively imaginative.

The success of the Perth quintet’s last album saw the band invited to perform at major festivals such as ProgPower USA, Euroblast Festival in Germany, and the ProgPower Europe Festival in The Netherlands as well as sharing stages with the likes of Deftones, Opeth, Leprous, Protest The Hero, Nightwish, Epica, Oceans of Slumber, and Coheed and Cambria. Voyager ended last year touring Australia with Deftones and Karnivool and being further invitations to play Euroblast and Progpower EU this year, the latter as headliners. Now with Ghost Mile driving things, it is hard to imagine 2017 being anything other than a really busy adventure, one no doubt littered with praise lured by their stunning new album alone.

Mixed by Matthew Templeman and mastered by Simon Strutters, Ghost Mile opens up with Ascension. A golden melody kisses ears first with the warmth and intrigue of a dawn sun, its suggestive air tempting the imagination before bolder rhythms add their bait. Djent teased enterprise is soon joining the blossoming affair, their steely tenacity paving the way for another caress of elegance around the radiant tones of Danny Estrin. As magnetic as ever, his presence is swiftly joined by sturdier textures whilst being the ringleader to an irresistible infectiousness soon fuelling the chorus and body of the evolving encounter. With the suggestive heat of his keytar matched in craft and magnetism by the guitars of Scott Kay and Simone Dow, the song is pure captivation, only increasing its potency as breaks of predacious intent and aggression escape.

The quite stunning start is quickly continued by the equally outstanding Misery Is Only Company. From the off, it has a harder core to its presence, a latent but open intensity which lines jagged riffs and the brooding air of Alex Canion’s bass. There is no containing the instinctive catchiness within songwriting and imagination though, the swinging beats of Ashley Doodkorte inciting similar boisterousness in the resourceful and technical enterprise across the band. Deftones’ Chino Moreno recently likened Estrin’s voice to Duran Duran’s Simon LeBon, something at times easy to agree with and indeed at times the song has something of the British outfit to its pop sensibilities, infectiousness aligning with more predatory essences to masterful effect.

Next up Lifeline initially lays another sunny shimmer on the senses, its progressive aptitude soon courting metallic rapacity though as melodies radiate and vocals warmly croon. Relaxing into a gentle stroll, there is still a constant snarl to the guitars and bass which breeds alluring unpredictability and waiting volatility, the latter never truly having its moment but keeping the calm honest whilst giving the progressive/ pop rock adventuring a threat. As with its predecessors, physically involving the listener is a quick given and with increasingly lust.

The provocative nature of Fragile Serene seduces next, its climate a mix of melancholy and joy with one addictive hook at the heart of a fusion of rich temptations which almost swarm over the senses into the imagination before To The Riverside carries the same fantasy off in its evocative piano led flight towards the waiting more capricious embrace of the album’s title track. From the first second, Ghost Mile has an agitated eagerness which infects body and spirit, the carnivorously laced bass growling beautifully within the fiery but composed roar of the track. Like sonic and melodic alchemy, the song turns four minutes or so into a cauldron of heavy and light, dark and luminous adventure; contrasts uniting rather than battling for the album’s pinnacle.

What A Wonderful Day pretty much sums up the feeling during its three minutes plus, its pop nurtured rock ‘n’ roll as contagious, additive, and arresting as anything heard this year so far. Its warm dance though does have predacious overtones lurking in its shadows, their semi-vocal presence more realised in the tenebrous texture of the following Disconnected, though it is never devoid of the light and vibrancy instinctive to the Voyager imagination. With industrial breath seeping into the track’s progressively nurtured and invasive metal challenge, there is nothing to deter a quick and full submission to its rousing and often caustic incitement.

The enchanting fascinating of This Gentle Earth simply beguiles next, the union of piano and vocals alone sheer seduction and only escalated as rhythms probe and drama floods every rising texture and tendril of contagion sharing sound; an infectiousness belying the emotional reflection of disconnection.

The album finishes with the fiercely charismatic As The City Takes The Night, a track growing from an absorbing tango into a blaze of heart and intensity which smoulders, simmers, and boils across its eventful reflection without ever seemingly taking the same route twice. As the album, the song is a fascination giving more and more with every listen, rewards including pure pleasure.

Expectations of Voyager are always high because of previous triumphs but again left short by an album which will take some shifting from being one major contender for this year’s greatest moment.

Ghost Mile is out now via Nova Distribution across most stores.

http://voyager-australia.com/   https://www.facebook.com/voyageraustralia   https://twitter.com/voyagerau

Pete RingMaster 17/05/2017

Copyright RingMaster: MyFreeCopyright

All At Sea – Systemized

It is fair to say that All At Sea are pissed off; driven by a rage and fury which makes no compromises for the injustices and crimes of modern society. It is an anger which escalates in their new EP and a sound which uses the fuel to create one seriously rousing and thrilling incitement. Fusing the raw and instinctive essences of hardcore and groove metal, the UK outfit roar and trespass with the combined irritability of a bear and the lithe prowess of a predatory pole dancer, a union ensuring that Systemized is much more than a mere attention grabbing proposition.

From England’s North East, All At Sea first hit out from quickly incited local success with the release of debut EP Divided in 2015. It was a potent nudge of national awareness which did not quite find the strength of success its visceral bellow warranted. It is hard to see Systemized not finding richer success devouring its presence, its voracious nature commanding and antagonistic voice a demanding trespass easy to embrace.

Opener Wake Work Repeat offers a few seconds of controlled coaxing before unleashing its emotional and physical blaze. In no time riffs and rhythms unite to badger the senses as vocalist Jack Tyreman brawls with a variety of snarling growls supported as potently by the just as irritable tones of Ross Adam Blackmore whose guitar alongside that of Scott Marks conjures tides of bracing and abrasing riffs. Like a furious mix of Rage Against The Machine and Converge, nu-metal and punk rock involved in the band’s instinctive fusion of animosity, the track breeds an infectious virulence as invasive as its sonic and vocal ire. Grooves continue to entwine and incite the listener, the rapier swings of drummer Tom Cox bone splintering as Josh Walker’s basslines crawl across the damage.

It is a thrilling creative ferocity more than matched within next up Consume. From its first breath grooves bait and trap the imagination and hips, the bruising of further predatory rhythms and the malice of vocal antipathy soon arising as the scent of a Bloodsimple joins  punk irritability as much CIV as it is High On Fire like. Stalking the senses with more ursine dexterity and rigour, the track is viral vindictiveness but itself slightly eclipsed by its successor in the shape of the new All At Sea single Gimme The Mic. Initially there is a similar holler and shape to its attack to the previous track but an essence soon woven into and consumed by the song’s own groove laden, spite fuelled stomp. There is a bluesy taint to that grooving which simmers rather than flames within the sonic fire and rhythmic battering but adds another great hue to the uncompromisingly intrusive and anthemic battle front of the encounter.

That bluesy toning is even richer within the grooved lattice of Life Value, the guitars spinning a deceptive web of invitation as their sonic dexterity sears and rhythms raid the senses. With the blend of vocals and their delivery as magnetically choleric as ever, the track is primal rock ‘n’ roll to lose inhibitions with; exhaustion and aroused argument ensured before Business Of Faith offers its own kind of raptorial rhythms and sonic bad blood. Vocals challenge and incite as riffs plunder and grooves share venomous yet captivating intoxication. Like a grizzly with the lustfully flirtatious moves of a feline, the track is a sly and artfully seductive vendetta of enmity bringing one gripping exhilarating encounter to a masterful conclusion.

The song is not as feral as others within Systemized but adds a just as fiercely enjoyable and blistering moment in its barbarously inventive and intensively charged tempest. If Systemized does not put All At Sea firmly on the biggest metal maps, attention succumbing to its unbridled storm, something will be seriously amiss.

Systemized is out now @ https://allatseauk.bandcamp.com/album/sytemised

https://www.facebook.com/AASNEUK/

Pete RingMaster 16/05/2017

Copyright RingMaster: MyFreeCopyright

Pigeon Lake – Barriers Fall

Three years after the release of their striking and quickly acclaimed debut album, Tales of a Madman, Norwegian quartet Pigeon Lake return with its successor in Barriers Fall. The time between has seen changes within the band and a reassessment of the way forward; a shift sparking an evolution in sound too which is actually hard to pin down but openly inflaming the Oslo outfit’s new offering and release which like its predecessor at the time, will make a definite rival to those around it for one of the most essential investigations of the year.

Since emerging in the opening smiles of 2012, Pigeon Lake has grown to be one of the most compelling propositions on the melodic rock/metal landscape. Founded by vocalist/guitarist Christopher Schackt and completed by childhood friend and drummer Andreas Prestby and bassist Kenneth Stiansen, the band instantly sparked attention and praise with the I: Mindrape EP later in that first year. Its themes of domestic violence, sexual assault, and mental health were as striking as the raw sounds inciting ears. The three became four with the addition of lead guitarist Magnus Engemoen soon after while the following year saw Stiansen replaced by Anders Børresen. As their sound moved towards a flavouring more akin to the likes of Katatonia, Stone Sour, and The Ocean, the band’s live presence escalated before they got down to work creating Tales of a Madman, its release coming in the Autumn of 2014 and followed by the band heavily hitting the road again including taking their first steps touring Europe.

Linking up with Wormholedeath Records in recent times provided the spark for that previously mentioned re-assessment and the resulting highly amicable departure of Børresen and Prestby which was soon followed by the joining of bassist Håkon Bechholm and drummer Jonas Rønningen. Now the new line-up has unveiled Barriers Fall, an encounter feeling darker and rawer than that first album yet their most melodically seductive and inventively mature adventure yet.

The album opens with Ragnarok, grooves instantly wrapping ears with shadow lined radiance. There is a portentous edge to them though, nothing imposing but clearly there as rhythms jab and riffs collude around them. Magnetic straight away, the track settles down into a heavy prowl where all those imposing elements erupt for a few rapacious seconds before Schackt’s cleaner tones steer the tempest into kinder waters. Abrasive growls remain alongside him though as the song merges predatory and seductive sides, luring the imagination into a provocative squall of emotion and intensity.

It is a striking start soon eclipsed by the just as tempestuous roar of Lyra. Nagging riffs align with Schackt’s distinctive tones initially, the bass prowling around them before the incendiary heart of the track erupts with fiery melodies and antagonistic tendencies. Harmonies and melodic tempting bewitch as the song subsequently shares its evolving soundscape, contrasting textures blending their potencies in one beguiling encounter. There is definitely something of the aforementioned Katatonia to the song and indeed album but equally the likes of Opeth and Swallow The Sun come to mind though in all honesty Pigeon Lake here and across Barriers Fall only reveal their own character of sound and imagination.

The album’s title track is next, seducing with a mesmerising poetic melody and calm vocal reflection before Rønningen’s beats add increasing threat. In time, as things increasingly simmer with greater intensity, everything comes to a head, vocals spilling their psychosis as a sonic causticity descends. A relative relief in the storm comes with the closing breaths of the excellent track before the more mercurial presence of The Futility of You takes the listener into a controlled yet seemingly unstable emotional embrace. Again the music is a web of trespass and radiance, vocals matching the changeable mood with suggestive prowess as wiry hooks and almost toxic melodies tempt and trap the imagination. Epitomising the album as a whole, the track only reveals new layers and textures with every listen, each time within it seeing growing attraction and the blossoming of image painting thoughts.

Hide and Seek runs a fine line of control and lawlessness, its cauldron of corrosive energy restrained and held back by the harmonic and melodic beauty hugging the senses though it is never more than a breath from breaking free while within Sunder it shapes the predatory nature of a track which equally is as much an oasis of elegance and gentle repose as a turbulent tempest; a beauty and beast of inner and worldly turmoil.

Senses harrying riffs brings A Familiar Problem to bear on ears next, delicious bait opening up into a just as enticing fusion of roaming grooves and brooding rhythms around feral toned vocals. That previously mentioned raw element of the release has its head with the harsh throated presence of Schackt adding to the psychotic edge of the track with clean and melody woven radiancy just as powerful before Perfect Place casts its variable cyclone on the passions. Irresistible within its first moments and only stealing greater lust thereon in, the track breeds an addiction as rich as its unpredictability to provide if not the pinnacle, one of many.

Closing track Let’s Pretend takes the listener into one final embrace of emotional restlessness and creative anxiety, the song as the album whilst being intricately woven and layered is almost anarchic in its nature and heart. It is a fine end to another encounter with Pigeon Lake which simply blossoms and further impresses with every listen.  To be fussy, personal tastes would see Schackt’s throat scarring vocal side reduced to allow his excellent clean and emotionally suggestive tones to have an even larger say but it is a mere passing thought in a release which stirs every part of body and mind.

Barriers Fall is available now through Wormholedeath Records across most online stores.

http://www.pigeonlake.no/    https://www.facebook.com/PigeonLakeMusic/   https://twitter.com/PigeonLakeMusic

Pete RingMaster 17/05/2017

Copyright RingMaster: MyFreeCopyright

Loom – Self Titled

Photo by Kurt Fairbairn

With quite simply raw rock ‘n’ roll nurturing its heart, the debut album from UK band Loom takes ears through every shade of punk rock you can imagine within its ten track confines. It is an adventure which has the imagination fired up, ears burning with ardour, and aggressive tendencies bubbling to the surface in a striking and rousing incitement of a self-titled proposal. Each song as suggested reveals a new aspect in its furious landscape yet brews a united character distinct to a band and release which just commands attention.

Leamington Spa hailing, the trio of Tarik Badwan, Matt Marsh, and Joshua Fitzgerald took little time in attracting ears and praise with their early releases including a pair of well-received EPs within their first year. The second of 2013 featured six covers of songs from the strongest inspirations for the band in its early days, The Jesus Lizard, Bad Brains, Pixies, GG Allin, Misfits, and Warsaw. Alongside the other encounters, it sparked support from the likes of Zane Lowe and Daniel P Carter at BBC Radio 1as well as laying the first steps in a springboard for Loom live to support The Rolling Stones at Hyde Park and tour the UK and Germany with artists such as Frank Carter & The Rattlesnakes, Queen Kwong, and Turbowolf.

The band’s first album is not slow in suggesting those influences in its multi-flavoured roar, as mentioned each song distinct from the next but there is a vein of unique Loom-ness running through all which we would suggest goes beyond the cohesion of aggression suggested by its press release. It opens up with Lice, a sonic itch you just cannot scratch enough to escape from. Its initial glaze to an instantly robust sound has a gothic/indie rock spicing, coming over like a blend of Leitmotiv and The Victorian English Gentlemens Club before its grouchy rock ‘n’ roll instincts burst free. It is a glorious nagging of the senses and imagination taking magnetic twists along its contagious enmity of sound and attitude.

The great start continues as firstly Hate imposingly shimmers with electronic radiance upon grunge bred antipathy to be followed by the rousing exploits of Get A Taste. There is a whiff of Pere Ubu for these ears to the first song but a thicker Nirvana like causticity to its nature and again niggling potency. Embracing garage punk confrontation too, the track stirs ears and appetite with ease, a triumph matched by its successor with its old school punk meets seventies garage rock growl as demandingly catchy as it is openly crotchety.

Grunge colludes with post punk for the feistily prowling Leopard, guitars winding spicy tendrils lined with delicious discord around ears as rhythms reveal a rapacious nature to their drive before Salt entangles the imagination in a fusion of Joy Division post punk and the irritable punk rock of The Stooges with just a tang of psych rock bewitchment. It is an enthralling mix opening new aspects with each passing flick of a chord and sonic detour yet throughout a fluid tart snarl never deviating from its quarrel.

Seasick bawls as its stalks ears with predacious intent straight after; indie rock merging with raw hardcore ill-temper in a track which steals the passions within seconds. Vocals are as unpredictable and instinctively volatile as the sonic flames cast by the guitar and indeed the rhythmic jabbing around them. With the bass a brooding threat within the tempestuous joy crowding and seducing ears, the track makes a big play for best track glory but is quickly challenged by the muggy grunge venting of Bleed On Me and eclipsed by the glorious dark deeds of the band’s latest single, Nailbender. The latter is a compelling caliginous seduction of gothic and punk metal; like Type O Negative fused with Descendents and 1919 yet still emerging as something unique and gripping to Loom.

The punk grouse of Barbed Wire grabs something from all decades of punk since the sixties whilst in finishing up the album Slowly Freezing Heart crawls across the senses in a kaleidoscope of sonic toxicity and shadow loaded rhythms united with vocal psychosis. Both tracks are treats greed gets the better of composure over while bringing one superb album to a memorable and rousing end. Listening to Loom you get the feeling that the band creates on instinct, not searching for a sound but letting it find them and infusing their music with its own unique character. The album reminds of numerous artists across its riveting body but never comes over as anything other than the offspring of Loom, the first of many more belligerently sculpted and physically visceral gems we hope and suspect.

The Loom album is released May 19th via Silent Cult across most stores.

https://www.facebook.com/Loomband/    https://twitter.com/loomband

Pete RingMaster 17/05/2017

Copyright RingMaster: MyFreeCopyright