Shatner’s Bassoon – The Self-Titled Album Shansa Barsnaan

SB_RingMaster Review

We have all had a dream which is ripe with randomness so abstract that it somehow makes sense, and that is exactly what it is like listening to The Self-Titled Album Shansa Barsnaan, the new album from Shatner’s Bassoon. Not that our brain cells have yet managed to come to terms with any of its themes, if there are any, or the intent behind its psyche twisting bedlam of creativity, but without doubt we are having the richest fun and enjoyment trying.

Shatner’s Bassoon is a sextet from Leeds taking influences from the likes of Tim Berne, Mr. Bungle, John Zorn, Frank Zappa, and an expansive range of styles and flavours into their warped composing and sound. Equally individual experiences of its members carry a diverse range stemming from European folk, Hindustani music, Brazilian music, straight ahead and free jazz, reggae, metal, contemporary classical, musique concrete and most likely plenty more inspiring spices. 2013 saw the release of their debut album Aquatic Ape Privilege and last year the live EP, The Crowd Grows Mild. Now representing “the summation of the last three years of working since the addition of Joost Hendrickx on drums and electronics”, Shatner’s Bassoon release their second album of unhinged imagination, an encounter from Johhny Richards (Keyboards/Piano), Michael Bardon (Bass/Bongos/Botanical String Quartet), Andrew Lisle (Drums), Oliver Dover (Saxophones/Bass Clarinet), Craig Scott (Guitar), and Hendrickx which puzzles, bemuses, seriously confuses but most of just thrills.

cover_RingMaster Review     Bruce Lawn starts the album off and according to the press release sees “Seemingly disparate musical fragments converge into a unified theme as catchy and uncomfortable as gonorrhoea. It dissolves as quickly as it manifests into a visceral aural soup, crashing into an overtly sexual Transylvanian organ punch.” It opens with a handful of lusty seconds of anthemic sax bursts and handclaps before flinging a host of discord kissed sounds made up of melodic and sonic tweaks. Already thoughts are conjuring a picnic in a thirties freak show, an abundance of off-kilter beauty providing an embrace of joy with sorrowful undertones. As with every track, and no matter the hints given by the band musically and in word, each listen sends the imagination down a new avenue of lively and shadowed adventure, though ones maybe not quite as disturbed or avant-garde as the ideas in the minds bringing the piece to ears. Band and song continue to ‘meander’ and spin new detours, a few of them Essential Logic like, as it drifts into an increasingly sinister haunting; coming out the other side with aural face paint smudged and mental coherence askew.

Bruce Lawn II: Arms like a Mirage comes next; the song’s initial elegantly chilled breath a surreal reflection of its predecessor’s final dark throes whilst spinning slowly deeper into its own turbulent intrigue of sound and barely masked insanity. It all leads to a bordering on bestial climax which is almost 6:33 like in its concussive collision of jazz, rock, and whatever else lies within its tapestry of aggression.

Like that initial spattering of water as rain clouds open is how Fringe in my eyes, Thighs in disguise sheds its mosaic of incompatible yet united sound next, each note from the song sheet a jazz bred splatter marking its territory; yes warped sounds seem to breed warped ideas, in us anyway.

Percussion and rhythms provide a skittish but fluent dance to set Mushroom/Fancy a Waltz away; bulging blobs of sax and clarinet flirting with the spicy strings of the guitar soon after before things get a little psychotically hairy in something best described by the band itself as “a machine gun spluttered duet finally melting into a refreshingly resolute meditation.” To be honest whatever we write or they say is a scratch upon the strange and spellbinding tapestry at work throughout the album and its individual exploits of tangling sound and ingenuity.

Ten seconds of innocence coated sax gaiety is all Mitch Fargone’s walk to school offers before Advocates of Anti-Funk pulsates and shimmers in a kaleidoscope of melodic and brassy sunspots, all wanting to share their swinging hips before eventually colluding in a dark carnival-esque seducing. Rip Rig & Panic meets Mr Bungle might be a good way to describe it…actually not really as again Shatner’s Bassoon cast only their own uniqueness over ears.

The dark enchantment of Boat Comforts moves in like sea fog, creaking boards and melancholic siren sent calls mesmerising and tantalising the senses. Every passing second brings darker and stranger nautical essences, the piece toying with the imagination like a Jules Verne on LSD written adventure complete with a bare boned and crazed shanty. Cardiacs come to mind the more the song spills its insanity and rum brewed frenzy before Boat Comforts Part II: Goat Conference / The Real Shim Lady unveils its own sonic choral of loco spawned textures and cracked rhythmic incitement. Like the unbridled discordance of eighties band Stump infesting the psyche and the creative prowess of a composer to a silent movie, the track goes from low key musical disorder to sinew swung hysteria and back again into deep melancholy.

Next comes DMT AABA which is like a nursery room found in American Horror Story, it in turn followed by the even more thickly haunting of The Ballad of Long Egg, a track which for whatever reason sparked thoughts of films like Roman Polanski’s Repulsion and The Tenant. Closing eyes whilst listening to the track ensures it is an atmospheric noir scare, its textual narrative high suggestion even if the results brewed mentally do or do not match the band’s intent.

Inspector Fargone is another passing swoosh of temptation, its twenty odd seconds like a spaced-out Jacques Tati moment whilst the brilliant Boghead (WaspSpeed) is a fevered uproar of energy through a palette of eccentric funky sounds and demented brass grimaces and eruptions, all coming together like a Dali sculpted painting by numbers, though of course there is no recognisable order or structure to the blaze of premeditated and free form ingenuity.

The album is brought to a close by an enveloping lure of sound which again can only be described as haunting. Will you be my Friend? draws in vocals for the first time, their harmonies as left field and fascinating as the sounds hugging their presence, and wonderfully as musically heretical as the gentle cacophony creating one enthralling and exhaustingly bewitching album.

When you listen to The Self-Titled Album Shansa Barsnaan you will have a totally different view and response to its songs, that is a given such its diversity and unfathomable genius but most will agree that for appetites of humour loaded music with an insanity as broad as the imagination and wealth of flavours in its creation, Shatner’s Bassoon have provided one feverish treat.

The Self-Titled Album Shansa Barsnaan is available via Wasp Millionaire Records from September 24th.

Pete Ringmaster 23/09/2015

Copyright RingMaster: MyFreeCopyright

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Le Butcherettes – A Raw Youth

photo credit- Monica Lozano

photo credit- Monica Lozano

Contagious and fierce, diversely imaginative and aggressively bold, A Raw Youth is punk rock at its best. In sound it might not always seem so but in attitude and uncompromising nature it is a rebel, a confrontation to match its theme, which is best described by the words of Teri Gender Bender, “The focus of the album is the recurring conflict between minorities (the raw youths) and society: The oppressor and the oppressed,” the vocalist adding “Each song is a different story of a youth from a different time era. Some of them want to die because their faith in humanity has ended, some want to fight the authority, think outside themselves.

The new album from Mexico based Le Butcherettes also roars with a celebratory air and rousing enterprise, a quality ensuring each track not only hits the spot musically and lyrically but leaves a lingering web of temptation for body and emotions. That will not really be a major surprise to fans of the band, their previous albums Sin Sin Sin of 2011 and last year’s Cry Is For The Flies especially, bulging riots of gripping sound and middle finger combat, but fair to say the trio of Gender Bender, drummer Chris Common (These Arms Are Snakes) and bassist Jamie Aaron Aux have pushed the creative intensity and adventure on again with A Raw Youth. The band’s third, and as its predecessors, Omar Rodriguez-Lopez produced, the album is their finest incitement yet, a rebel rousing slice of primal, thought provoking rock ‘n’ roll.

It all begins with Shave The Pride, a growling punk bred encounter quickly availing ears of grouchy riffs and the ever appealing tones of Gender Bender. Common’s beats frame the union with zest whilst Aux’s bass just snarls its way into the passions. The song itself never meanders from a cantankerous tone and infectious stride through ears, leaving greater adventure to those to come but easily makes for a stirring and anthemic start which has ears and appetite wide awake and ready for tracks like My Mallely which follows. Discord kissed melodies from keys opens up the swift attention grabber, bass and guitars again adding their irritable bait before the compelling and ever distinct tones of Gender Bender enrich ears. The infectious swagger of the song, driven by the excellent addictive nature of Common’s rhythms, has a 4 Non Blondes feel to it backed by warm keys which just slip over the senses with emotive temptation.

Le Butcherettes A Raw Youth Cover_RingMaster Review   From one major highlight to another pair in Reason to Die Young and La Uva. The first seduces and bellows like a blend of PJ Harvey and a restrained Lene Lovich, voice and sound effortlessly inciting body and emotions with its tempestuous yet wholly virulent, slightly No Doubt like, blaze. Within it that an off kilter enticing adds a great unpredictability which is fully explored more in its successor. The fourth track on the album is a maze of textures and inventive sound entwining with and bouncing off the superb vocal union between the siren-esque harmonics of Gender Bender and the dark, lordly tones of guest Iggy Pop. Like De Staat meets Bauhaus with the devilment of a 6:33 infused, the track is a gloriously sinister and gripping fascination; a union of dark and light, warped power and innocence.

The outstanding Sold Less Than Gold keeps the lusty emotions inflamed again with its sixties pop meets indie revelry. A song looking on women who are sold into marriages or sex slavery, it is an invigorating flame of catchy rhythms, warm vocals, and bracing horns within a bouncy canter and energy in which potently reflects the resilience in the spirits of those enslaved.

Tantalising tones over a fuzzy landscape provides the next recruitment of feet and imagination in the shape of Stab My Back, its punchy touch and defiant nature ebbing and flowing with greater voracity across its four minutes before the aggression of They Fuck You Over ensures things get even scuzzier and antagonistically fiercer. A storm of punk and garage rock, it brawls with the listener yet has them on the dance-floor too. It with raw zeal uncages a contagion of addiction which in its own distinct way is matched by Witchless C Spot. Atmospherically immersive and haunting, the track wraps the senses like a dry mist initially, the voice of Gender Bender hypnotic in presence and word, before stalking textures and suggestiveness boil over in a fiery but controlled crescendo. It is a tempting repeating again, with the calm after holding more spicy additives second time around.

The Hitch Hiker is a riveting duet between the two protagonists within the narrative of the excellent encounter, Gender Bender taking both sides against saucy keys with an Oingo Boingo essence to them, and the ever welcome trespass of bass and swinging beats. Again the band has bodies out of their seats with ease whilst inciting thought, the lyrical writing and prowess of the vocalist as cutting and potent as the sounds relishing their input. It is a quality of course shown again in the transfixing Lonely & Drunk, a song far more hard hitting than on first appearances and increasingly magnetic with its golden melodies and predatory rhythms.

A favourite moment of the album comes with Oil The Shoe If The Critter Knew Any Better, a funk punk stroll of garage rock tenacity and psych rock hues which is as masterful prowling the imagination as it is venting its full energy and rapacious intent. The track just hits the spot leaving closing song My Half a tough job to match. Fair to say it does not quite find that success yet with the featured John Frusciante bringing his majestic fingers on steely strings to the bluesy/psyche mix, the album is provided with a thoroughly enjoyable and impressive end.

Le Butcherettes continue to burn the imagination and the issues of the world with their ravenous maelstrom of rock ‘n’ roll and A Raw Youth is their latest plateau of craft and imagination. There is always a smile when something new from the band arrives and their new album shows exactly why; one highly recommended proposal for you all.

A Raw Youth is available via Ipecac Recordings from September 18th via through all digital platforms.

Pete RingMaster 18/09/2015

Copyright RingMaster: MyFreeCopyright

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Opensight – Ulterior Motives EP

Opensight band picture smaller_RingMaster Review

Described as cinematic metallers, London based Opensight take ears and imagination on a drama laced, mystery fuelled adventure with their new EP Ulterior Motives. A collection of tracks which have thoughts running this way and that like a classic noir lit crime thriller and a weave of sounds which manage to be as intimate as they are expansively suggestive, and at times bordering psychotic, Ulterior Motives is a release which simply has the listener lost to the world within its riveting theatre.

Opensight is the brainchild of Colombian guitarist/vocalist Ivan Amaya, an idea which began in his homeland but realised and evolved further once he moved to the UK. Subsequently the band grew with the addition of guitarist Genia Penksik, drummer Redd Reddington, and bassist Danni Stanner. Originally a more concentrated progressive metal project the band’s sound and imagination has blossomed to embrace a vibrant array of genres and cinematic influences, which going by Ulterior Motives seem to embrace visual inspirations as well as soundtrack seeded ones. Debut album Prosthetic Soul was released in 2008 with the well-received The Voice of Nothing EP following two years later. For many though, us included, Ulterior Motives is the first introduction to Opensight and a meeting long overdue.

OPENSIGHT_Ulterior_Motives_RingMaster Review    The release opens with Alibi and a Nintendo-esque dance of electronic shimmer. It is soon clutched by a web of dramatic rhythms and melodic flaming which in turn spawns a sonic shuffle around the instantly striking tones of Amaya. Barely a handful of seconds in and the song is a creative jungle, hooks and grooves colluding with the darker shadows of bass and the lively attitude of drum beats. Atmospheric colour comes from wistful keys whilst the guitars spin a weave of grooves which understandably seem to incite Bond like references from a great many. We would not go quite that specific in their description but imagine Faith No More crafting the soundtrack to a sixties espionage themed show and you get some idea of the visual potency on the imagination and the intricate yet seemingly simple tapestry of sound seducing ears.

Such the persuasion of the track you are almost crouching in secrecy as you move to its instrumental lure, only stepping into bold clearance as the lyrical narrative returns and leads the song to its ripe end and into the waiting funk kissed arms of The Chase. Whereas the first song also had a feel of artists such as 6:33 and Diablo Swing Orchestra to it, its successor takes a more dramatically intensive turn nearer to a mix of Voyager and Native Construct, with at times a whiff of Between the Buried and Me. There is an adrenaline rush and urgency to the track which matches the hinting of its title, whilst seventies flavoured electronic bubbling only adds mystique and flirtatious intrigue to the whole exploration.

Vanishing Point explores more rugged scenery initially, subsequently settling into a sultry climate and evocative persuasion with crescendos of intensity and emotion. Vocally the song is a bit mixed, Amaya’s slow vocal walk not as powerful and impressive as his lung busting roars or anthemic incitements but it does not defuse the fiery blaze of sound and enterprise rippling through the song. All the same, the thoroughly enjoyable and captivating track does not quite spark ears and thoughts as successfully as the songs around it, especially the outstanding Ulterior Motif right after.

The track is a symphony of aural colour and imagination seducing tempting. A first slow caress blooms into a soundscape of exotic beauty and sinister shadows, a canvas inspiring new adventures with every listen and if any track was evidence of the band’s talent at cinematic songwriting alone it is this glorious flight of craft and suggestion.

The EP is finished by Antagonist, an emotional and physical cliff hanger of a finale driven by creatively imposing rhythms, fascinating sonic invention, and a vocal delivery which is part the story teller part the protagonist in it all. With smouldering beauty and jazzy elegance reminiscent of The Chase earlier, the song drifts and erupts with bewitching craft and ingenuity. Sometimes it feels like a celestial flight into the unknown and the broadest emprise and in other moments a close romance wrapped in personal mystique and earthbound theatre; and at all times slavery for body and mind.

It frustrates that it has taken to now to discover the band but better late than never as we suggest all think about immersing into the dark and enthralling world of Opensight.

The Ulterior Motives EP is available from September 4th

Pete RingMaster 04/09/2015

Copyright RingMaster: MyFreeCopyright

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The Slytones – Shake The Cage

slytones_RingMaster Review

There is no precise way to describe the rich sound of The Slytones and no way to stop it crawling under the skin and enslaving the psyche. This has been proven over previous releases but is at its most seductive and darkly magnetic in new single Shake The Cage. The song and the accompanying Thomas Thumb making up the release cast a kaleidoscope of ravenous flavours, styles, and warped imagination whilst their characters are as relevant to the carnival as they are to voodoo bred escapades. They both epitomise the heart of The Slytones sound whilst simultaneously creating their own new and unique imagination romancing adventures.

The British band began as a trio, expanding its line-up over time whilst quickly alluring keen appetites with their The Psychedelic Sounds of EP in 2011. It is fair to say that the Brighton hailing sextet of Ashley Edwards (vocals/guitar), Bradley Wescott (lead guitar), Chip Phillips (vocals/keys), Freddie Hills (drums), Chris Warren (vocals/bass), and Robin O’Keeffe (percussion) have drawn comparisons, in an attempt to describe their sound, as broad in the diversity of bands as the mix of ingredients colluding to ignite their individual incitements. There are few bands which can conjure such variety within a single song let alone a whole release, but as Shake The Cage proves it is child’s play to The Slytones.

The striking of a match sparks a fanfare of enticement, its blowing out the trigger to a feisty stomp built on ska clipped riffs and jazz seeded swing. Keys and guitars instantly have feet and hips involved whilst the dark tones of the bass along with the infectious hooks, simply work on the imagination. The track continues to stroll along with 12 Stone Toddler/ Mynie Moe like devilry, a flowing torrent of unpredictability lighting up and bewitching from every move taken before it all gets turned on its head for a garage rock prowl reminiscent of Th’ Legendary shack Shakers. Grisly barker like vocals leads the fresh parade of sinister carnival-esque flirtation, keys and rhythms an insatiable romp in the shadow soaked shuffle now toying with ears and brewing even thicker enjoyment. All the time the song is still weaving a virulent swing and psychotic drama, every passing minute an adventure of individual design with superbly woven styles but always leading back to the rich contagion of its original psych kissed and energetically rabid swing.

As if one irresistible treat was not enough, Thomas Thumb brings its own maze of ingenuity in sound and invention. Opening with a gospel seeded dose of harmonies and ambience around the leading edge of the main vocals and narrative, the song subsequently opens into mystique lined psychedelic scenery brimming with creative theatre and picturesque tempting. Like a blend of The Doors, Arthur Brown, Rocket From The Crypt, and Tankus The Henge, the song swarms over ears with invasive magnetism, every touch a slight evolution from the last before the track bursts into a sturdy garage rock canter which steers towards a Queens Of The Stone Age meets Faith No More/6:33 devilment.

Both tracks are glorious, a must for anyone with a taste for avant-garde and psychedelically warped adventure, but songs which flow with a natural and skilfully infectious, and wonderfully unpredictable, waltz. The Slytones is a carnival of invention, mischief, and most of all unstoppable fun so do yourself a favour and check them and especially Shake The Cage out.

Shake The Cage is out now.

Dates for The Slytones and Moulettes tour this September! :

16th September                   Southport                     Atkinson

17th September                   St Helens                       Citadel

18th September                   Halifax                           Square Chapel

19th September                     Morecambe                  Hothouse

20th September                   Ramsbotton Festival   Manchester

Ringmaster 01/08/2015

Copyright RingMaster: MyFreeCopyright

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Acrania – Fearless

Acrania Color Publicity #1_Reputation Radio/RingMaster Review

You would imagine it hard to be thrown off kilter and truly surprised within the broad landscape of metal nowadays, even in the avant-garde and experimental realms which blossom and scintillate from the unique creative minds of bands like Trepalium, 6:33, Pryapisme, and Hardcore Anal Hydrogen to name a few. One band which has and continues to through new album Fearless is Mexican death metallers Acrania. The release is a psychotic fusion of extreme metal and lyrical confrontation with virulent Latin rhythms, celebratory melodic revelry, and schizophrenic imagination. You could call it death jazz or funk core to make up tags, we call it one of the most exhilarating encounters you will hear this year.

Mexico City based Acrania began in 2006, taking their time to unite and hone their blend of Latin Jazz and Metal before releasing their first encounter, the In Peaceful Chaos EP the following year. Three years later debut album Unbreakable Fury was unleashed, its well-received presence supported by the band playing a mini tour in Germany with the support of The Wacken Foundation. Its 2012 successor stirred up even more attention and acclaim, An Uncertain Collision named Best Album Of The Year in the Kalani Metal Awards. From there Acrania has extensively toured around Mexico and Europe sharing stages with bands such as Diablo Swing Orchestra, Death To All, Exodus, The Agonist, The Faceless, Legion Of The Damned, and Havok along the way. Now Fearless has all the qualities to thrust the quartet into the broadest keenest spotlight, and the presence to inspire listeners to salsa and bomba whilst head banging like a dervish.

Fearless explodes from its first breath through People of the Blaze, the opener a tidal wave of rigorous rhythms aligned to a hypnotic groove. Its air is instantly and furiously busy as a sonic aggression surrounds it all whilst percussion get rowdy and the vocals of rhythms guitarist Luis F. Oropeza growl and squall over the concussive web of sound. Predictability is as absent in the band’s sound and song as dullness, a quick step into a temptation of throaty bass and spicy jazz seducing from Alberto Morales G. and César A. Gallegos respectively, a trigger for hips and feet to heavily flirt with the floor. At the same time a trespass of bruising rhythms and metal bred antagonism becomes the spark to testing neck muscles. It is a fascinating and bewitching incitement which never settles in one form or moment for more than a clutch of body moves before twisting in on itself all over again for a breath-taking maelstrom of addictive flavours and incendiary intent.

Cover_Reputation Radio/RingMaster Review     The excellent start continues through Poverty Is in the Soul, the beats of drummer J.C. Chavez S. a swift protagonist rifling through ears and stirring up an eager appetite. Its lively start slips into a reflective few seconds before challenging and inviting the listener through a slim but intimidating lead into the relentless fierce shuffle of its body. The sturdiest rhythms throw themselves around like a mosh pit whilst the more traditional percussive tempting just lights ears with exotic persuasion. The scythes of melodic and sonic enterprise from lead guitarist Gallegos equally spark the imagination, especially when they evolve into acidic strands of incitement alongside the same musician’s sax exploits.

Undoubtedly Fearless is a proposition needing numerous plays to explore all of its involved and finely entwined textures and corners, but equally it is an immediately impacting adventure sparking ears and energies as proven again by I Was Never Dead. The track is a bracing and hostile fury, though as much as it is fearsome it is irresistibly tempting as rhythms and sax stir up a hornets nest of lustful responses reinforced by another lively bass line and the spiralling invention of the guitars. The great rabid tones of Oropeza are the least adventurous aspect, his delivery pretty much the same raw assault on every track and for personal tastes and to be fussy lack the desired diversity to match the sounds, though to be honest it has no negative impact on songs at all. The malicious jazz of the song makes way for the funkier caustic escapade of Blinded by Power, it as expected a constant evolution slipping through ravenously aggressive, sublimely beauteous, and melodically charming climes in creating its progressive tango. It is a glorious adventure, a roller coaster of turbulence and melodic radiance before the punkish festivity of Overflow rouses ears and appetite into another seriously wanton greed, after which a respite for the body comes through the brief and evocative instrumental En el Puerto. Its quaint and nostalgic air slips into Hypocritical Conflict, an instant thick embrace of discord and raw intensity which brews and grows into a hellacious swamp of sound and agitation, though in turn that spins into a transfixing blaze of jagged jangly riffs and bass bait. Everything gets fiery and intense again before…well the changes and turns are numerous and a treat for all to find out in another major pinnacle of the album.

Man’s Search for Meaning starts with a hypnotic cacophony of percussive beats and a roaming dark bass line aligned to the potent narrative and tones of Oropeza. From there the song’s every second heads towards another seamlessly aligned and mixed collective of sounds, styles, and ingenuous ideation. As the album, the track is ripe with Latin tradition and flavours bound in a death metal breeding and malevolence, though it has to be said at no time within Fearless is there ever a moment when the suffering and oppression lyrically portrayed is matched by a similarly destructive musical assault.

Fearless is completed by Point of Collision, a final riveting tapestry of deranged imagination and experimentation which just grips ears and pleasure like a mix of System Of A Down meets Cynic meets Pryapisme. It is a final treat to an outstanding release, a triumph for those prepared to be challenged, at times bewildered, and ultimately thrilled. Acrania should definitely be a recognised world-wide presence after this.

The self-released Fearless is out now @

RingMaster 19/06/2015

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Nekrogoblikon – Heavy Meta



For all those acquainted with and new to Nekrogoblikon and their self-tagged “goblin metal” sound, time to embrace one of the most enjoyable and impressive metal albums of the year so far. You might initially snigger at the band’s goblin themed presence and invention, and you will giggle with the band’s lyrical rascality and self-referential mischief, but ultimately you will come away from one exhaustingly inventive and exhilarating new album basking in metal at its stirring best; you might also just want to be a goblin yourself.

Hailing from Los Angeles, Nekrogoblikon formed in 2006 releasing debut album Goblin Island the following year. At this point the band was just the founding duo of Nicholas Von Doom and Tim Lyakhovetskiy. The line-up subsequently expanded as their sound began evolving as shown by second full-length Stench in 2011; becoming even more openly diverse and exploratory in third album Power two years later. The raw black and death seeded sounds which primarily fuelled their first release, were soon part of a maelstrom of rabid flavours and styles from electronic to folk, symphonic to experimental metal, all colluding to seduce ears and imaginations. The evolution has continued and is now in full blaze with Heavy Meta, the band’s new savaging of the senses. It is a fascinating and irresistible tempest; simply a devouring proposition of flirtatious menace and bewitching voracity.

From opener The End of Infinity, band and album has attention gripped and appetite licking its greedy lips. The song’s initial stride through ears has an electro air to its contagious swing and as it expels further ingenuity and imagination, thoughts of bands like 6:33 and Destrage give a nudge. Keys and hooks only add to the virulent web being cast, the great weaselly vocals of Scorpion almost dancing on the strands of their tempting. A brilliant start only explodes into a greater escapade as guitars cast a melodic weave with tangy hooks and grooves whilst rhythms stalk that enticing with lustful intent. The devilish nature of melodies and enterprise has an additional feel of French band Pryapisme to it, and quite simply everything combined creates aural addiction, an intimidating and fanatically unpredictable shuffle impossible for feet, neck muscles, and the imagination to resist.

Nekrogoblikon-HeavyMeta-AlbumArt_Reputation Radio/RingMaster ReviewThe passions are ignited just as potently too, finding further lust as the following We’ve Had Enough with its opening saunter of evocative keys swings in with drama and rampant devilment. Riffs and grooves are soon driving infectiously through ears, vocals spilling the narrative with salacious intent as clean harmonies court ears in the background. The diversity of emerging sound is matched by the great variety of vocals, every second and twist of the song as unpredictable as they are a fluid persuasion. Like a temptress ruffling the love sacks whilst stealing the gold, the track is a salacious temptation leaving ears and emotions on a high ready for the quick step and tenacious revelry of Bring Us More. Jazzy keys, pop bred harmonies, and funk kissed energy are all sucked into the fiery climate of the song’s rabid creativity, once more the likes of 6:33 coming to mind alongside hints of Trepalium and Mr Bungle whilst devouring the unique goblin sound.

Snax & Violence is a more predatory proposal, its blackened heart and melodic death metal voracity a ravishing of the senses. The song though is unafraid to infuse guitar and keys bred beauty into its climatic tempest, adding folkish hues to its grooving simultaneously. It is an enthralling stalking of ears soon outshone by the outstanding Atlantis. The band’s latest single exposes its rhythmic muscle and tenacity straight away, lacing it with scythes of sonic bait as vocal squalls and synth spawned teasing bring their individual persuasions to the rebellious landscape of the song. Like a death infused version of Hardcore Anal Hydrogen, the track is a puppeteer to body and soul, pulling the strings of pleasure before making way for the equally thrilling We Need A Gimmick. Think of a style of music and it is most likely infused into the bedlamic but flowing emprise of a song with something for everyone within and outside metal.

Full Body Xplosion is as grouchy as a ravenous bear and as rhythmically skittish as a dog in heat. Riffs and vocals are similarly fuelled across the volatile storm of invention whilst hooks and grooves offer magnetic toxicity and the keys intrusive seduction. The growl of the bass we will leave for your discovery and nightmares as another pinnacle in the lofty plateau of the album moves over for the raucous anthem that is Let’s Get Fucked. Featuring Andrew WK, it is as riotous as you might suspect and more merciful than you might imagine, with its guest the welcome and Scorpion the venom. Without rivalling its predecessors, the track still has the real world a distant memory in its company and energies ready to take on the caustic and sultry saunter of Mood Swings. Musically the track lives up to its title, each twist bringing a fierce fondling or flirty soliciting of the imagination, everything fully agitated and hungrily unpredictable.

The song Nekrogoblikon brings Heavy Meta to a glorious end; its cantankerous stomp an alchemy of relentlessly catchy rock pop exploits aligned to ferocious hostility. It is a torrent of vivacious turmoil and creative diablerie, just as the album itself. Heavy Meta is easily one of our favourite offerings this year so far and a major incitement for the metal scene, demanding and deserving the fullest attention in return. Now where do you get goblin masks…

Heavy Meta is available via Mystery Box now on CD and vinyl @ and digitally @

RingMaster 03/06/2013

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Native Construct – Quiet World

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If Quiet World is the kind of thing the members of Native Construct come up with whilst heavily involved with their college studies, then their future not only looks rosy but the music scene is destined to some real greatness ahead. The band’s debut album is a fascinating end enthralling adventure entwined in more styles and flavours than London Fashion Week and an imagination which simply bewitches that of the listener. It is not without a few flaws yet for an introduction to the band and their creativity, a ‘wow’ is in order.

Native Construct consists of vocalist Robert Edens, bassist Max Harchik, and guitarist Myles Yang, three music students who came together creatively in 2011 whilst at the Berklee College of Music in Boston. Using the composition and arranging skills learnt in their studies, as well as the technical craft and inbred inventive talent of the band members, the trio began drawing on a torrent of genres from progressive and classical rock to heavier technical incitements, as well as musical theatre, jazz and plenty more. Between 2011 and 2013, Native Construct set to work writing and recording what was to become Quiet World, predominantly self-producing the concept release, whilst continuing their studies. It came to the attention of Brian Slagel at Metal Blade Records at some subsequent point, and as their press releases says “What began as jam sessions simply for fun eventually turned into a full-fledged musical endeavor.” The band was signed to the label and the album, with its vocals being recorded with Jamie King at The Basement Studios in North Carolina, is now out there to surely stir up a worldwide appetite for this potential drenched band.

Cover   Quiet World brings a tale, to simplify it, of a mute and slightly unstable man who has an unreciprocated love for a girl which leads to obsession and eventual resentment. He also creates for himself a new, fantastic world where there are no oddballs or outcasts, which is where the album comes in. It is an eventful lyrical exploration more than matched by the musical adventure around it, and started with Mute. From an isolated climate with random sonic textures flying round the senses, the song bursts into theatrical and orchestral life. Strings and melodies spin an immediately potent and cinematic landscape of sound and emotion whilst the ravenous drum work is an uncompromising tempering of the fiery beauty. It is an invigorating start coated in elegance and menace, keys and guitars duelling with rhythms for voice whilst equally sharing the spotlight, whilst the vocals of Edens roar and serenade across the magnetic proposal. Relaxing into an avant-garde/jazz lit calm coloured by a seducing of piano and infectious harmonies, thoughts of bands like 6:33 and Pryapisme come to mind, and even more so as volatile and tenacious elements add their erratic and compelling presence to the mix. There are moments which for personal tastes do not quite hit the same sweet spots as others, but constantly evolving and unpredictable with that cinematic orchestral temptation returning in full persuasion, the song is intoxicating drama.

Following song, The Spark of the Archon, opens with an eighties bred synth pop shuffle, keys and percussion a smiling lure before riffs and grooves bring a rawer edge to the entrance. Once in full pop rock flow though, the song has a strong coincidental whiff of UK band 12 Stone Toddler to it with a Mike Patton/Mr Bungle touch too. Music and vocals again bring fluid scenery of unexpected detours and wrong-footing escapades whilst crafting an immersive and easy to greedily devour proposition. Lyrically at this point the protagonist’s new world sees the rise of Archon who leads an uprising in this new land against opposing character Sinister Silence.

The proceeding tracks bring for the main, different episodes in their enduring struggle, Passage next stealing attention and imagination with its stroking embrace of shadowed kissed strings around equally evocative guitars. Sultry and exotic, intimidating and melancholic, the track as those before has a perpetual shifting in its tone and sound, though it is more stable in its progressive flight and controlled in the additional additives of textures and styles seducing the imagination. In saying that the pent up creative bedlam which marked the previous tracks has to go somewhere, and like an itch which has to be scratched it bursts out through gypsy folk breezes and technical metal roars, to name just two of the delicious strains of the almost psychotic enterprise released.

Your Familiar Face also has a calmer interior within its walls, emerging as the most restrained of all songs upon Quiet World but unafraid to throw an unexpected twist and wink of creative mischief into its theatre of sound. It is a captivating caress on the senses but it has to be said by its end ears were hankering for that warped ingenuity, which is swiftly fed again by Come Hell or High Water. Sombre strings play with and incite body and mind right away, though behind their sombre face there is a twinkle which is taken up by rhythms and the swiftly joining vocals. Like a stage show song, it grows in stature and emotional drama, becoming a hearty bellow and in turn a snarling vociferous provocation, especially vocally. Of course by now expectations are redundant, the song ebbing and flowing in all aspects and extremes whilst conjuring new unpredictable and riveting antics.

The album is completed by firstly Chromatic Lights, a short instrumental detour within a raw ambience, which leads into the closing Chromatic Aberration, an epic twelve minute plus psychotic tapestry of emotion and unbridled creative mayhem. It is a chaos which is as perfectly shaped as it is emotionally deranged; every groove, melody, and rhythmic trespass a coherent and engrossing incitement in a cinematic flight across tempestuous and constantly changing emotional climates. The track is a dynamic and scintillating adventure all on its own, a mouth-watering musical emprise which combined with the rest of Quiet World simply leaves ears and emotions smiling.

We mentioned the album is not without issues but to be honest the more you listen and delve into Quiet World they are hardly of relevance, except to ensure that the band’s next offering when they have no other distractions, is an already highly anticipated proposition.

Quiet World is available now on Metal Blade Records via

RingMaster 23/04/2015

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