Luis Mojica – How A Stranger Is Made

photo by Kelly Merchant

For us music is a grand adventure and the best encounters are those which take us away from the real world whether it is for four minutes of a single track or an hour or so of a larger aural emprise. The new album from Luis Mojica is one such invitation to escape reality, a truly unique proposal which has turned irresistibility into an art form.

Already renowned as part of eclectic avant cello-based collective Rasputina, Mojica has forged his own alluring presence as a solo artist, one which is simply striking within new full-length How A Stranger Is Made, the successor to his acclaim 2016 debut, Wholesome. Mojica is like a troubadour, carrying a piano on his back and a storybook in his voice and imagination with How A Stranger Is Made a quest across a strange land plucking tales and characters from its unique landscape, drawing from their experiences to confess or certainly hint at his own emotional intimacy. The release as a whole is enthralling and each song a piano centred tapestry of the lives of individuals amidst idiosyncratic stories but easy to feel moments which are equally sharing an aspect of the creator himself.

Though it is fair to say that every song within How A Stranger Is Made fascinated and seduced pretty much effortlessly, its opening pair stood atop the mountain of favourites. Insane is first up and immediately hooked ears with the thick beats which announce its entrance and drama. Straightaway there is a contagion in the keys of Mojica, each note dancing and flirting with attention yet equally sharing a just as gripping emotive pungency. Like a siren, the sax of Caelan Manning shines on the shadows of song and word, its smoky lures just as darkly shaded to similarly enslave with the rich notes escaping the piano. The track is superb, easily one of our favourites songs of 2019 and swiftly matched in potency and pleasure by its successor.

Shaman Food strolls in with a swarthy swagger, spirits enticing with vocal tempting before Mojica and his word wrapped keys bounce through the imagination. The rhythm s of Evan Glen Adams infest feet and hips as the man himself entangles thoughts and spirit with his own; another realm of crepuscular shadows brought alive with craft, adventure and a vocal prowess which itself is a cast of a thousand souls.

From its first breath, there is an open intimacy to next up Invoked, the painting of its protagonist revealing more than just a singular entity. The silvery radiance of Mojica’s piano and tones are courted by the darker hues of Jason Sarubbi’s bass, their contrasting textures united in magnetism as rich and inescapable as Mojica’s rousing vocal palette; that mix as thickly enticing within the folkish hued, volatility breathing Moon Men. The cello of Sister Ursuline is a particular seduction, the tones of Mojica another and with his keys ever conjuring, the imagination was ensnared once again.

Across the quirkily stroked, aberrantly woven Cowboys and De La Saint with its melody pouncing, spring in the step sharing shamanic beauty ears and appetite were again enslaved, the latter of the pair a delicious track far richer and diverse than our words can intimate while Witch Love after them offers another shadow draped seduction impossible to hold at bay as once more craft and imagination rise up with startling enterprise.

If not quite to the depth of those before, City Friends only transfixed though there are certain moments of inflamed rapture which absolutely got under the skin, a trait The Ranger similarly offered with its controlled but animated gait and swing. With the violin of Rebecca Moore and Manning’s sax adding their bewitching aural paint the song’s canvas, temptation was inescapable.

Queen Song again unites shamanic and liturgical essences in its own rich musical textile, every note and syllable picturesque for the imagination and leaving a lingering impression as it makes way for the album’s final offering, a cover of Leonard Cohen’s Stranger Song. Though it did not ignite the passions as any before it, the voice and piano of Mojica absorbed time and attention.

It is a mesmeric and haunting conclusion to an album which even after numerous plays just thrills and impresses more and more; Luis Mojica a minstrel unafraid to share worldly and personal souls.

How A Stranger Is Made is set for release on October 4th with pre-ordering available @ https://luismojica.bandcamp.com/album/how-a-stranger-is-made

https://www.luismojica.com/    https://www.facebook.com/luismojicamusic   https://twitter.com/luismojicamusic

Pete RingMaster 24/09/2019

Copyright RingMaster: MyFreeCopyright

öOoOoOoOoOo – Samen

photo_RingMasterReview

Every year seems to have one month where riveting surprises and essential releases come at ears in a keen flood. This year it is maybe two as October follows September in unleashing records which simply inflame the imagination, an increasing list now added to by the irresistible and rather deranged offering from öOoOoOoOoOo (“Chenille” in French, “Caterpillar” in English).

A new collaboration between former Pin-Up Went Down vocalist/lyricist Asphodel and multi-instrumentalist Baptiste Bertrand, öOoOoOoOoOo creates a theatre of sound and imagination within debut album Samen. “Visually built as an art exhibition”, the release is a kaleidoscope of styles and invention cast in an avant-garde/experimental metal/rock adventure. Helped by the rhythmic prowess of session drummer Aymeric Thomas who is no stranger to creating off-kilter and seriously unpredictable exploits with Pryapisme, the duo ignite and enslave ears and psyche from the very first seconds of Samen, never relinquishing their magnetic grip of mercurial enterprise driven alchemy.

Rules Of The Show opens things up, the track initially enticing with a tender melody as a darker groan lurks before quickly welcoming the instantly impressing tones of Asphodel. Her voice is as magnetic as the sounds brewing around her with a growing blend of bewitching harmonies courting as the song slips into a catchy stroll with a poppy air. Soon it unleashes its hellish heart in a ravenous metallic outpouring as honed in gothic and epic metal as it is through orchestral and melodic rock. It is a virulently infectious affair, its tempestuousness icing on the compelling cake with Asphodel’s unexpected and masterful barbarous death bred growls extra engaging bait.

Its increasingly deranged presence is followed by that of Fucking Freaking Futile Freddy a track wearing Pryapisme like scent at times but equally sparking thoughts of bands like The Creatures and Stolen Babies. Thomas is a blur of rhythmic tenacity, Asphodel vocally captivating, while Bertrand creates a tapestry of sonic and melodic bedlam shaped into one fluid skittishly versatile weave.

cover_RingMasterReviewFrom one pinnacle within Samen to another and the creative devilry of Meow Meow Frrru, a track teasing with melodic intrigue while taunting with bolder energies, the first shaped by electronic fingering with a slight medieval essence and the latter through climatic crescendos which become more irritable and prolonged with each expulsion. The deeper into its insanity the song goes the more it evolves, an espionage loaded hook and System Of A Down flavoured revelry especially tempting.

Straight away the suggestive lures of cello from guest and Psygnosis member Raphaël Verguin charm ears and imagination as the following No Guts = No Masters launches its bruising and increasingly dramatic rock ‘n’ roll upon ears. A blackened air grabs the senses at times, its occasional trespass imposing on the glorious melodic seducing surrounding the shining vocal prowess and class of Asphodel and a psychotic majesty which would be almost sinister if it was not so glorious and irresistible.

Verguin also features on next up Bark City (A Glimpse Of Something), his bow on strings the poetic shadow to a track which merges the melodic beauty of a Nemesea with the dark secrets of creative dementia, all on show in a track which kisses the senses as it corrupts the psyche. Again understandably there is a touch of Pryapisme to the song but equally Russkaja, Siouxsie and The Banshees, and Die So Fluid are pointers to the uniqueness of the band’s sound.

There is a Fleetwood Mac/Stevie Nicks feel to the bewitching Purple Tastes Like White, the track yet another brazenly diverse aspect to the landscape of Samen with the brooding bass a particular treat alongside the melodic might of Asphodel while I Hope You Sleep Well is a cracked and bedlamic web of ideas and imagination stirring sounds hard to describe in words but so easy to physically indulge in with its sinister nursery room childlike innocence and crazed invasive genius.

With Adrien Cailleteau guesting as on its predecessor, Well-oiled Machine draws ears next with its soulful R&B infused balminess. With a flaming sax igniting the jazzy noir atmosphere of the brief song, all courting the somewhat pub-singer like fun of the male vocals, the song only leaves a smile in the imagination before the outstanding Chairleg Thesis dances with the listener in an eighties spiced affair which is at times as ruggedly boisterous as it is erotically seductive and ravenously stormy.

Across the screwy pop/hip hop soaked metal of Fumigène, a song revelling in a Lady Dynamite meets The Sugarcubes meshuga, and the gothic rock drama of LVI where band and album explore even more enjoyable expectations defeating adventures, the latter with Germain Aubert and Verguin bringing their individual craft, the inescapable lure of Samen just strengthens.

Completed by the fierce death metal toned blaze of Hemn Be Rho Die Samen, a song soon showing an array of contrasting yet perfectly uniting strands to its inventive disorder and predacious appetite, Samen leaves an exhausted and blissful pleasure in its wake. Even in the most off-kilter sounds and releases there is an order, an underlying texture which links all. Within Samen it is only the members of öOoOoOoOoOo themselves as unpredictability and unbridled imagination locked into one glorious ride.

Samen is released October 21st via Apathia Records, available @ https://apathiarecords.bandcamp.com/album/samen

https://www.facebook.com/ooochenilleooo

Pete RingMaster 20/10/2016

Copyright RingMaster: MyFreeCopyright

Boss Keloid – Herb Your Enthusiasm

Boss Keloid_RingMasterReview

Big praise drenched words and claims have been shared in the build up to the release of the new album from British heavy rockers Boss Keloid, and we can quite eagerly say that Herb Your Enthusiasm more than lives up to every syllable of acclaim offered. The Wigan hailing quartet’s second album is simply superb, inescapably irresistible, and a ravenous incitement entangling the finest ravenous textures of sludge, doom, stoner, progressive rock and much more. For ten tracks it turns ears and imagination inside out with unpredictability and ferocious adventure that catches the breath as equally as the heavy predacious sounds and rabidly dark ideation terrorises the senses. The release is spellbindingly fascinating and destined to stalk the top places of end of year best album lists.

As in debut album The Calming Influence of Teeth of 2013, riffs carry a furious rabidity as rhythms probe and punish within Herb Your Enthusiasm. That alone provides a proposal demanding attention with the seduction of low-slung grooves only increasing the senses intimidating, imagination courting prowess at work. To this masterful palette of raw intensity and barbarous persuasion the band layers further temptations of melodic dissonance and glamour, progressive drama, and at times an avant-garde psychosis which just puts hex on album and listener. The result is a release which blows its impressive predecessor out of the water and announces Boss Keloid as a big creative predator in a large devouring pond.

Recorded and mixed by Chris Fielding at Skyhammer Studios and mastered by James Plotkin, Herb Your Enthusiasm opens up with Lung Mountain, a track swiftly providing the template for the heart of the album. Riffs badger and pounce on ears as the hefty swings of drummer Ste Arands resonate on the senses. It takes little time though for band and album to slip in something more sultrily comfortable as guitarist Paul Swarbrick shares flirtatious melodies cross a calmer landscape where the already rousing roar of vocalist Alex Hurst mellows into a more enticing growl. With Jon Davis of Conan guest and adding to the vocal web, the bass of Adam Swarbrick is all the while a predator, stalking the song and imagination with its swaying animus for a perfect temper to the kinder climate and the spark for more ravenous intent elsewhere. As shown time and time again, there is so much going on in songs only physically embracing them can reveal all with every listen perpetually revealing a new twist or texture to get hooked on.

Boss Keloid_HYE_Front_Artwork_RingMasterReviewThe progressive ingenuity in the latter stages of the song only adds to a theatre of sound and craft which continues in the imagination fuelled emprise of Haarlem Struggle. An exotic acoustic opening is soon a tempestuous wall of lumbering confrontation, though that early spicing still flavours the bracing proposal of primal intensity aflame with senses enveloping harmonies. Strains of death and groove metal among other bold spices are equally glimpsed in the brewing maelstrom, teasing and thrilling ears though not as much as the subsequent spiral into experimental adventure towards the track’s rear where Boss Keloid conjure an alchemy best described as a bedlam of Faith No More, Trepalium, 6:33, and Destrage.

Giving a final crushing of ears as it leaves, the excellent track makes way for the equally compelling Escapegoat where grunge/stoner toxicity quickly grips and excites whilst vocals and rhythms collude with more tenebrific riffs within an atmospheric trespass. There is no let-up of thick pressure and corrosive intensity across the song, its invigorating voracious intent single minded as its heads into the doom spawned jaws of Cone. Amongst resonating bass bait and dark fibrous grooves, Alex Hurst flirts with a Mike Patton like devilry for his early presence though he and song need little prompting to raise their antagonistic side as heavy rock and thunderous rhythms align for an invasive tsunami of sound and intent. For every assault offered there comes a flirtatious groove or virulent infectiousness that has the body and passions swinging, here it revealing a great Alice In Chains like hue to its tempting.

Axis of Green keeps the release and enjoyment on the same striking plateau, the rhythmic agility of Ste Arands and Adam Swarbrick catching ears in swift time as Paul Swarbrick’s sonic strands and venomous grooves weave in and out. Increasingly more eventful as it progresses, ending with a progressively tenacious and again expectations destroying climax, the song is followed by Highatus, a brief and fiery slice of instrumental sludge suggestiveness which is far more straight forward than the tracks around it but similarly enjoyable before being seriously outshone by Lung Valley. With psych rock keys and the increasingly impressing vocal variety and quality of Alex Hurst instantly sparking further lustful reactions, the track creates a tapestry of grouchily invasive textures and inviting grooves. Every element is as welcoming as they are imposing, and ultimately all addictively persuasive.

The fierce blaze and climactic toning of Elegant Odyssey enslaves next, every groove and slither of ingenuity infesting the psyche as the senses are bruised and body physically nagged by the track’s weight and aggressively shared intent. With its mercurial and spellbinding character, the track is simply outstanding, a ravenous triumph to bear and lustfully embrace, much as the final pairing of songs on the album. Chabal steps forward first, Davis again featuring as another array of textures and rock ‘n’ roll strains entangle and unite as the band forcibly push their songwriting and imagination whilst similarly imposing on the listener, trapping them in a web of contagious exploits and instinctively quarrelsome incitement.

Hot Priest closes up Herb Your Enthusiasm and is as exceptional as its two predecessors. Immediately it flirts with ears in an avant-garde rock shuffle with keys and rhythms sharing off-kilter imagination and enterprise too. Of course in no time, Boss Keloid has uncaged the pugnacious side of their invention with combative riffs and beats led by snarling vocals descending on the senses. From there the two contrasting sides continue to switch within and share the track’s glorious presence.

We have only hinted at the heart, body, and character of Herb Your Enthusiasm such its rich depths and imagination. Your job is to explore it, embrace, it, and be mercilessly buffeted and seduced by something surely few will manage to better this year.

Herb Your Enthusiasm is released April 8th via Black Bow Records and @ https://bosskeloid.bandcamp.com/album/herb-your-enthusiasm

https://www.facebook.com/bosskeloidband

Pete RingMaster 07/o4/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Uncanny – Self Titled EP

Pic Marius Ringen

Pic Marius Ringen

As much as technical prowess does impress, personal tastes dictates that if an instrumental proposition is going to really fire up the passions, it has to have inescapable imagination inspiring drama to its presence whether that be cinematic or emotional. It is a quality which is in abundance within the self-titled debut EP from Norwegian trio Uncanny and why the release has barely left our speakers these past couple of days since first immersing in its fascinating and dark creative adventure.

The Oslo based Uncanny consists of Andreas Oltedal, Rikard Sjånes Pedersen, and Torkil Rødvand; a threesome drawing on the inspirations of artists ranging from Meshuggah, Benea Reach, and Shining to Stian Westerhus & Pale Horses, Aiming for Enrike, and Igor Stravinskij for their own multi-textured exploits. Their first EP is an introduction to all to the band and if it is a sign of things to come, the first step in drawing perpetually eager and persistent attention their way.

The release opens with klown, a darkly flavoured web of sound swiftly sparking ears and imagination into life. The initial steps of the track are heavy and predacious, a Korn-esque hue soon wrapped in acidic melodies before things suddenly settle into a gentle yet slightly sinister calm. Skittish rhythms equally have an off-kilter edge to them as they court the melancholic melody playing in ears before the track erupts into another rousing trespass of the senses. Light and dark, mellow and raw textures continue to clash and entwine across the track as thoughts explore the two sides of their take on the title and the figure it provokes. It’s scary and welcoming sides battle in thoughts, the former winning the battle as the track twists and turns with increasing metal and raw rock ‘n’ roll voracity. Of course the theme and inspiration to the song, to any of the tracks, is not always going to match that conjured by the listener, every song allowing and encouraging the imagination to make their own interpretation of their aural suggestiveness.

Artwork: Harm ten Napel

Artwork: Harm ten Napel

The great start is quickly eclipsed by the outstanding maze of sound and styles making up electric black. Starting with an ears rapping roll of beats, the track spins a web of steely and winy grooves, two hues fuelling their irrepressible and addictive toxicity. The guitars move like animated vines across song and the senses, spicing up the imagination with their dark flirtation as the rhythms grouchily grumble below. As in the first, a more passive weave of sound emerges with a mystique toned air and melodic reflection though little time passes before the volatility of the moment brews tempestuous traits which lead back to the galvanic and rabid maelstrom with waspish grooves and nagging riffs to the fore.

The following u will fail envelops ears in a haunting caress initially, floating harmonic almost gossamer like vocals more a texture than a narrative in the brewing theatre of sound and temptation. Across its body, the early post punk like elements continue to inspire and excite as the song involves melodic and progressive rock enterprise into its cinematic tapestry. Often prowling and persistently imposing whilst stimulating ears and thoughts, the song is at times like a cold war romancing for the imagination in other moments a dystopian bred oppressor and all the time increasingly irresistible.

Fair to say it and its predecessor steal the show upon the Uncanny EP, yet the first song and the EP closing rat8 only add to the impressive nature and creativity of the release. The last song initially lays a solemn melodic mist which is soon alive with tendrils of guitar spawned rock ‘n’ roll before a black hearted descent of dark metal invades all. That too is a momentary incitement though as a post and progressive rock brewed climate washes over the senses whilst rhythms reveal great irritability and feverish tenacity to their character which in turn inspires something similar from guitars and bass.  This too is just another emotively expressive moment in an ever evolving soundscape of a track where ears joyfully feel like they are in a creative rat run. It constantly leads and twists around on the listener, providing riveting rewards at every turn whilst never relenting in its busy and voraciously delicious manipulation.

There may be not too much background  available to Uncanny yet but their music and EP has everything you need to know about their potential and their already impressive qualities which invite the imagination to go on their own thrilling adventures.

The Uncanny EP is out now on iTunes.

https://www.facebook.com/uncannysounds

Pete RingMaster 07/04/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Law 18 – Self Titled

Law18_RingMasterReview

There is little we can tell you about Italians Law 18 beyond that they come from Milan, were formed in 2011, and are a quintet playing “hardcore groove /crossover stoner”. Actually there is one more thing, and that is that they recently released their self-titled debut album and it is one slab of deranged rock ‘n’ roll that we for one have become increasingly fond of.

That description of their sound is lifted from the band’s Facebook page and only tells part of the story, a small clue to the off-kilter fusion of styles the band weave into their compelling creative revelry. Across the album’s nine tracks, you will find everything from groove and nu metal to thrash and hardcore, stoner and punk through to funk and plenty of other bold strains of sound.  Its songs are raw and inventive, ranging from psychotic and quarrelsome to eccentric and tenacious, very often all at the same time, and for the main compelling fun.

The album opens with Dwarfs & Cowboys and an immediate mesh of rich grooves and punkish vocals led by Alessandro ‘Ale’ Mura. Bold rhythms align with Lorenzo ‘Pero’ Perin’s riffs to add thick aggression whilst lead guitarist Davide C springs sonic tendrils into the tempest, a mix which bullies and entices like a mix of Pantera and Suicidal Tendencies as the track develops. It is a relatively straight forward offering but prone to contagious thrash bred surges of intensity amidst sonic drama, each becoming more volatile and extreme with every passing second.

The following You Blind is similarly sculpted but with a swifter eagerness to show its instincts in pushing its boundaries and infusing broader textures of sound and flavours. Hardcore and metallic voracity unite as the initially band prowls before launching a torrent of rapacious grooves and rhythmic agitation upon the senses. It subsequently eclipses its strong predecessor before being outshone itself by Hollow Earth Society. From the initial grazing of guitar and the predacious beats of drummer Luca Ferrario, the song has ears and attention gripped, more so when it slips into an unpredictable web of warped sounds and imagination from its early bout of muscular rock ‘n’ roll. The new and riveting enterprise uncaged is unmistakably System Of A Down inspired and quite irresistible, even with its familiarity to the Californian band, as Law 18 infuse their peculiar strains of heavy and anthemic textures.

art_RingMasterReview The dramatic invention continues with Dominus Caeli, a track opening with a flirtatiously seductive bassline from Lorenzo ‘Tarzan’ Colucci which then incites further jazz/funk exploits from rhythms and guitar. Like an abrasive fusion of Toumaï and Trepalium, the track grumbles and rumbles with punk lined irritability whilst creating an unstoppable and virulent contagion of grooves and raucous aggression. Further building to a hungry prowl courted by unhinged vocal teasing, the song is a thrilling slice of rabid, in sound and invention, metal fired rock ‘n’ roll.

The bass of Colucci again provides a great start to the next track; its heavy pulsing growl the lure into Dirty of Blood and spark for another hellacious assault of hardcore fuelled raging before Leather’s Wreck shares its own expectations foiling landscape of creative bedlam. Both tracks in their contrasting lengths show more of the band’s striking imagination; the brief fury of the first slipping into a mischievous discord hued swagger for a great psyche twisting moment whilst the second provides a noise rock shaped avant-garde adventure. As raw and imposing as it is sonically and melodically seductive, the harmonica skills of Mura excelling with its bluesy expression against the similarly hued guitar resourcefulness of Davide C, the track offers seven minutes plus of ear pleasing and imagination stirring incitement.

An addictive swing and stroll spines the anthemic persuasion of the following Mirror Reflections; its boisterous and pushy antagonism an uncompromising brawl of forceful punk ‘n’ roll. In time, it too evolves as rhythms spring into a demandingly infectious shuffle within post punk like scenery before returning to its tempestuous and bruising rampage of punk metal loaded rock ‘n’ roll.

Rage Against Me roars with defiance from every blues rock pore next as intrigue surrounds each turn in its bracing funk ‘n’ punk stomp. Driven by a grouchy stamping of its rhythmic feet and mass vocal irritability, there is no escaping its instinctive catchiness and highly persuasive ire or from the avalanche of riffs and crushing rhythms which shape closing track 2010. Unleashing a host of heavily spiced grooves, barbarous hooks, and a contagious energy which has bodies as involved as ears and imagination by the parade of vocal provocation across the band, the track is a maze of sonic invention.

It is a great close to an album which grabs attention from the off but really blossoms as a whole and excels in its individual elements with each subsequent venture into its frenzied rebellious world. Law 18 has sculpted something very worthy chunk of anyone’s time but especially for those with a taste for bold yet organic blurring of genre walls but still simply want unbridled rock ‘n’ roll.

Some bands and releases just seem to be on the same wavelength as personal creative adventure;

The Law 18 album is out now @ https://law18.bandcamp.com/

https://www.facebook.com/Law18band/

Pete RingMaster 21/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

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

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

Ringmaster 01/08/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

We Came As Strangers – Still Life

WCAS_RingMaster Review

Ahead of third album Eyedom, English based seduction We Came As Strangers release their new single Still Life, a mesmeric embrace and teaser which inescapably stirs up the imagination and appetite for their oncoming full-length.

Since forming vocalist Ellem, guitarist Justin Sandercoe, keyboardist Owen Thomas, bass player Tim Harries, with drummer Tom Meadows has persistently fascinated and immersed ears and indeed thoughts with their increasingly evocative blend of folk, rock, and avant-garde invention. Previous albums Recipe for Adventure and Shattered Matter have taken the listener on flights of trippy alternative rock/pop. Acclaim and increasing stature has constantly followed in the wake of the band’s releases but if Still life is the full suggestiveness of what Eyedom will hold, We Came As Strangers’ greatest success and rewards are around the corner.

From the quirky opening keys, swiftly followed by the ever siren like tones of Ellem, the song romances the senses and imagination. Rhythms are soon adding their darker temperament and richness though whilst guitars and keys entwine their own thick and individually sultry melodic charms. In no time it is a bewitching persuasion locked in drama and creative flirtation. Ethereal and haunting, summery and shadowed, the song is simply virulent seduction, its chorus alone sparking tingles certainly down our spines.

The video below will reveal the rest of the song’s fascinating majesty and equally why, as for so many others, Eyedom just cannot engulf ears soon enough.

Still Life is available from July 20th

https://www.facebook.com/WeCameAsStrangers   http://wecameasstrangers.com/

RingMaster 20/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

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 @ https://acraniaofficial.bandcamp.com/album/fearless

http://www.acrania.net/   https://www.facebook.com/acraniaofficial

RingMaster 19/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Craig Scott’s Lobotomy – War is a Racket

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Like the soundtrack to a deranged tale fed on Tim Burton’s vision of Alice in Wonderland and soaked in the lunacy of a Captain Beefheart and the Magic Band, War is a Racket is one of those propositions which simply send ears and imagination into overload. Created by Craig Scott’s Lobotomy, the album is a kaleidoscope of sounds and textures uniting in a fascinating and warped adventure, whilst Craig Scott himself is the aural Willy Wonka, offering sonic and melodic candy created from the tang of discord and sweetness of insanity.

A bordering on psychotic tapestry of experimental jazz, alternative rock, and similarly unpredictable electronica, album and sound casts ears and thoughts adrift in a sea of instrumental incitement. Every track is a unique vehicle for the imagination to go on a creative rampage with yet they also all contribute to a perpetual flight through one fluid and invigoratingly bedlamic soundscape. War is a Racket has been three years in the making, drawing on influences, experiences, and the things Scott has learned during his life to date as a professional musician involved in numerous diverse projects. The result of everything combined is a debut album which dangles bait after bait of startling sound and seriously intriguing unconnected essences, all united in a creative toxicity which just gets deep under the skin to set off a lustful reaction in ears, thoughts, and ardour.

The previous years has seen Scott play regularly with the likes of ‘Shatner’s Bassoon’ , IKESTRA , CottonWoolf, The Bugalu Foundation, and The Hot Beef Three as well as perform with artists such as Tom Arthurs, Baba Adasose Wallace, Matthew Borne , John Potter (Hilliard Ensemble),Chris Sharkey (Trio VD/Shiver), Ball-Zee(UK Beatbox Champion) Jean Tousaint (Art Blakey’s Jazz Messengers) , Les Smith (Cradle of Filth), and Ruby Wood (Submotion Orchestra , Bonobo). His music has grabbed the ears and support of fellow musicians like Gary Lucas (Captain Beefheart / Jeff Buckley) amongst a growing horde of fans which also includes cult horror classic House of 1000 Corpses’ Bill Moseley. Anticipation for War is a Racket has certainly been more than keen but it is now with its release that it is easy to expect major awareness embracing its creator.

a4033067006_2    The album, which sees Scott accompanied by a plethora of skilled and inventive talent, opens with Gibbles and a distant wistful melody. The ear is soon under the temptation of dark double bass slaps and bass clarinet seduction though; they in turn courted by a web of brass teasing. A jazzy air soon takes on an exotic flavour through guitar and sax, excited elements entwining for a sultry and mouth-watering dance through Arabian avenues and more Caribbean spiced festivity. All the time though there is a tempering shadow, an underlying turbulence which brews up a danger with fresh seeds for thoughts to twist and redesign its visual landscape with. The nearer its conclusion the more unravelled the track and its calm becomes as it takes the listener into the sonic distortion and percussive bubbling of Proud to be a Mirkin. The second song also brings a brass fuelled agitation aligned to a sinister electronic stalking of the psyche. It is the stuff of dark dreams, though as hindsight will eventually show, just the start of bigger nightmarish intrusions to come.

Peace returns with Tempest in a Teacup next, a nine minute stroll through summer gardens and reflective atmospheres. Of course already, even on the first listen of the album, expectations are soon expecting darker warped twists too and it does not disappoint, though equally the track sets senses and emotions ablaze with a deliciously manic melodic enterprise equipped with mischievous hooks and perverted imagination. Like something from Brian Brain in a drug induced stupor, the track ebbs and flows with bright revelry and noir clad infestations of ears and thoughts. Ultimately though, you come away with feet bouncing and emotions leaping to that devilish jazz pop lure and the emerging gypsy/world music spicing which has a distinct Les Négresses Vertes feel to it.

The following Technicolor Yawn is a brighter and relatively straight forward hug of the senses, initially at least as of course it too has contrasting and darker flirtations of sound and invention to its gentle cruise. Guitars and synths collude to colour the elegant canvas with shards of seemingly improvised jazz incitement, each nudge and jab of sound a tempting spark to new diversions or characters in the imagination’s interpretation. Almost a travelogue of unique lands and atmospheres on its own, the transfixing pieces makes way for the climactic and psychotic For those with a Short Attention Span. The track is a splatter of sounds and textures which somehow within the ears unite to create a coherent if still furiously unpredictable weave of sonic colour. As all the tracks it leaves a pantry load of food for thought before making way for the irresistible lures of Voodoo Friday. Rhythmically tribal and virulent, the track opens like a thumping ‘sketch’ from percussionists Stomp, but is soon embracing darker strains of sound and harmonies. Its persuasion is meditative and demonic simultaneously, the perpetual invitation from tablas, matched by grouchy bass sounds and a swarming cloud of brass and stringed fermentation which only add to the psychedelic Hammer Movie-esque visualisation inspired across the glorious encounter. Its closing romp reminds of deranged versions of eighties bands like Pigbag and Mouth, that alone leaving ears and emotions basking.

The album’s title track comes next and swiftly returns the listener physically and mentally to the dark clutches of haunted realms and sinister trespasses. Keys impact with a classic thirties/forties lilt to their narrative whilst rhythmically and harmonically, the track is a web of ravenous shadows and psyche grasping evocation. The bewitching nightmare prevails with increasing sideshow devilry as the song continues its descriptive presence, reaching a restrained yet ‘hellish’ climax taunted by crooner inspired keys. The drama and air of the song is traumatic and seriously compelling just as the lighter but no less drenched in espionage album finale of Ormchestron. Opening like the theme tune to a sixties spy/thriller TV show, keys dangling inescapable bait for the imagination, the piece becomes a much cloudier and thematically minatory adventure yet with a constant tempering of melodic and inventive whimsy. The brass escapades brings hints of Essential Logic to thoughts whilst strings and keys offer a Cardiacs like devilment, but ultimately, as War is a Racket itself, it is all wholly individual to Craig Scott’s Lobotomy.

It is fair and easy to say that War is a Racket is quite brilliant, maybe not something for everyone but for those with real adventure and love of life’s and music’s discordance woven into something truly unique, simply a must.

War is a Racket is available through Wasp Millionaire Records from 30/03/2015 on CD, 12” Blue vinyl (Ltd to 250 copies) and digitally.

https://www.facebook.com/pages/Craig-Scotts-Lobotomy/102612563153288   http://lookatmemummypr.com/

RingMaster 30/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/