SuperBlood WolfMoon – Eternal Disco Damnation

How to describe the debut EP from UK outfit SuperBlood WolfMoon? An infernal kaleidoscope of temptation or a toxic trespass of intimation or indeed an eight-legged groove machine intent on undiluted corruption? All apply to a release which consumed and devoured as well as seduced our senses and attention. Eternal Disco Damnation is like a sonic equivalent of the fantastic and nightmarish narratives within a triptych altarpieces of Hieronymus Bosch; a ravening examination which simply became more compelling by the confrontation.

Hailing from Birmingham and containing former members of another of the city’s previous mighty trespasses in Bishop, SuperBlood WolfMoon create a sound as schizophrenic as it is physically feral and imaginatively beguiling. Certainly their groove metal woven incitement will be an engagement and tempest too ruinous for some but for those with an appetite for a fusion of Meshuggah at their most rabid, Faith No More in their most primal state, and a savagely irritable Unsane though that still skates the surface of the SuperBlood WolfMoon cyclone, the band’s first EP will be nothing less than fascination.

Eternal Disco Damnation opens up with Hexed Houses and instantly descends on the senses like a collapsing towering wall; barbarous rhythms and sonic pestilence a merciless onslaught yet sharing an immediately enticing catchiness which soon springs infectiously wiry grooves around the breaking malignancy of Jon Baker ‘s throat shredding tones. The track continues to twist and turn, its pernicious shifts and unpredictable moves fuelled by adventure and enterprise whether they are brought with brutality or calm temptation. Throughout the track the riffs and grooves of Steve Styles examine and entice whilst the bass growls cast by Slam and the unconstrained swings of Pete Shortman’s beats are as mercurial as they are violently tenacious. It all makes for a song which surprises as it assaults, never going where expectations assume and never leaving the imagination barren.

You & He Were Buddies follows and similarly just collapses on ears with its first breath, swallowing up the senses whilst inhaling greater schizophrenic fumes by the note, rhythm, and release of vocal chagrin. It too comes with a rich character in captivation and contagion if both as fearsome as they are tempting, a fusion as prevalent within Where the Dead Went straight after. Its initial foray upon the listener is a staggered venomous lure but as vicious as anything before it and only more compelling and lethal by every subsequent enthrallingly psychotic second going to make up the EP’s most irresistible moment.

The EP concludes with Cape, a song looming in like a portentous sea mist before spreading its noxious sonic climate with melodic and toxic craft. Compared to its predecessors, the track is a calmer invasion and incitement but equally the most menacing and unnerving interrupted by moments of grooved mania the body just had to respond to.

As beguiling as it is hellacious, the track provided an absorbing end to an engrossing and increasingly striking release. Eternal Disco Damnation is as much drenched in potential as it is invention and imagination. It will frighten some and seduce many but mainly only intrigue all as a new Super Blood Wolf Moon rises.

Eternal Disco Damnation is out now available through iTunes and Spotify.

https://www.facebook.com/superbloodwolfmoon   https://www.instagram.com/super_blood_wolf_moon_0/   YouTube

Pete RingMaster 13/06/2019

Copyright RingMaster: MyFreeCopyright

Them Wolves – German For Duke EP

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Sounding like the softer spoken cousin of Coilguns, though with the same rapacious dissonance, and employing the snarling provocation of a Bishop and the turbulent fire of The Locust strapped to the abrasive beauty of The Jesus Lizard, UK noise rock disruptors Them Wolves make their debut with an EP which is as furious as it is compelling and as sonically destructive as it is caustically seductive. Five tracks of corrosive distrust and clangorous temptation, the German For Duke EP is a delicious cacophonous brawl created with a craft and imagination only those of unique synaptic disorientation could conjure.

Hailing from Birmingham, the trio of Greg Coates, Stuart-Lee Tovey, and Noel Campbell is another impressive encounter to emerge from a rising Midlands scene, a band carving out a startling individual presence within this wind of blossoming enterprise and now preparing to recruit more passions from prospective loyal fans with their first release as it sends twisted aural shapes into a waiting wider national awareness. The band has earned a strong reputation from their live storms which have seen them intimidate stages with the likes of Fucked Up, Trash Talk, Dope Body, Blacklisters, and Bats, but German For Duke as it manipulates and blasts the senses feels like the key to much more.

As soon as opening stings of guitar sonics accompanied by coarse riffs, subsequently joined by even more caustic vocals, brings The Wild Girl of Champagne into view senses and thoughts are ripped from their slumber. The track soon becomes a scything swipe of noise as rhythms tips the balance of intimidation into the favour of predation and the guitars cut through the air with acidic Errol Flynn like sabre swishes of noise. It is a magnetic tempest which draws out the passions with ease and ignites them further as it turns in on itself with a relatively peaceful aside, a kind of lull where bitchy riffs from both sets of stringed conspirators offer a Stinking Lizaveta captivation spiked by the Fall like rhythm and vocal punctuation. Raising to another crescendo it is a riveting blaze of punishing discord and frantic fascination, a potent blaze to mark the introduction of the band and EP that is unafraid to test and complicate things further with a sludgy breath of invention before one final riot of sound.

The following Folding a Napkin on Terminal Island, is of the same breeding seed, the song another crusading squall of synapse mining rhythmic provocation within a scorching shower of sonic industry crafted into an evocative narrative, an aural tale that scrapes and sears its leaden hues deeply into senses and thoughts whilst teasing the passions with enticing venomous grooves. The track is a brief yet contagiously busy piece of confrontation, guitars and rhythms enslaving with their respective serpentine seduction and muscular animosity.

Let’s You and Him Fight takes its time to impose its lethal toxins, beckoning in the listener at first with a Gang Of Four like weave before expanding it into a melodically washed maze of invention and rhythmic chastisement led by the again ear abrasing vocals. Complete with a dip of scuzz and vitriol, the track pushes release and band into another street rife with distinct and unique essences set to a canvas of brain frying intensity. Cutting and emotive, though always under the rein of concussive intent, the song leaves exhaustion and bliss in its place, as well as a lingering and disorientated rapture for the alignment of infection fuelled grooves and an almost funky underbelly to a raptorial stalking, the bass its most carnivorous sounding yet.

Once You’re More Like a Young Mary Bell staggers into the ear with staccato beats and pestilential riffing, the battle becomes even more deliciously intensive, the band fusing air and heat into a swamp of noise that eats away at the listener and chews their brain with a bestial suffocation of ruinous intent. A doom/sludge like intensity takes the track into its menacing finale though still sparking with schizophrenic imagination and a ravenous noise fuelled craft.

Final track Wolf Song preys on fears and the wounds already induced by the EP, guitars stalking with sonic saliva dripping from every note expelled and vocals a raucous chafing stealing any free emotion and breath for their own inciting ends. With the bass finding another depth to its gnarled throat, the track is a towering sinister embrace of mordancy wrapped in the beauty of noise. It is a triumphant end to an equally impressive release, the Distorted Tapes / It’s Just Noise released German For Duke the kind of raw animal you do not want to meet at night and Them Wolves its pack leader with no wish to leave you safe or unblemished. It is the entrance of a masterful sonic annoyance which will only get better and more stunning.

http://www.themwolves.co.uk

9/10

RingMaster 10/08/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Bishop – Inside The Whale We Saw Ourselves EP

Bishop

A band which lets their music do all the talking, UK noise manipulators Bishop have made a startling introduction with their debut EP Inside The Whale We Saw Ourselves. They are a quintet from Birmingham featuring ex- members of Ghostmaker, Kafka, Pariah, Red Eye Militia, and How The Dead Live! and that is about all we can reveal about the band, oh and the fact that their first release is a carnivorous treat which leaves thoughts ignited and hungry. It is a masterful corrosive confrontation, a release and sound which in the words of their invitational email to check out their release is ‘Born from the same cow as our Brum buddies Bovine….only with schizophrenic dirge thrown in to every part of the mix’. The EP is very much from the sonic disruption as the recent Bovine album, but with a distinct imagination and rapaciousness stands apart whilst simultaneously suggesting that Bishop have the invention to make an equally inspiring impact as their fellow noise alchemists.

Opening track Lessons Learned On Re-Entry instantly winds itself around the ear with sonic lassos of sound, rhythms making covera schizophrenic dance within their tantalising searing. Immediately senses and thoughts are plastered with intense imagination and caustic provocation with an acidic groove coring it all to ensure it is an overwhelming enticement. The instantaneous persuasion is impossible to resist and once securing submission allows a brawling abrasiveness from the harsh squalling vocals of John Baker and antagonistic maelstrom of riffs and rhythms to have their turn. It is a brief assault though soon joined by a great melodic turn to the vocals from Baker and assisted by those of guitarist Charlie Smith. Though still intensive the song has a calmer embrace to its tempest but again and as proven throughout song and EP, there is never more than a breaths worth of time that things stand still and the track explores further multiple textures and avenues, all predatory and all ingeniously fused together.

It is a tremendous start soon equalled by the following Manaconda!. The rabidity of the sonic abuse carving out the song’s narrative to start things off is delicious, the guitars of Smith and Steve Styles sculpting an aggressive and gripping net. As the drums of Matt Reay cast their own resonating frame over things within which the bass of Sam Trinder prowls and snarls with pure venom, the guitars leave sabres swipes of metallic heat across the emerging doomy atmosphere and primal torrents of sound and enterprise. At times it is like a lumbering beast but one  equipped with moments of savage eruptions, sinews sending sonic waves caustically across the senses and the rhythms taking disorientating swipes to conjure towering heights to the persistently debilitation encounter.

Attention Evil Henchman completes the line-up of sonic gorging, guttural serpentine vocals scathing in breath and intent riding a blaze of synapse fusing and senses bewitching inventiveness. Like its predecessors the song twists and flares from start to finish with swiftly moving ideas and exhausting intensity, the fatiguing experience and inventive craft simply irresistible and inciting for emotions and appetite.

Sadly the release is a mere trio of tracks to leave hunger irritable but eager to press play once again. Such the strength and creative potency of the tracks there is nothing less than full satisfaction and pleasure gained, the skill and invention of each band member forging a sound which is as experimental and vital as it is pestiferous and mind twisting. Bishop is a band set to make a deep and rich impression on extreme music and aural sculpting. Grab the free download of Inside The Whale We Saw Ourselves EP and be there at the start.

http://bishopsmash.bandcamp.com/album/inside-the-whale-we-saw-ourselves

https://www.facebook.com/bishopsmashuk

9/10

RingMaster 02/07/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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