Baronen & Satan – Why Does The Blood Never Stick To Your Teeth? / Satan Is A Lady

As each year passes it seems harder to find something truly unique to feast upon so those encounters which do carry that special character make a most striking impact and hopefully temptation. The sound of Swedish outfit Baronen & Satan magnificently fits that claim and hope, its nature a psyche twisting trespass and voice a senses searing incitement which together go to make one glorious seduction on body and imagination.

Though formed in 2014 after guitarist Philippe Jean-Piere Dominique Sainz met vocalist Linda Rydelius, the pair uniting in love and creativity once meeting, our introduction to Gothenburg hailing Baronen & Satan is now through Dirty Water Records USA and their releasing of the band’s new EP, Why Does The Blood Never Stick To Your Teeth? in tandem with the re-release of 2016 album Satan Is A Lady. It is a long overdue meeting as hindsight shows the band has been teasing attention across a horde of tracks and years but one we like so many others are greedily devouring. Completed by bassist Marie Bergkvist and drummer Stefan Young Sik Olsson earlier this year, Baronen & Satan create what we assumed has been self-penned as “Garagedeath”.  Whatever you call it, the Baronen & Satan sound is a wonderfully invasive yet flirtatious trespass of reverb grafted adventure conjured from a mix of garage and psych rock, garage punk, noise, and punk rock with plenty more teasing away in its predacious and haunting swamp thick sonic psychosis.

Produced by Jim Diamond (White Stripes, Dirt Bombs), Baronen & Satan’s new EP greedily consumes the senses from its first breath. Why Does The Blood Never Stick To Your Teeth? opens up with new single Elisa and instantly consumes ears in a tide of riffs and rhythms entangled in spicily melodic tendrils. As a bass grumble teases, beats fly with fevered energy, Sainz’s guitar weaving away with salacious grooves as the distinct and unique tones of Rydelius deliciously ‘whine’. Her presence almost steals all attention but with the devilish textures and enterprise at play around her, the whole song seduces in equal measure to get things flying.

The following Buttermilk Sky has a similar but fully individual presence and sound, its psych and garage rock bred rock ‘n’ roll an incitement to appetite and hips as it dances provocatively in ears. Its citric melodic spicing is less kind in the second track compared to its predecessor but just as alluring; the song offering a beefier intrusion taken to darker temptation yet again in the EP’s title track. With the swinging biting beats of Olsson rampant and Bergkvist’s bass sound gnarly, seduction is swift from personal tastes; add the sonic squall of Sainz and Rydelius hellish beauty in voice  and submission to the track’s rapacious rock ‘n’ roll is welcome slavery which the melodic toxicity with its tinge of Echo and The Bunnymen compounds.

All three tracks unite for one unwavering increasing addictive proposal to have us reeled in hook line and sinker; a triumph equally matched by last year’s album, Satan Is A Lady. It similarly needs mere seconds to tempt and begin brewing up a tight grip as opener Lady Creature lies its initial sonic nagging upon ears. Quickly the boisterous beats of Olsson descend and romp; the track bouncing around with eager tenacity as Rydelius casts her riveting vocal antics into the stomping devilment of a proposal. At times Scottish trio The Creeping Ivies is provoked in thought by the track but a great spicing to something again as unique as all the subsequent essences and adventures across the album prove to be, all hues in viral sonic toxins particular to Baronen & Satan.

Next up is Catwalk, its feline prowl lively and predacious with Olsson’s swings marking every step with zeal. Always fuelled by a boisterous spirit, the song stalks the listener as vocals wrap their flirtatious clutches around psych and garage infestation. Magnetic drama, the song sublimely bewitches before the even more energetic exploits of Asskisser bound in. With shimmering sonic suggestion and more rhythmic rascality, a PiL-esque sheen invading its bold canter, the track commands the listener like a puppeteer, its noise nurtured tendrils veining its wonderful manipulation.

Headcuts lurks and taunts with an instantly open Cramps inspiration, continuing to size up its victim before launching into a rapacious garage punk stroll with fifties rockabilly spicing. As its predecessor, the track is glorious; caustic manna for ears and instincts which a fine line of sixties garage rock a la Cradle to add another twist.

Expanding and thickening its ravenous enterprise and character, Satan Is A Lady hits another sweet spot with the sonic buzz of The Projects, a minute and a breath of irresistible niggly punk rock which Comet emulates in success with its own demonic affair for ears and imagination. As most tracks, its core is a relentless nagging which gets right under the skin; heavy dark bait bred on rhythmic and sonic almost wanton dexterity honed into a cauldron of virulent temptation as carefully woven as it is rabidly unleashed.

The album’s title track swings in with muscles tensed next, a riveting PiL meets Siouxsie and the Banshees hook circling ears as once more the compelling tones of Rydelius grip the bold intrusion. Sainz’s initial bait swiftly develops a Buzzcocks spiced essence as the track flexes its animated imagination, every second a beguiling and infectious scheme to enslave.

Through the psychotic stomp of Pony and its sonic Cramps meets the Orson Family moonshine pleasure only escalates, the latter of those hues a bolder essence in the dark saunter of Sugarwalls which too only inflames an already greedy appetite for band and sound. Invasively ethereal and ravenously portentous, the song also gives a glimpse of what you might imagine bands like Blood Ceremony and Jess and the Ancient Ones could sound like if mutant off springs of Lux Interior and Jim Morrison.

The album ends with the invasively haunting Underwater Love, an immersion into a sonic sea of intrigue and unpredictable imagination steered by the alluring vocal ingenuity of Rydelius. It is dark, bordering on suffocating and a compelling end to a quite thrilling and refreshing album.

Uniqueness is rare but when it comes it should be devoured especially when it bears the dark discord and beauty of Baronen & Satan.

Both Why Does The Blood Never Stick To Your Teeth? and Satan Is A Lady are out now @ https://baronenandsatan.bandcamp.com/album/why-does-the-blood-never-stick-to-your-teeth  and https://baronenandsatan.bandcamp.com/album/satan-is-a-lady respectively.

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Pete RingMaster 07/11/2017

Copyright RingMaster: MyFreeCopyright

Devil Electric – Self Titled

Looking for some new dark and heavy rock ‘n’ roll, especially some with flames of lava-esque blues within encroaching doom bred shadows? Then there is a good chance that the debut album from Australian heavy rockers Devil Electric will have the senses buzzing. Offering nine predacious slabs of seventies inspired heavy goodness with a virulent catchiness in its grooves alone, the release declares a new mouth-watering force in town.

Hailing from Melbourne in the midst of 2015, Devil Electric swiftly began honing a potent reputation for their sound and live presence, the latter seeing the quartet play alongside the likes of Truckfighters, The Sword, Kadaver, and Endless Boogie over time. Last year saw the well-received, highly praised release of their first EP, The Gods Below, which saw the band subsequently lured by and signing with German label Kozmik Artifactz for the release of their swiftly gripping self-titled album.

It opens up with Monologue (Where You Once Walked), quickly raising intrigue and appetite for spicy portentous rock ‘n’ roll with its opening prowl. Entangled in juicy grooves and driven by raptorial riffs and rhythms, the track soon steps into a seriously contagious stroll, thumping beats and intrusively pulsating bass lures a bestial temptation and grooves a fiery vining of the senses. In the midst of the instinctive seduction the richly magnetic tones of vocalist Pierina O’Brien roar; her voice another irresistible focal point among so many in the song fair to say.

The starter is glorious, almost reason alone to check out the album but quickly matched by the equally compelling exploits of Shadowman. As quickly as the first grips ears and imagination, its successor swings on them with irresistible dexterity and endeavour, grooves again winding around the appetite as rhythms belligerently unload their intent. Marching through ears with an antagonistically commanding air, the track proceeds to spread fiery fingers, guitarist Christos Athanasias spinning a web of flirtation as the blended trespass of bassist Tom Hulse and drummer Mark Van De Beek court and invade the senses.

The sultry flirtations of Lady Velvet wind their charms around the listener next, O’Brien leading the heated vines of the guitar with her beckoning tones. Alongside her Hulse’s voice makes a potent backing, always understated in the mix but a firm texture which works perfectly with O’ Brien’s. Ultimately the song maybe does not have the same thrust as its predecessors, preferring more of a smouldering attack but it too is created from a tapestry of sonic imagination and rhythmic enticement this time with just a sense of physical rabidity involved.

Acidic Fire similarly has a fire borne climate and siren like call to its body, O’Brien the central protagonist but more than matched by the sonic weaving of Athanasias. In many ways the song crawls over the body and psyche, enjoyably searing the senses before the bestial gait and muscle of Monolith brings its own instrumental sludge thick crawl to bear. After its softening up of defences, the mercurial air of The Dove And The Serpent immerses ears, its climate soaked in danger and seduction as it dances in ears like a sonic equivalent of festivities bred from a mix of venomous isolation a la The Wicker Man and The Witches.

Both The Sacred Machine and Lilith with their individual trespasses keep the rich temptation flowing, the first with its invasive yet bewitching blaze of sound and intensity, the second with its haunting atmosphere and exotic mystique. The latter is an instrument which swiftly has the imagination conjuring whilst seeming to set up the atmosphere of the equally enticing and occasionally salaciously moody Hypnotica. The closing track and the band’s new single, the song is six minutes plus of flaming ambiences, emotive intensity, and sonic webbing; all primed to seduce and enslave the senses and in turn the imagination.

It is a mouth-watering end to a striking at times ear withering but persistently thrilling first full outing with Devil Electric; a band seemingly drawing on the inspirations of bands such as Black Sabbath, Graveyard, The Dead Weather, Jess and the Ancient Ones, and Blood Ceremony but forging their own individual incantations.

The Devil Electric album is available now via Kozmik Artifactz @ https://devilelectric.bandcamp.com/album/devil-electric

http://www.devilelectric.com/    https://www.facebook.com/devilelectric    https://twitter.com/_devilelectric_

Pete RingMaster 02/10/2017

Copyright RingMaster: MyFreeCopyright

Kabbalah – Spectral Ascent

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

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

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

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

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

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

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

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

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

Pete RingMaster 12/07/2017

Copyright RingMaster: MyFreeCopyright

Blood Ceremony – Lord Of Misrule

pic_Ester Segarra

pic_Ester Segarra

Dancing on the imagination like a village maiden in the throes of a pagan celebration, the new album from Canadian quartet Blood Ceremony is a bewitching and evocative adventure to get wrapped up in. It is called Lord Of Misrule; its title inspired by “a tradition that dates back to Late Antiquity, the Lord Of Misrule or “Abbot Of Unreason” was the doomed figure elected to preside over the Feast Of Fools, an annual Saturnalian bacchanalia in which masters became servants and servants masters, while drunken revelry and strange entertainments pervaded Britain and parts of mainland Europe for 30 days. At the end of the month’s festivities, the Lord Of Misrule’s throat was cut in sacrifice to Saturn.

Its body is a collection of highly provocative and melodically fiery encounters; aural rites and mystical endeavours awash with psychedelic/ acid-folk imagination amidst doom and progressive rock scented landscapes. Exploring the secret corners and depths of rural villages and pagan practices, it is an encounter playing like a sonic Wicker Man of dark festivities from across the decades in tradition and sound.

Recorded to analogue tape with producer Liam Watson, Lord Of Misrule opens on The Devil’s Widow, a song slipping into view upon an inviting guitar spun melody. Its tantalising lure is soon joined by crisp percussion and the magnetic caress of keys, then in turn by the throbbing resonance of bass. It is a masterful beckoning leading into a feistier stroll with vocalist/flautist/organist Alia O’Brien at the helm in voice and melodic craft. The wiry tendrils of Sean Kennedy’s guitar adds fire to the proposal, its rawer touch backed by the dark tones of Lucas Gadke’s bass and the swinging beats of Michael Carrillo. Recently Kennedy called Lord Of Misrulea very English album”, and straight away it is easy to hear what he means as particular British folk hues spice the vivacious energy and melodies sweeping through ears on the wind of the O’Brien’s  flutist craft.

album cover_RingMasterReviewLoreley is next to entice and please ears; electronic pulsing early attraction alongside O’Brien’s ever potent vocal presence and style before a catchy rhythmic swing sparks a livelier saunter to the song. Perpetually, Blood Ceremony fuses sixties, seventies, and other decades of rock ‘n’ roll into their music, the first pair the seeds to the refreshing colour and blues scented shade of this track’s gentle but pungent creative drama.

A fiery air to flaming textures shape the following exploits of The Rogue’s Lot, its darker shadows equipped with sinister threat and hidden dangers as O’Brien and the melodic enterprise of guitars embrace lighter infectious essences in their captivating persuasion. Twisting and turning in energy and dramatic flavours, the track is glorious; a rousing slice of rock ‘n’ roll easy to free a lively spirit and lustful appetite for, much as with the album’s title track which smoulders and tempts next. With raw blues touches colluding with the almost Horslips meets Jethro Tull like folk enchantment which shines within the track’s dark landscape and tale, ears and thoughts are quickly bound up in a theatre of sound and suggestiveness.

An earthy character is shown by Half Moon Street straight after; its air carrying a dirty tone around a less joyfully tempered nature, though hooks and melodies again have a shine to their invitation. With the flute like rays of sun skipping across the darker strains of endeavour, band and song commands full attention before The Weird Of Finistere slips in with an evocative climate of sound and voice becoming catchier and more, if gently, tenacious with every passing minute without ever breaking from its reserved sway.

The wonderful sixties pop inspired Flower Phantoms takes over and quickly steals ears and the spotlight. Carrying a Crystals meets The Ronnettes glow to its contagious pop enterprise, the song flirts and seduces with inescapable success, its warm magnetic revelry aligned to flames of raw guitar and sinew brought beats, and quite delicious.

The album closes with the blues rock fuelled Old Fires and lastly by Things Present, Things Past; two tracks which individually provide resourceful and unpredictable drama within the recognisable Blood Ceremony invention. The first is another spirit arousing incitement whilst its successor is an acoustic hug which simply serenades body and soul for an enthralling end to another highly flavoursome offering from the Toronto foursome.

There is no apparent blood shed at the end of Lord Of Misrule as the tradition dictates but for stirring creative and tenacious fun under the glare of a full moon or dusk shaded sun, the album more than fits the bill whilst increasingly thrilling.

Lord Of Misrule is released March 25th via Rise Above Records.

Upcoming Live Dates:

April

15 – Paris, France – Backstage by The Mill

16 – Tilburg, Netherlands – Roadburn Festival

17 – Hamburg, Germany – Rock Café St. Pauli

18 – Berlin, Germany – Privatclub

19 – Vienna, Austria – The Chelsea

20 – Munich, Germany – Backstage Club

21 – Madonna Dell’alberto, Italy – Bronson

22 – Milan, Italy – Legend

23 – Olton, Switzerland – Coq D’or

24 – Nurnberg, Germany – Hirsch

25 – Frankfurt, Germany – Nachtleben

26 – Cologne, Germany – MTC

28 – Manchester, UK – The Deaf Institute

29 – Glasgow, UK – Audio

30 – Birmingham, UK – The Rainbow

https://www.facebook.com/bloodceremonyrock

Pete RingMaster 24/03/2016

Copyright RingMaster: MyFreeCopyright

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

King Witch – Shoulders Of Giants EP

KingWitch_RingMaster Review

It looks like there is new sorcery in town and it comes in the shape of King Witch and their rich and thickly captivating sound. An Edinburgh quartet which only formed last year, they have provided one tasty introduction to themselves with debut EP Shoulders Of Giants, a three track roar of seventies heavy metal and classic rock with a more than flavoursome lining of stoner/doom lit rock ‘n’ roll to its body. Since emerging, the band has lured comparisons to the varied likes of Black Sabbath, Candlemass, Mastodon, and High On Fire, to which we would suggest Mount Salem and Blood Ceremony in varying degrees, but whoever is offered as a clue King Witch and their EP provide one exciting prospect and success respectively.

Consisting of vocalist Laura Donnelly and guitarist Jamie Gilchrist, both formerly of Firebrand Super Rock, alongside bassist Simon Anger and drummer Tam Dickson, King Witch has taken little time to awaken keen appetites and support for their fiery music. It is no surprise with Shoulders Of Giants, aside a well-received single, as their opening bait for ears. It has a creatively accomplished body and thick imagination which only sparks the thought that if things are this good at the start what a thrilling horizon is surely before us with them.

KingWitch-EP-Front_RingMaster Review   The powder keg of sonic fire and heavy brew of classic intoxication opens with its title track, Shoulders of Giants an initial shimmer with instant intensity and drama that only grabs attention and imagination. Gilchrist is soon spinning a web of melodic intrigue as the swiftly impressive voice of Donnelly blossoms in sound and narrative. Straight away she is a focal point but through the strength of the flavours and craft surrounding her soon the song as a whole is in command again, the rhythms springing a mix of anthemic intimidation over which the guitar casts a tonic of grooves which at times finds a Skids like tang. The track is a mighty start to the EP, full of striking textures and enterprise that alone needs numerous plays to fully explore with increasing rewards.

Full Moon King comes next, immediately seducing with its warm melodies and exotic air. The heat is raised in no time as grooves and bass resonance collude in tenacious revelry within the crisply landing frame of Dickson’s beats. The temperature and roar of the song is equally lit by the soaring tones of Donnelly but tempered skilfully by the melodic calms and elegant breezes which drift across the track’s enticing landscape between its skilfully stretched out dynamic crescendos. As much as the opener had attention eager, its successor has the appetite drooling before departing for the final track to make its claim on the passions.

As the others, the epic adventure of Lucid needs little time to entangle ears and emotional involvement in its heavy romance and sultry seduction. Vocals and spicy swathes of guitar simply caress the passions as the climate warms and boils with every passing second. Donnelly again shows her striking prowess with every syllable and musically the band theirs across very pluck of a string and swing of a stick. The finale is breath-taking, a hex all on its own bringing a thrilling release to a mighty conclusion.

There is no doubt you will be hearing a lot more of and about King Witch over coming months and with increasing acclaim and ardour if the Shoulders Of Giants EP is a sign of things to come.

Shoulders Of Giants EP is out now @ https://kingwitchband.bandcamp.com/releases

https://www.facebook.com/kingwitch   http://www.kingwitch.com

Pete RingMaster 07/01/2016

Copyright RingMaster: MyFreeCopyright

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

Show of Bedlam – Roont

Photo by Renaud Sakelaris.

Photo by Renaud Sakelaris.

We were hearing very good things about Canadian doomers Show of Bedlam because of a split with Jucifer in 2009, the band’s only release up to this point, and were told that we should take an interest in the band’s debut album Roont, released this week. This we did and discovered a release best described as a creative cauldron of sonic and emotional intensity filtered through howling atmospheric turbulence, i.e. one of the most exhilarating albums so far this year. It is as fiercely seductive as it is corrosively demonic, as virulently contagious as it is toxically inhospitable, and quite simply irresistible.

Hailing from Montreal, Show Of Bedlam’s sound is certainly doom metal bred but it is equally as sludgy as it is hardcore, as punk as it is noise and occult spiced rock ‘n’ roll. Influences are said to include the likes of Neurosis, Electric Wizard, The Swans, UFOMammut, Babes in Toyland, and Sonic Youth. The reality is for all references and inspirations cited and probably deserved, Show of Bedlam brew up a hellacious and thoroughly gripping mix ultimately distinct to them.

SHOW_OF_BEDLAM-Roont300x300    The album’s title track sets things off, a cold and harsh ambience looming in from afar, quickly joined by portentous rhythms and a maelstrom of sonic and noise bred provocation. It is an embrace of sound and incitement to match the band name, no coherent unity obvious yet a concussive invitation with control and instinctive enmity. From its thickening smog, acidic grooves and heavy senses roaming rhythms emerge, their imposing presence matched by a dark bass tone and the instantly engaging tones of vocalist Paulina Richards. Attitude and intensity drips from every syllable she expels, her delivery managing to be part croon, roar, and threat simultaneously. Hers is a soaring fury matched by the sounds around her, guitars spinning a caustic yet beguiling web whilst rhythms pummel and craft anthemic bait for every one of the song’s hellacious seconds. The track is fascinating, uncompromising textures and unpredictable imagination entangling every twist and turn in the passage and creation of the song, all those flavours earlier mentioned and more aligning to craft nine minutes of feral, bordering on satanic beauty.

An interlude comes next in the shape of 19, though contrary to most similar moments there is no escape into calm and safe waters here, the track an unrelenting harsh sonic wind with fleeting glimpses of another evocatively melodic realm. You can almost touch those elements as they are smothered in sound but always to no avail as the track insidiously escorts ears and emotions towards the following Vermin. Show of Bedlam have already shown themselves adept at using samples, opening up this track with another before binding the passions in addictive hooks, dramatic grooves, and a punk bred infectiousness. It all entices from within a tempest of swarthy stoner-esque sonic psychosis with occult rock like flavouring. The track is outstanding, an emotional and intimidating turmoil to get lustful over casting a maelstrom of styles and ingenuity which just ignites the imagination. The song never lingers on one aspect for long but is equally unafraid to return to those choice essences and involve and twist them into fresher incitements again. At one point the song had a feel of L7 meets Blood Ceremony to it, then in the next it was something else again, and constantly spellbinding.

Next up, Dress for sale slips into darker and colder climes, its darkly shimmering countenance mesmeric as basslines and riffs crawl with menace through ears. It is a track soon ablaze though, acidic guitar enterprise and fierce vocal expression roaring with searing flames of energy whilst carrying just a hint of venomous intent. Once more the band has ears and imagination enthralled; abrasing and seducing both with ingenuity and simple but ingeniously woven creative aggression.

There is poetry to the sound and lyrical premise of all songs upon Roont, an almost corrosively romantic essence which especially floods the epic exploit of Itamu. The track is pure inventive drama, a journey through unforgiving yet intoxicating climates of sonic and emotional exploration. As everywhere, the track’s narrative is as engrossing as the music sound-tracking its story and predominantly because of the diverse and ever shifting delivery of Richards. She can brawl with ears as perfectly as she can seduce them, spark with aggression as potently as she can lure unbridled attention with a croon. With the rest of the band conjuring sounds of the same creative and effective dark majesty, the result is a track and release which borders on perfect.

With a bonus demo version of Vermin adding an extra treat, Roont is something all doom, sludge, heavy metal, and even hardcore fans should not be without. Very special is a description not easily offered in music these days but we tell you now, Show of Bedlam is that with the potential of being much more.

Roont is available now on CD via PRC Music @ http://www.prcmusic.com/store/index.php?route=product/product&product_id=1317 and digitally @ https://showofbedlam.bandcamp.com/

https://www.facebook.com/showofbedlam

RingMaster 07/05/2015

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

The Kut – Rock Paper Scissors

The Kut Promo

More captivating with every listen, Rock Paper Scissors is one of those encounters which make a bigger impact in four songs than many bands can in a handful of song loaded releases. The new EP from UK rockers The Kut; it is a ferocious yet alluring mix of grunge, alternative rock, and punk. Each of the tracks offers something different to those before it without departing from the core heart of the band’s sound. It is pop, punk, grunge all at once, but predominantly it is anthemic rock ‘n’ roll to rage and romp with.

Taking inspirations from bands such as Deftones, L7, Hole, Incubus, Placebo, Nirvana, and Faith No More, the London trio whipped up keen attention with their first EP Make Up last year whilst singles and songs like No Trace, Mario, Closure, and Doesn’t Matter Anyway have bred keen support and appetites for their emergence in fans and media alike. Now is the turn of the more dramatically imposing yet virulently contagious James LeRock Loughrey (Skindred,White Zombie, My Vitriol, Page & Plant, Bjork, Def Leppard) produced songs of Rock Paper Scissors to make their persuasions, and there seems little will stop them awakening an even hungrier spotlight upon the band.

Artwork- The Kut RPS   Immediately opener I Want You Maniac treats ears to a scuzzy riff matched by punchy rhythms and an inviting vocal confrontation from guitarist Maha. Just as swiftly there is a sense of a more aggressive, angry even, feel to the tone and music of the track which is supported and realised in broader visceral fashion across the rest of the EP. The infectious qualities which marked the previous release are just as prevalent too, hooks and anthemic vocals a virulent persuasion against the fuzz lined enterprise of Maha’s guitar and the thumping beats of Violet Cannibal aligned to the predatory lures of Alison Wood’s bass. As mentioned the track has a new aggressive and raw belligerence in sound which without doubt benefits band and release. The song hunts the senses like a mix of L7 and Distillers but with the punk toxicity of early Damned and the catchiness of The Ramones to its potency.

   Alekhine’s Gun steps up next and has a mellower more relaxed touch to its opening, though again there is menace in the rhythmic framing and atmosphere shadows surrounding the excellent vocals and infectious melodic tempting. The rage which seems to fuel the EP erupts in abrasing vocal bellows throughout the encounter but persistently it manages to return to a less volatile and equally compelling state, subsequently offering great unpredictability and adventure throughout.

The best tracks on the EP complete Rock Paper Scissors, the first coming with the rock/punk pop excellence of I Don’t Need Therapy. Brewing essences of bands like Spinnerette and Valentiine into its own distinct landscape of dirty rock ‘n’ roll, the song strolls boldly with simple but voracious riffs speared by gripping hooks whilst the bassline running through all is sheer grouchiness. The track has an inescapable familiarity to it but that only adds to the rich flavouring offered and enjoyed.

The closing Bad Man emerges as the favourite, everything about it preying on ears from scything rhythms to caustic riffery. Even its melodic passages have a sultry yet sinister occult/psyche rock colouring which would not be out of place in a Jess and the Ancient Ones or Blood Ceremony offering. The track is outstanding; the pinnacle of The Kut’s invention for personal tastes and a fine way to leave the listener with a long and lingering excited impression of the release.

Listening to Rock Paper Scissors it is still easy to feel there is plenty more to come from the threesome, in songwriting and sound as well as invention, to truly set the band aside from the rest and give the UK a band to rival the statures of bands like Hole and L7. Right now The Kut provide a thoroughly enjoyable and impressive proposal which goes just down a treat.

The Rock Paper Scissors EP is available now via Criminal Records digitally and on CD at https://thekut.bandcamp.com/album/rock-paper-scissors

Upcoming live dates for The Kut…

2nd May: Hell Fire Club, Redhill, Surrey

Saturday 16th May: Elektrowerkz, Angel, London

Saturday 24th May: Mainstage, Glastonbudget, Leicester

Saturday 23rd – 24th May: Strummercamp Festival, Manchester

Saturday 30th May: The Harvest Home, Haughton Regis, Bedford

http://www.thekut.co.uk/   https://www.facebook.com/thekutgirlsrock

RingMaster 15/04/2015

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