Coilguns – Millennials

For all their striking projects and releases, of which there have been numerous, it is as Coilguns that the trio of vocalist/guitarist Louis Jucker, guitarist Jona Nido, and drummer Luc Hess has most lit our personal fires and inspired further our love for instinctive sounds and creativity. Their new album Millennials, with synth player Donatien Thiévent in the fold shows exactly why; the ten track exploration of manipulative noise and physical intimation a beautiful predacious trespass.

Written and recorded at the beginning of 2016, the self-engineered sonic invasion instantly overwhelms with the senses ravishing Anchorite. Guitars entwine ears in a devious, corrosive web as the rhythmic ingenuity of Hess stirs and ignites body and spirit. As arousing as his boldly thrown beats are the Jucker and Nido spawned grooves and noise bleeding tendrils are corrosive, all uniting in a hellacious virulence which strings the imagination and senses like a feral puppeteer; a manipulator simultaneously venting through the vocal squalls of Jucker. The track is immense, a visceral seduction which had us cowering as much as we were welcoming its abuse with greedy open arms.

The following Deletionism manages to breed an even more carnal tone and air; its carnivorous jaws littered with biting beats and caustic toxicity but just as infectiously persuasive as its predecessor in temptation and energy. The throaty bassline echoes in the senses as it courts the mercurial but ever invasive stroll of guitar; it all coming together with concussive majesty alongside the rapier swings of Hess and the throat and word scaring roar of Jucker.

The album’s title track is next, a sense charring blaze of rock ‘n’ roll with sonic lava in its breath and inescapable virulence in its rhythms. Hess is simply superb, stirring the track’s intent with ravenous dexterity allowing the calm in its midst to challenge before stirring up a confrontation as violent as it is invigorating. From pure infection the track leaves as a toxic raping of ears and wow did it excite. From start to finish, there are compelling suggestions of best track on the album, and maybe that from Coilguns in general, this one of the most persuasive.

Spectrogram takes the listener into a sonically incinerated landscape, its shadows and scenery a lure of white noise-esque suggestion before a suffocating wave of sound and intensity thickens the drama and the increasingly haunting and haunted climate. Thiévent’s synth flows over the incitement like melancholic mist but with a surf like teasing which captivates, ears moths to its flame in the oppressively infectious dark of the track.

For one minute and a handful of imposing seconds, Music Circus Clown Care has the senses harassed and swinging as if on a barb lined trapeze before cavernous jaws drag them into the torturously arousing grip of Ménière’s. Once again, Hess had us bouncing as the sonic trespass of his companions infested ears and psyche, the track a murderous swagger of craft and contemplation borne of the darkest deeds and times and moulded into one irresistible breathless incursion.

The brief, inhospitable and again inescapably addictive blast of Wind Machines For Company emulates its title in a typhoon of sonic voracity while Self Employment Scheme is an investigation cynical in tone and air niggling at and sucking on the senses like an argumentative tick; never relenting in its harassment but ebbing and flowing in its severity. Both tracks simply brought our lust levels higher as too the grievously writhing antics of Blackboxing, the glorious track ducking and diving with quick footed rhythms and tenaciously swerving noise until delivering a brutally blistering concussion.

The release ends with The Screening, a fascination examination carrying intrigue, captivation, and threat in every note, syllable, and rhythm cast over the senses. Its initial temptation loaded coaxing with Hess once more shaping the bait, grows and intensifies by the moment, simultaneously becoming a harsher imposition and addiction to leave by its departure its victim on their knees breathless and lusting for more.

There is no one like Coilguns and nothing in even their own repertoire to match the noise alchemy of Millennials. It is far too early to declare an album of the year but believe us when we say it will not be straying from those most vocal nominations come late December.

Millennials is available now via Hummus Records and through https://coilguns.bandcamp.com/

https://www.facebook.com/coilguns    https://twitter.com/COILGUNS

Pete RingMaster 27/03/2018

Copyright RingMaster: MyFreeCopyright

34 – Self Titled EP

34 Promo Pic  _RingMasterReview

Grouchier than a stoked up hornet nest and just as damaging, the sound of Kansas City hailing 34 leaves no hiding place for the senses and imagination on the band’s debut EP. The five-track self-titled offering is a rabid and ravenous fusion of hardcore, noise, and metal, all honed into an assault with a sonic sting just as merciless as its rhythmic and vocal bite, and both incidentally constantly veering towards irresistible.

Formed in 2015, 34 features current and former members of bands such as Sisters Of…, Eighteen Visions, At The Left Hand of God, David Hasselhoff On Acid, and Maps For Travelers. It has taken little time for the band to make a potent mark, their live ferocity acclaimed and devoured with shows alongside the likes of Black Breath, Motograder, 68, and Norma Jean adding to the quintet’s rising reputation. Now it is the EP preparing to stir things up further, a success hard to see failing with its impressive and seriously solid introduction to a wider landscape to the band.

The release leaves a lingering and memorable mark with its first two confrontations alone; the EP’s best tracks setting the tone and creative stature of the release with Alpha Blade starting things off. Fair to say we were hooked straight away by the dulled yet anthemic lure of drums which opens up the track. Their flat and compelling resonance easily has ears and appetite attentive, both further gripped as the wiry grooves and sonic animosity of the guitars winds around the senses before allowing the pulsating bassline of Erich Thomas and Jason Shrout’s increasingly addictive beats to lay their magnetic bait. With the throat raw snarls escaping vocalist Brett Carter taking their share of attention too, in no time the song shares a raw magnetism, showing itself a belligerent and aggressive beast with sinews sculpted in virulent noise and biting hooks. Like Unsane meets Pigs with the caustic catchiness of a Coilguns or Shevils, the tracks seduces as it corrodes the senses, every twist and turn within its unpredictable body enjoyably toxic.

34band_LOGO _RingMasterReviewThe following Stick Em Up is just as imposing and thrilling. It opens with chunky scarred riffs which need little time to persuade, their hint of repetitive temptation soon revealed to be one riveting texture in the grooved and rhythmic provocation of the track. As with the first though, things are soon evolving and shifting as melodically fiery and sonically scathing passages entwine with adventurously bruising endeavour within the track’s rock ‘n’ roll. The guitars of Phil Wolf and RL Brooks persistently nag and entice, stirring up the imagination and psyche as Carter vocally and lyrically savages with the backing of the similarly aggressive and potent tones of Brooks.

The final trio of tracks within the EP do not quite live up to the first pair, such their might, but with T.S.Y.T first, all only add to a thickly enjoyable and striking introduction to 34. The third track is as irritable and uncompromising as those before; bullying and arousing the senses with spiky grooves and predacious rhythms as vocals blaze while its successor, Flatliners, springs a Quicksand spicing across its scorched canvas and in its sonic causticity. The song is probably the most adventurous of the five, exploring different creative scenery which swiftly comes and goes, then returns with greater dexterity and imagination as new ear exciting twists become involved.

The EP closes with Machines, a furious tempest and web of emotional and sonic tempestuousness riding on the whiplash effect of Shrout’s and Thomas’ predatory rhythms. It is a forceful and fiercely satisfying end to a great first look at 34. It is easy to see and hear why the band has made such a potent impact already, and to expect, as their sound and imagination grow bolder, they are going to be a potent force in the driving of hardcore/noise ahead.

The 34 EP is released digitally and on limited edition clear red vinyl May 20th via Fountain City Records @ https://34kcmo.bandcamp.com/releases

https://www.facebook.com/34kcmo    https://www.instagram.com/34kcmo/

Pete RingMaster 20/05/2016

Copyright RingMaster: MyFreeCopyright

Filth In My Garage – Songs From The Lowest Floor

FIMG_RingMasterReview

Dripping melancholic animosity as physical and emotional dissonance invades ears and the imagination at every turn, Songs From The Lowest Floor makes a potent excuse for keeping creators, Filth In My Garage under close attention. The band’s debut album is an invasive slice of post hardcore driven incitement which is going to be hard to ignore, no matter to what degree its bracing and abrasive enterprise persuades individual tastes. With the unpredictability of noise and punk rock adding to its increasingly fascinating character, Songs From The Lowest Floor is certainly a striking ravishment, with a further potent line in hooks and daring inventiveness sure to grab plenty of eager appetites.

Filth In My Garage was formed in 2007, founded by guitarist Matteo, vocalist Stefano, and drummer Luca. As their sound grew and was honed, the band found it developing a post hardcore heart which went to subsequently flavour a trio of EPs, all catching local support which itself expanded with each encounter. Now with drummer Mauro, guitarist Jack, and bassist Simone alongside Matteo and Stefano, the Bergamo quintet looks ready to lure bigger spotlights their way with Songs From The Lowest Floor.

Released via Argonauta Records, the album opens up with Stampede and immediately ears feel like they are facing a gunslinger within a sultry western set sky. The instrumental slowly rises to its full height as sonic tendrils offer a smouldering tempting against portentous shadows which court the emotionally thick character of the opening. A spark for ears and imagination, the track slips seamlessly into the bruising rock ‘n’ roll of Black and Blue. It is a quickly persuasive incitement cantering along with an infectious gait and energy as Stefano’s hardcore seeded squalls uncage lyrical and emotional ire. As the song expands its sonic volatility, a veining of expressive melodies emerges to blend with a harmonic caress of vocals. It is a recurring moment in the tempest of the track, never hanging round but seeming to spark new adventure to the maelstrom of intensity around it.

FIMG_COVER_RingMasterReviewDevil’s Shape is as antagonistic and predacious at its start as the last was by its close, though it quickly shows, even if at times with subtlety, imaginative twists and turns within the tide of riffs and sonic discord. Rhythmically the track is an anthemic protagonist, stirring up eager attention even as things slow a touch as hostility rises. A calmer passage provides an oasis in the storm, it’s emotionally charged melodic calm drifting over the senses to beguile thoughts midway before its surroundings begin to bristle again and crowd in on the lure of clean vocals and warm melodies.

Grouchy riffs and gripping bass hues line the emergence of the following instrumental Greenwitch, though its air and charm is seeded in the album’s opening track. That predacious coaxing soon steers the piece through a mercurial landscape of sonic antipathy persistently skirted by the anthemic enticement of drums and bestially toned bass. As mentioned previously, the band’s sound is post hardcore spawned yet this song alone shows the great variety and weave of flavours the band skilfully employs and takes tenaciously into the prickly attitude of the invasively enveloping The Awful Path. The track is compelling stuff, impressing most, as does the album, when it without hint but coherently slips into seemingly unconnected detours of imagination and gripping adventurous sound; something personal tastes hope the band boldly explores more in the future.

Red Door is another swaying and slipping into the psyche with a spaghetti western scented melodic climate. Its sweltering air is more inviting than oppressive, and a rich embracing of ears and thoughts which paves the way for, in this case, a bullying of vocals and raw intensity. The track keeps its reins on its animus though, even as Stefano spills the lyrical discontent from within the magnetic endeavours of Matteo and Jack. Of course in time, the track frees itself into a fierce blaze but still retains rock ‘n roll contagiousness to its irritated animosity. Understandably references to bands like Poison The Well and Norma Jean come up around Filth In My Garage but here alone, you can find great reasons to mention the likes of Coilguns or Sofy Major as further clues to that moment in time.

The forceful and enthralling adventure is completed by firstly the truculent and increasingly addictive escapade of The Lowest Floor and finally the riveting drama of Owl Feather Band. The first bounds through ears leaving bruises and concussive residues in its wake; though it too has plenty of great contrasts through unexpected moments whilst its successor is a journey through a tapestry of textures and flavours within an equally evolving wind of intensity and aggression. Arguably the most imaginative and exploratory song on the album, it provides a fine end to an impressive first look, for us, at Filth In My Garage.

No album should be assessed fully on one or two listens and that certainly applies to Songs From The Lowest Floor. It is over time that it reveals an imagination and adventure which allows the band to intrigue and grab keen interest right now but will ensure, as it develops, they stand right out in a crowded post hardcore landscape ahead. Filth In My Garage is a band, as suggested earlier, it is going to be hard to ignore.

Songs from the Lowest Floor is out now via Argonauta Records and @ http://filthinmygarage.bandcamp.com

https://www.facebook.com/filthinmygarage

Pete RingMaster 08/03/2016

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Shaving The Werewolf – The Pissing Link

STW-PISSFACE2_RingMaster Review

Always partial to a dose of bracing noise rock, it did not take Shaving The Werewolf long to spark our attention with new EP The Pissing Link; subsequent listens only inciting a greedy appetite for the four track animus of sound and hostility. It provides a psychotic and experimental fusion of noise rock and hardcore belligerence with a healthy metallic ferocity to it all. Simply the Norwegian band’s sound is a savage roar with the potential and antagonism to leave ears and thoughts the worse for wear but with the more involved glory of deranged imagination to further ignite the senses.

Formed in 2010, the quintet of Snorre, Kenneth, Ottar, Vegard, and Alexander have released two previous EPs in the shapes of Your Head is a Toilet and You Say Tomato, I Say Fuck Off, the first released in 2012 and its successor earlier this year. Now they go for the mental and physical jugular with The Pissing Link, a release with its Kunz meets Shevils like rancor surely destined to awaken a great many more hungry appetites for the band and their fearsome violations.

The-Pissing-Link-EP_RingMaster Review   It opens with Death of the Dying Corpses of Death, a track certainly for newcomers offering a deception of sound with its fizzy electronic opening. Soon scythes of fierce guitar splinter the by now equally tempestuous coaxing, raw vocals a step behind before rhythms prowl and grooves entwine ears and the increasing vocal hostility with venomous intent. It is compelling stuff from the off but growing darker and more inviting as flirtatious bass bait entices within a song simultaneously becoming harsher and more blisteringly bracing. That rhythmic flirtation is part of the core catchiness which only adds to the full captivation of the song, the swagger of the vocals and hooks raw infection playing their keen part in the sonic trespass.

The excellent start is matched but with unexpected success by Do Mind if I Don’t. The track is a collage of pulsating, discord honed noise and bent rhythms around a warped vocal not too far removed from that Crazy Frog thing which went viral a few years back. It should not work yet after multiple plays the track still fascinates and makes a highly enjoyable persuasion, so it must be doing something right.

Doing something right is certainly what Earth Song achieves, the track an instant explosion of barbarous rhythms, vocal raging, and toxic sonic rapacity which twists into a keener and more dynamic protagonist of body and pleasure with every hellacious minute of its tempest. Again electronic and raw sounds clash and collude in a primal yet virulently captivating stalking of the senses before the EP’s title track brings the wonderful torment to a close.

The Pissing Link flexes its metal muscle and fury from its first breath, the hostility merging with punk raging and again off kilter ingenuity which wraps and warps every flavour and addictive twisting emerging from within the cancerous and irresistible beauty of the sonic war swallowing the senses.

There is also a touch of Coilguns and Pigs to The Pissing Link EP, all great spices dissected and part of the Shaving the Werewolf uniqueness. This is a great release from a great band, not much more to say…

The Pissing Link EP is out now via Negative Vibe Records.

https://www.facebook.com/shavingthewerewolf

Pete RingMaster 09/12/2015

Copyright RingMaster: MyFreeCopyright

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Haut&Court – Troffea

H&C_RingMaster Review

As 2012 turned into its successor, a thrilling senses stripping violation was unleashed by French noise spewers Haut&Court. It was their debut EP La Vie, a fury of sonic magma which had us declaring it “one of the most promising and rewarding releases in a long time” whilst cowering in the corner. Now the Strasbourg band has released its highly anticipated successor in the brawling violation that is Troffea. All the potential and qualities that marked the first Haut&Court onslaught have been realised and pushed masterfully on in their new twelve track animus. It is nasty, vicious, and physically and emotionally painful but equally with whiplash causing grooves and at times a truly ravenous swing to its body, the release is an essential beating all raw thrash, violent crust and hardcore punk, as well as rabid noise and grindcore fans should be looking at devouring.

Formed mid-2012, the threesome of vocalist Arnaud Diemer, guitarist Bernard, and drummer Ravindranth Saint Jean quickly whipped up potent attention with La Vie, its unique tempest of sound a corrosive and merciless confrontation bred on striking invention. Now a quartet with bassist/vocalist Benjamin ‘Merko’ Simon and guitarist Bernard ‘Skud’ Zurletti alongside Diemer and Saint Jean, Haut&Court has dug with new zeal deeper and explored further into their imaginative hostility to conjure a creative rage rippling with contagious enterprise and virulent invention with the invigorating sonic abrasion they are already renowned for. Troffea startles and abuses, savages and seduces as the band weaves a host of styles into their unbridled aural rancor. It is a dance for the apocalypse, a perpetual festival caked in destruction and crippling ferocity swinging alluring creative hips that invite all to partake in its revelry.

cover_RingMaster Review     Troffea opens up its malicious charm with Sea of Shit, band and song initially immersing the listener in thin but intrusive sonic smog from within which hefty beats and swirling grooves spring their raw tempting. Quickly, as the bass of Simon spreads its hearty malevolence, the raw vocal squall of Diemer brings distinctive ire to the already infectiously imposing bellow of sound and spite. It is a minute and a half which ravages and incites the body, a thrilling infection of sound and emotion putting the imagination and appetite in the mood for contagious war.

The following Putin continues in similar vicious vein, its individual tsunami of intensity loaded with catchy bait. A hardcore wind roars through sound and vocals to buffet the listener but its impact is perfectly tempered by the fiery grooves and rhythmic enticing which equally takes no prisoners. Of course this is not going to be for everyone, the whimpering behind as these words are cast evidence, but if the flavours mentioned above hit the spot, lustful greed is the swift and sure reaction, and only gaining pace and ardour as Caligari emerges from an earthy bass lit shadow to spin a demonic and intoxicating web of sonic bedlam pierced by technical prowess, searing grooves, and brain damaging beats. The song is an infestation, every aspect despoiling the senses, seeping under the skin, and laying a scourge on the psyche for pure pleasure.

Meursault provides no let up straight after, even as guitars cast a venomous melodic trail within the excruciating storm, the track is bestial as its charges through and crawls over the listener with open antipathy for all. It also confirms the great unpredictability and often understated but constant imagination and creative ingenuity frequenting each track. With a Coilguns like cacophony ripe with twisted slithers of grooving and acidic sonic tang, 1518 straight it is determined revelry in the face of punishing adversity; its bedlamic drive almost dervish like in energy and intent whilst Ostinator is molten extreme metal bent and brutally coaxed into another unique and grievous Haut&Court punk assault; both tracks offering their own impossible to predict and easy to enjoy trespasses.

To be honest every track within Troffea carries those rewarding qualities, no moment ever less than open exploration or offering respite in breath-taking adventure, the outstanding Chosta alone, debilitating grindcore whipped proof scintillatingly backed by the seriously bruising and tenaciously busy Hienes. One of the longest tracks on the album at three and a half scorching minutes, it is a jungle of barbarous rhythms and predatory bass animosity with vocals to match, a torrential sandstorm of toxic guitar enterprise equally helping it ignite the passions with ease.

The salacious prowl of the doom soaked Swing comes next unleashing another raw avenue and depth to the Haut&Court songwriting to bring more unique diversity to the album, its ruinous presence as much cerebral as physical. Though the track admittedly does not quite spark the same richness of ardour as elsewhere, it gives potent food for thought as to where the band may go next, though time to think comes later as swiftly the exceptional Feed the Fat with its funky savagery ignites the lust before Goetz spills its harshest grudge led by undulating hostility on the listener, more than likely leaving them in the fetal position.

Completed by the gang brawl of JMLP, a warring anthem to shade most others, Troffea is simply superb. All the great things of La Vie have been intensified and twisted into new tempting, then aligned to a broader and richer but no less blisteringly vehement proposition. Haut&Court is a band to be feared or loved. We choose the latter; time for you to decide…if you dare.

Troffe is out from October 1st on download and vinyl @ http://hautcourt.bandcamp.com/

https://www.facebook.com/HautCourt/

Pete RingMaster 01/10/2015

Copyright RingMaster: MyFreeCopyright

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Them Teeth – The Knuckledragger

TT_RingMaster Review

There is nothing like a good sonic brawl to grab attention and get the blood rushing feverishly through the body, and that is exactly what you get with The Knuckledragger EP from US noise punks Them Teeth. The three track assault is an uncompromising and galvanic incitement for ears and emotions, one so potent that within a single listen it had permanently placed itself in The RR’s favourite violation list for 2015.

Its creators, Western Michigan trio Them Teeth arose in 2013, formed from the ashes of Supercontinent, Rough Rope, and Mean Mother by vocalist/guitarist Ben Roeske and drummer Adam Tatro. The following year saw the line-up completed by bassist Jason Harris and the self-release of a well-received self-titled demo containing six songs bred on inspirations of 90s noise rock and early 2000s Hydra Head Records encounters amongst many things. As that offering and now The Knuckledragger reveal, there is plenty more to the Them Teeth sound though, plenty of diverse strains of toxicity to savage and seduce body and soul.

TT1600x1600_RingMaster Review   The EP seizes ears and appetite straight away with the raw, grouchy entrance of opener Hammslamm. Guitar and bass grumble with attitude and resonance first, their grudge backed by the firm handed swing of drum sticks. It is a controlled and predatory start but one becoming more volatile with every passing second, especially once the caustic vocal squall of Roeske spills animosity. Acidic infectious grooves soon vein the unrelenting stalking and pressure on the senses, the song’s raw rock ‘n’ roll constantly igniting greater hunger in ears and emotions, especially when it break outs Sex Pistols seeded riffs and hooks midway. Like Whores meets KEN mode with the sludgy venom of Nightslug but managing to be simultaneously unique, the track is a mighty start quickly matched by its successor.

Whitewash is lighter on its feet but just as aggressively imposing and energetically rebellious. Like a middleweight flitting round its opponent looking for weaknesses, the track swings hooks and rhythmic jabs before going for the jugular in raucously honed choruses. The raw rapacity of a Coilguns or Shevils comes to mind as the song continues to challenge the senses, spilling rousing contagion and rugged animosity with open relish.

The EP is closed by a thrilling cover of the Fiends track Packin’ A Rod and Them Teeth give it new life and character to dare we say actually outshine the original. It is noise soaked punk ‘n’ roll at its best with great backing roars from Debra Warren and Lara Tatro alongside additional guitar exploits from Mitch Anderson, a classic song given a face and body lift to rousing effect.

We can expect to hear plenty more of and from Them Teeth ahead, indeed they have a 7″ split with France’s brilliant Sofy Major via Detroit’s Corpse Flower Records on the horizon, and if anything matches or can actually surpass the outstanding The Knuckledragger we are all in for a thrilling bruising.

The Knuckledragger EP is available digitally and on Ltd Ed 7” vinyl from August 25 via Triple Eye Industries.

RingMaster 25/08/2015

Copyright RingMaster: MyFreeCopyright

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Closet Disco Queen – Self Titled

photograph by Monni

photograph by Monni

There must be very few musicians who have bewitched and ignited our ears and senses more than Jona Nido and Luc Hess, and across as many projects. Seeing their names with a band or release stirs up an instant appetite to learn more, all thanks to previous triumphs and dramatic incitements from the likes of Coilguns, KUNZ, The Ocean, The Fawn, Schwarz and…well the list gets longer by the month it seems. Now the Swiss pair has unveiled another fascinating and virulent tempting under the guise of Closet Disco Queen and with a self-titled debut album. Consisting of seven instrumental progressive/psych explorations bred from a fusion of seventies blues rock, stoner and psychedelic rock, kraut and groove rock, to suggest some of the rich hues woven together, the album is an adventure which at times plays like a bedlamic dance party and in others a journey into the darkest, most haunted corners of the soul. Predominantly though it is rock ‘n’ roll to lose yourself within and another inspiring proposal from the sonic and rhythmic imagination of Nido and Hess.

The La Chaux-de-Fonds based pair open up their album with Hey Sunshine! and immediately have ears entangled in a web of melodic and sonic enterprise pierced by sinew swung rhythms. Grooves just spring from the fingers of Nido, instantly pushing away any inhibitions in the listener’s body left from trying to resist the anthemic and intensive shuffle cast by Hess. The music’s unbridled contagion is matched in impact by its smouldering seduction, both ignited further by the spatial warmth and mystery soaking the enthralling start.

The piece flows straight into the dark, haunted embrace of What’s Your 20? next, where compelling yet intimidating shadows ride a raw sonic mist. It immerses ears in a stark yet strangely alluring ambience for a flight into the hidden; a spellbinding slip into the darkest corners of the imagination preying on emotions and the psyche with every provocative breath. It is also the gateway into the instantly dramatic and rousing Caposhi, another heavy duty incitement to send the body squirming and writhing to its virulent drone and hypnotic tapestry of sultrily persuasive noise. The track is pure addiction, a consummate violation and puppeteer of flesh and greed through searing temptations around a robust spine.

    A brief sigh of frustration in its leaving escapes as the track twists into the warped rock ‘n’ roll feast Catch You On The Flip Sid, but that is soon forgotten as the new proposition reveals its own rhythmic jungle and sonic trespass sculpted by the psychotic invention of either geniuses or mad men; you will surely choose as the song creates its own asylum of sound and creative mayhem. It is jazzy and funky, avant-garde and psychedelic, all on another seriously enslaving rhythmic tango from Hess, and at nine minutes there is no complaint it has not given the fullest thrilling work-out for ears and soul.

Closet Queen Disco_RingMaster Review     The Shag Wag is soon brewing up its rich and ravenous blues rock blaze, from gentle flames bursting into a furnace of old school and modern rock ‘n’ roll. It is just as potent when slipping into gentler sighs of sound and energy too but at its best when sizzling on the senses and sparking the listener to get fully involved physically and emotionally. Rock music does not get much more incendiary and gripping than this, or frenzies as mouth-watering.

The duo stay with a blues bloomed tone and texture with next up IYD (In Your Dreams), the melancholic caress of the track spun on a sonic breeze of blistering sound and emotive theatre. Though the piece does not ignite the same intensive reactions and endeavour as other encounters within the release, it is an absorbing sea of invention to wallow in and set up the similarly but more imposing soundscape of Black Saber. The closing song expands and blossoms to greater intensity and emotion the essence of its predecessor, and fair to say that blues kiss is another highly emotive shimmer on the surf and psychedelic coloured investigation employed by the track. Across over eleven minutes, the constantly hinting and generally restrained volatile heart of the track does eventually erupt and steer the track into fresh and exhilarating tempests. Every moment sparks a new hunger in ears and appetite, and making its long length a swift passing of dramatic time.

It is probably fair to say that the first half of the Closet Disco Queen album had the biggest and fiercely lasting impact but even its latter trio of creative alchemy and dark fiery emotion alone only ensures the parting thought with every listen is give me more please. Together all tracks just confirm Nido and Hess an adventure which never stops evolving or getting bolder and more impressive.

Closet Disco Queen is available now on ltd 12” clear orange vinyl through This Charming Man Records, Division Records, and Hummus Records and as a name your price download @ https://hummusrecords.bandcamp.com/album/s-t-5

https://www.facebook.com/closetdiscoqueen

RingMaster 18/07/2015

Copyright RingMaster: MyFreeCopyright

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