Blast Bomb – Burn History & Live Today

The tail end of last year saw the attention seizing arrival of German outfit Blast Bomb on the punk ‘n’ roll scene with debut single Born To Lose. Offering up three ravenous slices of heavy rabid rock ‘n’ roll, the release announced the Hamburg hailing quintet as one explosive proposition. Since then the band has made a just as striking and powerful impact on the live scene, sharing stages with the likes of Honeymoon Disease, Conan, Monolord, El Colosso, and Grumpynators along the way. With their reputation seemingly growing by the week, Blast Bomb is poised to release the Burn History & Live Today; an encounter confirming them a feral trespass of sound rather easy to devour and be excited by.

Blast Bomb emerged early 2017 as a project when guitarists Torben and Klaus, bassist Kai, and drummer Tobi came together though the foursome had played together in various permutations and outfits including notably High Gain District and Skull Harvest across previous years. Swiftly they enlisted former Thirteen Shots vocalist and founder Johnny Rose and together honed a sound which is an aggressively imposing and irritable yet instinctively contagious collusion of punk and hard rock with varied metal bred essences. Born To Lose soon proved it was an ear grabbing proposal which demands attention but fair to say as potent as that release was, it has been fiercely eclipsed by Burn History & Live Today in adventure and imagination let alone raw confrontation.

Recorded by Franz Schedlbauer at No Moss Studio and across its quartet of songs lyrically inspired and linked by the emotions and desire leading to Rose’s resettlement in German from England a couple of years ago, the EP swiftly reveals bolder imagination in sound and enterprise through opener Gambler. From an initial bike throated rumble, the band’s new single swaggers in with a hungry groove and rapaciously swinging beats. That grooving continues to bait as things evolve, getting under the skin as Rose’s distinctive tones bring their equally compelling invitation to the hook loaded rock ‘n’ roll incitement. Also spilling a horror punk scent over its punk ‘n’ roll instincts, the track provides a web of old school nurtured but intrusively fresh confrontation while increasingly building on its creative hand.

The following Stray prowls ears with an almost portentous air as it makes its entrance; its threat escalating by the riff and chord as the growling bass of Kai and scything swings of Tobi bring greater imposing texture and attitude to the senses challenging encounter. Stoner spicing adds to its character, further flavouring an inescapable intensity in sound and emotion as well as another inventive aspect to the Blast Bomb sound before Burn History bounds in with devious hooks and snarling riffs amidst an eager ferociousness quickly sparking blues flamed spirals of guitar. This all springs into a spicily searing glaze of sonic liquor which subsequently triggers a repetition of the song’s opening whirl of irresistible hookery and in turn a horror punk lined stalking. With imagination and drama growing in every persuasive note and vocal twist, the track rivals the first in best song honours.

Live Today concludes the release, its gentle opening saunter easily luring the imagination, seducing as guitars and bass unite in an even tempered invitation unsurprisingly carrying an edge and suggestive volatility. That aural simmering eventually erupts in a caustic wind of sound though it is still held with a restraint which escalates the intrigue and creative nature of the song.

It is a fine end to a release which confirms Blast Bomb as one exciting prospect and though you can sense that their sound is still evolving, finding its true voice it just adds to their striking and very welcome intrusion on the punk/rock scene.

Burn History & Live Today is released via Undead Artists on November 2nd with pre-ordering available now @ https://blastbomb.bandcamp.com/releases

Upcoming live shows:

19/10 Kapovaz, Bremerhaven*

20/10 MAD Music Club, Backyard23 Social Club e.V., Hameln*

04/11 Bambi galore, Hamburg+

* with The Dukes Of Bordello + with Castle – Metal Band

https://www.facebook.com/pg/blastbombhamburg

Pete RingMaster 16/10/2018

Copyright RingMaster: MyFreeCopyright

Incendiary beginnings: introducing Blast Bomb

This past December saw the release of the debut single from German rockers Blast Bomb, a band with friend of The RingMaster Review and owner of the great independent label Undead Artists, Johnny Rose as its vocalist. The whole of the band though has a pedigree which matches their passion and craft, all in potent evidence within Born To Lose. With thanks to the whole band we grabbed the chance to find out more about Blast Bomb and their first single…

 

Hello guys and big thanks for taking time to chat with us.

Kein Problem, Danke fur dein helfen!

Can you first introduce the band?

Johnny: Singer

Torben: Guitar

Klaus: Guitar

Kai: Bass

Tobi: Drums

When did the band come together and what are your individual musical histories before Blast Bomb?

Torben – The Band comes together in the beginning of 2017 (January). I make music together with Tobi since school. Must be since 1995 or something like that, a long time. Klaus always says we know each other so well if someone does a fart the other reacts from the music view. Our first real band was High Gain District. A few years ago I played together with Klaus at Skull Harvest, so there comes the connection.

Kai: Skull Harvest 1999 – 2005 / Spezialangriff 2010 – 2012 / This One Goes To Eleven 2006 – 2016

Johnny – Torben and Tobi played together in bands for many years! Torben and Klaus played together in bands for many years….. Kai, Torben and Klaus played in bands together for many years…. are you sensing a pattern????

We already know Johnny from his exploits with Thirteen Shots and his label Undead Artists, how did you Johnny meet the rest of the band and what sparked your addition to its line-up?

Torben – the band posted an advertisement on a local band platform that they are searching a singer. At the same time Johnny makes a post that he searches for a band. So he receives the handy recordings from the last practice and in the next weeks some rehearsals was arranged. The rest is history…

Johnny – The guys have all been friends and playing music together for many years, ok in different bands but that chemistry was very obvious for me from hearing the live demo’s, so I was delighted when I got the chance to audition…..

Was there a deliberate direction you wanted to take Blast Bomb or has that and your sound just organically come together?

Torben – The sound comes automatically together from the single members. So we formed our own sound, every member of the band has his influences. Tobi has a Jazz and Alternative background, Kai has a stoner source, Klaus comes from Metal, Torben is more Rock orientated and Johnny …

Johnny – My music taste is superb! Who doesn’t love Chris De Burgh???

Torben – But all members are very open to ALL kinds of music, they have the same opinion about music … If it is good, it is good!!!

How would you describe the band’s sound to newcomers?

Torben – The band sound is something between Punk Rock, Rock, Metal, Stoner and Alternative… The term Crossover is a bit dusted but could maybe fit in another context than in the 90’s.

Johnny – I think the sound is more Punk ‘N’ Roll, we are certainly a crossover but we have this raw energy that runs through every song…..that to me is Punk ‘N’ Roll. But we need you guys to help us?? Who are we? What are we? haha

Can you give a flavour of some of the inspirations which may have made an impact on the band but certainly on your personal tastes and approach to making music?

Johnny -Well for me The Beatles, Black Sabbath and Pink Floyd are my biggest influences! But the older Crossover punk bands are the reason I make the music I do…Misfits, Amen, Snot, Turbonegro. I am fascinated by concept bands too, something I would love day love to try, I like the attention to detail in the concepts.

Torben- Guns N Roses (Appetite For Destruction and Lies, when the Illusions came out I throw everything in the garbage), Pantera , Rage against the Machine, Suicidal Tendencies, Faith No More, Mr Bungle, Red Hot Chilli Peppers.

Klaus- My First contact with Rock was Led Zeppelin and Black Sabbath; I found the records from my stepfather. But later I found love for grunge Alice In Chains, Pearl Jam, Soundgarden… I am also a big fan of Elvis, Little Richard and Jerry Lee Lewis

Torben – Klaus ALSO LOVES Judas Priest and Iron Maiden…

Kai – Don’t forget Adriano Celentano Klaus

Klaus-oh and Jimi Hendrix….

Kai- For me its 80s Metal and Bay-Area Thrash to Stoner bands and the explosive Scandinavian Rock scene in the 90s; there’s too many to mention…

Tobi -NO MEANS NO, Primus, NO MEANS NO and of course NO MEANS NO

You have just released your debut single, Born To Lose; a three track feral punk ‘n’ roll attack showing creative irritability, ferocity, and attitude. It also reveals the variety of flavours in your sound. Is the single a full echo of your music or a teaser to an even broader tapestry?

Torben – It’s more a teaser, the band just in the forming process of their own style. The band creates a dozen songs since January; all have the same direction but are very different. The direction is forward …

Johnny – Absolutely, we are still finding our direction, The songs we are writing have so much power and purpose.  Born To Lose felt like the correct single to record as it was the first song I heard and realised I wanted to join this band; I actually wrote the lyrics on the train to my audition, not much has changed from my original lyric idea!

We all work together to encourage us to achieve our best.  Wait till you hear the full length

Can you give us a look into its themes?

Torben – Just wait for the Long Player… Till then we fix our sound…

Johnny – We keep working, Writing, Fine tuning, maybe we won’t rush the full length, better to focus on quality. We only want to put out the best, we are not kids anymore!

I assume you have a host of other songs in your arsenal. What was it about that trio which you felt made the best introduction to the band to the world?

Torben – We thought that it was a good idea to give a wide selection of our sound and don’t pick the most equal sounds.

Johnny – Yes we always knew that Maiden Hero and Born To Lose [would be on it] but we was unsure on the third option, we had another song in mind, But we played a show two days before we recorded and the feedback from friends and people at the gig made us re-think the third option…. that’s why we chose You’re Going Down… it was chosen kinda by fans.

The single is released through Italian label Archetype Records; how did that link up come about?

Torben – It just a friendship, so we help them and they help us. So it was a good opportunity for all of us.

Johnny – Yes these guys are trying to build something unique, we are trying the same, felt like a good agreement

On the live side of the band, you have already been successful supports to the likes of Honeymoon Disease, Conan, and Monolord, earning plaudits at the same time. When starting out did you suspect your sound would make a potent fit with bands and audiences of different genres?

Torben – No not really but we hope regarding our different sources and it seems that the idea works out well.

Johnny – To be honest I was incredibly nervous playing the show with Conan and Monolord. We are in NO WAY doomy but the crowd was more open than I expected, we got a really positive reception. We didn’t change our approach for the show so to see these doom fans getting down to some punk rock was quite amusing for me….

From the outside, The Hamburg music scene seems to be boiling up, how is it on the inside?

Torben – Curse and blessing at the same time. In Hamburg the scene is really big, so you can catch up a lot of influences. Furthermore you have the option to see a lot of bands, local and international, in the small and big clubs.

But regarding that it is hard to get a good gig and bring the people to the concerts. In Hamburg you can go to minimum 5 concerts every day. So it’s hard to get notified by the people but that makes us proud that we get that attention only after the first shows.

Johnny – Yes we just played our first headline show and the venue was pretty much sold out, it was certainly cosy. The Conan and Monolord show was just outside Hamburg, a Tuesday night and SOLD OUT… that to me was crazy.

I lose a lot of money a month in going to gigs, Some fantastic local bands too, in so many different styles.

What is next for Blast Bomb?

Torben – To rule the world 😉 …We are planning our first Italian tour, during the summer we want to play a few festivals and still searching for a good support slot. Furthermore we are looking to Johnny’s homeland to get a few shows there.

During the next year we want to do some more recordings, we think about a few small releases, nowadays we have no need to bring out a whole record… We bomb the world with a lot of, lot of small releases.

Johnny – haha Blast Bomb the world…..it will be explosive

Again many thanks for sharing your time; any last words you would like to add?

Torben – Better be aware the next bomb could be next to you …

Check out our review of Born To Lose @ https://ringmasterreviewintroduces.wordpress.com/2017/12/02/blast-bomb-born-to-lose/

https://www.facebook.com/pg/blastbombhamburg    https://blastbomb.bandcamp.com/releases

Pete RingMaster

The RingMaster Review 10/01/2017

Copyright RingMaster: MyFreeCopyright

Blast Bomb – Born To Lose

There is a new uncompromising bruiser in town and it goes by the name of Blast Bomb. The first week of December sees the Hamburg outfit release their debut single Born To Lose; three tracks of rousing feral  punk ‘n’ roll that take no prisoners whilst stirring up defiance fuelled, attitude loaded involvement.

Blast Bomb rose up earlier this year from the presumable demise of underground bands High Gain District and Skull Harvest. Its line-up was subsequently completed by ex-Thirteen Shots vocalist and founder of independent label Undead Artists, Johnny Rose. Having moved to Hamburg from his native Birmingham in the UK, Johnny has introduced a host of great garage and horror punk bands to new ears though his label but it would not be too wrong to say that his old band has been missed by a great many so anticipation for this first Blast Bomb encounter is broad and eager. Listening to it, it almost feels like a match destined to be, Johnny’s untamed but fiercely magnetic tones an instinctive union with the sounds unleashed by guitarists Torben and Klaus, bassist Kai, and drummer Tobi.

Since emerging, Blast Bomb has earned strong support and plaudits through supporting Honeymoon Disease, Conan, and Monolord. We called their sound feral punk ‘n’ roll but it is easy to understand how they went down well with the audiences at those band’s shows as it has a definite dark stoner/sludge punk essence to its uncompromising but infectious trespass. Released through Italian label Archetype Records, Born To Lose is ripe with this voracious sound and is sure to nudge the European rock scene to their presence.

The single opens with its title track, a sonic wire drawing in the combined thrust of vocals and sound with rhythms directing the charge with their own creative agitation. It is a riot in the ears though imposing but one composed and direct in its targets as hooks and riffs crowd the great earthy moan of the bass. Group participation further ignites the anthemic rock ‘n’ roll of the chorus while tendrils of fiery guitar intensify the heat even if not hanging around long enough for personal pleasure. Like a dirtier punk Johnny Thunders and The Heartbreakers, band and track has the body bouncing and middle finger quivering as it gets things off to a great start.

As potent as it is, these ears took to its companions even more eagerly, You’re Going Down being first up. Its initial melodic hook is instantly a greed poking lure, even more so when an additional groove of guitar and the moody grumble of the bass join in. Once hitting its antagonistic stride, the track uncages a grungier hue to its bracing and abrasive roar proceeding to holler and blaze with creative irritability around a virulent web of hooks.

Things only get even more compelling as Maiden Hero closes things up. That stoner spicing is far more to the fore as grooves entangle ears and appetite, their flirtatious fingering lingering bait as the song’s punk heart erupts then flaring up themselves again and again across the incendiary landscape. The single’s finale is a scorching slab of rock ‘n’ roll, reason alone to check out Blast Bomb and sure to be a major spark to a great many to get involved in the band’s ear grabbing emergence.

Born To Lose is released December 6th via Archetype Records.

https://www.facebook.com/pg/blastbombhamburg    https://blastbomb.bandcamp.com/releases

Pete RingMaster 01/12/2017

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/

Victorian Whore Dogs – Afternoonified

VWD_RingMasterReview

From the voracious trespass of Afternoonified there is no hiding place for the body and emotions, no safe haven within a sludge/doom metal bred consumption of the senses from a band ready to devour far broader attention than already incited by previous releases. Afternoonified is the eagerly awaited debut album from UK quartet Victorian Whore Dogs and the next punishingly irritable and rousing exposure to the band’s self-named “Sexy Hobo Trampcore.”

The Guildford hailing and 2010 formed Victorian Whore Dogs have already whipped up potent attention and keenly offered praise through their first pair of EPs, starting with the three track rabid assault of Fetch in 2013. Fair to say, Hobo Chic two years later stirred up even greater awareness and support for the band whilst pushing their stripped back and hungrily abrasive sludge metal cored sound on again which Afternoonified now continues. The album’s eleven corrosive roars are as unashamedly raw and boldly cantankerous as ever but equally show a new creative imagination and greater resourceful design to their ravenous and invasive ferocity. It is a wake-up call to those still blind to their sonic antagonism and gripping humour lined devilry, and sure to enhance a formidable reputation already earned by the band’s live presence which has already seen them crush venues alongside the likes of Conan, Ortega, We are Knuckle Dragger, Lord Misery, and Burden of the Noose as well as the New Blood Stage at Bloodstock in 2015.

Afternoonified opens with Mutton Shunter where an initial sonic lancing quickly invites inescapably anthemic beats and caustic stabs of guitar. Their union becomes more abrasive and compelling as psyche infesting grooves from Adam Crawley seduce as they wander through ears. The-hardcore/noise seeded side of the band’s animosity soon emerges too as vocalist Danny Page uncages his throated shredding roars matched in forceful kind by the vocal squalls of bassist Andy Nuttall. The track is superb, quickly in control of attention and an eager appetite whilst being purposefully guided by the rhythms of drummer Stephen More.

Front_Cover_RingMasterReviewIts creative animus is followed and matched by that cast by Captain Kirk Was My Favourite Stormtrooper. Straight away a web of spicy grooves and rapacious riffs unite beneath a mercurial atmosphere ablaze with the jaundiced vocal ire of Page. Like a psychotic mix of Neurosis and William English, band and track create a thick and swinging incursion of the senses finally making way for the even more antipathy toned challenge of I Have Become. The next track immediately shows an even darker and heavier gait which only becomes more intense and atmospherically tar thick as it insistently lumbers through ears on the way to spreading its cancerous hues to Murder Boner which breeds a whole new inhospitable sonic malignancy from them. Again the merciless aspects are offset by infectiously demanding rhythms and fearsome yet engagingly waspish grooves and piercing hooks; a combination resulting in a highly alluring landscape around more vocal enmity.

Both tracks commandingly stir up again the hungry focus and emotional involvement already in motion though the pair soon finds themselves eclipsed by the calmer invasive flirtation of Barrington Monroe. It’s droning elegance and fiery ambience smothers the senses whilst simultaneously invigorating them with a dark almost nagging touch and charm crawled over by the fiercely rasping vocal delivery of Page. The track beguiles as it scars, a quality found again in the far more predacious and equally enthralling (I Can’t Believe It’s) Nutbutter which stalks ears from its start before breaking into a repetitive and addictive groove veined grind/sludge metal woven grudge.

An infectious persistence of grooves and predatory rhythms shape the similarly captivating Agœcia next, the track another which seems to instinctively incite the primal wants of any slab of galvanic aural barbarism. It is admittedly, a quality gracing the whole of Afternoonified which will keenly entice those with an emotionally and sonically dissonant tooth, and repeats its success in the likes of the melodically and emotively rancorous Snatch Files and in turn the rhythmically enslaving Nååñshååg. The first of the two expels a coarsely bracing blaze whilst its successor creates a tapestry of rhythmic incitement before soaking its frame in doom fuelled sonic and vocal venom. It is another which infests the psyche and passions with little resistance whilst showing a strain of diversity which maybe not all songs as openly show but for the main hold.

The album comes to a close through the virulent feud of Southern Fried Homicide and the crawling aural malice of Sebastian Tenderhoof, another duo pushing the blend of textures and flavours to greater variety within their individual conflicts of sound and intent. Together they make for a heavily pleasing end to a thoroughly gripping and enjoyable invasion of body and spirit.

Though Afternoonified will impress those with an appetite for sludge, doom, and debilitating metal swiftly it is over numerous plays that it truly comes into its own and reveals its depth of invention and character. Victorian Whore Dogs is a band on the prowl with its finest vindictive growl about to be let off the leash.

Afternoonified is released April 1st via Hibernacula Records @ http://victorianwhoredogs.bandcamp.com/ and http://www.hibernacularecords.com/product/afternoonified-by-victorian-whore-dogs

https://www.facebook.com/VWDBAND

Dates for the Victorian Whore Dogs UK Tour:

01/04 – Reading, Facebar*

02/04 – Southampton, Firehouse *

03/04 – Portsmouth, Edge of the Wedge

07/04 – Worcester, The Pig & Drum *

08/04 – Leicester, The Firebug *

09/04 – Leeds, Bad Apples*

10/04 – Nottingham, The Running Horse *

14/04 – Bristol, Stag & Hounds +

15/04 – Cardiff, Fuel +

16/04 – London, The Black Heart +

17/04 – Brighton, The Prince Albert *

22/04 – Worthing, Bar 42

*With Morass of Molasses

+With Greenhorn and Tides of Sulfer

tour_RingMasterReview

Pete Ringmaster 31/03/201

Copyright RingMaster: MyFreeCopyright

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

Blood and Crom: talking Conan with Jon Davis

conan2

January saw the unleashing of the new Conan album Revengeance, a leviathan in barbarous weight and corrosive intensity which outshone its equally punishing and exhilarating predecessor of 2014, Blood Eagle. Let off the leash via Napalm Records, Revengeance is a callous incitement making a big statement in the landscape of modern doom metal. Given the opportunity to get into the heart of the album, we probed guitarist Jon Davis to find out about its creation, the background of the band, the state of doom metal right now and more…

Hi Jon and many thanks for taking time out to talk with us.

Before we dive into new album Revengeance, can you give us some background to the beginnings of Conan back in 2006?

We started as a two piece, fucked around for a while and then decided to make ourselves into a 3 piece.

Is the band still driven by the same intent and inspirations as when it started out or have they shifted over the past decade?

Yes of course. We’re just a band who likes to play as many shows as possible and get out on the road. We may play bigger stages but we still think the same way we did back when we started touring.

You have just released third album Revengeance, a beast of an infestation and rousing of the senses. Where do you see the band sound wise in comparison to debut full-length Monnos of four years ago and where has your music evolved most potently for you over releases?

I think our sound is still pretty much the same, a three piece of drums guitar and bass, but the songs themselves have become slightly more intricate; more interesting and heavier. We use dynamics to greater effect, and are able to do a little more than the simple ‘slow and low’ that we used to do. Over each release a band should get better at what they do and I think we are achieving that.

Obviously your songs often have seeds in the tales of the band’s namesake but otherwise do the same themes inspire your music now as back then or has that expanded as experiences have?

Our themes are pretty much the same; we don’t want to change our vibe at all as we move forward. Our songs might become more musically diverse but our themes will always be pretty much the same

636_Conan_RGB_RingMaster ReviewDid you go into the writing of Revengeance with any specific direction or premeditated exploration in mind?

Not really no, we wanted to write a better album than Blood Eagle and Monnos but aside from that we didn’t try and steer ourselves in any particular direction. We just got in the practice room and wrote songs as they came along, really naturally; it was cool.

As shown by the new album alone, there is a depth of diversity to your brutal doom propositions working away as potently as the carnivorous surface confrontation. Is there a fine balance you have to find to create that compelling union of callous intensity and groove infested rabidity?

I think we have always had a certain groove to our music. We have always mixed that with pretty simple brutal riffs and drums that carry the riff along in a slightly more ‘groovy’ (not 60’s) way.

Did you approach the actual recording of Revengeance the same way as its acclaimed predecessor Blood Eagle of 2014?

Yeah, exactly the same…Chris Fielding (now on bass / vocals) produced it at our studio (Skyhammer Studio) and we had a great time. This was the same set up as Blood Eagle, but of course Chris and Rich had joined in place of Phil and Paul.

Was it a release which continued to grow and develop at the recording stage or are you a band which likes to go into the studio with songs finished and ready to go?

We always get to the recording phase with the songs ‘almost’ ready. This was no different. There will always be a degree of change during the recording process and we kind of like that as we can go with the flow and maybe improvise a little bit during the writing process

There is a raw energy and that uncharitable intensity which feels like being physically there in the face of the Conan storm and assault; was the album set down with live takes and how does the writing process work within Conan?

The writing process usually consists of me working out some riffs and showing the guys. We will then all get together in the practice room and work through the song ideas and riffs and create the songs. The album was recorded the same way as usual really. Drums were done live with me playing a guide guitar track. Then guitars were recorded over the drum takes and the same with bass and then vocals at the end.

Do you test new songs out on the road first before committing them to record?

On this album we played Thunderhoof live a few times and that felt good, but the other tracks didn’t get played live before the recording.

When you played it, how did you gauge reactions? Obviously fans are more than likely to react positively to anything offered live so where do you look for key signs if something new is working?conan1_RingMaster Review

With Thunderhoof people seemed to like it but we noticed they really liked the songs like Horns for Teeth and Foehammer off Blood Eagle; I guess our writing style went in that direction once or twice on Revengeance.

There seems to be a new rich wave of emerging bands within the doom landscape, how are you seeing it from the inside as one of those increasingly driving the scene for the past decade?

Most of them aren’t ‘doom’…… You will see heavy bands, but why can’t they just call themselves ‘heavy metal’? We adopted up our own ‘Caveman Battle Doom’ thing as a joke after our first ever show called us that, but we don’t take that seriously. There are lots of great HEAVY bands out there though, but they aren’t necessarily doom…

The UK and European doom landscape is at its strongest to date though would you say?

I guess so. Those bands that are actually playing music that resembles doom do it very well – Serpent Venom, Coltsblood etc. There are lots of cool bands currently; it’s a good time to be alive.

What is next for Conan as 2016 develops? You have some live dates I believe coming up?

Yeah, we are touring the US in March and then the rest of 2016 we have lots of live shows and festivals. We love to tour.

Once more, our big thanks Jon for sharing your time with us. Any last thoughts you would like to add?

Cheers, thanks for reading.

And finally, give us an insight into the records and artists which could be claimed to have most inspired your own creative life.

Slomatics’ Flooding The Weir and everything that followed it.

http://www.hailconan.com/    https://www.facebook.com/conandoom/

Read our review of Revengeance @ https://ringmasterreviewintroduces.wordpress.com/2016/01/28/conan-revengeance/

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Conan – Revengeance

Conan_RingMaster Review

Photo credit: Matt Thomas

Crushing and suffocating as it corrodes the senses, the new album from doomsters Conan is set to be one of if not THE most primal trespass on body and soul heard this year. It will certainly take something leviathan in heaviness and emotional destruction to surpass the barbarous weight and intensity of Revengeance, and that a discovery only possible if ears survive and recover from the British band’s latest impressive devouring.

Formed around the time 2006 became its successor, the then two-piece was soon a merciless scourge of sound and intent, proof coming with debut EP Battle in the Swamp in 2007. Since then a pair of albums in Monnos (2012) and Blood Eagle (2014), surrounded by a couple of split releases as well as a further EP and a live album, have all added intensive heft and stature to the band’s presence and a perpetual luring of acclaim. Now with the declaration of many as being the band’s heaviest proposal yet and loaded with songs seeded in video games, retro sword and sorcery movies, and ancient battle scenes, Revengeance sees Conan take their uncharitable and infectiously toxic sound to the listener with rawer strength and callous intensity aligned to groove fuelled rabidity.

The album opens up with the seriously bruising rock ‘n’ roll of Throne of Fire, the track immediately bounding with sinew driven urgency through ears. The beats of drummer Rich Lewis land like sledgehammers as the bass of Chris Fielding intimidatingly prowls with venomous intent, both matched in hostile tenacity by the scuzzy groove spilling guitar of Jon Davis. With his and Fielding’s vocals united in antagonistic temptation and bearish presentation too, the track is a riotous onslaught prone to fluid slips into festering sludge hued examinations of the senses.

636_Conan_RGB_RingMaster ReviewIt is a gripping and punishing start to the release continued by the compassionless incitement of Thunderhoof. In excess of nine minutes, the track gravitates towards the senses and emotions with bestial predation bred in an asphyxiating mass of sound and intent. The two prong vocal violation again is a commanding coaxing into the carnal heart of the encounter, rhythms prowling that centre with cold-blooded efficiency and dexterity as Davis’ guitar casts its violation of noise, a sonic despoiling as infectious as it is abusive.

Two tracks in and it is already hard to bring to mind a doom infested offering as ruinously resonating and enthralling; Wrath Gauntlet backing up that thought in expected but refreshing style. Sonically smothering the senses from its first breath, the track is the collapse of light and hope; how you might expect the heart of a black hole to be with at times the matching impression of no survival. Within it though, searing enterprise and unpredictable scythes of animosity rear their appealing head, as throughout the release, giving what on the surface may seem like similarly pestilential walls of noise drama to that around them, their own individual character.

The album’s title track uncages its scarring sonic fury next with, in tandem, rhythms a rebelliously concentrated bullying. It is a ravenous affair, an unbridled tempest of sonic carnality savaging the body as a web of deliciously invasive grooves inspires its eager involvement. Erupting in ruthless contagion, the track is a slash-and-burn consumption as caustically vicious as it is addictively invigorating and more than matched by Every Man Is an Enemy and its own virulently swinging infestation of ears and emotions. Neck muscles are as insatiably tested as the senses, its lumbering yet openly catchy enmity of sound and spirit, a warring beast of noise and viciousness.

The closing Earthenguard begins with a ‘light’ climate but is soon choking the listener in its damning nature and pitiless depleting of the senses. There is no escaping its insidious drone or the numbing of ears and emotions, except to turn it off and that is an inclination which never raises its head. Arguably less dynamic than its predecessors but certainly as inhospitable and pleasing, the song makes a fine end to a dangerously compelling release.

The reality of it all is that the rest of the doom metal scene has been given a benchmark by Conan for 2016; time will tell if they are up to the challenge laid down.

Revengeance is available from January 29th via Napalm Records on CD, vinyl and as a digital download.

Upcoming Tour Dates:

09.04.16 UK – Leeds / Ritual Festival

30.04.16 UK – London / Desertfest

28.05.16 UK – Southampton / Annihilation Festival

http://www.hailconan.com/    https://www.facebook.com/conandoom/

Pete RingMaster 28/01/2016

Copyright RingMaster: MyFreeCopyright

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Sunsmasher – Hell/Noise/Church

sunsmasher

A sonic suffocation and intrusive adventure which smothers the senses whilst igniting the imagination, Hell/Noise/Church the new EP from Scottish metallers Sunsmasher, is one of those exhaustive violations you can only welcome hungrily.  The three track release is not a comfortable listen but certainly a compelling ravaging to which addiction is an easy option. A merger of doom, crust, sludge, noise and plenty more, the Glasgow trio’s sound takes no prisoners and shows no mercy ensuring that their new EP is an inescapable predator, one fuelled by a thrillingly corruptive toxicity.

The Glasgow quartet was formed in 2010 with the intent to create ‘claustrophobic, intense, and violent music’ with essences bred in the member’s background in the Scottish grind, crust, and hardcore scenes. Debut release, the Mammothian/Loud/Cult demo a year later drew good attention and helped the band to a potent following which was accelerated as Sunsmasher exhausted stages alongside bands such as Conan, Dragged Into Sunlight, Monarch, and Wormrot. The last couple of years saw a few line-up changes in the band and a stronger crust and noise inspired sound emerging through their original doom seeded invention, the result as evidenced by Hell/Noise/Church, a not exactly unique but certainly a hellacious proposition individual to the band. Mastered by James Plotkin (Khanate/O.L.D.) and recorded with Kevin Hare (Black Sun), the new release easily pushes Sunsmasher into a greater spotlight, one deserving to reward as much as the band thrills.

Axe To Grind emerges from an increasingly intensifying and swirling sonic incitement, though the emergence is more a vicious launch at Sunsmasher - Hell-Noise-Church - coverthe ears with guitars and drums carving chunks from the senses and synapses whilst vocals squall with a razor sharp edge and malicious savagery. It is a brutal abrasion of hardcore and noise voracity which within seconds has ears ringing and emotions cowering. The band soon teaches though that they are unafraid to experiment and wrong foot as the track suddenly stops and drops into the thick embrace of an oppressive sludge prowl. Bass and drums find a restraint to their onslaught, though not their bestial intimidation, whilst the guitars merge a melodically hinting sonic tempting with a deeper guttural growl. It is a riveting enticement which consumes and invigorates simultaneously; a droning bait veining it all to captivate infectiously as a stalking low slung groove seduces. With vocal and atmospheric torments searing the air, the track is hypnotic slavery which grows stronger and more compelling over time.

The following Redeemer is just as rapacious but uses a ‘lighter’ sonic toxin to master senses and passions early on. There is a discordant lilt to the guitar call which immediately adds a tempting edge to the opening crawl whilst the lumbering rhythms and heavy throat of the bass provide a formidable canvas for the evolving stature and incitement to ravage. The best track of the three, the song worms its way into the psyche for a long term and intensely lingering chastisement.

Final song Perdition lets a great bass line draw in the imagination first, guitars soon joining it’s tempting with magnetic riffery. The initial premise of the song is almost gentle in comparison to that of the previous tracks, a caustic yet embracing abrading. It is not for long though as the weighty intensity of the track smothers all to enclose and consume the senses. Confirming the invention and exploratory heart of the band, the new thick doom clad swamp of sound is speared by a heavy swaggering groove right out of the Pantera songbook before merging all essences into a choking and enlivening strangling. As all the songs, it twists and turns with enterprise and malevolence, employing all the flavours announced at the start of the review into a mouthwatering and contagious destruction.

Obviously Sunsmasher and Hell/Noise/Church are not going to be for everyone but for noise corruption and feral sonic sculpting within a sludge/doom landscape it is hard to recommend much better.

https://www.facebook.com/sunsmashermlc

http://sunsmasher.bandcamp.com/album/hell-noise-church

9/10

RingMaster 26/03/2014

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Conan – Blood Eagle

 

Conan_1

    Conan’s second album Blood Eagle parades all the musculature and primal intensity you would expect from their literary namesake, its body a rippling drone tempest of doom dressed metal. The new six track leviathan from the band sculpts the heaviest ravenous riffs and ruggedly intimidatingly rhythms, aspects expected from the band after the casting of their debut album back in 2012, but brings it under a swamp of brutal oppressiveness and voracious atmospheres which sees the band at its most destructively creative yet. It is an album which tests and seduces the listener simultaneously, leaving emotions exhausted and satisfaction bloated.

     Formed in 2006 as a duo, Conan has seen numerous line-up changes across the subsequent years but it is fair to say that the trio of guitarist/vocalist Jon Davis, bassist/vocalist Phil Coumbe, and drummer Paul O’Neil has driven the band to its most impacting and vicious adventures as evidenced upon Blood Eagle. The band has persistently barged and demanded attention through their releases, the Horseback Battle Hammer EP of 2010 and that first album Monnos two years later notable onslaughts, whilst splits with Slomatics and Bongripper in 2011 and 2013 respectively, has only increased the presence, and certainly in the latter, the expectations of their second full-length. Released via Napalm Records and as their previous album Chris Fielding produced, Blood Eagle certainly feeds those needs and more, its battle field of sludge tarred monolithic riffs and threateningly captivating rhythms aligned to an exceptional dual vocal provocation, dangerously irresistible and ruinously enthralling.

    The initial breath of first track Crown of Talons instantly offers an intimidating presence, the near on ten minute journey NPR527 Conanthrough cavernous climes and thick textures not exactly laboured in its emergence but certainly taking its menacing time to envelop the senses. Riffs slowly entwine around the ears securing a ready submission to their bait before darkening and intensifying their immersive swamp of sound with firm rhythms punctuating every evolving twist and corner of the journey. As leaden and bulky as a mountain bred avalanche but with the centuries worth of patience within any kind of erosion, the track is a mesmeric pestilential consumption, an insidious rapture which simply seduces from start to finish.

    Its successor Total Conquest brings an even greater intimidating predation to its structure and touch, an almost visceral essence coating its every moment whether again smothering the senses with a steady trudge or raising its energy to scavenge with forceful voracity. The gruff vocals equally gain a richer growl and seeming impatience to accentuate the threat whilst rhythmically the track deceives with a hypnotically irresistible contagion which leads the listener further into the jaws of the ravaging.

    Foehammer is next to abrase and snarl against the ears, its excellent vocal offering an anthemic call within the less welcoming barbarous scourge of sound, both elements insatiably magnetic even with the bestially harsh and intensively weighted squall of the track around them. The shortest slab of ferocity on the release it leaves just as many lingering agreeable scars before the excellent Gravity Chasm unleashes its particular venomous waltz of exhaustive severity and vehemence. There is a swing and groove to the provocation which simply traps the passions, taking them on a hellacious dance of primal intensity aligned to captivating vocal rapacity, before throwing them to the always waiting carnivorous appetite of the behemoth sound. The best track on the album is followed by the masterful and enthralling heavy hum of Horns for Teeth, the track another to skilfully merge a catchy swagger and infection into a suffocating drone sculpted canvas of doom incitement. It is a glorious sonic dreadnought with a tempestuous suasion rivalling its predecessor for that top beast honour.

     The album is completed by the transfixing Altar of Grief; an almost shamanic rhythmic coaxing setting things off whilst being courted by a distorted nagging sonic drone. The entrance of the track infests and infects with impossible ease paving the way for the corrosive squall of sound that washes over and permeates every thought and emotion. Like the first song it is a demanding and unrelenting pillaging of the body, content to strip the senses layer by layer with its slow sandblast as it brings Blood Eagle to an immense conclusion. Conan makes you suffer and face multiple trials to get to the heart of its releases but as here the rewards are constantly worth every wound and scar.

Upcoming Conan Tour Dates:

14.03.14 UK – Nottingham / Stuck On A Name Studio

15.03.14 UK – Bournemouth / The Anvil

16.03.14 UK – Birmingham / The Asylum 2

17.03.14 UK – Glasgow / Audio

19.03.14 UK – Manchester / Kraak Gallery

20.03.14 UK – Cardiff / Full Moon

21.03.14 UK – Brighton / The Prince Albert

22.03.14 UK – London / Electrowerkz

09.04.14 BE – Liège / le Hangar

10.04.14 NL – Tilburg / Roadburn Festival

11.04.14 DE – Würzburg / Cafe Cairo

12.04.14 DE – Leipzig / Doom Over Leipzig

13.04.14 DK – Copenhagen / KB18

14.04.14 NO – Oslo / Revolver

16.04.14 FI – Jÿvaskÿla / Lutakko

17.04.14 FI – Helsinki / Kuudes Linja

18.04.14 FI – Tampere / Klubi

19.04.14 FI – Oulu / Nuclear NightClub

21.04.14 SE – Stockholm / tba

22.04.14 SE – Lund / Hemgarden

23.04.14 DE – Berlin / Jaegerklause

24.04.14 DE – Wiesbaden / Kulturpalast

25.04.14 NL – Groningen / Vera

26.04.14 DE – Hamburg / Droneburg Festival

27.04.14 DE – Cologne / Underground

21.06.14 FR – Clisson / Hellfest

http://www.hailconan.com/

9/10

RingMaster 04/03/2014

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Bast – Spectres

 

BAst pic

    If you have ever imagined being lost in a blizzard where every sound and danger, open and hidden, seduces and smothers the senses to their limits then try stepping into Spectres the debut album from UK sonic sculptors Bast. Every intensive note and emotion within the blackened doom bred tempest suffocates with merciless passion and intimidation yet infuses the imagination with a beauty and compelling toxicity which is just as mouth-wateringly impressive. The five track release is an epic confrontation which is not an easy companion to embrace and at times endure, as that envisaged storm, but certainly one of the most rewarding as it infests body and psyche.

    Formed in 2008, it was the coming together of vocalist/guitarist Craig Bryant, drummer Jon Lee, and bassist Gavin Thomas three years later where arguably things really began to stir up a greater attentive spotlight for Londoners Bast. Since starting initially as a duo, the band certainly made an imprint on the capitals metal scene, sharing stages with the likes of Ufomammut, A Storm of Light, and Ramesses. Across the years the trio has expanded their presence supporting and playing with other bands such as Nachtmystium, Minsk, Winterfylleth, earthtone9, Mother Corona, XII Boar and hordes more, persistently leaving a rich mark and breeding an eager anticipation for their first album.

     Recorded at Skyhammer Studio with Chris Fielding, Spectres is the first offering from new label Black Bow Records, run by 1452364_10152025214408684_29610896_nConan frontman Jon Davis, its limited to 300 vinyl release a joint unleashing with a CD/digital assault from Burning World Records. The album is a heavily consumptive provocation which swallows and chews the senses with a creative rabidity which simply intimidates under the massive weight of doom spawned atmospheres and malevolence. Just as ravenously though, the release leads the listener through inventive weaves which dazzle in elegance and seduce in majestic radiance though never truly released from the hands of rancorous oppressiveness.

    In The Beginning initially offers a respectful sonic coaxing to bring the album into view, its chilled ambience wrapping the ears before an exhaustive fire of riffs and rhythms consume the senses as the rasping caustic vocal squalls of Bryant scorches the air. As its stalks and piles on the dark drama with every second, the track winds around the imagination with a near insidious voice and corrosive intensity, stimulating thoughts with an enveloping and emotive suffering. It is a powerful opening matched by the next up Denizens, its slow flight into darker and deeper caverns of intensive emotional corruption as mesmeric as it is ruinous. Like the first, the black and doom metal seeded blend brews an erosive breath over a melodically teased sonic adventure, both soaked in a mutually cathartic and damaging tsunami of intensity.

      Impressive as the songs are, the album does not truly ignite into something uniquely distinctive and special until the title track erupts in a ferocious brawl of crippling rhythms and unrestrained riffing. The track hits with the carnivorous heavy assault of a Black Tusk, with heavily shadowed but tempting grooves to match, before diving head long into a blackened swamp of sonic rabidity and doom lit venom. It is an irresistible onslaught taken to greater potency by a deliciously barbed rhythmic temptation alongside a bass and guitar snarl which has you contemplating scurrying into the deepest burrows of safety. Spectres preys upon and swaggers with the imagination and passions, an unpredictable constantly evolving waltz of inventive toxins and destructive virulence with pestilential charms and animosity which echoes the overall presence of its namesake, the album.

     The exceptional confrontation is matched by the instrumental Psychonauts, the piece a developing imaginative scourge for the passions which from a seemingly primordial sonic soup spawns an irresistible and addictive union of contagion clad drumming and savage bass temptation. It proceeds to provide an exploratory and weighty flight through menacing expressive textures and atmospherically driven visually provoking scenery. It is another immense stimulus for mind and emotions to eagerly delve into, a demanding and controlling doorway to the band’s and our imaginations. Its twelve minute violation makes way for the equally enthralling and lengthy Outside The Circles Of Time, the closing song crafting a landscape of melodic temptation and magnetic beauty within a warm embracing ambience. The ever raw tones of Bryant, even in their more reined in delivery, add to the epidemic enticement, helping pave the way for the fiercer sonic wash of guitar and passion to lap over the senses beside another stretch of impossible to resist rhythmic bait, the song intensifying its pressure and contagion with every passing minute.

     It is a magnificent finale to an album which firmly puts Bast on the doom metal map. Spectres takes a little time to truly explode in the psyche, though it is certainly grips from its first breath, but emerges as an album destined to be one of the most impressive doom and 2014 debuts.

www.facebook.com/Bastmusic

9.5/10

Bast upcoming tour dates with Conan 2014

March 14th Nottingham, Soan Studios

March 15th Bournemouth, The Anvil

March 16th Birmingham, The Asylum 2

March 17th Glasgow, Audio

March 18th Aberdeen, Live at Downstairs

March 19th Manchester, Kraak Gallery

March 20th Cardiff, The Full Moon

March 21st Brighton, The a Prince Albert

March 22nd London at Electrowerkz

March 23rd Mousetrap, Basingstoke

RingMaster 23/02/2014

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

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