TV Coma – Body Negativity

If you can imagine the results of Weezer and Swound! musically cavorting with Jan and Dean alongside Blur with a punk nurtured revelry you can get a whiff of the sound of TV Coma though not necessarily the individual mischief and enterprise rampaging through their debut EP, Body Negativity. It offers six tracks of unbridled fun and boisterous deeds amongst cleverly manipulative creative antics and is simply one of the most enjoyable exploits we have greedily indulged in this year.

Emerging from the songwriting revelry of brothers Leo and Max Troy, St Albans hailing TV Coma is a foursome by bassist Jamie Rider and drummer Robert Clark. They also seemingly embrace the punk DIY ethics of yesterday with their first release recorded in Max’s bedroom who then mixed the tracks himself before passing them over to Alan Douches (Ben Folds Five, Converge, Sufjan Stephens, Mastodon) to add his professional gleam to things. The result is an encounter which has an organic roar and an instinctive devilry and one which eagerly gets under the skin with unbridled fun in close quarter.

Have A Party kicks things off and rises up from an encroaching sonic lure with big scythes of guitar and matching rhythms. Everything is an intriguing tease leading to the first vocal rally cry before things settle again into a calm stroll and reflection. It in turn invites ears and listeners to its subsequent chant loaded bellow and a finale which the body, if not already bouncing, can no longer escape. Seriously contagious with a great rock muscularity and edge to it, the track is a glorious invitation into the waiting fiendish clutches of EP and band.

There is no escaping thrusting a Weezer likeness to the following Digital Girl, the LA band one of the major inspirations for the brothers. Even so, the track is ablaze with raw pop punk zeal as it is pop rock catchiness and swiftly inciting physical and vocal participation with its rousing holler before Trudy latches on to its infectious antics for its own particular weave of viral contagion. Something akin to Weezer meets We Are the Physics with Asylums in close attendance, the track just saunters along spilling grooves and hooks like confetti as rhythms cast their own manipulative incitement. Surf pop harmonies escalate the fun and listener’s involvement with a track which never leaves a moment void of creative rascality.

A sonic clamour announces next up Unemployable; a short but attention stalking roar of angst and noise around more of the hooks and enterprising taunts the band seem to instinctively breed. The track instantly and effortlessly leads into inhibition losing shenanigans, reactions even more escalated with Football Song, a Blur meets Television Personalities howl which could easily be adopted by the sport’s fans or haters.

Grow Up completes the line-up of plaintive ejaculations. From its initial vocal wail to the punk rock soaked blaze of sound, the track is a zealously waving finger at immaturity and irresponsible fun whilst creatively providing both.

With each track sparked by traits within modern life, Body Negativity is one spirit rousing adventure. It might not be the best thing you come across in 2018, though it very well could be too, but there will be few as memorable and even fewer as relentlessly enjoyable.

Body Negativity is out now and available @ https://tvcomamusic.bandcamp.com/releases

https://www.facebook.com/tvcomamusic/   https://twitter.com/tvcomamusic

Pete RingMaster 22/09/2018

Copyright RingMaster: MyFreeCopyright

Cancel – Dark Reveries

Dark Reveries is the new album from Swiss hardcore fury Cancel; a release which echoes its titles with tracks which savagely grab you from reality to immerse in rousingly, often carnally raucous dissonance. It makes no compromises in its assault and attitude loaded irritability but tempers the compelling causticity with flirtatious imagination whilst declaring the Luzern quintet ready to seize global attention.

Founded in 2011, Cancel has released a host of ear grabbing proposals around a richly received debut album in Circle of 2015. Their sound has evolved across each encounter and ventures a whole new plateau of enterprise and devilry within second full-length Dark Reveries. It is tagged as hardcore but freely ventures across the landscapes of noise, punk, metalcore, and post hardcore with each individual song.

It opens up with Mind Burial, instantly expressing raw vocals and sound upon the senses as rhythms closely prowl. Stalking the listener, the track soon hits a more urgent stride without losing all its restraints; captivating attention with every passing second of its Coilguns meets Red Tape like assault. An instinctive groove seizes its moment to enslave as rhythms continue to prey, all the while the band’s imagination brewing and taking a thicker hold on the album’s thrilling start.

The following Hysteria surges through ears with punk ‘n’ roll rancor, beats thumping with flirtatious violence as group shouts and urges accompany individual temptation. It is a seriously enjoyable and insatiable trespass emulated in its own way by successor Golden Rats but given a whole new web of twists and turns to become scorched by and addicted too. Both tracks reveal more of the bolder hunger and adventure in the band’s sound; exploration further stretched and exploited within the invasively mercurial Death Cab. As its punk heart bellows and ensnares like a malicious Shevils, the band’s rock ‘n’ roll instincts gains momentum, the great blend of vocals following the imaginative endeavour. Wiry grooves and the brooding growl of the bass only add to the unbridled magnetism brewed and devoured.

Poor Man’s Sermon is pure seduction from its first breath, the song slowly unwinding its unpredictable body note by note, clean syllable by alluring word until strolling through post punk/rock terrain courted by throat raw vocal toxicity. It is a fascinating affair and mix which only intensified its ire and hold by the second before the punk hostility of Chased Feelings ripped through ears. It too though embraced a mix of flavours and urgencies within its brief tenure, making way for the anthemic roar and challenging antipathy of Freedom On A Cross. As its predecessor, the track swiftly got under the skin with its predacious swing and inescapable curse of hooks and grooves.

The following minute and a half sees You`re Everything I`m Not ravage the senses, its Converge-esque punk feud colluding with rock ‘n’ roll arousal to manipulate and enslave while Human Machinery straight after sees Cancel spark the imagination more forcibly in its minute of instrumental darkness than many bands do in a ten minute plus flight of suggestion.

Dark Reveries finishes off with its title track, another song which is on the hunt from its opening seconds of sound and invention but with an eagerness which refuses a negative response. It is a swing and purpose which shuffles its attack but cores it with an infectious lure which never deviates from its intent and success.

It is a fine end to an album which just impresses further by the listen. Cancel might not grow to be one of Switzerland’s greatest exports but already they are definitely one of its most pleasurable and captivating.

Dark Reveries is available now @ https://cancel.bandcamp.com/

 http://cancelband.com/   https://www.facebook.com/CancelBandOfficial

Pete RingMaster 03/07/2018

Copyright RingMaster: MyFreeCopyright

Hail the Hatter – Discovering Light

Being suckers for anything with a hint of insanity, lunacy, and mayhem we had a certain appetite to check out the debut EP from Trinidad outfit Hail the Hatter when offered the opportunity all because of its great suggestive cover. The Mad Hatter image on its cover sparked that eagerness and once inside we can certainly say the release more than satisfied on all three aspects. More so it revealed a band with a dab hand at creating infectious hard rock ‘n’ roll with a penchant for metal bred revelry.

Hail The Hatter was formed by guitarist Dax Cartar and vocalist Jonathan Boos, the pair swiftly enlisting drummer Nicholai Assam on drums, and Devin Harry Paul on bass. As the band began thinking about recording a clutch of songs they had written, personal reasons meant the bassist had to leave the outfit but was soon replaced by Aaron Lowchewtung. Produced by Maarten Manmohan and Nicholas Marsan, Discovering Light introduces the band’s fun infested sound to the world through six tracks, a sextet of varying but constant captivation lying in wait behind the opening doom laden introduction of The Coming of the Hatter.

From that dark threat and its storm coaxed shadows, the rapacious Bone Grin strolls, bass and beats lining the way as Cartar’s guitar teases and subsequently flames across the song’s swiftly installed swagger. Boos is soon in the mix with his vocal mischief and roar, hooks and grooves following as hard rock meets raw rock ‘n’ roll in the seriously catchy opener. Classic and glam rock traits add to the web of sound while metal nurtured invention brings devious aggression and predacious virulence to the mix; it all making for an easy to devour first stomp with Hail the Hatter.

It’s almost bedlamic prowess is followed by the devilish exploits of God Bless The Beast, the track like a punk infested fusion of Mötley Crüe and Converge. It needed little time to tempt and persuade, scythes of guitar and swinging rhythmic trespasses instantly igniting the senses even before Boos and Cartar uncage their creative appetites. The track is swiftly matched in success and enterprise by the groove woven A.O.A.U. Straight away its Caribbean toned rhythms had the imagination hooked, those subsequent spice flushed grooves adding to its inescapable lure. As with other tracks, the song’s sound is maybe not particularly unique but as its imagination, every twist and turn of sound brings a freshness which demanded keen attention.

The sinister psychosis of White Walls is accompanied by a prowling sound, its psychotic air and voice contagious rock ‘n’ roll as rich and loco as you could wish. Throughout its unhinged antics, riffs inflame rhythms swing, and grooves incite, vocal unity an anthemic icing to its predacious lunacy before Akasha releases its own shadow brewed shuffle and mystique coated melodic dance n the imagination. Middle Eastern hues hint and intimate throughout even as the flirtatious calm of the song erupts into just as addictive tempests. Everything is skilfully woven and passionately delivered with Lowchewtung uncaging one glorious dirt encrusted snarl of a bassline to cap the inescapable temptation.

Song by song the EP just gets bigger, bolder, and more impressive; continuing the trend with its final and best moment, its title track. From the opening dark groan of cello, Discovering Light just enthrals; its continuing stroll thick in suggestion and beauty as guitar and bass join its evolving drama. Equally a hint of mental instability flickers in its dance before the track unveils its full rapacious and increasingly frenzied rock ‘n’ roll. The track is immense, the show stopper even within a handful of similarly striking encounters.

Though Discovering Light had ears and attention in its hands pretty swiftly, it is with subsequent ventures into its creative dementia that its truly got under the skin, so much so that it has barely allowed anything else to grab a place on the just for pleasure turntable in our offices. The EP is not perfect if such a thing exists but gives rich pleasure from start to finish, never a bad thing in our book, and ripples with the potential of greater dark deeds ahead with Hail The Hatter.

Discovering Light is available now @ https://www.hailthehatter.com/media-get-album and for a limited time as a free download.

https://www.hailthehatter.com/      https://www.facebook.com/hailthehatter

Pete RingMaster 09/05/2018

Copyright RingMaster: MyFreeCopyright

Voice Of Addiction – The Lost Art of Empathy

This started out as a piece on one track from their new album, an introduction for us sent by Voice Of Addiction which was so persuasive the whole album had to instead be the focus of attention. A multi-flavoured punk rock roar from the Chicago based band, The Lost Art of Empathy is one rousing confrontation which has the body bouncing and spirit leaping with its boisterous escapades from start to finish.

Becoming a potent part of the Chicago punk scene through their explosive live shows, Voice Of Addiction have been stirring up ears and venues since 2004, with a handful of releases and a host of compilation appearances marking their way. At their centre is vocalist/bassist Ian “JohnnyX “ Tomele joined upon the latest Voice Of Addiction stomp by drummer Dennis Tynan, guitarist/backing vocalist Jake Smith, and backing vocalist Luke Ostojic. Listening to the treat that is The Lost Art of Empathy, it seems impossible that the band is not a more widely recognised proposition within the global punk scene; a prospect their new album just might trigger.

With politically and socially challenging lyrics matched by a sound which bites however it comes across it’s twelve tracks, The Lost Art of Empathy opens up with that first song heard here. Rustbelt instantly coaxes ears with a spicy hook which is soon joined by a grouchy bassline and jabbing beats. Together they surge at the senses, developing an infectious urgency as Tomele’s vocals with equally potent backing swiftly capture the imagination. In no time the romp is igniting ears and appetite, its drive towards one irresistible chorus just as manipulative as everything from hardcore, pop and classic punk seems to get involved.

The following Dead By Dawn has a rawer manner in tone and touch but is equally as contagious with athletic beats and the grumbling bass shaping the assault from within which a collage of vocals and the clang of guitar entice. Smith spins a web of sonic endeavour as unpredictable as his riffs are rabid before Unity brings its own belligerent defiance to the party. Tomele’s bass again whips up the appetite, its magnetic prowess matched by another potent mix of vocals across the band.

Petty Schemes swaggers in next with a knowing mischief before bounding into a snarling and keenly eventful melodic punk blaze while the soulful Corporate Pariah evolves into a ska punk canter before which feet and hips are leaping as thoughts are provoked by the tracks incisive words. Both songs hit the spot, the second especially persuasive before Lockwood uncages its sonic spiral and subsequent punk contagion to eclipse both. Across the album bands such as NOFX, Bad Religion, and Angelic Upstarts come to mind, this track especially hinting but there is no denying that Voice Of Addiction embrace all into their own individual furor.

The street punk fuelled I Can’t Breathe invitingly brawls with the listener next, the band merging US and seventies UK punk for its tenacious attack and triumph; a success matched by the visceral punk holler of Everything Must Go. It too is a collusion of styles within the punk banner; alternative and math rock flirting with hardcore tendencies to enthral and arouse.

Through the caustic yet melodically hued tear up of Ad Nauseum and the equally uncompromising and enticing Eviction Notice, the album continues to grip attention even if the songs do not hit the same level as those before them; a plateau Alcorn Queen definitely flirts with straight after with its Mars Volta meets Converge like adventure and animosity. The track is superb, stealing best track honours at the death though there is still time for the acoustic brilliance of Are We Even Human Anymore to shine with Tomele vocally luring ears like moths to a flame.

The Lost Art of Empathy is a moment in time not to be missed; indeed all punks should make it their cause to share its compelling sound as too the presence of Voice Of Addiction. America is catching on, now it is our turn around the world.

The Lost Art of Empathy is available now @ https://voiceofaddiction.bandcamp.com/album/the-lost-art-of-empathy-2

https://voiceofaddiction.com/    https://www.facebook.com/voarockers/    https://twitter.com/VoArockers

Pete RingMaster 09/08/2017

Copyright RingMaster: MyFreeCopyright

The Domestics – Cherry Blossom Life

The Domestics - Cherry Blossom Life - MPF2 (Charlee Ramsey- PNMT)_RingMasterReview

Pic Charlee Ramsey

A predator of the senses and the injustices infesting the world today, the hardcore furious sound of The Domestics has grown into one of the most riveting and compelling assaults within the British punk scene since the Suffolk outfit launched itself at apathetic barricades in 2011. Across two albums surrounded by a host of EPs, split releases, and compilation appearances, the band’s fusion of US hardcore, classic UK punk and raw Japanese influences has grabbed attention by the scruff of the neck. It’s ‘victims’ have been confronted with uncompromising lyrical commentary as a primal catchiness infects body and imagination. That being said, everything before has now been overshadowed and taken to a new level by third album Cherry Blossom Life, a release as viciously virulent as it is rapaciously antagonistic.

With The Domestics slimmed down to a quartet since the release of 2014 album Routine & Ritual, the band has equally stripped down their sound to simultaneously bring out and increase its venomous irritability and instinctive contagiousness. Its twenty minutes unleashes 16 tracks to challenge and stir up body and thought; a brief rewarding moment in a day which is proving to be almost as essential as eating and Cherry Blossom Life takes no prisoners from the first breath of opener Dead in the Dirt. The gnarly bass of Rhodes instantly has the appetite licking lips; its dirty grumble wrapped in a lurking sonic twine which blossoms into its own unclean temptation as the band uncages a tide of ravenous riffs ridden by the vocal animus of James Domestic. The senses and emotions are instantly on edge and the body roused as the album gets down to business in fine style.

The following Snuffed Out zooms in like a jet plane, the bolds beats of Simon Battery instinctive incitement as Ted Mint’s guitar spins a savage web around the equally catchy and pugnacious assault of voice and bass. Addictively inhospitable, the track’s imposing triumph is swiftly matched by that of Don’t Tell Me What Love Is, itself also less than a minute of unapologetic scrapping equipped with primal hooks and memorable causticity. The gang vocal bruising of Homegrown Violence proceeds to emulate and eclipse that gripping pair though, its brute force a deceit to skilfully spun hooks and infectious sonic tendrils.

cover_RingMasterReviewInitially, No Deposit, No Return allows a breath with its prowling entrance, the bass portentously courting the imagination before sparking a swinging canter which in turn bursts into a hellacious dispute of sound and voice. Unpredictable at every turn and adventurous with every twist, discord and animosity a superb combative mix, the song is irresistible before making way for the bare boned poetry of Human Ikizukuri; its visceral touch absorbed by the following sonic and lyrical rancor of Punch in the Guts.

Through the anthemic vendetta of Authentic Arsehole and the unbridled senses harrying tempest of Frustration, album and pleasure make kindred spirits while Guilty as Charged twists and turns with some of the most infectious hooks and inspired antics heard anywhere this year. Maybe its boldness is not pushed far enough, its fifty odd seconds not allowing time for further adventure, but the track leaves an indelible mark on ears and imagination.

Self Abuse scowls and feuds with the listener next, a richly satisfying assault with the creative dexterity of Mint and the feuding prowess of Domestic guiding the inescapable persuasion with Death Trap pushing pleasure to yet another level with its bearish bad blood and predacious stroll. Like a mix of Dead Kennedys, Angelic Upstarts, and Converge, the song simple hits the spot, its tenacious jaws a quick clamp on the passions. Its best track claim is then straight away rivalled by Bullshit Parasite, a bullish, balls swinging anthem impossible not to get physically and emotionally enrolled in.

There is no let up on enjoyment either as the home straight of Cherry Blossom Life is hit; A Poison Too Far a breath-taking ferocious declaration of sound and word harassing the senses and Stalinist Purge a corrosive squall of emotion and sound blustering around another glorious crunchy bassline and the creative agitation of the guitar.

The album finally closes with Happy, a piece of lyrical prose caught in a shaken snow globe of organic sound, and the only following thought is to throw oneself into its clutches straight away again. From word to music, Cherry Blossom Life is UK hardcore and The Domestics at their best, indeed the band at their finest yet.

Cherry Blossom Life is out now through TNS Records and Kangaroo Records; available @ https://tnsrecords.bandcamp.com/album/cherry-blossom-life   https://www.tnsrecords.co.uk/?product=domestics-cherry-blossom-life  and http://www.kibourecords.bigcartel.com/

2017 EURO TOUR DATES:

27/08: T. Chances, London, UK (Fuk Reddin Fest)

28/08: Vrankrijk, Amsterdam (Netherlands)

29/08: Tbc

30/08: Underwerkt, Copenhagen (Denmark)

31/08: Blitz, Oslo (Norway)

01/08: Snövit, Stockholm (Sweden)

02/08: Venue Tbc, Gothenburg (Sweden)

04/08: Tbc

05/08: Köpi, Berlin (Germany)

06/08: Stö, Leipzig (Germany)

07/08: The Pit’s, Kortrijk (Belgium)

https://www.facebook.com/TheDomestics/

Pete RingMaster 08/08/2017

Copyright RingMaster: MyFreeCopyright

All At Sea – Systemized

It is fair to say that All At Sea are pissed off; driven by a rage and fury which makes no compromises for the injustices and crimes of modern society. It is an anger which escalates in their new EP and a sound which uses the fuel to create one seriously rousing and thrilling incitement. Fusing the raw and instinctive essences of hardcore and groove metal, the UK outfit roar and trespass with the combined irritability of a bear and the lithe prowess of a predatory pole dancer, a union ensuring that Systemized is much more than a mere attention grabbing proposition.

From England’s North East, All At Sea first hit out from quickly incited local success with the release of debut EP Divided in 2015. It was a potent nudge of national awareness which did not quite find the strength of success its visceral bellow warranted. It is hard to see Systemized not finding richer success devouring its presence, its voracious nature commanding and antagonistic voice a demanding trespass easy to embrace.

Opener Wake Work Repeat offers a few seconds of controlled coaxing before unleashing its emotional and physical blaze. In no time riffs and rhythms unite to badger the senses as vocalist Jack Tyreman brawls with a variety of snarling growls supported as potently by the just as irritable tones of Ross Adam Blackmore whose guitar alongside that of Scott Marks conjures tides of bracing and abrasing riffs. Like a furious mix of Rage Against The Machine and Converge, nu-metal and punk rock involved in the band’s instinctive fusion of animosity, the track breeds an infectious virulence as invasive as its sonic and vocal ire. Grooves continue to entwine and incite the listener, the rapier swings of drummer Tom Cox bone splintering as Josh Walker’s basslines crawl across the damage.

It is a thrilling creative ferocity more than matched within next up Consume. From its first breath grooves bait and trap the imagination and hips, the bruising of further predatory rhythms and the malice of vocal antipathy soon arising as the scent of a Bloodsimple joins  punk irritability as much CIV as it is High On Fire like. Stalking the senses with more ursine dexterity and rigour, the track is viral vindictiveness but itself slightly eclipsed by its successor in the shape of the new All At Sea single Gimme The Mic. Initially there is a similar holler and shape to its attack to the previous track but an essence soon woven into and consumed by the song’s own groove laden, spite fuelled stomp. There is a bluesy taint to that grooving which simmers rather than flames within the sonic fire and rhythmic battering but adds another great hue to the uncompromisingly intrusive and anthemic battle front of the encounter.

That bluesy toning is even richer within the grooved lattice of Life Value, the guitars spinning a deceptive web of invitation as their sonic dexterity sears and rhythms raid the senses. With the blend of vocals and their delivery as magnetically choleric as ever, the track is primal rock ‘n’ roll to lose inhibitions with; exhaustion and aroused argument ensured before Business Of Faith offers its own kind of raptorial rhythms and sonic bad blood. Vocals challenge and incite as riffs plunder and grooves share venomous yet captivating intoxication. Like a grizzly with the lustfully flirtatious moves of a feline, the track is a sly and artfully seductive vendetta of enmity bringing one gripping exhilarating encounter to a masterful conclusion.

The song is not as feral as others within Systemized but adds a just as fiercely enjoyable and blistering moment in its barbarously inventive and intensively charged tempest. If Systemized does not put All At Sea firmly on the biggest metal maps, attention succumbing to its unbridled storm, something will be seriously amiss.

Systemized is out now @ https://allatseauk.bandcamp.com/album/sytemised

https://www.facebook.com/AASNEUK/

Pete RingMaster 16/05/2017

Copyright RingMaster: MyFreeCopyright

Fashion Week – So Last Season

Like the fall out and indeed initial impact of the detonation of a nuclear device, the sound of US noise mongers Fashion Week is a ravenous inescapable scourge feasting on flesh and senses. Debut album Prêt-à-Porter was savagely enjoyable proof of the fact, its release on Solar Flare Records a testing and thrilling examination of body and emotions. Now two years after its scorching eruption, the band has released So Last Season. A coming together of rare and unreleased material, including Fashion Week’s first demo, two EPs, live tracks and a couple of covers, the album oversees the birth of the band and its growth in sound right up to that first inimitable album.

Founded in 2009 by vocalist/guitarist Joshua Lozano (Inswarm, Jarboe, Cobalt, Family, Shai Hulud, Vampillia), NYC hailing Fashion Week quickly drew eager attention with their diverse, melody tinged swarms of noise. Taking inspiration from the diverse likes of Unsane, Coalesce, and Botch through to Nirvana, Dinosaur Jr, Melvins, and Quicksand with plenty more embraced under their creative wing, Fashion Week soon sculpted their own distinctive dirty sound as evidenced by first EP, Applicator in 2011 and its successor Coextinction #11 two years after. Prêt-à-Porter was the wake-up call to broad attention which the striking re-emergence of earlier and rare material courtesy of So Last Season can now only reinforce.

The album opens with the three tracks which made up Coextinction #11, songs the band were invited to record for the internet label of Unsane’s Dave Curran, Coextinction Recordings. The raw, at times almost carnal assault of Heroin Chic is first. As nagging citric guitars and a gloriously grumbling bass instantly descend, an underlying melodic lure simmers and brews, subsequently taking its central spot in the grungy smog of sound. Warm vocals spring from within the addictive assault, welcoming yet as edgy as the intimidatingly voracious sounds around them.

Andrew Cunanan follows, its rural harmonica shared comeliness soon a tempest of hungry rhythms and greedy riffs with that snarling bass again addictive bait alongside the furnace of voice and guitar. As its predecessor though, melody and restraint get involved, hand in hand prowling the senses as the former laces seductively wiry grooves. The track is pure magnetism, a trait matched in strength by God Save McQueen. Its hardcore rapacity smothers ears before twisting them with a web of flavours all bleeding aural and emotional tartness.

The brief rabid attacks of both Fab and Smyze follow; two live cuts which infest body and psyche with their caustic holler and predatory sonic trespass with the second a beast of a proposal stalking the listener with its sludge bred intent. Their debilitating prowess is followed by a cover of the Helmet track, I Know. A calmer affair with harmonies instantly slipping their invitation into the more fractious draw of guitars and bass, the song flirtatiously twists and swings like a primal seductress, never moving out of second gear but only increasing its siren-esque appeal with each enterprising second.

The next three tracks come from un-released EP Little Black Dress which seemed to have been pushed aside as the band worked on Prèt-â-Porter. Lydian Hearst dances with discontent and melancholic charm first, melodies a sombre enticement and rhythms a truculent incitement though they too develop a vibrant if filth lined swing led by the ever gnarly bass. With Lozano’s vocals a plaintively bracing squall, a squall in time joined by a tamer presence, the track boils in touch and temptation before So Last Season unveils its abrasive grunge clad pop ‘n’ roll on the table. The song is a spiral of contrasts, like a maelstrom of Converge, Sofy Major, and Melvins, and as imposingly catchy as it is greedily corrosive.

The following Little Black Dress, featuring guest vocals from Dave Castillo, Kurt Applegate, and Tom Tierney, equally has infectiousness coursing irritable rock ‘n’ roll seeing bodies bouncing as the senses shrivel under vocal causticity and increasing sonic hostility, only to be re-animated by the spicy grooves entangling song and listener.

It would have been a crime if the EP had never seen the light of day, one of many major reasons to grab the album, a felony repeated if Rich Hallister, a song originally recorded for Prêt-à-Porter which the band eventually did not feel fitted, was not heard. It too is ferocity of noise and attitude with a virulent catchiness which enslaves ears and hips, rogue beats alone a busy temptation as vocals increasingly lose their grip on composure being matched by the growing bedlam of guitar.

With Vinny Signorelli of Unsane guesting on drums, Fashion Week takes on his band’s track Only Pain next. A potent mix of sample and keys draw the listener into the waiting doomscape of sound and emotion, Lozano searing it with his raw throated delivery backed by the equally apocalyptic and melancholic roar and melodic suggestion of guitars. It is a compelling take on a great track arguably giving an even grittier and rawer aspect to its emotionally decayed antipathy.

The digital version of So Last Season is completed by the re-mastered version of the band’s original demo, Applicator, which also comes as an additional 7” with a vinyl edition of the album. Beginning with the rusty hues of Fierce, the four tracks making up the release are the heart and seeds of Fashion Weeks’ current sound, the source of uncompromising intent and endeavour making up the impressive stature of Prêt-à-Porter. The track is undiluted sonic threat and emotional turmoil, a vat of creative rancor matched by that festering within the equally corrosive and catchy Heidi Klum and the hook wired Bryant Park, the second a web of guitar woven tempting and intrigue wonderfully sullied by Lozano’s flesh grazing vocal deliver and increasingly ruinous vitriol.

Completed by the hardcore scourge of Fabulous, the track pure venom in noise and presence, So Last Season is a must for newcomers to the band, for those who missed out on their earlier assaults and noise rock victims as a whole.

So Last Season is available now @ https://www.fashionweek.bandcamp.com/album/so-last-season

https://www.facebook.com/FashionWeekBand       https://fashionweeknoise.com/

Pete RingMaster 29/03/2017

Copyright RingMaster: MyFreeCopyright