Her Despair – Mournography

Mournography is an exploration into the mysteries of tragedy, blasphemy, death, and love; both literally and figuratively…The mourning of some, the lust of others. These songs praise and pervert the Word of God simultaneously: providing a deeply unsettling spiritual experience set to a bleak backdrop of melancholia.”

The words accompanying the new EP from UK goth/dark metallers Her Despair perfectly encapsulate its tone, heart, and seduction. It is a journey into dark places as broad as they are intimate through a sound as melancholic, thickly shadowed, and mesmeric as the emotion laden words within.

Formed in 2015, Berkshire hailing Her Despair began as the solo project of J; the album Hymns For the Hopeless its introduction that April. It set down the seeds and template for the rich fusion of atmospheric and emotive gothic and dark rock with the trespass of punk and metal. It was a captivating raw mix within that first encounter but now with Her Despair a fully-fledged band makes for one richly compelling proposition within the new encounter.

With guitarists Dan and Jord, bassist Vikki, and drummer Lee alongside vocalist J, and recorded with Matt Bew at Whitehouse Studios in Reading, Mournography immediately strikes the imagination as it opens up with Blaspheme With Me. Straight away there is a tenacity and controlled urgency in rhythms as the guitars entangle their lures; an energy which fuels every aspect of the emerging song until it hits a boisterous stroll behind the enticing tones of J. Hues of bands such as Sisters of Mercy and Fields of the Nephilim collude with the uniqueness of Her Despair as the track grows, each essence adding to its captivation and seamlessly changeable gait. The outstanding song epitomises the band’s sound; it’s embracing of sturdier metal traits with its gothic instincts.

The following Valentine’s Mourning similarly has a raw energy and swing to its attack driven by the senses nagging boisterousness of rhythms with this time harsher punk essences infesting its character. Keys add to the melodic seduction and flames tempting within whilst as with the first track, an organic catchiness brings something akin to bands like Dommin to the imagination.

A darker calm caresses ears next with Within Tragedy; it’s almost funereal march an imposing yet rousing incitement matched in tone and intimation by the air and words escaping J’s vocals. The track is pure seduction with heavy drama in its tone and an immersive lure to its rich web of almost threatening romance.

Charming keys and harmonic calm opens up Damnation Tonight next, their coaxing soon immersed in the song’s thick theatre of sound and intimation. Though missing the final spark of imagination of its predecessors, the track simply tempted and embroiled ears and thoughts in its creative and emotive melodrama as the body instinctively swung to its virulent inclination.

In the Arms of a Sadist brings the EP to a close, it too making a calm entrance with reflection colouring word and sound. It is a dark brooding though which escalates throughout, sometimes ebbing as the track and J’s vocals reach deeper into the heart but always giving a magnetic shadow and trespass to the dark intoxication.

It is a fine conclusion to a release which fascinates from start to finish. Possibly there is a lack of individual surface uniqueness between the five tracks making up Mournography yet each enthrals in their own ways, more so with attention and time, and united ensures from start to finish the EP transfixes and impresses; increasingly so by the listen.

Mournography is released July 20th; available @ https://herdespair.bandcamp.com/

https://www.facebook.com/herdespair/   https://twitter.com/herdespairband

Pete RingMaster 17/07/2018

Copyright RingMaster: MyFreeCopyright

 

Quantum Leap – No Reason

Creating a tantalising yet portentous fusion of post punk and garage rock, Swedish trio Quantum Leap make their major entrance with a debut album which through its dark climes and apocalyptic tones makes for one hungrily infectious and enthralling proposition. No Reason, in the words of its introduction, “invites you to a heavy and dark feast celebrating the very last setting of the sun”, a beckoning as arousing as it is threatening.

Hailing from Uppsala, Quantum Leap consists of vocalist/guitarist/keyboardist Björn Norberg, bassist Andreas Hennius, and drummer Mats Gustavsson. With a diversity of musical backgrounds taking in thrash, death and black metal, electronica and pop, the three came together in 2014. A demo was released in 2016 after the band linked up with producer Tomas Skogsberg of legendary Sunlight Studios (Entomed, Refused, Backyard Babies, Dismember). That led to a contract with Swedish label Viskningar och Vrål (Whisperings and Growls), who now release the fiercely magnetic No Reason, the release again seeing the trio working with Skogsberg and featuring guest musicians in Lea Martinelle (saxophone), Rosa Kristalova (cello), Mattis Fredriksson (accordion), Daniel Söderberg (on modular synthesizer), and Janet Simmonds (backing vocals).

It opens up with That’s The Reason, a swiftly compelling trespass of post punk bringing an initial menace of sound before rumbling through ears on a rhythmically driven stroll wrapped in sonic dissonance. Norberg’s vocals, as strong and magnetic as the web of sounds around them, are soon accentuating the lure. It is a dark, suffocating, and invasively heavy confrontation but inescapably contagious with echoes of eighties bands such as Joy Division, Play Dead, and Leitmotiv to its rasping winds.

It is an outstanding start which swiftly aroused a keen appetite for things to come; one soon reinforced by the following In Between Worlds. It too springs from a raw sonic misting into a virulent attack, its swing eating at instincts and psyche with viral tenacity whilst spreading another exploration of stark, ravenous times. There is more of a noise infested rock ‘n’ roll attack to its post punk, bass and drums a rapacious incitement upon which guitars and keys spread a toxic glaze while escalating the infectious and fractious catchiness of the song.

With an even darker climate Blind comes next, the track a calmer but equally emotionally and atmospherically invasive proposal. It offers a more art/alternative rock spicing with not for the last time within the album a Bowie-esque hue which only adds to its persuasion before Yeah sees the band embrace a metal lined garage rock flavouring with matching success. The diversity within the band’s sound is in full swing at this point, each song revealing a new shade and flavouring to keep things unpredictable and intriguing. Trust quickly backs this variety up with its seventies psych toned dark rock. Though all uniquely different, the quintet of tracks so far all slip perfectly alongside each other, the alluring overall Quantum Leap voice uniting their eclectic characters.

The Fiction In The Daily Life bounds in with a mix of garage punk and heavy rock straight after; the excellent track swiftly stirring up attention and pleasure while Sea repeats that tempting straight after with its again Bowie reminding saunter. There is a definite Heroes like feel to the track which maybe does not lead it to impress as some of its companions within the album but only richly pleases within its fuzzy climate.

Through the bruising and hungrily rousing rock ‘n’ roll of All I Ever Wanted and the Bauhaus meets Wire like gothic/post punk air of I Don’t Know attention and enjoyment only escalated, both tracks unsettling magnetism while Dreaming taps a poppier gait to its darky lit romancing to equally attract. A bit like a blend of Modern English and Modern Eon with once more that hint of Bowie, the song entices from start to finish.

The album concludes with firstly the groove wired heavy punk ‘n’ roll of Mayday and lastly the senses consuming, imagination sparking sonic tides of Like A Memory From A Long Time Ago. With a melodic Skids like current ebbing and flowing in its infectiously sinister but thickly alluring ominous waters, it is a last entrapment for the suggestively impending apocalypse and another sepulchral proposal which is quite irresistible.

Quantum Leap have uncaged a debut which simply demands attention of the band and their dark foreboding layered sound…so stop reading and go explore.

No Reason is out now through Viskningar och vrål.

https://www.facebook.com/quantumleap2/

Pete RingMaster 06/06/2018

Copyright RingMaster: MyFreeCopyright

Shriekback – Why Anything? Why This?

In music it is so easy to be adulterous to one’s first love; to gather a harem of lustful attractions just as fevered though the one is always the prime affection. For us XTC was and is that irreplaceable ardour but the years obviously have seen hordes of infidelities seducing across a multitude of sounds and styles. One of the earliest sprung from that virgin ardour and one of its former members Barry Andrews. It was Shriekback which following one of its founder’s ear grabbing solo sounds teased with its debut EP, baited with the singles My Spine (Is The Bassline) and Lined Up, and enslaved through their first two albums in Care and Jam Science. Admittedly over the following three and a half decades we have dipped into their creative escapades more than been relentlessly attentive but never shy to explore. That initial hunger for their sound has just been truly re-ignited now though with the release of new album Why Anything? Why This?; one of their finest encounters ever.

Shriekback was formed in 1980 by vocalist/ keyboardist Andrews and ex- Gang Of Four bassist Dave Allen, the pair quickly enlisting guitarist Carl Marsh from Out On Blue Six into the fold. The ear grabbing Tench EP and those aforementioned singles introduced the band’s unique sound which blossomed further upon the 1982 released Care. The next year saw drummer Martyn Barker (King Swamp, Billy Bragg) brought into the band’s line-up with Jam Silence coming in 1984 followed by a move to Arista Records and the release of their acclaimed third album Oil & Gold. The band’s next couple of albums over the subsequent two years or so centred around Andrews with Allen and Barker linking back up with him for the 1992 full-length Sacred City, a release which appeared to be the band’s last breath. They returned though in 2000 with Naked Apes and Pond Life, following it three years later with Having a Moment, the album seeing the band’s original line-up in place again with Barker, and Lu Edmonds alongside. Four more albums over a decade, seeing numerous musicians involved, leads us up to Why Anything? Why This? the band’s 14th studio album coming three years after its predecessor and what can only be suggested as one of the band’s most compelling adventures.

Around the core prowess and imagination of Andrews, Barker, and Marsh, the album also features bassist Scott Firth of P.i.L and regular Shriekback backing vocalists Wendy and Sarah Partridge. Instantly it had its fingers in ears and appetite, teasing and tempting as opener Shovelheads inserts a heavy infectious lure led by deceptively flirtatious rhythms. The vocals stand just as magnetic upon the strands of sound and words, electronic currents lapping the sizzling threads of guitar as the rhythms continue to throb. It is a great start, an imposing hint of things to come which rather than hungrily infesting ears and imagination inescapably nags them.

The band’s latest single And The Rain follows, a virulent slice of dark rock with atmospheric seduction and manipulative rhythmic shadows. It is a tenebrific contagion matched in voice and word; an intrigue loaded proposal getting under the skin like Tone on Tails meeting The Filthy Tongues. The track is superb, drama and deviously catchy enterprise colluding in dark temptation before the equally tantalising Catmandu preens its own darkly nurtured theatre with melodic elegance and revelry amidst electronic and rhythmic devilment.

Such, Such Are The Joys is a serene yet tenacious  funk ‘n’ roll croon, its slow swing hypnotic to hips and darksome air pure intimation to the imagination only aided by lyrics, tone, and the siren call of the backing vocals. Pure seduction with the beauty of danger in its lining, the song just bewitched while Wriggle And Drone swiftly showed itself a puppeteer with its rhythmic suggestion and percussive scenery alone. The song took us back to those early tracks of the band which had us hook, line and sinker; infusing that instinctive bait with fresh ingenuity.

Next up The Painter Paints is just poetry from start to finish in sound and lyrical invention, conjuring just as its protagonists might with every fibre,  its captivation more than matched by the brooding post punk kissed sway and raw dark folk balladry of Useless Treasure. Even so, their major allure is only eclipsed by the album’s final trio; each creative alchemy.

The Church Of The Louder Light is first, rising from distant mists with vocal enticement and in turn rhythmic and sonic flirtation. Its hearty roar grows from a simmer to full voice in no time, its spirit and passion uncaged to inspire the same in the listener. It is a glorious trespass which after a momentary breath just returns bigger and bolder and more influential as Sons Of The Dirt also shows itself to be, it too building its energy and infection with increasing boisterousness as its predacious rock ‘n’ roll sizzles and blazes.

The album concludes with Thirty Seven, our favourite moment within Why Anything? Why This? with its gothic glaze over dark folk intimation and post/garage punk drama. The track is simply total fascination, aural witchery as seductively claustrophobic as it is mercurially radiant.

Since day one Shriekback has been pretty much a magnet for our ears, as for so many others, and to high praise from fans and media alike; perpetually a source of captivation but it is hard to say they have been any more compelling and essential than right now with Why Anything? Why This?.

Why Anything? Why This? is out now across most digital stores and @ https://www.shriekback.com/store

https://www.shriekback.com/   https://www.facebook.com/shriekback    https://twitter.com/shriekbackmusic

Pete RingMaster 28/05/2018

Copyright RingMaster: MyFreeCopyright

Mayflower Madame – Premonition EP

photo by Sven Santelmann

Though formed in 2011, it was the release of their debut album Observed in a Dream two years ago which awoke real attention upon Mayflower Madame, introducing them to a whole wealth of new fans, us included. It offered a compelling and increasingly gripping full taste of the band’s psych rock infested post punk. Ahead of a new album later this year the Norwegian outfit have unveiled the Premonition EP, a release which simply leaves that previous encounter in the shade and is already making anticipation for the band’s second album impatient.

Fresh from a US tour, the latest the Oslo quartet has undertaken beyond their homeland since the release of that first full-length, the band now no strangers to venturing across the UK, Europe, and N America, Mayflower Madame lures the listener into a new soundscape of their imagination fuelled sound with Premonition. Consisting of four tantalising propositions which can be, as the EP’s promo sheet suggests, “best described as apocalyptic love songs”, Premonition has a captivating calmness across its body which the previous release maybe evaded but equally a more virulent almost predacious craft and indeed seduction for a romance of impending darkness to embrace and fear.

The EP opens with its title track, a siren warning its arrival. From the midst of the threat an instantly compelling groove emerges, its calm but inescapable swing courted by additional melodic tendrils from the guitars of Håvard Haga and vocalist Trond Fagernes. It was pure temptation to our ears, the swarthy blend of their lures irresistible and swiftly complemented by the dark enticement of Kenneth Eknes’ atmosphere weaving synth and Fagernes’ potent voice. The rhythmic captivation of Petter Gudim Marberg’s bass and the crisp swings of drummer Ola J. Kyrkjeeide reinforced the grip the song quickly held, it only tightening its hold as the layers of psychedelically lit post punk infested body and psyche.

The following Before I Fall makes a similarly magnetic entrance, the bass of this time Fagernes walking magnetically through ears with the melodic intimation of the guitars for company.  Like a psych washed fusion of Dead Can Dance, My Bloody Valentine, and Fields Of The Nephilim, the song fascinated and tantalised in equal measure. Its heavy emotion and senses wrapping shadows unavoidably infested the imagination but equally the song tempted the body into calm but definite involvement even as its darkness consumed. The fact that the song did not bring the same lust as for its predecessor or successor is simply down to their might, the song only magnetism.

The best track to our ears is Alma’s Sermon, its swing and melodic dance manna to our musical instincts and passions. Flirting with both through something akin to The Orson Family assimilated by The Doors, the track ensnares ears with a hook which teases and pleasures as an insatiable creative appetite supports it from within a web of melodic suggestion from the guitars. All the while, rhythms manipulate attention and hips like a puppeteer with the tones of Fagernes as alluring as they shimmer and echo the song’s dark magnetism.

Spiders Seek with the opener is a close contender to that favourite track choice as it completes the release, the intrigue soaked encounter cinematic in its atmosphere, intimate in its breath. The keys simply seduced our ears, their seemingly familiar yet unique enterprise a spark for the imagination on their own, the suggested drama thoughts conjured only accentuated by the dark catchiness of the bass with Marberg back plucking the strings, the hypnotic stroll of the beats, and the guitar’s sonic wiring.

It is a superb end to a magnificent release. Observed in a Dream only pleasured and excited but the Premonition EP has left it in its wake with ease. Goodness knows what the band’s forthcoming full-length will do…We cannot wait.

The Premonition EP is out now digitally and on CD via the band’s own label Night Cult Records @ https://mayflowermadame.bandcamp.com  as well as being available on cassette via Black Verb Records (Germany), SpiderChild Records (US) and Custom Made Music (US).

https://www.facebook.com/mayflowermadame

Pete RingMaster 26/05/2018

Copyright RingMaster: MyFreeCopyright

 

The Filthy Tongues – Back to Hell

Two years ago Scottish band, The Filthy Tongues released a debut album which quite simply blew us away. It was a striking and increasingly haunting incitement of “caliginous flavours and textures.” Such its gothic beauty and immersive intimation we wondered if the trio had already laid down their finest moment and would struggle to match let alone eclipse its majesty again. Oh fool us! The band has just unveiled its successor in Back To Hell, a web of instinctive drama and invasive magnetism which puts its predecessor and pretty much most things this year to date in the shade.

Edinburgh hailing, The Filthy Tongues consists of vocalist/guitarist Martin Metcalfe, bassist Fin Wilson, and drummer Derek Kelly; the three previously members of Goodbye Mr Mackenzie and Angelfish alongside Shirley Manson. After the demise of those bands, all ventured into different projects, musical and not, before Wilson and Metcalfe came together as acoustic duo The Filthy Tongues, named from a phrase from a Goodbye Mr. Mackenzie song. This project subsequently evolved, the three gents back creating together and vocalist Stacey Chavis joining what would become Isobel Gowdie & the Filthy Tongues (to become Isa & the Filthy Tongues). Moving on, the band became three again and The Filthy Tongues with the startling Jacob’s Ladder the irresistible wake-up call to their presence and dark world. That first album was a tapestry of sound and styles; everything from dark rock, garage punk, surf, dark folk and post punk aligned to plenty other rich flavours as the band created almost salacious realms of seductive craft and gothically shadowed deeds. Back To Hell is more of the same yet a whole new landscape of manipulative imagination, riveting sound, and lyrical weaving.

As its predecessor, Back To Hell ventures through the dark claustrophobic underbelly of the Old Town in Edinburgh yet equally it incites the imagination to broaden its landscape and conjuring. It opens up with the addiction sparking Come on Home, a track instantly sharing an electric mist of intrigue and dark suggestion before springing an infection fuelled stroll stalked by the vocal prowess of Metcalfe. Like the sounds, his voice has a dirt clad texture, a gravelly tone which just draws you into the narrative and atmosphere of the developing aural theatre. Keys similarly bring a teasing suggestion to the mix as rhythms and guitars openly simmer. Swiftly hips were swaying to its call, head rocking to its swing and voice aiding the wonderfully tainted harmonies. The band’s new single, it is just superb, that haunting quality in their music already seducing via keys and voice as guitars weave and rhythms coax.

It is an outstanding start reinforced by the senses transfixing tale of The Ghost of Rab McVie. Strings and their electronic counterparts quickly infest the imagination, the first from the suggestive touch and craft of Susannah Clark. Metcalfe is soon within their descriptive midst, voice similarly nurturing thoughts as the song leads the listener into its melancholic heart. There is a beauty to it though which just seduces ears and imagination but with an earthiness keeping the dark surroundings fully in view before the album’s title track provides the gateway into a nefarious journey. Feeling like being trapped in a Celtic Wickerman driven nightmare, the song simultaneously overwhelms, indeed suffocates, and seduces all with increasing intensity. It is quite superb with the craft of Clark simply irresistible.

Mother’s got a Knife follows, its animated shuffle also getting under the skin within the first dance of enterprise before slipping into a smouldering glide; repeating the captivating cycle in swift time. Like a mercurial fusion of Th’ Legendary Shack Shakers, The Bad Seeds, and Wall Of Voodoo with a Josef K lining, the track was another which seduced and enslaved with ridiculous ease such its masterful imagination and virulent breath.

Next up Leper Town was just as persuasive, its pop infested rock ‘n’ roll reminding of a few  in some small ways but as ever, so unique to The Filthy Tongues as it had body and thoughts bouncing and appetite for their invention greedy. That individuality is never absent from a song as proven once more by Carlos the Jackal, menace and tenebrific elegance soaking its predacious yet infectious prowl while Who are you? is the band’s creative theatre at its most compelling and beguiling. It too has a threat in its air and beauty in its dark drawl; addiction for its creative alchemy once more inescapable.

The album goes out on the mesmeric croon of Take it, a song with a whisper of U2 meets Helldorado about it and a dirty laced grace which just fascinates as layers of sound seduce. It oozes beauty, loneliness, and temptation; a crepuscular radiance of sound and emotion which steals attention from the real world.

It is a glorious end to another extraordinary encounter with The Filthy Tongues. Their Jacob’s Ladder was one of the essential releases two years ago, Back to Hell is THE most vital release of this so far and hard to see being eclipsed too often over the months ahead.

Back to Hell is released May 25th through Neon Tetra / Blokshok Records.

http://www.filthytongues.com/   https://www.facebook.com/The-Filthy-Tongues-144934250476/   https://twitter.com/filthytongues

Pete RingMaster 21/05/2018

Copyright RingMaster: MyFreeCopyright

Varsovie – Coups et Blessures

Comprised of Arnault Destal (drums, lyrics, music, arrangements) and Grégory Catherina (vocals, guitar, music), Varsovie is a band which has just released one of the year’s most compelling propositions so far in the shape of third album Coups et Blessures. It is our introduction to the French outfit and the beginning of a very attentive affair with their individual post punk/dark rock inspired sound.

Formed in Grenoble in 2005, Varsovie released their first EP, Neuf Millimètres the next year and were soon playing shows and touring outside of their homeland, playing the likes of the Drop Dead Festival in Prague, the Crimson Night in Münster, and the Creeper Fest in Vilnius. 2010 saw debut album Civil Status released on Infrastition Records with its successor,  L’Heure et la Trajectoire coming five years later. Both were well-received propositions and took the band to new European shores and shows. As mentioned though, we had managed to escape their presence until Coups et Blessures and if it is an echo of things past we have definitely been missing out.

Released through Sundust Records, Coups et Blessures quickly shows itself a dark and invasive trespass of the senses and imagination but with an instinctive catchiness which swiftly gets under the skin. It is a virulence of sound and intent which is certainly predacious in tone and touch but equally contagious. Maybe unsurprisingly, given the band’s name which translates as Warsaw, there is a Joy Division-esque feel to the band’s music and similarly one of Polish post punks Siekiera who seem to have been an inspiration to the pair, yet it is inescapably individual to Varsovie. The first song immediately beats on ears to grab attention while teasing with a melodic lure. This potent lure unites with a gloriously dark contagion loaded bassline and in turn the potent tones of Catherina; magnetism rising with each addition as the song almost menacingly pulsates upon the senses. Its fusion of post punk and raw rock ‘n’ roll continued to grip and imposingly seduce as twists and turns added to a tremendous start to the album.

The following Revers de l’aube has a far darker air from which a rhythmic web swiftly entangled ears and appetite, Destal in two songs already proving his craft a dynamic and deviously compelling aspect within the Varsovie sound. The track envelops the imagination like a frenetic fusion of The Three Johns and The Birthday Party pulled into the distinct individuality of Destal and Catherina; the result an incitement just as enslaving as its predecessor and one soon matched by the darkly lit Va dire à Sparte. More controlled in urgency as emotive and physical shadows align vocal and melodic intimation, the track prowls ears whilst all the time enticing eager attention especially with guitars, bass, and its instinctive drama.

Killing Anna is similarly hued; dark and intense but with a persuasive swing enhanced by the tantalising wiry exploits of the guitar. A sinister air soaks the encounter, its noir lit character a tenaciously smouldering gothic suggestion resembling a mix of bands like Sex Gang Children, Dead Can Dance, and Artery. Transfixing from its first breath, the track is superb; addictive from the off and almost matched in heights by Le Lac. The bold mesmeric rhythms of Destal fuel song and attraction, a strain of punk bringing attitude to the rock ‘n’ roll bred, resourceful sonic clamour.

That punk ‘n’ roll courted trespass is even more pronounced in next up Intersections, an intensive and slightly irritable tapestry of sound and flavour challenging and tempting in equal measure before Discipline reverberates on ears with tenebrific emotion within an invasively haunting atmosphere. Neither track quite sparked the reactions given to their predecessors but each adds a captivating variety of edge and imagination to the release which could only be hungrily feasted upon.

The final pair of Chevaux échappés and Feux complete Coups et Blessures in fine style, the mesmeric first a nagging temptation of dark sound and emotive hinting prowling the senses and imagination while its successor provides a melancholic reflection which simmers with an underlining volatility before erupting into an infectious canter with melodic flames licking at its intense drama spawned body.

With the album totally sung in French, a language we have yet to master, it is impossible to share the lyrical content of Coups et Blessures yet the hearts of songs and their emotional intensities are inescapable. The album is a magnet, fascinating and virulent at every turn and Varsovie a band we wish we had come across before and will have ears clamped to hereon in.

Coups et Blessures is out now through Sundust Records; available @ https://varsovie.bandcamp.com/  and https://www.sundust-records.com/en/349-e-shop

http://www.varsovie-propaganda.fr/    https://www.facebook.com/varsovie.propaganda/

Pete RingMaster20/05/2018

Copyright RingMaster: MyFreeCopyright

Sharone and The Wind – Enchiridion of Nightmares

Like a series of dark fairy tales, Enchiridion of Nightmares the new album from dark rockers Sharone and The Wind captivates, seduces, and haunts. Each of its notes, let alone songs, comes with a shadow to their beauty, melancholy to their light, and intimacy to their grandeur  with it all colluding in an adventure which just steals the imagination from everyday reality.

Hailing from Denver and emerging from the solo project of vocalist/songwriter Sharone (Borick), Sharone and The Wind is one of those propositions impossible to ignore or forget however their similarly striking songs appeal to personal tastes. Enchiridion of Nightmares is the successor to their well-received 2017 album Storm but sees an almost completely new line-up alongside Sharone. It was an emotionally traumatic time for the songwriter; the departure of her band inspiration within the new album fuelled by the emotions she became embroiled in; Sharone admitting “Writing this album was therapeutic to say the least. Before I began writing, I had just gone through one of the most difficult changes of my life and I felt more alone than ever. I felt angry, scared, and hurt, and I took everything I could from the experience as a lesson that allowed me to grow as a person as well as a songwriter.

There is a rich cinematic and theatre-esque feel to Enchiridion of Nightmares which equally adds to its captivation; indeed its songs entwine an influence of horror movies, vintage and modern, into their personal nightmares. With just as richly layered and dramatic sounds to its exploration, the album is a persistent unveiling of new twists and shadows listen by listen. On our first meeting intrigue soaked the pleasure, through a couple more captivation, each subsequent listen leading to the inescapable bewitchment these words spring from.

The album’s piano nurtured atmospherically chilling Intro sets the tone alongside Sharone’s painting of words; its poetic scene setting the portal into the dark charms and cold breath of the following Graveyard. Once more the piano of Michelle Bailey captures ears and imagination as richly as the powerful and imposingly graceful tones of Sharone, both aligned to the infectious rhythmic manipulation of bassist Zach Barerra and drummer Anthony Hester. With sonic flames from the strings of guitarist Alex Goldsmith adding to the captivation, the outstanding track immerses the listener in dark magnetic theatre where whether calm and seductive or aroused and burning the senses, it engulfs the senses and imagination.

It is a rich success repeated across the release the following Haunted House instantly transporting ears and thoughts into its foreboding setting, anticipation looking through its piano built windows to find the melodic and infectious weaving of the band dancing to the song’s rhythmic swing. Again fluid passages of energy and emotional intensity flow through ears, the band’s multi-flavoured rock simultaneously gothic, symphonic, and melodic woven into another entrapment of creative suggestion and emotional release.

The initially punchier presence of Demons lures the listener into even darker depths and self-exploration, to places we have all felt in degrees. It is an intimate proposal with broad arms, an invasive entrapment of seduction and agitation brought with real craft and creative animation before managing to still be eclipsed by the gorgeous Music Box. An innocence lined melody caresses ears first with unsurprisingly intimation lining its charm before piano and guitar set their individual threads to the song’s vocal and musical reflection.

Elegant smoulders and fiery flames arouse the haunting might of Mirror Ghost next, emotive intensity and melodic drama soaking successor Zombie, both songs creatively and emotionally enveloping body and mind masterfully while Fire twists and bursts like its namesake within its dark carousel of temptation and seduction. The track is like a mercurial lover, coaxing and seducing before igniting in primal intensity and quite superb as it provides the inimitable pinnacle of Enchiridion of Nightmares.

Throughout the album the whole band simply impresses, spinning a web of dark fantasy and close to home intimation with the dexterous fingers of Bailey and the vocal prowess and majesty of Sharone steering the creative emprise, the power ballad Cursed another basking in the songwriting imagination and the quintet’s invention.

The final pair of Exorcist and Death of a Clown brings their own cabaret of invention; the first, featuring guest vocals by Hannah Maddox, an instinctively catchy yet thickly dramatic maze of shadow woven enterprise and macabre kissed seduction, its successor a melancholy spun serenade with beguiles as it haunts. Both leave ears captivated and the imagination engrossed and as the album just getting further under the skin by the play.

A unique tapestry of varied shadow bred rock, Enchiridion of Nightmares is a one of a kind adventure and tempting awash with emotional turbulence turned into cathartic beauty as compelling as it is magnificent.

Enchiridion of Nightmares is released via Syndicol Music on April 13th, pre-ordering now available @

https://sharoneandthewind.bandcamp.com/album/enchiridion-of-nightmares

https://sharoneandthewind.com/    https://www.facebook.com/sharoneandthewind/    https://twitter.com/sharone_thewind/

Pete RingMaster 11/04/2018

Copyright RingMaster: MyFreeCopyright