ANEWRAGE – Life-Related Symptoms

Described as alternative metal but just as much grunge and melodic rock hued in its ear pleasing design, the ANEWRAGE sound makes for a swiftly appetising proposition as proven by the Italian outfit’s new album, Life-Related Symptoms. A blend of the familiar with openly fresh imagination and adventure, something akin to a fusion of Sick Puppies and Three Days Grace, the release has ears hooked and pleasure stoked from its first seconds; holding both with ease across its thirteen infection loaded proposals.

Hailing from Milan, ANEWRAGE began in 2009; its members friends since kids. Soon they found local success and with the release of debut album ANR in 2014, were keenly touring across their homeland and Switzerland, playing with the likes of Gamma Ray, Freak Kitchen, Dreamshade, and Destrage along the way. Last year saw the band writing and working on sophomore album Life-Related Symptoms, a release which should take the ANEWRAGE name and sound to a far broader and attentive landscape.

Produced by Matteo Magni (Rhyme, Audrey, Mellowtoy), Life-Related Symptoms makes a potent and highly satisfying impression straight away but it is fair to say that it is with subsequent listens that it comes into its own; increasingly grabbing attention with its imaginative twists and web of virulent hooks. It all begins with Upside Down, a song opening with pure rock ‘n’ roll bait quickly joined by the strong tones of vocalist Axel Capurro and the rhythmic grumble of bassist Simone Martin and drummer Alessandro Ferrarese. The groaning grooves and spiky riffs of guitarist Manuel Sanfilippo are as eagerly tempting, his backing vocals providing rich backing to Capurro’s quickly impressing lead. With shimmering sonic flirtation breaking through across the catchy introduction, the album makes a strong and contagious start.

It is a powerful beginning quickly backed up by My Worst Friend, a more laid back track but with a just as healthy catchiness and bite in its rhythms and lyrical voice. With electronic essences even more prominent, the boisterous croon quickly has body and appetite in its hands before Dancefloor has both engaged with its senses clipping riffs and dark shuffle of emotive shadows. With matching suggestiveness to its melodic enterprise, the song prowls more than romps with the listener but leaves thick satisfaction in its wake which Tomorrow further inflames with its atmospheric caress around a melody spun jangle. With a more volatile edge to its rhythms and heart, things only becomes more intriguing as a jazz kissed bassline and fiery swipes of guitar bring greater depth to the textures entangling within the song.

A thicker metal sourced growl provides the backbone to next up Evolution Circle, riffs bringing an instinctive snarl emulated in some of the great variety making up the song’s vocal enterprise while Floating Man and The 21st Century respectively cast a progressively hued, melody woven adventure and a rhythmically excitable and boisterous escapade. The first of the pair especially bewitches, its body the most unique so far in the first handful of songs revealing greater imagination and boldness in the band’s songwriting but pretty much matched by the flirtatious design and ingredients of its successor.

The short almost haunting serenade of Life Is You is a tender caress of melodic and harmonic beauty perfectly setting up the darker air and character of Outside. The firmly captivating track is a brooding slightly intimidating proposal coloured with more of the band’s excellent vocal prowess and emotively honed melodies.

All The Way has its own strongly enjoyable time with ears next, if without quite matching up to numerous peaks in the landscape of the album before it with Insight hitting another peak straight after in that success with its emotional and sonic discord kissed grumble though it too is eclipsed by the irresistible Clockwork Therapy where ANEWRAGE simply uncages its boldest flight of creative adventure. The song is glorious, clicking along like a mechanical toy in the hands of its creative puppeteers to steal best song honours.

The heart and melodically fuelled Wolves And Sirens completes Life-Related Symptoms, providing a fine end to a release which has no trouble drawing repeated listens in quick time. It might not be thick on major surprises but certainly has plenty of unpredictability to keep ears and expectations guessing and the craft and imagination to spark real enjoyment and we suspect a whole new ball-game of attention the way of ANEWRAGE.

Life-Related Symptoms is out now through Scarlet Records @ https://scarletrecords.bandcamp.com/album/life-related-symptoms and numerous online stores.

http://www.anewrage.com/    https://www.facebook.com/ANEWRAGE/    https://twitter.com/anewrage

Pete RingMaster 18/04/2017

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/

Nekrogoblikon – Heavy Meta

 

Nekrogoblikon

For all those acquainted with and new to Nekrogoblikon and their self-tagged “goblin metal” sound, time to embrace one of the most enjoyable and impressive metal albums of the year so far. You might initially snigger at the band’s goblin themed presence and invention, and you will giggle with the band’s lyrical rascality and self-referential mischief, but ultimately you will come away from one exhaustingly inventive and exhilarating new album basking in metal at its stirring best; you might also just want to be a goblin yourself.

Hailing from Los Angeles, Nekrogoblikon formed in 2006 releasing debut album Goblin Island the following year. At this point the band was just the founding duo of Nicholas Von Doom and Tim Lyakhovetskiy. The line-up subsequently expanded as their sound began evolving as shown by second full-length Stench in 2011; becoming even more openly diverse and exploratory in third album Power two years later. The raw black and death seeded sounds which primarily fuelled their first release, were soon part of a maelstrom of rabid flavours and styles from electronic to folk, symphonic to experimental metal, all colluding to seduce ears and imaginations. The evolution has continued and is now in full blaze with Heavy Meta, the band’s new savaging of the senses. It is a fascinating and irresistible tempest; simply a devouring proposition of flirtatious menace and bewitching voracity.

From opener The End of Infinity, band and album has attention gripped and appetite licking its greedy lips. The song’s initial stride through ears has an electro air to its contagious swing and as it expels further ingenuity and imagination, thoughts of bands like 6:33 and Destrage give a nudge. Keys and hooks only add to the virulent web being cast, the great weaselly vocals of Scorpion almost dancing on the strands of their tempting. A brilliant start only explodes into a greater escapade as guitars cast a melodic weave with tangy hooks and grooves whilst rhythms stalk that enticing with lustful intent. The devilish nature of melodies and enterprise has an additional feel of French band Pryapisme to it, and quite simply everything combined creates aural addiction, an intimidating and fanatically unpredictable shuffle impossible for feet, neck muscles, and the imagination to resist.

Nekrogoblikon-HeavyMeta-AlbumArt_Reputation Radio/RingMaster ReviewThe passions are ignited just as potently too, finding further lust as the following We’ve Had Enough with its opening saunter of evocative keys swings in with drama and rampant devilment. Riffs and grooves are soon driving infectiously through ears, vocals spilling the narrative with salacious intent as clean harmonies court ears in the background. The diversity of emerging sound is matched by the great variety of vocals, every second and twist of the song as unpredictable as they are a fluid persuasion. Like a temptress ruffling the love sacks whilst stealing the gold, the track is a salacious temptation leaving ears and emotions on a high ready for the quick step and tenacious revelry of Bring Us More. Jazzy keys, pop bred harmonies, and funk kissed energy are all sucked into the fiery climate of the song’s rabid creativity, once more the likes of 6:33 coming to mind alongside hints of Trepalium and Mr Bungle whilst devouring the unique goblin sound.

Snax & Violence is a more predatory proposal, its blackened heart and melodic death metal voracity a ravishing of the senses. The song though is unafraid to infuse guitar and keys bred beauty into its climatic tempest, adding folkish hues to its grooving simultaneously. It is an enthralling stalking of ears soon outshone by the outstanding Atlantis. The band’s latest single exposes its rhythmic muscle and tenacity straight away, lacing it with scythes of sonic bait as vocal squalls and synth spawned teasing bring their individual persuasions to the rebellious landscape of the song. Like a death infused version of Hardcore Anal Hydrogen, the track is a puppeteer to body and soul, pulling the strings of pleasure before making way for the equally thrilling We Need A Gimmick. Think of a style of music and it is most likely infused into the bedlamic but flowing emprise of a song with something for everyone within and outside metal.

Full Body Xplosion is as grouchy as a ravenous bear and as rhythmically skittish as a dog in heat. Riffs and vocals are similarly fuelled across the volatile storm of invention whilst hooks and grooves offer magnetic toxicity and the keys intrusive seduction. The growl of the bass we will leave for your discovery and nightmares as another pinnacle in the lofty plateau of the album moves over for the raucous anthem that is Let’s Get Fucked. Featuring Andrew WK, it is as riotous as you might suspect and more merciful than you might imagine, with its guest the welcome and Scorpion the venom. Without rivalling its predecessors, the track still has the real world a distant memory in its company and energies ready to take on the caustic and sultry saunter of Mood Swings. Musically the track lives up to its title, each twist bringing a fierce fondling or flirty soliciting of the imagination, everything fully agitated and hungrily unpredictable.

The song Nekrogoblikon brings Heavy Meta to a glorious end; its cantankerous stomp an alchemy of relentlessly catchy rock pop exploits aligned to ferocious hostility. It is a torrent of vivacious turmoil and creative diablerie, just as the album itself. Heavy Meta is easily one of our favourite offerings this year so far and a major incitement for the metal scene, demanding and deserving the fullest attention in return. Now where do you get goblin masks…

Heavy Meta is available via Mystery Box now on CD and vinyl @ http://www.districtlines.com/nekrogoblikon and digitally @ http://bit.ly/1JycbMS

http://www.facebook.com/nekrogoblikon

RingMaster 03/06/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Trepalium – Damballa’s Voodoo Doll

IMG_7770 HD NB

They can try to call it groove metal, progressive metal maybe, or even avant-garde death metal, but quite simply the Damballa’s Voodoo Doll EP is swing metal in all its fresh faced glory. The six track dance of voracious metal rabidity and ridiculously virulent contagion is the new hex cast by French metallers Trepalium, a band no strangers to unleashing some of the most blistering and imagination stretching extreme metal over the past decade. French metal is in the midst of an innovative heyday right now, with seemingly every corner offering a new proposition to devour. It is also producing some of the most startlingly inventive proposals, unique experimental /avant-garde offerings from the likes of 6:33 and Carnival in Coal through to Pryapsime, Hardcore Anal Hydrogen, and Toumaï. One of the most rabid and nastily inventive of them all is Trepalium and their death metal bred sonic pestilence.

The band across four albums has persistently pushed their and metal’s boundaries with a raw hunger to infest viciousness with a seductive multi-flavoured originality, an intent bearing the most compelling fruit on Damballa’s Voodoo Doll. Cloaked in the allure of arcane mysticism and bursting with the tenacity and energy of vintage New Orleans jazz and swing, the EP is a nonstop stomp through fiercely grasping shadows and insidious black-hearted temptations, commanding feet and emotions like a maniacal puppeteer.

Voodoo Moonshine sets the sorcery in motion, a violent barroom the scene for big imposing and alluring beats to tone up ears and appetite ready for the salacious flames of brass and the throaty vocal malevolence of Cédric ‘KK’ Punda. His tones, as the music comes with a swagger, a demonic confidence which even in short grunts has intimidation and temptation dripping from every sound. The guitars of Harun Demiraslan and Nicolas Amossé are soon spinning a web of grooves and swing induced revelry, every flirtation and melodic toxin embraced in the rhythmic contagion of bassist Ludovic Chauveau and drummer Sylvain Bouvier. Embraced in the seductive heat of a full complement of brass and caressing keys, the track is a festival of sound and creative devilment, like a brawling romance between Gojira and Cherry Poppin’ Daddies with Destrage and Mucho Tapioca in close attention to give some hint of its infectious alchemy.

Talking of the first of those bands, Gojira’s Joseph Duplantier appears on the following title track, another taking a mere breath to enthral with its swinging 30’s big bandUpdatedArtwork like entrance clad in a just as immediately imposing and ferocious but catchy aggression. As in its predecessor, grooves bind and vein the track like vines, creeping deep into the passions and psyche as keys conjure their own individual demons. Imagination and emotions are just as swiftly inflamed by the villainous tapestry of sound, every unpredictable note and twist as well as boozy growl, an epidemic of incitement, though it is soon over run by the dark majesty of Possessed by the Nightlife. Twenties seeded keys paint the landscape before beats and riffs prowl and lurch up on the senses, their danger and menace as inescapable as the anthemic bait provided by the increasingly punchy rhythms. The song is brutal and uncompromising. from the pestilential tone of the bass to the barbarous predation of the guitars a merciless threat but again pure viral addiction leaving feet exhausted and thoughts ignited.

     Guédé Juice provides its own enslaving irreverence next, rhythmic swings and acidic grooves the frame to dirty jazz colours and a feverishly sultry climate of enterprise and creative rapacity. By the end of the song exhaustion and bliss are in overload and the spell keeps being casted as Fire on Skin broodily appears. Offering an opening impression or certainly the spark to thoughts of Creole like prohibition and dark magic in an embrace of the Dirty Thirties, the track is a muggy affair initially before the fetid mists part and the band bursts through with a metal driven rampage. Still employing eruptions of jazz endeavour, the track roars and bellows with extreme metal hostility and melodic rock enterprise, though it is a devious savaging as again there is a swing to much of its intensity and a venom which simply seduces body and soul.

The closing Blowjob on the Rocks spills its own dangerous persuasion to being the release to a mighty conclusion. There is a shadow and underlying animosity to the track, a seeming secret which flirts with ears and imagination throughout as the fully stocked brass persuasion spreads a weave of tangy intrigue and noir lit drama. It is a dark theatre only enhanced by the spicy nature and invention of the guitars, the trapping weight of the rhythms, and the treacherous elegance of the keys.

Damballa’s Voodoo Doll is dangerous; it is bad for the health of the body with its ridiculously infectious tempting and lethal for the psyche with its serpentine seduction and mystique. Ultimately though, the EP is one of the most exhilarating and lustful things likely to be heard this year, the next, or whilst the sun still warms our souls.

Damballa’s Voodoo Doll is available now via Klonosphere @ http://www.klonosphere.com/trepalium/

https://www.facebook.com/TREPALIUMBAND/

RingMaster 10/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

The Top Twenty Metal/Rock releases which most excited The RingMaster Review in 2014

In a year of some seriously and gloriously anthemic, not forgetting creatively inspiring releases The RingMaster Review picks out twenty metal and heavy rock releases covered by the site which gave us that extra tingle of excitement in 2014.

 

EYE_CoverArt_Kallisti

01. Empty Yard Experiment – Kallisti

https://ringmasterreviewintroduces.wordpress.com/2014/09/29/empty-yard-experiment-kallisti/

02. Escapethecult – All You want To

https://ringmasterreviewintroduces.wordpress.com/2014/08/19/escape-the-cult-all-you-need-to/

03. The House Of Capricorn – Morning Star Rise

https://ringmasterreviewintroduces.wordpress.com/2014/12/02/the-house-of-capricorn-morning-star-rise/

04. Hollow – Mordrake

https://ringmasterreviewintroduces.wordpress.com/2014/05/30/hollow-mordrake/

05. Voyager – V

https://ringmasterreviewintroduces.wordpress.com/2014/06/03/voyager-v/

06. Nexilva – Eschatologies

https://ringmasterreviewintroduces.wordpress.com/2014/04/08/nexilva-eschatologies/

Arcade Messiah Album Cover

07. Arcade Messiah – Arcade Messiah

https://ringmasterreviewintroduces.wordpress.com/2014/11/25/arcade-messiah-self-titled/

08. We All Die (Laughing) – Thoughtscanning

https://ringmasterreviewintroduces.wordpress.com/2014/01/14/we-all-die-laughing-thoughtscanning/

09. Goatcraft – The Blasphemer

https://ringmasterreviewintroduces.wordpress.com/2014/03/06/goatcraft-the-blasphemer/

10. Destrage – Are You Kidding Me? No

https://ringmasterreviewintroduces.wordpress.com/2014/03/06/destrage-are-you-kidding-me-no/

1911882_983788448302453_5892065009981890503_n

11. Void of Kings – Stand Against The Storm

https://ringmasterreviewintroduces.wordpress.com/2014/12/23/void-of-kings-stand-against-the-storm/

12. No Sin Evades His Gaze – Age of Sedation

https://ringmasterreviewintroduces.wordpress.com/2014/08/22/no-sin-evades-his-gaze-age-of-sedation/

13. Dioramic – Supra

https://ringmasterreviewintroduces.wordpress.com/2014/09/15/dioramic-supra/

pigeon lake

14. Pigeon Lake – Tales of a Madman

https://ringmasterreviewintroduces.wordpress.com/2014/08/10/pigeon-lake-tales-of-a-madman/

15. Imbroglio – The Struggle in Pursuit

https://ringmasterreviewintroduces.wordpress.com/2014/04/16/imbroglio-the-struggle-in-pursuit/

16. ICOSA – The Skies are Ours

https://ringmasterreviewintroduces.wordpress.com/2014/07/25/icosa-the-skies-are-ours-ep/

17. Mars Red Sky – Stranded In Arcadia

https://ringmasterreviewintroduces.wordpress.com/2014/04/29/mars-red-sky-stranded-in-arcadia/

18. Anti Clone – Hands Sewn Together

https://ringmasterreviewintroduces.wordpress.com/2014/08/25/anti-clone-hands-sewn-together/

jwb walkingunderwaterpt2

19. Johnny Wore Black – Walking Under water Parts 1 & 2

https://ringmasterreviewintroduces.wordpress.com/2014/02/27/johnny-wore-black-walking-underwater/

https://ringmasterreviewintroduces.wordpress.com/2014/11/13/johnny-wore-black-walking-underwater-pt-2/

20. The Body Politic – Egressor

https://ringmasterreviewintroduces.wordpress.com/2014/09/17/the-body-politic-egressor/

Expain – Just The Tip

EXPAIN - Promo Photo

With rich flavour to every unpredictable twist and imaginative exploit within feverishly inventive designs, Just The Tip, the debut album from Canadian band Expain, is one ruggedly captivating proposition. As evidenced by the release, Expain cast a sound which is a mouthwatering web of thrash cultured melodic death metal infused with everything from jazz to progressive metal. It makes for a gripping and compelling capture of the imagination though for the moment the band falls slightly short of igniting a lustful blaze of passion for its persuasion, especially when placed against recent releases from the likes of Destrage, Hardcore Anal Hydrogen, and Toumaï. Nevertheless band and album are fuelled by a potential and technical craft which simply bewitches and ensures Expain is smack bang in the middle of attention’s radar.

Hailing from Vancouver, the band has earned a strong reputation back home for their melodic ingenuity within that virulently aggressive thrash bred voracity, a blend bursting across every second of Expain’s first merciless onslaught. Their full-length actually follows an EP released under the name The Almighty Excruciating Pain in 2012, the seeds to the impressive incitement of Just The Tip. Produced by Matthew Roach, the release is a potent starting block for a suspected highly promising and fruitful horizon for the five-piece.

The instrumental Bacchus opens up the creative adventure, its melodic colour and enticing within a subdued but evident snarl a hint of EXPAIN - Just The Tip - Album Coverwhat is to come, a suggestion swiftly unleashed with the following Aggressions Progression. From its opening firm rhythmic framing around progressive hues and sonic enterprise, the song has ears and thoughts fascinated. The coarse vocal squalls of Daniel Brand entwine their venomous yet welcoming hues amongst the spellbinding weave of guitar play from Pat Peeve and Eric Morrison, a captivating emprise matched by the throaty string craft of bassist Nikko Whitworth. The track is a mighty full opening, showing everything you need and wish to know about the band’s intent and ingenuity of songwriting and performance. It is a constant evolution of ideation and at times mischievous unpredictability which is emulated almost as scintillatingly in the next up Phoenix Writhing. The core charge of thrash inspire riffery and rhythmic antagonism is a powerful bait around which guitar imagination steals the show, though its shares the honours ultimately as a jazzy breather allows the bass to be just as spellbinding.

Both tracks irresistibly impress as does The King which comes in straight after upon an elegant cast of melodies before the irrepressible rhythms of drummer Ryan Idris lead the senses into a sinewed sculpted blaze of acidic short grooves and barbed persuasion. The song slips from its exciting opening into a more expectations feeding thrust but still provides a network of inventive twists and melodic metal flaming to stir up attention and appetite. It is a strong and extremely pleasing track yet lacks the spark of its predecessors as does Don’t Worry The Worst Is Yet To Come. Again the individual invention and skill is breath-taking whilst the small turns and imagination foraging tenacity of guitars and bass are enslaving but it is the thrash spine which offers little new to chew over and lessens the impact of the songs.

The singular attack of the vocals is another element in which more variation is wished, to join the diverse creativity colouring songs, though admittedly Brand is excellent in his delivery and passionate provocation. It does mean though that at times he loses out to the sparkling and potent endeavour elsewhere, as shown with the excellent Idol Worship where guitars seize attention resourcefully supported by great bass and drum incitement. The track and its successor Allegiance To Pain also avoid providing something which is equally never offered by songs and album, and that is to really explore an avant-garde territory which certainly the second of this pair does pleasingly hints at. Song and release does flirt with that bold diversity and adventure across its impressive body but never quite goes into the heart of inventive ‘mania’ which those bands previously mentioned embrace. It is still one of the pinnacles of the album though and gives another reason to suspect that the band is going to become a big force.

Both the seductively prowling Manatee and the predacious Headbang Your Head Off keep ears and emotions employed, the first a blackened waltz of melodic revelry and rhythmic barracking whilst the second is a torrent of disorientating beats and dazzling sonic lures which never standstill or allow a breath to be taken. Vocally too the song sees Brand at his strongest and most gripping, if again diversity is scare whilst the bass of Whitworth shows its presence to be potently inspiring within the thicker mesh of beats and grooved invention.

Completed by A.T.M. with its spicy acidic veining and the contagiously rapacious Eating A Beating Heart, the album leaves a lingering and contented hunger entrenched in thoughts and emotions. Some of the songs certainly need close attention to separate them within the context of the album but singularly all present a magnetic and riveting evocation of sound and craft. Just The Tip is an easy recommendation with plenty for fans of everyone from Megadeth to Municipal Waste, Revoker to Death, as well as those more experimental propositions previously talked of to be excited by. Expain will be a major thrill in our ears and using the reasoning of their great debut, it is expected to be sooner rather than later.

The self-released Just The Tip is available now @ https://expainband.bandcamp.com/album/just-the-tip

https://www.facebook.com/Expainmetal

8/10

RingMaster 24/06/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

 

Pink Tatami – Chapter and Verse

Pink Tatami

It is with great thanks to the vocalist of Pink Tatami, Mike Marques that we can bask in one of the most invigorating and downright thrilling releases of the year so far. The frontman of the French band introduced himself and colleagues with the hope that a review of their debut album Chapter & Verse might be possible. One blast of just its opening song and a review was not only possible but essential. Consisting of twelve exhaustingly imaginative fusions of alternative rock and metal, with plenty more besides lurking and seducing from within, the album is a breath-taking tantalisation. Bulging with virulent hooks, deceptive shadows, and an irresistible invention which hooks its claws in from the first second to the magnetic last, this is a debut of not only an outstanding band but of a potentially major force.

More than merely flirting with experimental tendencies, the sound of Pink Tatami feeds off the richest essences within metal and rock, every song a distinctive individual combining for an enthralling and mouthwatering proposition. Toying with and igniting the imagination and passions like a mix of Faith No More meets Kontrust with the devilry of Dog Fashion Disco and Destrage adding to the constantly evolving recipe with an extra spice of 6:33, sound and album roars and teases with all the charm of a bestial predator, the seduction of a sultry temptress, and the psychotic lures of a deranged puppeteer, though not always in that order or combination.

Recorded over a two year period, Chapter & Verse leap at ears and imagination right away, the Paris quartet simultaneously stroking coverand threatening the senses with dark riffs and rhythms with the entrance of opener Twisted Lip. The track soon settles into a feisty keen stride, the bass of Alex Ghilardi growling imposingly whilst the guitar of Florent Beaucousin coaxes and fires up thoughts in league with the richly impressive tones of Marques. It is an immediately flaming temptation which elevates its psyche metal seeded bait with the pop rock twist of the chorus. That Faith No More comparison is a swift suggestion though song and Pink Tatami only use it as flavouring to their ripe feast of sound. Across its saunter the song fuses in some funk twists with a Red Hot Chili Peppers lilt and a strong melodic rock grunge like enticement, an ingenuity which only adds to the potency.

The very strong start is soon shaded by the following Sinistra, which opens up its lure with an electro resonance, its stimulating wash surrounding the welcoming vocals and subsequent blaze of guitar steered by the punchy beats of drummer Bamby Alfonço. Again there is a definite Patton-esque flavour to the teasing which only accentuates the rich tones of the song. Flowing into slower romancing avenues and rapaciously toned energetic ventures, the track keeps thoughts and appetite on their toes and greedy for more which False Rebounds is more than happy to offer. Sinister whispers lurk as a singular guitar brings the song into view, the dark ambience standing over the emergence of the song until pushed aside by funky enterprise and bouncy vocals which step in to steal attention. It is a constant balance though, the shadows never far from making their narrative heard alongside evocative melodies and the livelier urgency of the track ever eager to have its say. It results in a riveting and thrilling proposition though in many ways just the appetiser to its quite magnificent successor.

The title track to the album is simply glorious, from its opening scrub of riffs and pulsating hypnotic beats a ridiculously virulent and anthemic suasion. The start has a Buzzcocks feel to its tempting and is soon courted by surf rock like croons and floating harmonies. Capture of heart and soul is done within those opening seconds, leaving the rest of the track to wrap tighter bonds around their submission. Into its stride the track enlists the contagion of rap metal with hip hop seeded vocals chopping across the ears whilst a sonic mystique dances provocatively in the background before erupting into a blazing sun of impressive vocal soars and searing melodies. It is easily the best song on the album, and the others are mighty, and one of the best to grace the year to date, much like the album.

Fears that there might be an anti-climax in store after such a triumph are soon chased off by both The Employee and “A” is for…, the first stalking ears at through dark vocals upon a stirring ridge of riffs before expanding into an intrigue noir kissed adventure with a sultry melodic breath. A track which manages to smooch with and haunt the senses at the same time it is another striking slice of invention; corrosive floods of aggression and predacious riffs having as much of a say in the painting of the song’s mysterious canvas as the mesmeric vocals and entrancing melodies, not forgetting the arcane tempting watching on. Its successor brings a ska toned walk to its delicious pop rock dance, crooning and embracing the listener in another RHCP spiced escapade which entrances and mischievously plays.

   The caustic touch of Dumas & Dos Santos brings another flood of ardour upon the album, the carnivorous bass tones and rapier like aggression of the guitars and rhythms irresistible as they thrust a violent furnace of intensity through the ears. It is tempered though by an infectious side to its provocation which increases the epidemic invasiveness of the explosive treat. It is a pleasure taken on further by the dark suggestiveness of We Can Help You, a track veined by exploratory sonic adventure and intrusively appealing twists, and the intensively shadowed Dorothea Tanning, its tale and invasive sounds an enveloping cloak of danger and creative spite. The song roars and thrashes about as its theme unveils every black twist and intimidating turn whilst merging passages of intimidating seduction into the turmoil.

Adhesive spits and romances with its diverse wares next, the song a gentle caress in certain moments and a voracious assault in others reminding of Russian punk rock band Biting Elbows at times. The song is surpassed by the following Evokes, a spiral of sonic addiction from its first seconds before careering into the passions on a torrent of punk/metal rabidity. Grooves and riffs squall irresistibly across the bow of the rhythmically challenging song, vocals adding irrepressibly to the raucous tempest. It is a stunning and quite brutal peak to the mountainous range of the album, a Breed 77 toxicity only adding to the inescapable trap.

Closing on the mild in comparison Eye Bank, a song where thoughts of Poets Of The Fall come to mind but just another tone in something unique to Pink Tatami, Chapter & Verse is one of those gifts you cannot turn away from without assistance, an enslaving incitement with far reaching snares. Though long in the making, the album is only the debut of Pink Tatami, a quite magnificent and accomplished one admittedly, but just the start of their journey. It is scary to think how good they have the potential to become and extremely exciting.

The self-released Chapter & Verse is available now!

https://www.facebook.com/pinktatami

http://pinktatamiband.bandcamp.com/album/chapter-verse

10/10

RingMaster 17/04/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com