G.R.I.M – Answers

GRIM

Having laid down their web of devilish temptation with the Sounds Like These EP, UK experimental rockers G.R.I.M return to increase the irresistible toxicity of their mouthwatering revelry with new single Answers. Again the Manchester hailing quartet twists the essences of numerous styles into their own unique and virulently compelling contagion as the single builds on their striking debut. Creating a stronger and more startling canvas of sound upon which the band sets free a riotous maelstrom of anthemic rhythms, imposing textures, and a psychotically charming inventive seductive, the track is a demon puppeteer to feet and psyche. It unleashes merciless bait throughout, a tempting which holds more unpredictable turns and deranged enterprise than to be found in the dark corridors of bedlam, a proposition which just inspires similarly raucous reactions

Formed in 2011 Great Riddims In Mind, better known as G.R.I.M, took little time in recruiting a fervour soaked local following with their fusion of styles such as dubstep, hip hop, dub, metal, and drum and bass to their sizzling noise rock core. To be fair any labelling is redundant when the foursome of vocalist Lance Hargreaves, guitarist James Glenn, bassist Nathan Larkin, and drummer Kyle Larkin cast their creative net of intensive rhythms, scorching guitar blazes, and vocal chants, and that is just simplifying their songwriting. With a serious reputation for thrilling live performances around their home city across renowned venues such as DryLive, Roadhouse, Sound Control, Antwerp Mansion, and Retrobar, the band certainly raised potent attention with their first release but it is in the outstanding Answers where you feel the trigger to wider recognition lies.

The single opens with a restrained stroking of guitar which is soon aligned to pumping beats and coaxing vocals. It is a skittish recruitment Answersof attention and appetite, sounding out the senses ready for the imminent expulsion of wantonly swinging grooves and wildly adventurous beats ridden by feistily enthused vocals. In full flight the track twists and flirts like a rapacious lap dancer as melodic toxins and hypnotic rhythms veining and puncturing the swerving rampancy. Playing like a meshuga planted by a union of Hadouken!, Lazy Habits, and Great Imitation with the extra relish of Swound!, the track soon has passions enslaved but it is only the start as it swoops into an atmospheric deviation, glorious orchestrated flames reaching to the sky as a Shrikes like disorientation and experimentation works on the senses. That exploration then evolves into a hip hop shaped lunacy, the song lifting its knees to its creative chin to wrong foot assumptions before moving once more into a delicious Mike Patton like invention.

The song continues to entwine those characters whilst adding new aural voices across its riveting climactic body, all the time sending waves of contagion and anthemic fuel into the passions. Seemingly increasing its thumping stride and urgency as it nears its conclusion, Answers is a predatory enticement with cracked intentions and irresistible weaponry which not only realises the promise suggested by the band’s last EP but uncages even greater potential for their sounds and an impending spotlight coated stature which you just know G.R.I.M will be exploiting ahead.

The single also comes with an equally dramatic and thrilling video directed by Joshua Leo Dorfman and produced by G.R.I.M and Fallout Productions. It brings its own enthralling premise and larger than life colour to the song, its story and cast as dynamic and energetically agitated as the thrilling song itself.

G.R.I.M is one of Britain’s most exhilarating and exhaustingly inventive secrets though Answers might just make that a soon to be well recognised mystery.

Check out the Answers video @ https://www.youtube.com/watch?v=k13smeVyrLw

https://www.facebook.com/GRIMcr

https://twitter.com/GRiManchester

10/10

RingMaster 07/05/2014

Copyright RingMaster: MyFreeCopyright

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Molotov Jukebox – Carnival Flower

Molotov Jukebox pic

It has already been firmly established that if you want your feet and body exhausted but blissfully contented then colourful UK revellers Molotov Jukebox are your puppeteers, their previous pair of EPs already the launch pad for riotous hips and gaping grins. Now the band parade their debut album, Carnival Flower, an eleven track festival of lyrical adventure and lustful melodies framed in a rhythmic escapade which frees inhibitions and ignites the raw dancer inside. It is a release which tempts and smoulders, caresses and incites as it takes the imagination on boldly hued and energetically fuelled romps. Unlike their previous releases there may be no real killer tracks at large, songs which virulently ignite the passions, but instead the release has a perpetual seduction which just as potently brews an enraptured submission.

Molotov Jukebox is a six-piece celebration of passionate aural festivities merging styles such as Latin soul, calypso, gypsy, swing, and dubstep into a unique revelry which has been tagged as gyp-step. Led by the distinctive sultry tones of Natalia Tena (an actress renowned for her roles in Harry Potter and Game of Thrones), and comprising of guitarist Adam Burke, bassist Tom Wilson, drummer Max Burnett-Wain, trumpeter Angus Moncrieff, and violinist/vocalist Sam Apley alongside her, the band has constantly garnered acclaim whilst inspiring an ever growing and feverish fanbase with their vibrant sound and equally vivacious live shows. Both their debut EPs, Double Dare and especially its successor Bang thrust the band into a concentrated spotlight feistily backed by unrelenting festival appearances, certainly in the past eighteen months or so. Now with the release of Carnival Flower there will be no surprise to see the London based band taking country and bodies further afield by the scruff of the neck and leading them to filling streets and dance halls with swerves and sexual dance moves, all to the sound track of Molotov Jukebox.

As soon as rhythms hit to mark the entrance of opener Tread Softly, an itch begins in the toes. The punchy beats of Burnett-Wain hold a Mol juksmile to their swing which is as infectious as the soon to join warn embrace of strings and the vocal persuasion of accordion caressed into life by Tena. It combines with whiffs of sonically crafted guitar and a percussive coaxing into an even tempered but inciting romp brought further to life by the seducing vocals of Tena within sober blazes of trumpet. It is not a riotous start but an eager persuasion which twists and flirts with sound and ideas to waken attention, appetite, and imagination with ease.

From the slightly annoying fade-out of the song, just a personal gripe in a liking for proper finales to songs, temperature and bait is increased thr0ugh Don’t Wanna Know. A vocal croon by Tena courted by excellent group harmonies beside her, kiss the ears initially providing a sexy flirtation which evolves into an agitated stomp with melodic skirts swishing over the senses as pulsating bass riffs use salacious tempting under the climactic flames of trumpet. As its predecessor, the song is not a full-on stampede of aural diablerie but holds an irresistible anthemic lure which enlists body and passions without resistance. The song simmers and at times almost taunts with rhythmic enterprise and string plucking, everything combining to design an evocative and humid template for addiction.

The band’s new single, Neon Lights steps up next, again gentle sexually inviting suasion starting things off before trumpet and vocals soar gloriously across the ceiling of the song. Veining the flight the bass strolls with inviting shadows whilst keys and accordion add their intrigue and mystique to the noir shaded scenery. It is a sumptuous blaze of colour and sound, a track which just grows and grows in the psyche and memory the more it infests the ears. That is true of the album to be fair, first impressions impressed and keen but a new breed of appreciation and ardour emerges given time; previous releases were an instant lust but the album takes a different longer route but with the same result.

The following Can’t Find You is another slow starter on emotions though a swift temptress of ears and thoughts. Almost like a formula for the album, the song also opens up with reserve and a melodic flutter of its lashes before throwing off its hood for a fleet footed waltz of provocative melodies and wanton hues. A mix of pop and swing, it moves around imagination’s dancefloor arm in arm with flailing hooks and elegant harmonies casting a robust yet sensual toxicity over the senses.

The jazz lounge like bred Punchlines weaves and glances across ears with a rich and soulful fondle lighting up thoughts. It is a graceful flame of emotional melodies and sixties harmonies which leaves satisfaction bulging if passions simmering, though they are soon aflame with the brilliant House Fire Smile. The first surprise emerging from the heralding blaze of trumpet and electro additives is that the lead vocals are taken by Apley, an inspired move as his vocals are impressive and make a brave and successful twist to the album. There is a feel of Lazy Habits and Dizraeli and the Small Gods to the song, a whisper of hip hop toying with the heart of the song as a reverse of the norm vocally throws a deliciously unpredictable and magnetic new coal in the fire of the album. The song has a bounce and swagger to its relatively considered stroll though there is always the feeling it wants to explode. Tena’s voice and a niggling guitar toxin only add to the riveting call of the song, an encounter which steals top honours on the album.

Both the frisky Sexfoot and the smouldering Nina keep hunger lively though both are openly pale against certainly the previous triumph. The first of the pair is like a tempered foxtrot with moments where it unleashes its inner devil whilst its successor with the smokey voice of Tena stroking every syllable and the senses in a steamy seduction courted by a classically bred Latin hearted acoustic guitar sends the imagination into a romantic encounter.

From the exotic gala of Tropical Badboy where even the dead could not resist its carnivalesque voracity, the album comes to a close with firstly the dynamic and atmospheric jubilee of No Lady, a track which finds an eighties whisper of bands like Pigbag to its determined sway of melodic curves and rhythmic hips, and lastly a reworking of Trying, a song previously on the Bang EP. The song is a masterful tempting which just has that instinctive lure to inspire full allegiance and union with its potent musical poetry but it has to be said that the new treatment does not quite work as well as the original. Despite that the track is outstanding and the perfect end to a quite impressive and incendiary release for body and heart.

Though Carnival Flower does not quite live up to definitely Bang, it is an open and thrilling doorway into Molotov Jukebox, both a proposition you need to explore at least once in your life, though be warned as one bite is all it takes to be lost to the temptation of the band.

The self-released Carnival Flower is available now!

http://www.molotov-jukebox.co.uk/

8.5/10

RingMaster 28/04/2014

Copyright RingMaster: MyFreeCopyright

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The Correspondents – Puppet Loosely Strung

 

The Correspondents pic

     …And the treats of 2014 just keep coming; in a year already endowed with some of the finest releases and debuts, Puppet Loosely Strung just might be the best of all so far. A masterful aural tapestry of sonic magnificence and unbridled imagination, the first album from UK band The Correspondents is simply stunning and quite irresistible. The creation of London based duo, producer Chucks and singer Mr Bruce, the album is a weave of intrigue, adventure, and diversity showing exactly why for the last few years the band has been drawing fevered attention and adoration for their live performances. Reaping the glories of everything from dance music to jazz, blues to electro and drum ‘n’ bass for a pop soaked exploration unique to themselves, The Correspondents is one of those bewitchments everyone needs in their lives.

    Mr Bruce and Chucks came together as The Correspondents in 2007, two South London artists taking as little as two years to find themselves playing main stages across numerous festivals. The years since their emergence has seen the band touring with the appetite of a hungry predator, small and large audiences constantly enthralled and enamoured by their invention driven sound and the band acclaimed as The Telegraph’s Top Ten Glastonbury Highlights two years in a row. With one EP, What’s Happened to Soho?, the only recorded offering until now, the band has impressively sparked a greedy appetite towards them, one which will soar as Puppet Loosely Strung seduces and provokes with its stunning radiance. Bringing in well-loved and established songs from their live set and a new breed of introspective emotive tracks, the release is the ultimate crossover album, one forging and sculpting a realm all of its very own and one sure to inspire hearts and numerous other upcoming bands.

     The self-produced, recorded, and released Puppet Loosely Strung, digs deep in the heart of its recipients from the first song The Correspondents - Puppet Loosely Strungand never relinquishes its seduction thereafter. Opener What Did I Do? initially croons the ears, the exceptional voice of Mr Bruce serenading thoughts as keys caress his presence before beats add their mildly skittish suasion to the emerging stroll. Within seconds the track is a full captivation turning into a virulent lure as its unpredictable and mischievous enterprise skirts the reflective grace of the vocals. It is a delicious sway of ingenious sound and loving imagination which whirls senses and thoughts around like an evocative carousel of thoughtful temptation.

     The striking start is soon taken to another plateau with the first single from the album, Fear And Delight. A dramatic shadowed coaxing of keys makes a mysterious entrance which moves into a feisty romp of indie rock and electronic temptation. If the first track was virulent, the second song is an epidemic, infectiousness rampaging with lustful energy and sound as the pair merge dub into drum and bass with a ska kissed melodic ingenuity. Not for the last time The Correspondents remind of little known and even quicker forgotten eighties band Zanti Misfits, the swing and quirky balance of the track the spark for thoughts. The song is pure musical alchemy, a classic stomp with irresistibly lingering bait which the rest of the album has to try and make you forget, which it soon manages with the next up Give You Better. The song lyrically is almost the warped mirror image/alternative guise to the plaintive narrative of its predecessor, even emerging from the same melodic stroke before casting is own personal persuasion. Once again the keys paint a dark drama to proceedings before the vibrant and magnetic saunter of the song brings a tempering light to the blues pleading hues of the song. As the previous tracks the urge to join in with limbs and voice to the creative trespass of the passions is impossible to resist, the already broad grin on the face and imagination now connecting ears.

    The seductive shuffle of Kind Of Love next licks temptingly over the senses, its jazz bred almost easy listening leaning call leading the senses into an electronic elegance before the instrumental skit of In The Meantime brings a cinematically emotive breather to the dance of the release. It’s enjoyable if slightly underwhelming presence in the larger scheme of things is succeeded by Devil’s Lighthouse, a song which encloses the listener in a melody rich sonic exploration which simply brings another flush of ardour towards the album. Restrained yet brisk in its step, the track pushes shadows into the arms of warm ambition and hope for another pinnacle in the continuously lofty range of majesty.

   Both Well Measured Vice and The Last Time leave a spellbound state over ears and thoughts, the first another upbeat romp with provocative colour to its melodies and vocals playing within a rhythmic and pulsating courting. The song designs riveting adventures within its fluid waltz to easily transfix whilst its successor s offers the most potent seduction with its XTC like eccentricity and occasional Andy Partridge flavoured twist in the vocals. The song is one of the few happy to simply walk around the senses and coat them with a thick breeze of varied inventive whispers before making way for the dance floor spawned Back Again. Even if missing the benchmark set, the track is another drawing a mesmeric rapture which simply draws you in without reserve, its rhythmic tantalising as potent as its melodic fascination.

    The album’s title track lays a haunted ambience around the imagination as the song and Mr Bruce explain their feelings and thoughts respectively, the song a smouldering and sultry flight into observational and inward reflection to which the keys place compelling embers and imagination shaping sparks. The enchanting journey is matched and surpassed by the latest single, the brilliant Alarm Call. Released with a video to raise awareness and funds for The Epilepsy Society, there is a definite Julian Cope feel to the song vocally, emotionally, and exploratory; it’s pulsating contagion aligned to evocative textures and thoughts pure addictiveness.

     Closing with Some Nights, another impossible catchy and passion securing musical rap of peerless prowess and excited imagination, Puppet Loosely Strung is just sensational. It is a quite brilliant investigation of lost loves, dark relationships, and shadowed reflections all wrapped up in one of the most extraordinary sirenesque designs of sound and spirit. The Correspondents is our new lust and we suggest you make them yours too.

https://www.facebook.com/TheCorrespondents

10/10

RingMaster 10/03/2014

Copyright RingMaster: MyFreeCopyright

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The Drop – Turning Around EP

The Drop 3

As their debut album nears completion and subsequently it’s unveiling, UK reggae band The Drop are releasing the Turning Around EP as a free download.  Consisting of five tracks to entrance and ignite the imagination it is a quite seductive tempting for the forthcoming full-length and a thrilling gift to help end the year.

The nine piece band from London and Reading began at the beginning of 2009 and was soon grabbing attention with their distinct fusion of reggae with refreshing elements of dub and rock. Their first year saw The Drop become a regular on stages across the festival circuit as their contagious and skilled employment of virulent hooks and virulent melodies within heavy reggae based imagination worked its addictive toxicity upon those before them. Since forming the band has played with the likes of as Toots and the Maytals, Lee Perry, Zion Train, Don Letts, and The Dub Pistols, supported The Skints on their 2012 sell-out UK tour, appeared at Glastonbury, Soundwave in Croatia, Secret Garden Party, and Boomtown Fair, and received strong radio play. It has led to a strong anticipation of the band’s first album which Turning Around will not exactly appease but certainly bring a temporary halt to the impatient wait though equally it could just accelerate the hunger.

As soon as the opening tease of prowling bass licks at the ears from the title track you sense something magnetic is brewing, an coverassumption soon confirmed and elevated as the song seduces with a virulence which is just irresistible. With a knowing swagger to the riffs, precise bait from the rhythms, and a warm coaxing from the trumpet the song enslaves the imagination and emotions, and it has not yet got into full stride. A collaboration between The Drop and long-standing roots reggae producer and promoter Satchi Dubworks, the track is soon pouncing with greater allure with the pumped rips of guitar and tantalising keys ably backed by brass kisses, but it is the riveting vocals of Dandelion which seal the already destined to linger deal, his vocals a smooch on the ear with delicious expression coating every syllable he shares. With an eager tempo to its rocksteady romp and energy the song is sheer manna for the senses and imagination.

Up next comes CCTV, a track bred by the band from a track originally written by Dandelion and Hyperdub’s well-established production quartet LV in dubstep form. Washed in an absorbing ambience and smouldering keys crafted radiance the track slowly burns away at the passions for the fullest reception, its magnetic roots seeded breath mesmeric in touch and charm. In many ways the track feels like a mix of By The Rivers and Ruts DC, thoroughly captivating and wholly seductive.

The following Waiting For unveils a similarly transfixing offering, its bewitching weave of vocal harmonies, elegant keys, and mouthwatering trumpet heat a scintillating warmth to beguile thoughts and emotions, like a mix of UB40 with the indie incitement of a Bedouin Soundclash. Imagination floats over and through the song as it gently entices emotions and thoughts to play with its aural and vocal fascination, the song another infection dripping piece of melodic emotive alchemy.

Completed by a great dramatic yet restrained dub version of CCTV by roots veteran Nick Manasseh and a radio mix of Waiting For, the Turning Around EP is pure inventive temptation which makes The Drop’s impending album a must check out. Our impatience for it is already brewing agitation.

Get the Turning Around EP  as a name your own price release @ http://thedropmusic.bandcamp.com/album/turning-around-ep

https://www.facebook.com/thedropmusic

9/10

RingMaster 20/12/2013

Copyright RingMaster: MyFreeCopyright

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Video Filmed by Stand & Stare Media

Monday 20th January‏ sees KATSUO unleash ‘Creators’.

Katsuo Online Promo Shot
 
EXPLOSIVE NEW EP UNLEASHED THIS JANUARY BY KATSUO!
 
Katsuo’s eagerly awaited new five-track EP ‘Creators’ is nationally unveiled on Monday 20th January, through Super Happy Records. Merging Electronica, Dubstep and Rock, Katsuo’s blend of ‘Rock-step’ is poised to explode this year!
Formed in 2012, Katsuo is the workings of multi-instrumentalist Alex Larkman, who after playing in bands during his teens, wanted to create something edgy, contemporary and innovative. Taking from a plethora of influences stemming from Fall Out Boy and 30 Seconds to Mars, through to Skrillex and Prince, Katsuo’s sound is quite diverse, fusing a heady mix of dark & punchy dubstep, underpinned by crunchy rock guitars and laced with fast and hard hitting electro. With unique but compelling vocal hooks, Katsuo is destined for great things.
Katsuo’s debut EP ‘Silver Tongue’ hit stores in April 2012 along with the single ‘Warrior’ (released through Tuned-1n Records) which dropped towards the end of that year. Katsuo then also released the video ‘Stereo Jesus’ in April 2013, which featured internationally infamous Suicide Girl & FRONT Magazine cover girl Rebecca Crow (Katherine Suicide).  All releases helped to significantly propel Katsuo’s reach, and now with the release of Katsuo’s latest offering ‘Creators’, which compacts five killer cuts of inventive and cutting edge song-writing that sway from hard industrial and drumstep, to piano pop and alt-rock, ‘Creators’ promises to elevate Katsuo even further.
STOP PRESS! (4/10/13): KATSUO HAS JUST HIT 40k VIEWS AND HAVE BEEN FEATURED ON
YOUTUBE’S HOME PAGE – http://www.youtube.com/watch?v=MS-RUUoXwi8 ….
 Katsuo Cover Artwork
 

Night Wolf Presents: The Co Lab Vol.1

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The first in a proposed series of collaborations, Night Wolf Presents: The Co Lab Vol.1 is a magnetic and eclectic adventure for thoughts and imagination provided by a vibrant journey through electronic climes bred with potent essences of hip hop, dubstep, R&B, classical elegance and more.

The project and release is the brainchild of composer/producer/musician Ryan Wilcox aka Night Wolf with the intent of collaborating with a wealth of emerging producers/composers and artists. Hailing from Milton Keynes and Luton based since a child, Wilcox started out drumming in rock bands before concentrating on his own music. Alongside his solo work Wilcox formed Harmony’s Descent with Mike Ziegler aka Centrist from Dekalb Il, the pair’s songwriting and music themed by all aspects of life, from anguish and loss through to happiness and love. Earlier this year saw the release of the Watts The Time and Moonlight EPs, both featuring Centrist, and now the again Fly Productionz Ltd along with Cygnus Music released The Co Lab Vol.1,  brings another varied and captivating encounter from Night Wolf.

The release opens with Move It On featuring German singer songwriter Elsadie Smith and J.A. from Luton trio Soul Rhymaz. Pulsating beats and equally full electronic caresses make the first embrace guided by the dark tones of J.A.; it is a mere moment though as the seductive tones of Smith wash over the ears, her graceful delivery gaining greater potency as the r&b narrative weaves around the senses. It is an elegant and mesmeric temptation with the merging of vocal differences as accomplished and bewitching as the sounds around them. It is a very decent start to the EP if one which pales against some of the following triumphs.

The first of which comes through Work Rate which finds both J.A. and Leo Soul from Soul Rhymaz as well as Liv The Pilot joining the haunting yet tantalising emotive croon. Crystalline melodies dance over the ear from start to finish, a celestial ambience adding to their sparkle but equally there is a sinister breath to the lure, one not far removed from the threatening tempting provided by the soundtrack to Halloween. Plainer vocals make a great compliment whilst the mellower delivery only adds extra warmth to the scenic musical canvas. It is an excellent trigger for the imagination and passions with only one moment where it felt like the cycle of music had come to an end midway and stutters as it returns to the start to roll again to query.

Sucker Free is the pinnacle of the release, its tribal stomping over an energetic hip hop vocal devilry irresistible. Again it is J.A. providing the vocal incentive as the song flexes its electronic muscles and rhythmic tantalising whilst sexy funk naughtiness sways and dances within the hypnotic romp. It is a masterful slice of imaginative bait to catch and spark the passions into a lively and eager hunger.

The following Enemy List is a simmering slow burning success, the smouldering heat and melodic allure of the song taking time to convince but with numerous excursions of its gentle and emotive expanse covered in the impressive tones of Greek singer Gregory Style, emerges as another strong encounter, if still one failing to find the same rich appeal of its predecessor. The guitar strokes provide the biggest highlight of the appealing song but sandwiched between what came before and the following Downgraded it had a tall order to fill, though its attempt is admirable and an easy to return to presence. The closing song which sees Centrsit with Night Wolf is another peak on the EP, a delicious melancholic instrumental lighting the emotions and thoughts, its emotively incendiary washes of strings and classical depths finding a sirenesque enticement.

The song completes a thoroughly enjoyable and emotionally inciting release. It is an unexpected treat to be honest as its style and predominate flavourings are not the usual spices for this musical palate, but one with which you can only see Night Wolf recruiting a wealth of new followers whilst inspiring existing fans to drool greedily.

www.facebook.com/nightwolfuk

www.soundcloud.com/nightwolfuk

8/10

RingMaster 04/12/2013

Copyright RingMaster: MyFreeCopyright

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Digicore – More Than Just An Ape

digicore pic

UK industrial music in its varying shades and exploits has been a strong force for a long time if still arguably untapped by the media to send it deservedly deeper into the psyche of the world. Right now though there seems to be a pinnacle for the genre, a greater expanse of quality brewing within a wealth of releases over the past year parading talent and sounds that are irresistible. More Than Just An Ape, the new album from Digicore, is another adding its strength and invention to the growing plateau. It is an album which continues the band’s investigation of rock and industrial merged into a distinct confrontation veined with metal, electro, and punk , as well as one delving deeper into the modern world and its reliance on its god, technology, and its persuasion and effect on the human condition now and ahead. It is a brooding collection of songs, ones that inspire and challenge thought and emotion whilst equally inciting instinctive responses through sounds which are like an insatiable call to arms.

Formed in 2005 and consisting of Danny Carnage (vocals, guitars, programming), Matt Bastard (bass), and Cell (drums), the band spent two years crafting and creating More Than Just An Ape, the release stretching and taking the sound of the York band into new yet seamlessly evolved places and invention from previous album Without Freedom of 2011. Again released on Armalyte Industries, the eleven track album forges a sound and presence best described as Nine Inch Nails meets latter Pitchshifter with essences of Ghost In The Static, Gruntruck, and KMFDM placed in the mix. It is just a guide to a sound which at times feels familiar but with no evidence to why within its individual temptation. Fusing a wealth of other flavours into the compelling sonic narratives of the songs, More Than Just An Ape is one of those releases which deviously creep up on you simultaneously to offering an instant addictive persuasion, one which lingers long in the memory and psyche after its departure.

The opening In To Ruin emerges from a peaceful scene, church bells with an edge of discord drifting ambience slowly surrounded by an Digigorillaominous electro breath. An air of melancholy lays its touch into the brew especially with the introduction of the excellent vocals of Carnage, his tones clean, expressive, and throughout the album with a confrontational snarl. His appearance also sparks a more accelerated intensity bringing its intimidating presence though the track always has its rein gripped between its emotive sinews. It is an excellent starter and beckoning for the following You’re Not Like Me to unleash its thumping heart. Big boned beats frame the start before taking a step back for the caustic but restrained electro caresses to begin their impending scarring against the again strong vocals. Eventually the guitars sculpt their venomous presence whilst rhythms set a cage of menace and impact around the at times aggressive shift of the song. The song continues the impressive start set in motion whilst offering another of its potent aspects.

Both Disconnected and The Great Devourer provoke and expel vigorously imposing shadows, the first a carnivorous sonic expression that sucks air from lungs and hope from thoughts whilst its successor is a metallic predator where guitars and vocals which raised their growl and bite in the previous song now launch an intensive forceful stand against the ear, electro climbs offering underlying temptation to the almost Fear Factory like conspiracy. Both stand tall upon a release of nothing but peaks whilst next up I Will Not Be Afraid wraps warm melodic charm in coarse sonic washes with the vocals similarly composed to create another compelling danger.

     Hell On Earth is the best track on the release, a song which lays a dubstep/ebm dance canvas upon the ear for the sinew clad rhythmic juggling and corrosive metallic urgency to dance and rampage all over. Once more the band continually twist and evolve the gait and call of the song, creating a disorientating yet easily accessible intrigue and incitement to devour with rabid greed. It borders on bedlam and chaos but is superbly crafted and controlled to be one of the most forceful and anthemic riots heard this year.

Both the ferociously hearted Not One Of Us with its belligerent driving rhythms and the scintillating aurally toxic Don’t Belong Here leave pleasure and appetite full whilst Flesh is Weakness makes its challenge for best of honours with its emotionally charged and increasingly agitated presence. A climbing rage and sonic stimulus to mind and feelings, the song explores its and the listeners corners physically and emotionally, its challenging terms and riveting enticement just delicious.

Ending with the hellacious dance floor manipulator I Hate What I Have Become, which initially tears up the ease to which limbs can add their contribution evolving into another dramatic contemplation that wraps forcibly but enthrallingly around the body, and the brief epilogue of the title track, More Than Just An Ape is an outstanding album, one which leaves you short of breath and long in satisfaction. Offering an assessable first meeting but becoming much stronger and compelling when ridden over numerous courses, Digicore has reinforced not only their striking presence but that of industrial exploration within the UK. They stand side by side with the very best whilst holding their own distinct portion of the field. A must hear album.

http://www.digicoremusic.com/

8.5/10

RingMaster 02/08/2013

Copyright RingMaster: MyFreeCopyright

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

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