The Scaners – II

It is hard to believe that it has been over a year since the debut album from French cosmic punks The Scaners was unleashed; feeling like it was just yesterday mainly we guess because since its release it has barely taken more than a deep breath away from our speaks here at The RR. It was one of the major infestations of 2018 and is about to be joined by this year’s matching virus in the shape of the bands succinctly titled second full-length, II.

As with the first release, we are on board the intergalactic vessel Scaner with the Lyon based band, careering from planet to star, from stratospheric mystery to extra-terrestrial house party amidst a soundtrack bred on sonic hooks and scuzz punk antics. In many ways it is more of the same of that which made the first album so irresistible but within a few breaths there is no escaping a fresh wind of flavour, imagination, and creative devilment at play within the mischievously virulent II.

Recorded as the first full-length with Lo Spider and mastered by Jim Diamond the new adventurer in space instantly had the body bouncing and vocal chords hollering as first track, Please Abduct Me opened up its thrusters and declared its plea. Its first breath brings an eager surge of guitar amidst the swirling breeze of keys, boisterous rhythms in close company as the track flies through ears. The vocals of organist Pav are just as magnetic, backed by the equally tempting tones of the rest of the band. A slice of incorrigible power pop fuelled garage punk the track is superb, straight away putting album and listener in the keen frame of mind to go galaxy stomping.

Catch Up With A UFO follows, launching on a delicious rhythmic incitement from drummer BX which quickly leads to an adrenaline soaked stomp shaped by the guitar of DD and temptingly coloured by the dark shadows of Tama’s bass and the ever persuasive vocals of Pav and co. Navigating its flight through swinging gravitational debris, delinquent twists and turns further equip the inescapable greed casting bait of the song before the album lands at Random City 2099. A fuzzy slab of garage rock nurtured synth punk, the song is a magnetic shimmer of theremin and organ nurtured seduction across jangling guitar and rapacious beats and far too easy to devour to be good for one.

There was no running for cover as Mars Attacks descended on ears next, its aggressive bubblegum animation as feral as it is predatory with a Ramones meets Phenomenauts teasing sweeping the conflict while within the gamma ray hued Space X-Ploration, escape is a controlled but inexorable release of hips and greed within the song’s lunar contamination.

Through the sonic trajectory of Galactic Race the body became even more of a puppet to the band’s devious strings, so much so that an instinctive bounce did not relax even as it drifted off into the distance though that was as much down to the synth pop ‘n’ roll virulence of the following X-Ray Glasses as the teasing wake of its predecessor.

Then as Spin Like A Record brought an already breathless body to the boil with its insatiably anthemic punk ‘n’ roll clamour and Don’t Run, We’re Your Friends had it leaping around like a whirling dervish on hi-octane radiation, lust exploded from every pore.  Fair to say The Scaners was already a band we had bred ardour for but by this point it was bordering on the illicit and only intensified by the ear stalking almost primal threat of No Panic, No Stress and the communicable untamed catchiness of the glorious Pesticide Kids, both infiltrated by pestering hooks and scuzz dusted melodic temptation.

Completed by the event horizon that is Run DD Run, its gravitational pull a trap few would wish to escape or not give up inhibitions for. A final pandemic of the band’s unique infective rock ‘n’ roll; it is a blistering and thrilling end to a quite sensational album.

Ok we were already on the biased side going into The Scaners sophomore album but still not prepared for its extragalactic invasion. If there is life out there and it resembles The Scaners we are in!!

II is released 29th March via Dirty Water Records with pre-ordering available now @ https://thescaners.bandcamp.com/album/the-scaners-ii

Upcoming live dates include…

Mar 29 Meteoro, Barcelona, Spain

Mar 30 Fun House, Madrid, Spain

Apr 20 Attica Club, Ponferrada, Spain

May 31 Le Nadir / Friche Culturelle De L’antre-peaux, Bourges, France

 https://www.facebook.com/thescaners/

 Pete RingMaster 15/03/2019

Copyright RingMaster: MyFreeCopyright

Sofy Major – Total Dump

Sofy Major is a leviathan of sound and trespass which persistently erupts from a noise fuelled creative lair with releases which for us have pretty much left contemporaries in their tempest and turbulence. Three previous albums have as good as decimated the prowess and adventure of other ear rewarding encounters around at the time and with Total Dump, the French trio has done it again Their new full-length is in many ways their most accessible and flirtatious offering yet but equally their most voracious and imposing not forgetting irresistible slab of noise and hardcore infested, metal lined rock ‘n’ roll.

The successor to the outstanding Waste of 2015, which itself eclipsed the thrilling Idolize unleashed two years earlier, the Dave Curran (UNSANE, Big Business) produced Total Dump is a contagion of abusive yet flirtatious noise and bruising but virulently captivating force and imagination. It is predatory irritable rock ‘n’ roll from start to finish with an eager taste in contagious and invasive enterprise. Opening up with its title track, the album immediately reveals its bestial side, the track prowling the senses with the carnivorous claws of Mathieu Moulin’s bass locked onto the senses as his more welcoming vocals align with the raw flames and tendrils of Thomas Dantil’s guitar. It is a preying of ears and imagination which never diminishes in threat and temptation however it evolves, a trespass driven by the menacing swings of drummer Mathieu Desternes that equally escalate in infernal virulence and captivation as individual and united enterprise breeds fresh twists and sonic commination.

The compelling start is only accentuated, indeed built upon by next up Giant Car Crash; a collision with the senses which had us bouncing as much as cowering before its flirtatious and barbarous intent. Voraciously feral and inhumanly infectious, the track devoured body and passions with unquenchable hunger leading to lustful responses before Cream It uncages its rapacious crawl to trespass the senses and melodic irreverence to seduce an already greedy appetite. The kind of proposition which offers a warm welcome whilst ruining the foundations to your sanity, the glorious track is a manipulative mix of viral noise with an appetite for clamorous untamed pop.

As the ravenously viral rock punk ‘n roll throes of Strike and the post punk embracing devilry of The Jerk infested and seduced ears with unruly dexterity, Total Dump just stretched its landscape of esurient intent and fevered invention. Both tracks are as mercilessly catchy as they are unapologetically invasive, that greater accessibility to the band’s sound in full bloom just as much its acclaimed creative villainy is merciless, and traits just as thrilling within next up Shinny Happy Asshole, a venomously swinging, deviously contagious but inescapably corruptive slice of unscrupulous enterprise.

Through the slow hunt of the senses that is Franck Butthole; a cancer of sound which just ignites the imagination, and the unbroken antics of Tumor O Rama it is impossible to say attention and pleasure wavered, the total opposite in truth up against their combined sonic punk infection fuelled scourges while Kerosine Mike n turn just trapped and enslaved with ursine-esque power and intimidation whilst brewing up its own melodically toxic strain of bewitching rock ‘n’ roll.

Completed by the senses ravishing, violently bouncing exploits of Panamarama, it one the album’s most magnificent moments, and the sonically consumptive, caustically alluring tempest of The Longest Yard, there was and is no diminishing of the ardour we bred and hold for Total Dump. Without any doubt despite the glories of the past, it provides the greatest, most thrilling time with Sofy Major yet but also is set to send a shiver through the world of noise in any form as those within wonder how they can compete with its voracious triumph.

Total Dump is out now via Deadlight Records on CD and Antena/Corpse Flower on Vinyl.

http://www.sofymajor.com   https://www.facebook.com/sofymajor

Pete RingMaster 30/01/2019

Copyright RingMaster: MyFreeCopyright

Hauméa – Unborn

Emerging earlier this year, Hauméa is a quartet from Alençon in France making a rather potent impression with their debut EP, Unborn. Offering four tracks bristling with a host of rock and metal nurtured flavours, the release makes for a captivating introduction to a band easy to see enticing strong attention with their temptation loaded sound.

Formed by bassist Léa Zima and guitarist Andy, the Hauméa was soon completed by the addition of vocalist Niko Lorelei drummer and Sébastien Chauvin. Their individual musical backgrounds and experiences has bred a sound which embraces an array of styles and flavours; a proposition as melodically seductive as it is imposingly aggressive and as imaginatively delivered as it is emotionally raw.

The Unborn EP opens up with its title track, the song quickly laying down its persuasive rhythmic and sonic bait. In full bloom, the track is a mix of the controlled and fevered, especially potent when its shackles are off. It is a strong start revealing the enterprise within the band’s sound and songwriting as well as individual craft. Equally the varied blend of metal and rock the band merges shows itself a magnetic proposal though really captivated the imagination across its following companions starting with Not Usual.

The second track instantly had attention gripped with its opening rally of beats, a tempting soon fully ablaze as guitars and bass unleashed their lustful exploits. Similarly there is a hungry edge to the vocals which just adds to the captivation. As its grows, the track fuses instinctive ferocity with a Nine Inch Nails-esque tempting, easily twisting from a rousing trespass to a melodic seduction and back as it easily eclipses its predecessor.

Dad is Fool makes its entrance on a deceptively calm beckoning but soon is unleashing a tide of creative trespass which in turn springs a contagious stroll of rhythmic and sonic enticement. Still a volatile edge remains though; a psychosis which ignites with predatory intent across the track’s bold and unpredictable landscape. As the previous track, it is an impressively stirring encounter marking out Hauméa as a highly potent and compelling proposition.

Instantly a sonic spiral around invasively swing rhythms marks the final track of Unborn, the mercurial Here I Am a cauldron of sound and intimation carrying threat and temptation. Both essences proceed to fuel each twist and turn within a track fluidly slipping from predation to seduction time and time again.

At its most striking in its middle but bookended by songs which also easily stirred the appetite, Unborn is a strongly convincing and exciting first meeting with Hauméa suggesting the potential of rather striking times ahead. Our anticipation is already rising.

The Unborn EP is available @ https://haumeaband136108.bandcamp.com/releases

https://www.facebook.com/Haumea136108/

Pete RingMaster 18/12/2018

Copyright RingMaster: MyFreeCopyright

Enemy Of The Enemy – Vultures

Five years after luring attention with their debut album, Hellequin, French groove metallers Enemy Of The Enemy have returned with the first piece in a three part EP project “illustrating three separate universes. Each universe has its own aesthetic and influences, which represent three different faces of the same group. This triptych represents three symbolic birds: the Warrior Vulture, the Deadly Raven and the Reborn Phoenix.”

Containing four snarling confrontations, Vultures is first reflecting a universe themed around war, exploring the darkness that is human madness, rage, absurd stupidity and the grotesque. It is also a raw battlefield of sound embracing a host of styles and flavours to a groove cored trespass and a proposition which enthrals as it aggressively challenges.

The Paris hailing quartet strike first with This Is War, an opener which makes a low key but ear coaxing entrance before its muscle and creative armoury rears up. As the guitar of Nicolas “BnV” Benedetti send out grooved spirals the rhythmic antagonism of drummer Cesar “ZarC” Boishus and bassist Fabien “BouFa” Grunzweig prowls. It is a threat which swiftly unveils the scope of the band’s flavoursome sound, a web of styles and infectious intrusions aligning to Adrian “Kal” Cavalier’s throat raw attack. Quickly a magnetic affair, the track only increases its hold on attention as tribal roars and melodic enterprise collude with primal instincts.

Epitomising the entanglement of styles making up the band’s sound, the track is followed by the even more predatory and feral Unit 731. From voice to groove, rhythms to breath, the track is a carnivorous stalking come invasion of the senses but with moments of relative calm where clean vocals, slim guitar, and prowling rhythms intimate and threaten, twists which fester in the imagination of the listener and the creative maze they accentuate.

The final pair of Renegade and Clock You are for us the most potent moments of the release. The first crawls over the senses intruding with every riff and flesh scything beat subsequently casting a trespass of fascinating twists and turns employing a range of hardcore, rap, and dark metal. Its successor provides its own tapestry of flavours which unite and erupt in tempests of ravenous metal and emotional animosity.

As a whole Vultures is a highly enjoyable assailing but its second half simply declares Enemy Of The Enemy as one exciting proposition demanding attention.

Vultures is out now.

http://enemyoftheenemy.com/   https://www.facebook.com/enemyoftheenemy   https://twitter.com/EnemyOfTheE

Pete RingMaster 19/10/2018

Copyright RingMaster: MyFreeCopyright

Sendwood – Fist Leaf

“Forget about it; let the two of us be a band!”

That was the beginning of French outfit Sendwood; a declaration roared when guitarist/vocalist Kriss Wood (ex-The Real Mc Coy) and drummer/vocalist Alex Mc Wood (Harmonic Generator) found themselves alone in rehearsal without any sign of their band mates. It is a spontaneity and defiance which equally fuels their music and a debut album which just makes you want to get involved.

From the first breath of Fist Leaf, there is a sense that anything could happen, that the pair themselves did not have a firm grip on where their imagination at the time of recording would take them or want to place one. The result a collection of songs which explode like a sonic scatter bomb on ears with the intent of fun, mischief, and rock ‘n’ roll. Last year saw the release of the duo’s first EP, Log Face, a potent introduction to their feral blend of blues, metal, punk, and rock which is off the leash within Fist Leaf.

The first of three tantalising instrumentals starts the album off, Riffocephalus Minus a lure of crisp magnetic beats and meaty riffs swiftly bursting into a fiery proposition, though just as quickly that in turn slips into a harmonica led flirtation before evolving once again. It is a sign of things to come, of the unpredictable devilish antics on offer.

Demon immediately bursts from its predecessor; rapacious riffs and grooves colluding with more of Mc Wood’s rousing swings to grab ears and appetite. It is rock ‘n’ roll to the core, a ferocious slab of infectious enticement easy to roar along to as also the following Needle. Gnarly riffs hit the spot straightaway, beats and vocals taunting as they bait lustier attention, the song uncaging a wild incitement of garage punk ‘n’ roll again needing just a mass of seconds to get under the skin as untamed stoner lit grooves entwine.

Then the virulent catchiness of Leash consumed ears, its grungy stroll and contagious swing an insatiable persuasion with, as in all tracks, imagination rousing detours of varying potency along the way, next up Gotham proving the point. The second of the two is an asylum of wiry grooves and nagging riffs driven by rhythmic manipulation and a vocal unity which share lyrics which may not be the most inventive in the city but has you hollering along with matching energy.

Riffocephalus Medius is a scuzzy slice of sound and temptation, a brief but potent piece of enticement setting up the snarling presence of Penny, a song as seductive as it is unbroken. As so many within Fist Leaf it just pulled ears into eager attention and pleasure in tandem with an increasingly greedier appetite for the album and its hungry sounds. Gun is no different, the track a compelling trespass of concussive yet well-balanced rock ‘n’ roll simultaneously chewing upon and caressing the senses.

The album concludes with firstly the viral exploits of Ber, a track which as the album is maybe not looking to breed uniqueness but is as fresh and as hungry to arouse as anything around. It is followed by final instrumental, Riffocephalus Rex; a piece of captivation which is deceptively calm but with a carnival in its heart which subsequently erupts into a dirty clamour before easing into its cycle all over again.

Both make for a superb end to a thoroughly enjoyable encounter. Rock ‘n’ roll should be fun yet imposing, flirtatious but aggressive and Fist Leaf, indeed Sendwood pretty much tick all the boxes.

Fist Leaf is out now across most online stores.

https://www.facebook.com/sendwoodwtf/

Pete RingMaster 22/05/2018

Copyright RingMaster: MyFreeCopyright

Perfect Line – Seeds

As a rule we never finalise any opinion on a release until multiple plays have passed by. It is something we learnt with the first System Of A Down album, not being taken by it on the first listen but returning to it weeks after and with increasing rigour it became one of our all-time favourite encounters. The debut album from French trio Perfect Line was a similar proposition; not that we did not enjoy its offerings on first listen but it was through numerous outings and the nagging quality and imagination the songs within Seeds revealed that it really grabbed our attention.

Paris hailing Perfect Line pretty much began in 2011 with the creative union of lead vocalist/bassist Thomas d’Arbigny and guitarist/vocalist Paul Pavillon. Inspired by an array of styles, many nineties bred, the duo’s alternative rock is a multi-flavoured proposition which commands attention. 2012 saw drummer Julien Audigier brought into the line-up and the release of a self-titled debut EP. Gaetan Allard replaced Audiger soon after and the current line-up was in place, a trio now knocking on bigger doors with Seeds.

The album opens with Everything; a slice of melodic rock with a grunge lining which coaxes and lures ears rather than grabs but soon has them attentive with its infectious exploits and accomplished air. It never makes any demands but from rhythms and enterprise to energy and aggression only entices and increasingly so as its adventurous body twists and turns. In many ways it plays like an old friend, familiar essences at play but has a freshness which urges another listen and another, much as the album.

The following Wywd opens with rhythmic bait and sonic teasing which just gets under the skin, it a prelude to a rapacious wave of inventive sound. It is a superb start which is followed by a bit of an anti-climax as the song then slips into a mellow caress though it is soon bubbling with suggestion and unpredictability which surges in varying states of eagerness. The song is a fascinating proposition; one which for personal tastes maybe promises more than it delivers yet never has a moment when you are looking for something else to explore.

Be My Guest follows, a great dark grumble courting its croon before it roars with gusto and power, d’Arbigny’s fine vocals to the fore. His bass is a pulsating throb in its midst, the biting beats of Allard swinging with relish as Pavillon’s guitar weaves a melodic and sonic tapestry, the track as much a seduction as a trespass. With a rousing blues rock lining, the song is a tenacious pleasure quickly matched in enjoyment by the contagious shuffle of Red Coach. Its gentle emotive beginning does not give a clue to the energetic dance to follow, alternative and grunge tinged rock colouring its subsequent magnetic rock ‘n’ roll. Feet and hips were soon involved once it did hit its stride, the song one of many casting persistently nagging hooks.

The imagination within the band’s songs is a rich essence to the album, Free epitomising the quality with its melancholic yet seductive strings provided by Arnaud Affolter and a tapestry of sounds and ideas which all give expectations a wide berth. Again Perfect Line entangle many styles in their aural weave and once more has attention firmly enticed as the track smoulders, saunters ,and erupts.

Through the adventurous almost loco web of Bad Boy, a song with a great Alice In Chains hue to it and the emotive balladry of Afraid the album accentuates its growing persuasion with the first of the two especially compelling though its successor has a firm grip too with its drama and emotional volatility. Even so they are still eclipsed by the virulent rock ‘n’ roll of Get Out, the track further evidence that Seeds was blossoming and getting better song by song for these ears. The track is another which seemed familiar in some way but it only added to its rousing holler and catchy prowess on the way to becoming our favourite song.

The animated escapade of Tired quickly gave it a run for its money though, the track a fusion of brooding mischief and melodic temptation around rhythms which just land with glee. It is fair to say that a grunge scent is never far away from a Perfect Line song, this embracing a Stone Temple Pilots meets Alice In Chains spicing in its increasingly hypnotic stroll.

Seeds is not an album of two halves but for us its latter tracks really hit the spot and with increasing persuasion, Space Race proof with its glorious stomp of infection loaded rock ‘n’ roll. Remember that favourite song moment, as this track plays in the background of tapping keys we might have a change of mind or at the very least a major rival. The track is glorious, a roar to ignite any day with its Foo Fighters-esque blaze.

Slow Down and At Last complete the album, the first another slice of magnetism with a joyful swagger and emotive flames around a devilish core of hooks and lures while the second is a fire of sound rising and simmering along a deviously alluring length.

Seeds might very well grab ears with a firm hand from its first listen but given time it really will take off making it a release which is very difficult to leave it alone, something we can certainly testify to.

Seeds is out now; available @ https://dooweet.bandcamp.com/album/seeds

http://www.perfectlinemusic.com/   https://www.facebook.com/perfectlinemusic   https://twitter.com/perfectline4

Pete RingMaster 22/05/2018

Copyright RingMaster: MyFreeCopyright

Eryn Non Dae. – Abandon Of The Self

Can it really be approaching six years since French metallers Eryn Non Dae. left us and so many others drooling over their last album Meliora. It was a release which continues to lure and led us at the time to boldly suggest that extreme and progressive metal had a band which would “continually stretch the wide genres to impressive heights.” At last they have released its successor in the invasive shape of Abandon Of The Self; an encounter which more than justifies our claim.

Since the release of Meliora, unsurprisingly there have been a fair few bands and releases which have offered similar striking propositions. Many have pushed the boundaries of genres which are never slow in exploring new trespasses and adventures anyway.  Abandon Of The Self now steps forward to join that collection of inspiring encounters, and we dare to say from the very frontline of the triumphant wave.

Formed in 2001, as The End, the Toulouse hailing quintet released their debut album, Hydra Lernaïa, through Metal Blade in 2009. It was a spark to attention and an already well brewed reputation the band had nurtured through their live presence and earlier EP. Meliora brought a whole new plateau of sound and imagination with its unveiling in 2012 which Abandon Of The Self has now escalated with its atmospheric drama and sonic invention.

Once again Eryn Non Dae. linked up with Mobo for the recording, mixing and mastering of Abandon Of The Self and swiftly gripped attention and the imagination with opener Astral. It looms in from a distance, static distortion shimmering in its air as a rhythmic shuffle soon infests ears and incites even keener attention. The raw throated scowl of vocalist Mathieu Nogues erupts against the track’s swing, the guitars of Franck Quintin and Yann Servanin gathering their wiry lures to subsequently wind around the pulsating surge of the growing trespass. Calm, clean vocals rise within the brewing tempest, conflicting atmospheres colluding rather than battling around the intrigue and voracity of the song. The rolling beats of Julien Rufié unite with the rhythmic grumble of Mickaël André’s bass to magnetically entice but it is the layers of contrasting textures and the immersive breath of the track which really pulls the listener in.

The compelling start to the album is thickened by the menace lined flirtation of Stellar. Nogues vocally walks through atmospheric intimation; his tones and expression becoming more intense as guitars weave a captivating almost feral aurora of sound as again rhythms court the predacious climate with their manipulative swing. It is a truly magnetic soundscape for ears to embrace and the imagination to explore, the band’s own lyrical and physical suggestion equally sparking fresh ventures in thoughts even as the senses increasingly cower before the brewing celestial storm.

Omni similarly sees Nogues with an initially controlled and provocative presence within a kaleidoscope of melodic and sonic wiring around the ever infectious craft of André and Rufié. Though inescapably invasive and disturbing, the ambient winds cast by Quintin and Servanin are tantalising, hinting and probing the psyche whilst allowing the volatility in the song’s heart and atmosphere to increasingly infest their mercurial weave. As with all songs and the album, every listen unveils new melancholic aspects, rapacious shadows, and dark depths to feast upon but equally a radiance which only draws you back time and time again.

The following Eclipse has a bubbling urgency to its predatory rock ‘n’ roll which arouses the senses just as potently as the atmospheric ferocity and seduction which entangles via the guitars. Every corner of the song and band unleash a compelling statement of emotion and enticement, again lust and fear hand in hand as submission to its evocative inferno was swift and inescapable before the epic flight of Halo invades and consumes, driven by further outstanding rhythmic engineering of song and the senses it manipulates. Getting lost in its soundscape was easy, immersing in its angst and emotional turbulence similarly certain, every moment of its ten minutes plus a refreshing intrusion of body and psyche.

The album closes with firstly Fragment, a pulsating inferno of intensity and untethered dissonance from voice to melodic toxicity and rhythmic incitement, and finally through the apocalyptic realm of Abyss. As with all tracks, the pair escort, no drag the listener through soundscapes which never settle and never allow predictability or an absence of adventure confront ears, the latter especially monstrous yet majestic as ire and fury merge with monolithic beauty and ravenous passion.

Though Abandon Of The Self made an immediate rich and irresistible impact, it was with time that is really gripped and thrilled as those dark corners and skilled layers were further exposed. The band describes their album as “a trip into the depths of the soul”, its press release, “a beast of a release!” We can only endorse both and suggest Eryn Non Dae. have not only sprung their finest moment yet but one of the year’s essential listens.

Abandon Of The Self is out now via Debemur Morti Productions; available @ https://erynnondae.bandcamp.com/ or https://erynnondae.bandcamp.com/album/abandon-of-the-self

https://www.erynnondae.com/    http://www.facebook.com/ERYNNONDAEofficial/

Pete RingMaster 21/05/2018

Copyright RingMaster: MyFreeCopyright