Acid Brains – Thirty Three

ACID-BRAINS_COVER2_RingMaster Review

Rampant with a torrent of diverse flavours all uniting in one mighty slab of punk ‘n’ roll, Thirty Three is one of those proposals which out of the blue sets energies racing and thick pleasure flowing. The rousing success of the new encounter will probably be no surprise for fans of and those in the know about Italian band Acid Brains, a quartet previous full-lengths having earned the band a potent reputation in their homeland’s rock scene, but for the rest of us the album is an impressive introduction to a thrill we have all been missing out on.

Hailing from Lucca and formed in 1997, Acid Brains create a sound which merges alternative and punk rock with grunge and new wave, amongst many flavours, a mix brewed with devilish invention and thick imagination. 2004 saw debut album The End Of The Show released after a trio of demos before it; its well-received outing more than matched by its successor Far Away two years later and Do It Better in 2009. As the new proposition, fourth album Maybe was unveiled via Red Cat Records in 2012 to show more of the evolving enterprise and boldness in a sound now inflaming ears in Thirty Three.

Produced by Gherardo Monti and Acid Brains, Thirty Three comes in two parts; the first consisting of five tracks sung in English and the second with four songs sung in the band’s native tongue. Why the segregation of languages we cannot say but the parts are a CD equivalent to the side A and side B on a vinyl release or like on a double EP.

Band and album have attention and ears in the palms of their creative hands from the off, opener Make Up Your Mind laying down an initial lure of confrontational yet controlled bass and guitar before bursting into a fiery punk rock escapade with, whether intentional or not, a more than familiar relationship to The Damned’s Neat Neat Neat. The track proceeds to stop and flow with magnetic invention and aggressive ferocity throughout, creating a compelling proposal easy to get greedy over long the way, just like the following Halloween. The second track strolls in with its own slightly belligerent character, the bass of Antonio Amatulli devilishly prowling amongst the sonic tempting of guitarists Alfredo Bechelli and Stefano Giambastiani. The latter’s vocals equally engage with grouchy persuasion as the song explores a post punk/new wave fuelled slice of raw power pop, it already showing the strong variety within the album as it has the imagination bound and ears again aroused.

Sometimes steps up next, tantalising initially with a dirty flame of riffs before hitting a grunge/punk canter playing like a feisty mix of Nirvana, The St Pierre Snake Invasion, and Feud. Antagonistic but with an anthemic welcome rather than a nasty intent, the track stomps along recruiting body and appetite before On The Borderline takes over with its post punk laced, rhythmically gripping prowl. The resourceful beats of drummer Luca Bambini masterfully shape the track and entice instincts to which guitar and vocals offer their inventively bracing assets. With a spice of Gang Of Four meets Gruntruck to it, the track continues the impressive and increasingly gripping persuasion of the album, and the enjoyable wealth of diversity.

Adding a touch of glam rock swagger is Answers next, but equally a healthy scent of old school punk is the order of the day within the slimline and enjoyable canter before Tu throws some rhythmically tenacious garage rock into the album’s mix. A bracing stomp bouncing aggressively around with sonic colouring maybe best described as NOFX and The Pulsebeats in league with the punkier side of Les Négresses Vertes, it sets the second part of Thirty Three off in fine style to be quickly backed and surpassed by the outstanding nagging tempting of Mi Sorprendi. Riffs and rhythms provide a great worrisome yet addictive beckoning for the vocals of Giambastiani to stir things up in potent style within. Once more that post punk spicing add to the varied punk ‘n’ roll adventure of the track whilst hooks and the throaty tones from Amatulli’s strings only add to the inescapable captivation.

The final pair of songs ensures the album ends with as much variation and resourcefulness as it has perpetually offered already. All’infinito is first, a heavily enticing slice of drama with sinister electronics courting a grunge punk aggravation whilst closing song Solido has its own dark theatre through haunting keys within a rawer coaxing of guitar. Soon it raises its temperature and contagion with a glorious roar of a chorus that has listener participation involved with ease. Subsequently leading into another hungrily virulent blaze of rich grooves and deeply embedding hooks; that in turn the passage into an attitude loaded punk bellow of a blistering finale, it and its predecessor provides a thumping close to an increasingly persuasive and impressive album.

Acid Brains is rock ‘n’ roll to get excited and greedy over; something fresh to get lusty with through an album that flicks all the right switches.

Thirty Three is out now via Red Cat Records across most online stores.

http://www.facebook.com/pages/Acid-Brains/50227931347   http://twitter.com/AcidBrains

Pete RingMaster 08/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Ded Rabbit – Scarlet Cardigan

Ded Rabbit_RingMaster Review

Continuing a very healthy tradition of outshining their previous release with something even more irresistible and creatively mouth-watering, Scotland based indie rockers Ded Rabbit uncage their new single Scarlet Cardigan. It is a song which merges wonderfully raw textures with intricately inventive hooks, contagious energy with rousing vocal drama, and uniting it all in another exhilarating bellow. Ded Rabbit is a band walking the precipice of national exposure, something very easy to say after Scarlet Cardigan.

Ded Rabbit consists of four Yorkshire brothers, Eugene, Fergus, Eoin, and Donal Gaine, who moved to the Highlands in the mid-nineties, subsequently heading to Edinburgh for their studies and the moment where, in their words, that they “began taking music more seriously.” Since then as Ded Rabbit, the foursome has released a trio of increasingly acclaimed EPs, all recorded at Rocket Science Studios (Texas, Belle And Sebastian, Dougie MacLean) and earned a potent live reputation with a presence taking in shows with the likes of The 1975 and Man Made, their own headlining gigs, and festival spots at Rough Beats, Liverpool Sound City, and T In The Park where they headlined the T Break stage this year. Drawing on inspirations from bands such as Led Zeppelin, The Beatles, Queens Of The Stone Age, Fugazi, Ian Dury and the Blockheads, Gang Of Four, Interpol, The Cribs, The Libertines and many more, the band’s EPs have been a just as magnetic affair, Wash Away and Wake Up In A Dream stirring up keen attention previously whilst the recently released Moving In Slow Motion has pushed even keener spotlights their way. As suggested earlier, their new release unleashes another rousing and masterful step forward in the sound and adventure of the band, Scarlet Cardigan which is the lead song from the last EP, setting a new dynamic marker.

The single instantly reveals a scuzzier air to the band’s sound, something explored more upon Moving In Slow Motion whilst also pushing the band’s cleaner melodic explorations. Vocals and hefty beats are the first union alongside slim but enticing guitar which in turn expands with melodic lures as the song itself blossoms into bolder incitement, a bulbous bass riff just whetting the appetite all on its own. The spicery of eighties new wave/post punk is at its strongest yet in the Ded Rabbit sound in Scarlet Cardigan but woven into something certainly with a whiff of Arctic Monkeys/The Cribs to it, but thrillingly original to the band. Raising crescendos of energy for its chorus and volatile calm for its agitated verse built passages, the track enthrals with unpredictability and breath-taking enterprise from start to finish.

Like a mix of Asylums, The Libertines, and The Woodentops, with at times essences of Josef K too, the free to download Scarlet Cardigan is another enslaving slice of indie rock ‘n’ roll from Ded Rabbit and another thick suggestion that the band ready to take the UK indie scene by storm.

Scarlet Cardigan is available now.

The Ringmaster Review 12/08/2015

Copyright RingMaster: MyFreeCopyright

KEN mode – Success

photo Brenna Faris

photo Brenna Faris

Predictability has never had a presence in the sounds and imagination of Canadian noise wreckers KEN mode, though that in itself is something to be expected. Their caustic and furious brews of post-rock, hardcore, metal, and noise, to mention just some of their flavours employed, have ignited ears and imaginations with a tempestuous almost petulant creativity ensuring the band’s propositions are some of the most persistently and highly anticipated treats. The Winnipeg trio’s new album Success is no exception but this time it has taken a detour which definitely takes assumptions by surprise.

The band has gone back to explore the sounds and invention which were fermenting and fuelling the late 80s/early 90s when KEN mode began to sow its own sonic explorations. The album’s press release lists the album as paying homage to “both their Canadian Prairie roots, and a time when they first started to care about making music; the burgeoning grunge; and Touch Go/Dischord scenes of, with bands like Nirvana, Big Black, Cop Shoot Cop, The Cows, Circus Lupus, and Drive Like Jehu warping their teenage minds.” Listening to Success though you can go back further and find the seeds in predominantly post and noise punk with the album persistently sounding like a primal version of Gang of 4 on steroids. It is the band as raw and aggressive as ever, probably even more so at times, and still lyrically stirring up thoughts and emotional involvement, but it shows a new character and new compelling designs from the band which might not quite work for all but here is being greedily devoured.

KMSuccessCover_Reputation Radio/RingMaster Review     Recorded with Steve Albini (Nirvana, the Jesus Lizard, PJ Harvey) and recorded as a fully live and analog session, KEN mode’s sixth album opens with Blessed, a track which from its initial sonic whistle turns into a heavy bestial prowl. Simultaneously a swagger emerges in the grizzly tones of Scott Hamilton’s bass as magnetic jabbing lines the beats of drummer Shane Matthewson. Intimidating restraint replaces their predacious aggression at this point, the vocals of guitarist Jesse Matthewson crawling syllable by syllable with open ire over the addiction igniting web now in place. The song’s volatile instincts soon return to take rein though, almost insidious discord and hostility invading whilst binding excited senses in inventive and mischievous rancor.

The outstanding start kicks up another notch with These Tight Jeans, a song which roars and excites like an illicit union of Nirvana, Black Flag, and Pretty Girls Make Graves. Of course that is a mere hint to something unique to KEN mode, the track a rumbling, grumbling contagion of wiry hooks, spicy grooves, and rhythmic badgering. As ever the song is driven by fury loaded vocals but this time assisted by the excellent punk lures of guest Jill Clapham who just adds richer colour to the slimline unbridled furnace on the senses.

The Owl… follows the brilliance of its predecessor with its own gripping dark beauty. A sinister noir lit intrigue escapes the growling bass groove, its drama escorted by the similarly potent landing of drum sticks as vocals dangle their raw tone and narrative over the imagination. An air of Bauhaus wraps the absorbing lure and agitated swing of the song as guitars and bass spring an inescapable menace of a flirtation which only gets darker and more imposing as the emotive intimacy of cello from Natanielle Felicitas returns after first gracing the opener. The solemn gentle passage hugging her enterprise is soon a brawl of noise and intensity again before regaining control in a mesmeric finale which leaves ears and emotions in lustful bliss

The grungy turmoil of I Just Liked Fire explodes next, it too a rebellious blaze for ears and appetite to get lustful over as twisted discord and carnal noise collude to abrase and infest the senses whilst its successor Management Control, with greater restraint crowds ears with a thick resonating bassline and a tangy vining of guitar endeavour. The beats of Shane once again provide disorientating yet anthemic bait aligned to the predatory and contagious groans of bass but sonically the song is more involved and less instant with its catchy hooks and grooves. This is not to say the track is any less virulent than the previous songs, just a more intensive exploration with layers of waiting rewards.

There is a feel of Psychic TV to the following A Passive Disaster as its carnivorous basslines and caustic bellow gets right under the skin and into the psyche whilst Failing At Fun Since 1981 straight after, is punk belligerence at its blisteringly sonic and primitively rhythmic best. Both songs are a jungle of menace and bracing invention, individual noise riots to thrill and linger though they get outshone a touch by A Catalog Of Small Disappointments and in turn closing song Dead Actors. The first of the final pair is an uncompromising persuasion, its stalking rhythms and vocal angst entwined in the rabid theatre of guitar and lyrics. The track enslaves body and emptions with ease, threatening and seducing with every snarl and raw fingering of the senses before its successor takes over with a psychotic and darkly elegant Gang of 4 meets Wire like meander of sound and distress lined emotional reflection. The song is spellbinding, a long term journey taking itself and the listener on a traumatic and turbulently fascinating adventure.

It is hard to say yet if Success is KEN mode’s finest hour such its big enough departure to previous encounters reveals something openly and strikingly different but the seriously thrilling encounter is definitely a contender.

Success is available via Season Of Mist now @ http://shop.season-of-mist.com/predefined-search?id_list=102, http://kenmode.bigcartel.com/, or https://kenmode.bandcamp.com/album/success

http://www.ken-mode.com/

Upcoming KEN mode dates with Fight Amp

June 16, 2015 – Toronto, ON @ The Shop (Parts & Labour) w/The Great Sabatini

June 17, 2015 – Montreal, QC @ Turbo Haus w/The Great Sabatini

June 18, 2015 – Brooklyn, NY @ St. Vitus w/Pyrrhon, Couch Slut

June 19, 2015 – Philadelphia, PA @ Kung Fu Necktie

June 20, 2015 – Columbus, OH @ Ace of Cups w/Lo-Pan

June 21, 2015 – Chicago, IL @ The Burlington w/GOBO’S CVIT

June 26, 2015 – Winnipeg, MB @ The Goodwill w/Pop Crimes, Teethmarks *no Fight Amp

RingMaster 16/06/2015

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

Ded Rabbit – Better On the Day

Ded Rabbit new pic 5

Bounding in with all the enthusiasm of a young pup and the craft of a mature temptress, Better On the Day from Scottish alternative rockers Ded Rabbit, is one of those ridiculously infectious exploits which you cannot escape from. Taken from the bands new EP Wake Up In A Dream, the new single is released just a couple of days before its source, and alone leaves ears ablaze and appetite for the accompanying release hungry.

Based in Edinburgh but Yorkshire bred, Ded Rabbit is a family affair, consisting of four brothers (Eugene, Fergus, Eoin, and Donal Gaine) who know how to write and then deliver a vivacious indie rock proposition or two. The evidence has already been shown and acknowledged with previous EP Wash Away and a live presence which has seen the band play alongside the likes of The 1975 and Man Made, again to potent responses. Influences for the band are cited as including Led Zeppelin, The Beatles, Queens Of The Stone Age, Fugazi, Ian Dury and the Blockheads, Gang Of Four, Interpol, The Cribs, The Libertines and many more, all spices you can pick out in brief aspects of their songs, though we would venture to say that Better On the Day is the most original song from Ded Rabbit yet, and their most potent.

Straight away it seems to have a new maturity compared to the previous EP, the groove clad heavy bassline opening it up, an immediate rich enticing which just seems bigger and bolder than anything from the foursome before. It is a potency swiftly enhanced by the short jangles of guitar and the excellent vocals, the latter distinctly expressive and unique but most of all magnetic. Just as the sounds tease ears and melodies show their charming face, thoughts of The Farmers Boys comes to the fore, never a bad thing, and as the song explodes into more rigorous exertions thereafter it offers hints of Miniature Dinosaurs.

Better On the Day is a thumping romp showing intricate craft and rampant tenacity in varying bursts of energy whilst never letting expectations get a foot hold. With feet and emotions bursting for more by its close, time to leap on the new EP we say.

Better On the Day is available from February 9th whilst the Wake Up In A Dream EP is out on February 7th.

Both are supported by live dates @…

Feb 7th Edinburgh (The Jazz Bar) – EP Launch.

Feb 9th Glasgow (Broadcast)

Feb 13th Blackburn (Live Lounge)

Feb 14th London (Proud Camden)

Feb 15th London (Tipsy Bar)

Feb 16th – Brighton – Hotel Pelirocco

http://www.ded-rabbit.com

RingMaster 03/02/2015

 

 

H. Grimace – I Am Material EP

H. Grimace Promo Photo 2.

Having a rather greedy appetite for discord in our musical preferences ensured that the I Am Material EP from UK band H. Grimace made an immediate good impression with its healthy dosage of that flavoursome ingredient. The added bonus of psyche bred melodies, vocals delivered with a low key energy, and a mosaic of sonic colour and spices only increased the impressive lure of the six-track thrill. It is not without lulls, rather than flaws, in its striking persuasion but ultimately the Londoners newest proposition is one seriously exciting and refreshing proposition.

A band strongly on the lips of the capital’s emergent punk/ DIY since forming in 2011, H. Grimace is the brainchild of Hannah Gledhill and Asher Preston who met whilst working at an East end bakery. Taking a mutual love for 70’s surf / post punk and 90’s dissonant guitar bands into their own ideas, the pair brought the band to life, subsequently increasing its line-up last year with the addition of Syed Shan Pasha and Marcus P. Browne. May 2014 saw the acclaimed release of the band’s self-titled vinyl EP which followed a split release with Joey Fourr the previous year on Bad Paintings. Now the band increase their presence and reputation with I Am Material, a release refusing to be pinned down with tags and revelling in offering something new.

Ears are pricked and lips licked as soon as the opening Caped Crusader like bassline in Imogen nestles provocatively in the imagination. The first track swiftly backs its initial tempting with a reserved jangle of guitar and similarly fuelled vocals. It is a vibrantly dour start which simply captivates body and emotions with sublime ease. Small crescendos of energy and passion erupt throughout the otherwise single minded gait of the song, raising the temperature and adventure of the mouth-watering encounter as potently as the flames of surf rock enterprise which spices up a3483519742_2the infectious incitement. As mentioned earlier, H. Grimace’s sound is hard to pin down but certainly a seventies/eighties post punk/ melodic punk feel is a loud whisper as the track reminds of The Passions and at times The Mo-Dettes.

The outstanding start is surpassed straight away by the following Royal Hush. As its predecessor, the riveting song puts down the groundwork to seducing the passions instantly, this time with rolling almost tribal rhythms courting a melodic coaxing of guitar. The laid back bass mumble adds to the drama whilst the bewitching vocals of Gledhill bring only greater bait for ears and appetite to devour greedily. The Au-Pairs is a comparison the song brings yet as the first, it is spinning a web of ingenious originality and sonic persuasion which flirts with various decades of indie/punk exploration. There is also a melancholic restraint to its energy and emotion but the outstanding song still revels in a tempest of expression and intensity, going through the gears as it brings its brooding rock ‘n’ roll to a fiery climax.

To The Shaggerston cannot quite match its predecessor but still sends a stomp of raw energy and punk seeded devilry through ears. That ever present scent of discord is brighter and louder in the third song, teasing and spicing up the sultry surf rock melodies which whisper and eventually croon evocatively over the senses. More a smoulder than a blaze in comparison to the first two tracks, it immerses the listener in an intoxicating climate of sound and enterprise which is emulated again by the more pop spawned shuffle of Immaterial Girl. A Gang of Four like bass coaxing and post punk guitar endeavour embrace the again gripping vocals, the song breezing along with an inescapable magnetism which simply lights up body and emotions.

I Am Material is brought to a close by firstly the sobering charm of Great Divide and lastly by the thick humidity of Wasted Sun. The first of the two, as the previous track, is a slower persuasion but with a volatile atmosphere and nature which perpetually intrigues and has the imagination bound from its first sonic flame. Like a desert sun, the song is slightly oppressive in its heady climate but simultaneously is a contagious seduction which like earlier tracks makes a lingering conquest. The closing encounter is a boldly simmering slice of discord sculpted balladry with great raw harmonies and melodic jangles. The least successful of the six but still a mesmeric persuasion it beings the EP to a potent conclusion.

There are not many bands emerging these days which truly have bred a new and unique proposal for ears and thoughts to contemplate let alone bask in, but H. Grimace is to the fore of those successful applicants. I Am Material EP is a must for discord embraced sounds and something really rather fresh.

The I Am Material EP is available now via Soft Power Records as a Ltd Ed Cassette (100 Standard Pale Grey / 50 Yellow—tour exclusive) @ http://softpowerrecords.bandcamp.com/album/i-am-material and digitally on iTunes etc.

https://www.facebook.com/pages/HGrimace/247309995353932

RingMaster 27/01/2015

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

 

Dethfox – Natural Media Teleforce

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Providing no hiding place for ears and senses, the new EP from Canadian anarcho-punks Dethfox is a furious incitement which is just as virulently seductive as it is uncompromisingly caustic. Bracing and abrasive, Natural Media Teleforce is a raw and addictive introduction to a band we are already finding it hard to get enough of. Consisting of five punk hostilities which rarely break the two minute mark, the release is dirty and fierce with a touch which can make ears cower, but it also has a repetitious nature to grooves and riffs which when aligned to barbarous hooks only makes one seriously contagious persuasion.

Scowling out of Montreal, Dethfox emerged in late 2012 working on their sound and attack before releasing their first demo in the October of the following year. Their live presence stepped forward swiftly after with the band making its first live appearance at A Varning from Montreal Fest late 2013 whilst last saw them year sharing stages with the likes of Cress, Rick Agnew, Kicker, Dekoder, Parasytes and many more. Released via Chaos Rural Records, Natural Media Teleforce is looking like being able to breed new attention and, in matching appetites to ours, hunger for the band’s continuing emergence. Certainly its uniquely challenging morose punk sound is not going to be manna for all, but it is an addictive provocateur all punk and noise rock fans should contemplate braving.

The EP’s title track launches at ears first, heavy riffs and matching rhythms an instant wall of noise and temptation pierced by a keen and infectious punk grooving. Just as raw and appealing vocal squalls swiftly join the quickly brewing contagiousness of the track, delivering what are, to quote the accompanying press release,   “Mysterious, dark and sometime incomprehensible lyrics exposing religious-media-space-traveling-matters and other obscure themes.” It only adds to the drama and irresistible tempest though, as does the post punk nagging which helps spice the web of inescapable and thrilling hooks and wiry grooves.

It is an outstanding start matched straight away by the slightly lighter but no less intensive examination of Fear Pope Departure. Once again hooks enslave from the first breath of the song whilst the lyrics are even more disguised by the great unpolished vocals. Short, sharp, and rigorously infectious the song evolves through a sonic rasp into Deathray Spec, another ridiculously addictive and viciously imposing track. As portentous in atmosphere and tone as it is catchy in imagination and enterprise, the song unleashes a harsh belligerence of attitude and a sonic rapacity which in itself is imposing and successful persuasion.

In many ways the nagging and addictive repetition sculpting grooves and riffs is akin to the early days of bands like Killing Joke and Gang Of Four. They are unrelenting and seductive, reeling in ears and passions with consummate ease whilst voice and other sounds bring their own corrosive incitement. The very short Amplified Truth Disclosure a prime example, its thirty eight seconds lust sparking insistence which is only here to savage the psyche.

The release closes as impressively and grippingly as it started; Run State Wrong coming forward as a seventies punk seeded anger with hardcore ferocity and Buzzcocks like hooks whilst spilling ravishing invention bound in noise bred majesty. It is a glorious end to a thrilling and enthralling encounter. To be honest Dethfox had us hooked by the time it’s first song departed ears and only compounded and broadened its slavery with each subsequent offering. Given the chance it is easy to expect the same happening to hordes of new drooling fans too.

Natural Media Teleforce is available via Chaos Rural Records from January 20th @ http://chaosruralrecords.bandcamp.com/album/natural-media-teleforce

http://www.dethfox.com/

RingMaster 20/01/2015

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

 

Welington Irish Black Warrior – Vafancuneo

02_WIBW_promo Pic

Welcome to this year’s most rigorously exciting and insatiably compelling release, Vafancuneo. Ok it is probably too early to truly give the title to Welington Irish Black Warrior, the creators of the extraordinary release but there are no doubts it will be in the top handful of nominees come judgement time. Brewing a unique sound most closely described as post punk meets psyche rock with a veining of noise and experimental industry, the Swiss band has sculpted a new template for emerging noise driven bands. Their EP is sensational, a riveting and breath-taking, almost tribal incendiary device for imagination and passions to explode over, and certainly one of the essential releases of 2014.

Consisting of vocalist/guitarist Brynjar Thorsson, bassist Léon Jodry, and drummer Steven Doutaz, the Neuchâtel based trio came together in 2005, three music loving men who supposedly came together as a band to stop working in a watch making factory. Since that entrance Welington Irish Black Warrior has been on an upward spiral, notably releasing a self-titled debut album in 2012, collaborating with Kunz on the five track KUNZWIBW of last year, and spending a whole year writing music based on Alejandro Jodorowsky’s movie Holy Mountain, which they performed live in a church in front of the screen during a projection of the 2 hours movie. With a flood of shows, European tours, and festival appearances only increasing their stock, time is ripe for the band to draw the strongest spotlight, something Vafancuneo is potent bait for.

Recorded live by Alberto Dutto (Movie Star Junkies), mixed by Mano Moccia, and mastered by Louis Jucker (Coilguns, Kunz, The Fawn), 02_Front CoverVafancuneo is a virulent infestation of senses and mind from the opening minute of first track Hand on Stomach. The beginning to the song is a scattering of noises and splattering of rhythms but a mix brewing and merging into a united probing as it all comes into potent focus. A resonating throat calls out from the bass as the rhythms of Doutaz roam with a rampant appetite, both prowling and seducing the senses as distorted flames of guitar wind their riveting toxicity around thoughts. It is a thrilling provocation even before the joining expressive almost psychotic vocals tones of Thorsson complete the scintillating package, every aspect of the song a stark yet endearing poison writhing under the skin and into the passions.

The post punk conspiracy of the track is just as intensive in the following Jahzz, reinforcing thoughts of Wire and early Gang of Four hinted at for varying reasons in its predecessor. Jodry’s bass lies down the first delicious lure, its hypnotic suasion a predacious instigator to striding rhythms and sonic scythes of guitar. To those previously mentioned references you can also add Kabul Golf Club and unavoidably Joy Division as the track courts imagination and ears with its unpredictable and unrelenting web of sound and invention. There is also a sinister air to its aural narrative, a noir kissed ambience which colours the intriguing canvas and persistent single minded gait of song and hook.

It is already an irresistible encounter by this point but the album opens an even richer vat of temptation and tempting with Lac Orbu. The initial clutch of short grooves is once again an instant capture of a raging appetite for the EP before the track stirs up an agitated blanket of rhythms with stabbing guitar as the bass groans hungrily by their side. Vocals bring their distinct enticement to the psychotic dance next; a canter pungent with a contagion of repetition and rhythmic disorientation. Thoughts of The Fire Engines add to the suggestive spicery of the romp before everything is smothering in a sonic squall. Lines are blurred and air infused with raw ambience as the song moves towards its departure, the band again leaving assumptions as pointless as warm melodies trying to encroach into the creeping soundscape.

A pulsating distortion of sonic psyching draws the next up Fascination into view, its strobing soon matched by whipping rhythms and the anthemic vocals. The bass brings a stable shadow to the light show, its premeditated drawl holding the scattered bait for one massive and intrusive seducing. The jagged breath of the track scars the senses beautifully, seizing their allegiance automatically as the acidic flight of guitar winds enticingly almost wantonly around the imagination and emotions. A strong whisper of The Gaa Gaas also permeates the scaring of sonics and rhythms but as throughout thoughts of Wire come the closest to describing a little of the brilliant brew the band conjures.

A schizophrenic character grins from within Bankal 10/15; a fruity discordant twang casting its spell over the guitars as the bass again adds the more even gaited poise to the cacophonous exploits littering ears with scarring beauty. The breaking swagger and addictive swerve of guitar and song simply ignite another wave of lustful ardour in mind and heart, inspiring the return of feelings and bewildered yet hungry thoughts arguably not felt since the late seventies when many of the comparisons mentioned reigned. There is a definite nostalgic feel to the release but only as rich hue to something unique and of the corrosive now.

Vafancuneo closes with the just as tremendous Samba Suicide, a hive of waspish sonics making the first play for the passions before an infectious grinding of riffs and sharp hooks pounce with a pop intent. Probably the most accessible song on the EP, certainly the most danceable, the track evolves into a disorderly, unsynchronised adrenaline fuelled waltz, an atonal stomp which exhausts and exhilarates with equal success. It is a dynamic and masterful finale to a quite brilliant encounter. Welington Irish Black Warrior takes noise and discord and weaves them into the most insatiably gripping and antagonistically seducing pleasure possible. Their songs are genius and wickedly captivating, and once they worm under the surface impossible to shake off.

Vafancuneo is available now @ http://hummusrecords.bandcamp.com

https://www.facebook.com/welingtonirishblackwarrior

10/10

RingMaster 01/05/2014

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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