Dead Hippies – Resister

®Mathieu_EZAN

Though music constantly sparks the passions whether through new proposals or simply going back to past adventures of pure joy there are some moments which ignite and excite the spirit and imagination like few others. For us one is the new album from Dead Hippies, a collection of tracks which voraciously burrowed under the skin as they inflamed an instinctive hunger for sound.

Dead Hippies is the creative project of Arnaud Fournier, the lead guitarist in The Hint and La Phaze. 2013 saw debut album, Kill Me Sweety, unveiled to a strong critical welcome. Whereas, it had a mainly instrumental landscape emerging from a fusion of rock and electronic enterprise its successor is a thickly bolder affair as noise, post rock, electro and dance-floor sounds collude in a rousing emprise of aural incitement. As with the first release, there is much more to each album’s body than the descriptions given, Resister a tempest of flavour and textures bound in a thrilling contagion soaked trespass further aroused by the diverse tones of Dylan Bendall (Lab°, Schoolbusdriver).

Live, Dead Hippies is unleashed through a quintet of guitars and it is that sonic abundance which fuels the intensity and exploits of Resister. The album opens with Drip Drip Drip, a track which admittedly took longer than the rest to get us hooked once exposed to all yet from its first melodic poking the song proved an itch which had to be scratched and often. Its rhythmic shuffle soon aligned to that initial electronic lure, vocals close behind again picking their shots before it all ignites in sonic dissonance as feral as it is caustic. Bendall switches between hip hop and noise punk dexterity within the repeating cycles of constantly fresh imagination, Fournier’s sounds equally esurient in their challenge and temptation as they evolve through a kaleidoscope of climates.

Get off the Boat follows, the track teasing ears with its opening electronic coaxing around a thick rhythmic pulsing. Melodic wires soon entangle those early seeds, Bendall’s tones moving from composed confrontation to a fiery insurgency as the surrounding enterprise follows suit. Like a mix of Girls In Synthesis and As A New Revolt, the track moves in a jarred shuffle throughout, its eruptions further manipulation of the senses and passions.

Featuring American rapper Mr J. Medeiros (The Procussions, Alltta, The Knives), the album’s title track is next up. It steps from an industrial lined electronic welcome into a prowling slice of Senser-esque rap rock where every second brings stringent observation amidst a consuming galvanic stride of sound. Though unleashed with a certain hand of control it is a ravenous encounter, electronic and punk ‘n’ roll dexterity amassing on a dance-floor bred rapacity.

That Senser like breath continues into the addictively rousing Feel so Freaky, a track which had the body feverishly bouncing like a puppeteer as its mania infested every note and syllable through to each magnetic twist and turn. Its dervish styled antics proved pure virulence from the first breath, a post punk hue only adding to its devilish magnificence before Laugh in Sadness flowered with crystalline elegance in ears. Guitars and keys blossom their intimation hand in hand, tears shared in its imposing shadows as the instrumental spreads and broadens its haunting tension and invasive drama. Compelling from first lure to last, the track eventually drifts back into the darkness for The Little Ones to unveil its corrosive radiance. A PiL tinted toning equips voice and sound as the song strides boldly and menacingly through ears, unrelenting rhythms on invasive manoeuvres as again Dead Hippies burrow deep into the psyche.

Across the swarthy climate of Anna Logue the Alien and the Morricone hued landscape of Tearing Us Apart with a Poisoned Dart addiction to Register only escalated. Once more ravenous electro-dubstep beats pummel as they incite across both tracks, the first of the two entangling that core bait with a web of guitar and electronic intimation as unscrupulous as it is dynamically persuasive, the vocals of Bendall equally as stirring. Its successor takes its time to build to that same rhythmic infestation, but once triggered brings a voracity of sonic turbulence and emotion before expanding both aspects in greater drama and tension.

The album finishes off with firstly the sonically rich ever evolving exploits of Flanger, a dance-floor bred instrumental at times as fearsome as it is incendiary to feet and body grooves and lastly the dystopian realm of Dramatic Control, a piece of music again which invades and provokes as potently as it draws the imagination into aligning its own darkest to that of the track.

Together they provide a compelling end to an album which simply consumed ears and attention not forgetting the passions from the first second and continues to do so which increasing success. There have been numerous striking releases across the year to date but Fournier with Register simply leaves so many of those in the shade.

Register is out now via Atypeek Music / Bruillance.

https://www.facebook.com/deadhippiesdead

Pete RingMaster 11/10/2019

Copyright RingMaster: MyFreeCopyright

Girls In Synthesis – Pre/Post: A Collection 2016-2018

The release of Pre/Post: A Collection 2016-2018 draws another shameful admission from us; Girls In Synthesis had escaped our ears and attention until now. But we have now greedily gobbled up the band’s sound and confrontation thanks and a big thanks to the summing up of the band’s output to date courtesy of Louder Than War Records.

The limited edition album brings the UK band’s first four releases together in one place with each track re-mastered; their download only two track debut single joining a trio of long sold out and highly collectable 7″ EPs. The London trio cast a ferocious challenge with their sound, one bred in the instincts and heart of punk and post punk but swiftly revealing its own individual dissonance of noise and attitude to bring true uniqueness the mix. Lyrically and vocally the band pulls no punches; words crawling through ears and imagination as rapaciously as the anarcho bred sounds enveloping their discontent.

The two tracks of that first release opens up the album; The Mound rising up on a sonic strand before senses whipping beats infiltrate the invasive assault. Mere seconds pass before the skin tingled as the track burrowed beneath, instincts swiftly taken with its punk rancour and carnivorous sound. Carnal in its breath, the track quickly showed with its companion why it thrust the band upon so many radars. The magnetically raw Disappear is similarly primal and compelling; it’s bass driven grooved voracity insatiable and vocal catchiness virulent.

The self-titled opener of the Suburban Hell EP follows; its sonic fingering the prelude to a corrosive noise punk incursion which leaves no stone unturned as the infectiousness of the previous track is even more accentuated by the sonic ravening escaping guitars and throat. There is a hint of bands like Rema-Rema to the song too, one which is a touch more vocal within the bestial temptation of Phases. Its crunchy textures and senses wilting static soon proved irresistible, the song simply devouring willing to be overthrown defences in quick time before both Fucked and Solid Effect uncaged their individually harsh yet captivating cacophonies. The first of the two taunts and pesters in voice and noise, again an inherent catchiness fuelling its enmity while its successor emerges from its astringent wake with a contagion soaked fuzz coated trespass to just as powerfully tempt and stir.

We Might Not Make Tomorrow leads in the four tracks originally making up the band’s similarly named second EP. A heavier post punk discord accosts the quickly persuasive encounter; strains of early Killing Joke and a corrupted indeed bestial Fire Engines-esque disharmony adding to its virulent mordant clamour. Fair to say already a quickly formed favourites list was becoming increasingly lengthy as we explored more, this track to the fore but quickly worried by the invasive rhythmic jerking of Sentient. Immersion in the guitar’s sonic rancour only increased its magnificence; every note and syllable the perfect manipulative mix of threat and temptation before the deliciously trenchant Splinters and Rust deviously danced on submissive ears and appetite and the infectively scathing Tainted gurned over and twisted the senses into its tenacious plaything.

The final songs on the album come from the Fan The Flames EP of last year, its title song quickly uncaging a sonic abrasion as a great Adverts like rhythmic rumble infiltrates amidst yet again a Killing Joke hued rapacity. It too has a riveting nagging to its galvanic wires and rhythmic persistence, one only accelerated by the incitement and tenacity of the vocals; a simply enslaving mix further escalated in the Gang Of Four tinted post punk rowdiness of You’re Doing Fine. Every rhythmic swing bit, bass snarl gloriously lingered, and guitar stroke inflamed the passions with vocals and a great PiL scenting fattening the track’s might.

The great variety to tracks and sound is emphasized once more by Howling, the band aligning spoken word with atmospheric sonic toxicity, the track a haunting invasion which leaves hungrily persuasive toxins in the senses long after its departure.

Internal Politics completes the album, its post punk animation of bass and drums alone mercilessly compulsive and its increasing fertile mania just mouth-watering. Bands like Wire, 1919, and Big Black come to mind across the supreme final three minutes of the release but as always Girls In Synthesis only stand unique and irrepressible.

Thanks to Pre/Post: A Collection 2016-2018, Girls In Synthesis no longer lay undiscovered by us and will be persistently hunted from hereon in; come join the stalking with us.

Pre/Post: A Collection 2016-2018 is out now via Louder Than War Records @ https://girlsinsynthesis.bandcamp.com/album/pre-post-a-collection-2016-2018  and https://louderthanwar.com/shop/vinyl/girls-in-synthesis/

https://www.facebook.com/girlsinsynthesis   http://girlsinsynthesisband.tumblr.com/

Pete RingMaster 30/04/2019

Copyright RingMaster: MyFreeCopyright