The Decline – Resister

The decline_RingMaster Review

Third album in and Australian skate punksters, The Decline, continue to offer contagion fuelled stomps that simply rouse up the spirit. Resister is packed to the rafters with imagination crafted and wholly magnetic propositions, tracks which only want to offer a good time whilst uncaging a lyrical substance easy to get involved with. Pop/skate punk boundaries are certainly not worried too forcibly by the thirteen track adventure but any resistance to its unstoppable virulence is swiftly dead in its invigorating waters.

Formed in 2006, the Perth hailing quartet made its first strong attention grabbing mark with debut album I’m Not Gonna Lie to You in 2010, an encounter straight away pushing the band towards international awareness. Its acclaimed successor of the following year, Are You Going To Eat That, helped spark the opportunity for The Decline to undertake a headlining tour of Europe as well as a Japanese tour with Israeli pop-punkers Useless ID and So-Cal 90’s super band Implants. Across the years the band has continued to share stages with the likes of Descendents, Unwritten Law, Frenzal Rhomb, Propagandhi, Bodyjar, Bouncing Souls, Anti-Flag, Lagwagon, No Use For A Name, No Fun At All, Guttermouth, and The Flatliners, they amongst a great many others. 2014 saw the release of the crowd-funded Can I Borrow A Feeling EP as well as another hectic tour schedule whilst after a line-up shuffle earlier this year, The Decline set about recording Resister, its immediate unveiling coming just before the band hits the festivals Punk Rock Holiday in Slovenia, Munich’s Free and Easy Fest, and Rebellion, the latter one part of a UK tour running through August. With further global shows in the offing too, Resister provides the most potent incentive to check the band out and make this a summer of insatiable romping.

Resister Artwork_RingMaster ReviewThe release opens with New Again, a short, punchy encounter which quickly sets the creative scene for the album. Jangling melodies flirt with muscular rhythms whilst the potent vocals of guitarists Pat Decline and Ben Elliott unite and entwine across the tenacious start to the album. There are no surprises but plenty of fiercely flavoursome sounds setting up ears and appetite for the following Giving Up is a Gateway Drug, the first single from Resister. With the thumping beats of Harry steering the song into view, his drums a blur of activity, the song twists and turns with emotion and energy. Every second is a tempestuous and easy persuasion for ears, vocals again slightly outshining the sounds, but all aspects crafted with inventive and unpredictable elements.

As strong as its start is, Resister kicks up another gear or two from I Don’t Believe onwards. Featuring guest vocals from Cameron Baines of Bodyjar, the third track boldly enters on rolling anthemic rhythms, they in turn laced with sonic spicing from the guitars before it all colludes in one seriously infectious incitement. A whiff of older schooled punk embraces poppier exploits resulting in a rigorous and pungent anthem swinging punches at the music scene and stirring up new hunger for the release. It is an appetite fed just as healthily and fully by Almost Never Met You, a song littered with tangy riffs, sparkling hooks, and the ever impressing vocal combination. The throaty bass twang of Ray Ray as good as steals the show but is matched all the way by the spices just mentioned and a Green Day meets Bodyjar essence coating the excellent encounter.

Both The Blurst of Times and You Call This A Holiday? keep the album’s new levels roaring in ears and thoughts, the first with fiery atmosphere and attitude to body and voice, and the second through its seamless and magnetic passage from a riveting acoustic/vocal lure into another throttle to the floor ball of creative and physical energy. Each, but especially the former, has an air of The Living End to the full-blooded tempting whilst Camberwell Street straight after, explodes with a richer hardcore but melody drenched escapade. It does not quite live up to its predecessors, but again with skilled endeavour and ideation spicing every aspect the song, hits the spot nicely before making way for the similarly successful Broken Bones.

The thickly pleasing Wrecking Ball fires up the passions, even with its opening barbershop skit. Subsequently into an unbridled bellow of aggression and explosive energy, the track is an easy persuasion of rippling rhythms, inescapable hooks, and more potent vocal combinations. But as good as it is though, it gets over shadowed by the outstanding You’re Not The Waitress, another pop infused punk tempest which is pure contagion.

The thirty second Little Voices is more of the same, revealing a similarity to the previous track and others around it without losing its individual potency during a short tenure of ears. It stirs the emotions nicely which Underworld Tour takes on a thrilling ride straight after with its NOFX/Motion City Soundtrack/ Set Your Goals like fusion of sound and imagination. Again rousing is the best word to describe its heavy satisfaction breeding character as it leaves the listener on a high ready for the closing catchy onslaught of Start Again. The song sums up The Decline sound perfectly, melodically hot, energetically sizzling, and creatively lively in a gripping finish to a fine album.

As suggested earlier, major surprises come in rare batches across Resister yet few moments truly feed expectations and every song is a galvanic exploit hard to turn away from. That certainly works for us!

Resister is available now through Pee Records (Australia) @ https://peerecords.bandcamp.com/album/resister, Bird Attack (USA) @ https://birdattackrecords.bandcamp.com/album/resister-4, and Cargo Records (Europe/UK).

The Decline UK tour dates:

Sat 8th – The Maze, Nottingham

Sun 9th – Rebellion Festival, Blackpool

Mon 10th – New Cross Inn, London w/ MDC (Millions of Dead Cops)

Wed 12th – Brudenell, Leeds w/ MDC (Millions of Dead Cops)

Thu 13th – The Hope And Ruin, Brighton

Fri 14th – Owl Sanctuary, Norwich w/War On Women

Sat 15th – Nice N Sleazy, Glasgow

Sun 16th – Exchange, Bristol w/ Teenage Bottlerocket

Mon 17th – The Fighting Cocks, Kingston

https://www.facebook.com/TheDeclineMusic   http://www.thedeclinemusic.com/

RingMaster 03/08/2015

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

 

Twingiant – Devil Down

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There is smog like quality to the sound of US band Twingiant which invades every pore and corner of the senses with voracious appetite; within that thick immersion though the band infuses a searing melodic veining and smouldering enterprise to leave the imagination keen and appetite even hungrier. They describe their sound as simply loud and heavy, but as shown by new EP Devil Down, it is also bracingly flavoursome and rigorously compelling.

Devil Down is also uncompromising in its touch and intensity, Twingiant blending fiery stoner and heavy rock with imposing sludge richness for an inflammatory and predatory cauldron of sound. Formed in 2010, the Phoenix, Arizona based quartet drew keen attention with debut album Mass Driver two years later and last year’s Sin Nombre EP. Their success only backed and reinforced the band’s live stature which has seen them persistently impress and inflame audiences whilst sharing stages with the likes of Windhand, Pallbearer, Weedeater, Intronaut, Metal Church, Satan’s Satyrs, Guttermouth, Black Tusk and numerous more. Now with their self-released and produced Devil Down EP, the band look poised to awaken a more momentous spotlight upon themselves. May be it is not a release to ignite a explosive blaze within thunderous rock ‘n’ roll climes but it Devil Down is certainly a fierce proposition to firmly thrust Twingiant upon a broader landscape of attention.

The striking presence of the release begins with the instrumental Old Hag. Starting from a restrained and elegant flame of immediately enthralling enterprise and craft, the track grows within the ears as its melodic acidity and sultry charm creates a spark for the imagination to run with and explore. There is also a sinister edge to the invention and sonic beauty fuelling the track, the guitars of Tony Gallegos and Nikos Mixas providing a highly suggestive soundscape and narrative courted by raw shadows provided by the gripping rhythms of drummer Jeff Ramon and bass predation from Jarrod Le Blanc. It is a transfixing proposition which as it reaches its finale, digs into a new texture of aggressive tenacity and attitude.

The impressive start is followed by Dead To Rights, a track striding forcibly with a combative swagger from its first second. Loaded with just as magnetically swinging grooves it soon adds theDD Front Cover (1) coarse texture of Le Blanc’s vocals to the mix, his tones strong without blowing anyone away but with their generally minimalistic presence in the context of songs, they make the perfect incitement to the blistering tempests of around him. A brawling eruption of skilled endeavour and resourceful voracity, the song makes way for the carnivorously toned Daisy Cutter. From its first breath the bass growl is carnally bestial and soon matched by the thickly gravelled vocals. Heavy metal seeded grooves entwine the intensive weight and prowl of the song, at times taking over with their engaging flames and mouth-watering beauty, though the scuzzy hostility of the bass is a constant prowling intimidation ensuring every twist comes with its share of menace.

Through The Motions is another enslaving instrumental and with no slight on Le Blanc’s vocals, these are the tracks where the listener can really play and immerse into the creative emprise of engagements and release. They are a canvas for the imagination and emotions to dance freely, and this track a virulent persuasion weaving sizzling strands of sonic and melodic temptation with inventively rabid rhythms for a fascinating evocation, a tapestry for thoughts to cast adventures with.

Tiger Lily suffers a little being sandwiched between its predecessor and the next up instrumental, but still provides a feisty and aggressive enterprise of heavy footed riffs and spicy grooves to persistently enjoy. There is something missing though, a spark which evades even the enticing twists and shifting textures within the song, and whilst it is a potent companion it does not linger around as other tracks on the album, and especially like Under A Blood Moon. The third instrumental is the best, a sultry twang to guitars an immediate seduction which only grows as melodies and grooves embrace the flavouring for their own infectious web of wonderfully unpolished and organic temptation. Once more it is a piece which simply ignites ears and imagination into eager life, every diverse flavour and note seemingly a seed to expanding adventures, especially the dark beauty of strings at its conclusion.

Devil Down ends with its title track, a bruising prowl of heavy metal and sludge rapacity aligned to groove and noise rock causticity. It is a predator, an emotionally blackened stalking which lumbers and crawls with the varied creativity of the guitars its light and merciless rhythms its teeth. The song is an immense end to an outstanding release, where even though for personal tastes the instrumentals steal the show, every track is an almost primal incitement to want plenty more from Twingiant, a band whose stock and presence surely from this point will be infesting the world’s full awareness.

The self-released Devil Down is available on vinyl from 2 December @ http://twingiant.bandcamp.com/album/devil-down

A cassette version of Devil Down will be released via Medusa Crush Records on February 7th.

http://twingiant.com/

RingMaster 02/12/2104

Copyright RingMaster: MyFreeCopyright

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The Objex – Super Charged Little Nova

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Just like its title suggests, Super Charged Little Nova the new album from The Objex, is a lean, mean punk machine. A fireball of antagonism and in your face passion which explodes with incendiary intensity and belligerence across its magnetic canvas, the third album from the Sin City dwelling band confirms the raw and insatiable might of one of the genre’s most colourful protagonists aurally and visually. It is a tougher more aggressive provocation than before from the quartet, one with a hostile punch to match its breath-taking toxicity. Quite simply the eight-track release is The Objex’s finest and dirtiest rock ‘n’ roll rebellion yet.

Formed in 2006, the Felony Melony (real name Melanie Troxler) and Jim Nasty led band has provided a forceful and virulently contagious proposition since day one, their first demo Bound And Gagged waking up the local scene before debut album Attack Of The Objex in 2007 gripped further afield as it led the band to acclaimed appearances at events such as the SXSW music festival and The Afro Punk music festival as well as subsequently support slots with Demob, Goldblade, and The UK Subs on UK tours. Second album Reservation For Debauchery hit the world in 2009 earning the band even greater attention around the globe as well as awards and nominations respectively at the Vegas Rocks Award for Best Punk Rock Band 2010 and Hollywood Music Award for best alternative song 2011 and best rock song 2012.Across the years as well as sharing stages with others such as The Dwarves, The Addicts, Agent Orange, Sham 69,The Vibrators, and Guttermouth, line-up changes have crossed the band but now with a stable team of drummer Chili (Joaquin Espinosa) and bassist Ivan Del Real alongside vocalist Felony and guitarist Nasty, The Objex unleash their most aggressive and virulently demanding release yet. It is a dive into their most hostile depths though the primal rhythms and deeply barbarous hooks which marked their previous releases still seduce and rile up imagination with their toxic infections. The album is nothing less than a brawling treat for punk rock.

Super Charged Lil Nova hits hard and potently with opener Burn, its opening sonic bait the trigger for a heavy stride of intensive rhythms and scarring riffs within a metal seeded intensity. Instantly the song grips attention like a Super-Charged covermix of UK’s The Duel and Mongrel from the US, plundering ears with a throaty bass line aligned to increasingly rapier like beats as Felony roams their frame with her ever fiery and magnetic vocals. The track continues to antagonise and flirt with thoughts and passions, reinforcing their swift allegiance as the guitar of Nasty conjures wicked hooks amongst the abrasive sonic avenging to ensure even deeper satisfaction.

The excellent start is straight away matched by the predatory Crush, again a muscular urgency and a carnivorous metal based temperament leaking into the voracious punk heart of the song’s fire. Felony and Nasty cast a web of ridiculously riveting temptation with their individual assaults across the song, enticements impressively stalked by the rhythms of Chili and the bass grouchiness of Del Real. As its predecessor, the track is an eye balling aggressor which inflames and incites the emotions with sublime ease.

A spice of salaciousness hits next through the equally tempting and irritable Queen Cobra, its instant scrub of guitar the gateway to a barrage of bone shuddering beats and caustic riffs, one again lorded over by the irrepressible vocal roar of Felony. A devil bred temptress with intimately devious designs to its sound and intent, the track is a furnace of vicious sonic enslavement and merciless melodic seduction, each extreme uniting for a ridiculously addictive and rapacious trap.

The band uncage their latest single GG (Get It Done) next, an ode to punk provocateur GG Allin which maybe does not thrust as big a pair of shock loaded balls into the face as expected but provides an old school punk rabidity and motivation to greedily devour before the ferocious blaze of Grrr steams at break neck pace across the senses. As with all the songs, there is an unpolished beauty to the core and thrust of the tempest but just as irresistibly a spine of inventive barbs and melody kissed underlining grooves poison the imagination and passions with the fullest rabid charm leading to a subsequent lustful submission from the listener.

Both Milk Man with its torrential flood of senses blasting rhythms and guitar sculpted predation, and the spiteful seducing of Thanx 4 Cumming keep album and its recipient raging with unrelenting energy. Each in their individual way light a match to old school nostalgia and modern animosity, the first oozing with discord charmed harmonies within the twisted seduction of its uncompromising musical and lyrical revelry whilst its successor does not pull its forceful jabs either as it boldly stands up and bitch slaps senses and emotions. The pair are pure punk rock and prime The Objex, reaffirming that Super Charged Little Nova is at a new pinnacle of invention and sound.

The album closes with Trainwreck Suicide, a sensational pop punk predation which if you imagine a mix of Sweet and Penetration led by the hybrid of a cloned union between Suzy Quatro and Wendy O.Williams, you would not be far from guessing the quality of the glorious closing triumph.

The Objex has never been a band which has left a bland or uneventful mark on rock ‘n’ roll but without doubt with a greater maturity and stronger antagonism to their craft and open alchemy in their sound, Super Charged Little Nova places the band on a new genre inspiring plateau.

Super Charged Little Nova is available now at http://theobjex.bigcartel.com/

https://www.facebook.com/objexlv

9/10

RingMaster 03/07/2014

Copyright RingMaster: MyFreeCopyright

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