Choking On Illusions – Rest/less

Choking on Illusions Pic2

Hailing out of South-West Germany, Choking On Illusions is a band which looks like they are about to be on the receiving end of an enthusiastic roar of attention. The reason being their new album Rest/less; a beast of a melodic hardcore incitement which is as fiercely confrontational and emotionally voracious as it is inventively compelling. On first listen, it is not one which instantly leaps from the crowd though it certainly is a more riveting and fascinating encounter than most, but over time it reveals an imagination and craft which leaves ears and attention gripped. You would still not say that the second full-length from the Saarbrücken quintet is going to turn the hardcore scene on its head, but it definitely gives it an exciting proposal to chew over.

Formed in 2008, Choking On Illusions has frequently awoken keen and increasing interest in their presence; a self-titled EP in the following year starting the growth which was backed and nurtured further by a two track demo in 2010 and the band’s keenly supported live presence. It has been from the current line-up’s coming together a year later though that the band and their sound really hit its stride, as established by their well-received debut album Guide me home in the summer of 2012. Alongside all these moments the band has similarly drawn great praise and following through shows with the likes of Stick to your Guns, Comeback Kid, Terror, Evergreen Terrace, Hundredth, Counterparts, and La Dispute amongst a great many, as well as tours with The Green River Burial, Wasted Bullet, Chronograph, and Seasons in Wreckage. It all only reinforced and enriched their emergence in the hardcore scene. Now the band is lining up to burst into the broadest spotlights with their Bastardized Recordings released Rest/less, and given the time and focus it needs and deserves, it would be hard to expect anything but further potent success.

The opening Intro is a decent enough emotional scene setter, guitars melodically eloquent within a heavily brooding atmosphere whilst leading ears and imagination into the jaws of the following album title track. The second track bursts into life with ravenous rhythms and fiery riffs, each intensifying as the vocals of Mario Strasser begin their agreeable roar and the guitars of Jannik Aulenbacher and Maciej Spiczak align in a tempting mix of caustic riffery and sonic enterprise. It is when singer and melodies really erupt in an infectious and lively embrace that the song truly comes alive, their brief expulsion of revelry infecting the subsequent antagonistic side of the song which too develops an intriguing mix of catchiness and emotional provocation. It is a great start to the release, and like the album, it takes time to explore all its twists and depths, though its appeal and appetite sparking potency is swift.

Choking on Illusions Cover   The following Sleepwalker explodes in a creative and impassioned tirade you expect to hear in a hardcore based offering, continuing to feed with satisfaction those thoughts but twisting them into fresh endeavour through the persistently thoughtful and skilled ideation of the guitars. As in its predecessor though, there is a particular moment where the good song ignites into something greater, and here it is the lull in the sonic tempest where the bass of Christian Pontes takes over with a richly carnivorous bass tone matched in intimidation by the muscular swings of drummer Dustin Ueckert. It is a mere moment in the passage of the track but again seems to instil a new attitude and impact into the following adventure and passion of the proposition.

Both Left Unsaid and 13 rage and bellow with explosive and intriguing creativity, the first punctuated by the thickest rhythmic jabs yet on the album but tempered by a tantalising flame of impressive vocal harmonies and guitar crafted melodic acidity. The song continues to be unpredictable and enthralling, a slip into an acoustic landscape bewitching in company with calm and captivating clean vocals. Its heart felt and raw emotion though is soon back filling the senses, and again it is fair to say this also seems to return with a new air and vitality in its angst and sound. It is of course all sparked by the band’s dramatic adventure in songwriting and sound, with these moments seeded in a strong array of flavours outside of hardcore. They are essences not always apparent at the start of songs but emerging impressively throughout and something the band will hopefully utilise even more ahead as this is when Choking On Illusions impressively breaks free of any formulaic hardcore restraints and expectations. The song’s successor is the same, spinning a recognisable initial weave of sound and aggression built on open invention before sculpting a predatory net of rhythms and sonic imagination. It is the most straight forward song on the album in many ways but when relaxing into a smouldering embrace of warm melodies and intimate vocals to again cast a new light on its body and heart.

The disorientating dazzle of guitar and rhythms at its start sets Borderlines off in fine style and initially it is a shame it is not a constant incitement throughout the excellent track, the band preferring to unleash it in bursts amongst the muscular antagonism of the song. The truth is the band get it right, its intermittent diversity makes for thrilling eruptions of bedlam in the ferocious roar of the song and the subsequent melodic poetry charming from its heart. The song is superb, whilst the album simply gets stronger and more exciting with every offering.

The peaceful radiance of Interlude allows a breath next, its brief instrumental a classic hug of keys but as the intro, embraced by a more and increasingly turbulent ambience. Its beauty makes way for the fiery energy and intensity of Broken Song, a blaze of an encounter with deep anxiousness to its air and hostile emotion fuelling its fury. It is another which simply grows in weight and persuasion as it reveals more invention and unpredictable ideation once established in the ears; post and melodic hardcore colouring its ire as forcibly as a punk viciousness.

A new peak is set with the hellacious charge and presence of Death Waltz next, the track a thunderous predator of the senses unafraid to draw on noise rock and metallic essences to ignite its creative battlefield. Complete with soaring harmonies and sonic intricacies, the song is a raucous anthem and impassioned croon simultaneously, and quite sensational in its distorted and scuzz lit brilliance giving next up L.O.V.E. a hard task to emulate. It gives a mighty effort though with a bass sound from Pontes which is raw and carnal in touch, whilst a blistering furnace of sonic rapacity and vocal incitement treats the senses. It also has that fresh onslaught of punk hostility to it which seeps into the album’s latter tracks to enjoyable success.

Closing track Baptism – Funeral enters on a rhythmic enticement from Ueckert which alone secures hungry attention, and continues to drive and ignite the solemn and melancholic heart of the increasingly ferocious encounter. It is a mighty end to an outstanding release, one sure to put Choking On Illusions on the widest hardcore map and suggesting potential of greater things yet to come, though more of the same to be fair would not be too disappointing either.

Rest/less is available from March 27th via Bastardized Recordings @ http://shop.bastardizedrecordings.de/product_info.php?products_id=2411

https://www.facebook.com/ChokingonIllusions

RingMaster 26/03/2015

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://reputationradio.yooco.org/

 

Unrest – Grindcore

unrest1

If there is one perfect example of something doing and providing what it says on the tin then it has to be the debut album from US aggressive fury Unrest. Called Grindcore, the twelve track ravishment is the genre in full voracious assault, a vicious and hostile incitement as raw and uncompromising as it is virulently compelling. It and the band has a sound which is stripped bare of all unnecessary deceits, a proposal revealing the raw heart of the songs and inspirations breeding their fury and voice. It is an incendiary persuasion embracing caustic vocals and a primal passion, and one of the year’s mightiest insatiable roars so far.

The album has been one long awaited and highly anticipated offering, its origins going back to 2006 when vocalist/guitarist Steve Jansson and drummer Chris Grigg unhappy at the demise of Nasum, decided to try writing their own grindcore thickly inspired by said band. They soon enlisted friend and bassist Brooks Wilson and produced a horde of songs, played numerous live shows, and recorded their debut album in 2011. It was an offering never released, the band deciding it would need to be heavily recorded at some point in the future. Other projects and opportunities came up for members in the meantime, Grigg continuing with black metal band Woe which he founded in 2007, whilst Jansson and Wilson went on to found TrenchRot, Crypt Sermon, and Infiltrator. Last year the original mixes to the album were re-discovered and found to be usable. New vocals were recorded that summer, followed by the album’s new mixing, and now via Unspeakable Axe Records, Grindcore sees the cold light of day, and in return gives us a merciless snarl.

unrest cover     As soon as opener We’re Calling You Out unleashes its rage and sonic ire, thoughts of Nasum, as intended, surge forward, as do hints of bands like Napalm Death, but equally and continuing over the rest of the release, there are plenty of new essences and blistering invention which makes it so much more than a homage to its inspiration. The first song slips in on a piercing sonic lance of pain, threatening and gripping attention ready for its subsequent forty seconds or so of grindcore toxicity. All three members bruise ears in their individual ways, rhythms a hellacious onslaught whilst the guitar singes the senses. The infernal raging led by Jansson’s vocal squall continues into You Take and beyond, the second song battering ears with a muscular rhythmic intent from its first breath, inviting a carnivorous bassline and tone within the next, and casting a rabid assignation between it and the psyche thereafter. The bass grooving is pure predation, equalled by the furious scourge of guitar enterprise and its own grooved tempting, but ultimately the track is a malicious conquest of senses and emotions.

The seriously brutal Inaction, as well as the following grievous violation posing as Quit raises the ante and intensity of sound and pleasure. The first is a riveting tsunami of spite and rancor which merges sheer unbridled savagery and slow venomous stalking into one addictive raging. Its inhospitable hardcore tendencies only add to the gripping persuasion whilst its successor is simply bestial in tone and aggression, carrying a rancor which makes the brutality of its predecessor almost lightweight in comparison. Once more the trio toy with gait and ideation within an intensive tsunami, never deviating too far from its core rampage but bringing plenty to challenge expectations and ignite the imagination. The track flows straight into Protest Culture, though it is no simple continuation but an individual torrent of musical bad blood bred from the same inventive and instinctive grudge.

Through the tangy and provocative, almost doomy terrain of Faith Is A Hearse, the thrash/death tirade of Anything To Shock, and the swaggering violence of Nothing (That’s All You Have To Give), band and album uncage further creative adventure, merging new stirring flavours and spilling thicker antipathy across the individual grudges. Each offers a new twist in sound and invention within the album too whilst still flourishing in that Nasum inspired base camp, and all leave ears and appetite greedier, a hunger Identity In The Internet Age and Consumption feed with their respective blackened hardcore ravaging and thrash fuelled rabidity. Both are also virulently contagious as they bruise and scar the senses with their ruinous appetites.

The album comes to a formidable close via firstly the exhausting and sonically scalding False Brotherhood and lastly with the rhythmically addictive and antagonistically crabby Drown, and though neither quite matches what came before, both bring a fine slab of delicious nastiness to create a thoroughly enjoyable close.

There are some tracks upon Grindcore which hit the sweet spot more than others but all impress and prove the long wait for the album, indeed a release from Unrest, was really worth waiting for. Hopefully the band can remain an on-going provocation hereon in with more sounds bred in thrilling and pungent toxicity.

Grindcore is released on CD March 24th via Unspeakable Axe Records @  http://www.unspeakableaxerecords.com/purchase/index.php?main_page=product_info&cPath=66&products_id=240

https://www.facebook.com/unrestgrind

RingMaster 24/03/2015

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://reputationradio.yooco.org/

Rapture –Trials

Rapture_bandphoto

   Rapture is a Christian hardcore band from Los Angeles, a quartet making a rather striking introduction to themselves with debut album Trials. Recently signed to OnTheAttack Records, the band has also made their first proposition a name your price download, which with some stomping punk bred tracks the reward, is an invitation hard to turn down.

The band was formed last year by four friends who wanted to create and explore the music which excited them whilst also sharing their faith and love of Jesus Christ, an inescapable but not over imposing aspect of their enjoyable first release. 2014 as a musical year was a low key affair, the band only playing a couple of shows, but as this year broke the band decided to concentrate on their music and hit Birdcage Studios to record Trials with Allen Falcon. Approached by On The Attack Records who wanted to be involved in the album’s release, Rapture now make their first potent persuasion on ears with a full year of shows planned to back its unveiling.

The release is opened by Intro, though it is a little more than merely that. From the great growling bassline starting it off, it aggressively snuggles up to ears with abrasive riffs and vocal squalling, providing an unsurprising but swiftly anthemic and pleasing proposal all within 51 seconds.

Its fine start is matched by the fiercer but no less gripping Legacy where again the lively beats of drummer Tony Rangel demand keen attention whilst the grizzly basslines of Isaac Guerrera Rapture_Trials_albumcovershow themselves to be quickly compelling. The song is a confrontational prowl of ears, though as lyrics show, is more face to face with its own personal angst than solely challenging the listener, a showdown further driven by the accomplished riffs and enterprise of guitarist Garrett Gutierrez and the furious tones of vocalist Richard Haro.

Kingdom Crew steps in next with a rawer air and rhythmic chest beating. The band has been referenced to bands like Terror, Dynasty, and, xLooking Forwardx but certainly this track suggests a merger of early CIV and Shelter as a starting point in its bracing texture and sound, whilst Enemy Lines next rumbles and snarls with a slight air of The Bronx in its rapacious hardcore incitement. Though again surprises might be said to be low, everything about the track from its tenacious rhythms and grainy riffs to the vocal fight and group calls leaves a healthy pleasure and appetite in place.

The tempestuous Deceiver bellows and entices next with magnetic enterprise and attitude before the outstanding Nothing Else brings it all to an impressive close. The final song features Joel Muniz of Dynasty, and treats the listener to a rampaging march of inventive rhythms from Rangel aligned to the ever tempting bass endeavour of Guerrera. That is just the creative spine though of the most inventive track on the album, guitars alternatively spearing and spreading through the air with spiky imagination whilst Haro and band raise voices to their faith. It is Rangel which steals the show here to be honest but as elsewhere it does not work without the rest of the band’s impassioned enterprise and impact.

Without forging something strikingly original but avoiding anything majorly predictable, Trials is a promising and pleasing entrance by Rapture. This is a sure fire recommendation for all raw punk fans from a band with undoubted big potential.

Trials is available now via OnTheAttack Records as a name your price download @ https://ontheattackrecords.bandcamp.com/album/trials

https://www.facebook.com/pages/Rapture/1403442699960183

RingMaster 12/03/2015

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://reputationradio.yooco.org/

Drones For Queens – Practically Weapons

cover

It may be only four tracks creating barely ten minutes of hellacious fury but listening to the Practically Weapons EP from US punks Drones For Queens, is a hostility which withers the senses and scars the psyche. It is by no means an easy listen, to be honest a barbarous one at times, but for braving its tortuous climate the rewards are thrilling. Creating a venomous brawl of thrash, hardcore, and grind with extra searing spices, the Philadelphia-based band goes for the jugular with a sonic bloodlust and enterprise which is as inventive as it is fearsome. Breaking through its blistering surface though you find a warped enterprise which tantalises, and though to embrace it may prove difficult for some for others the EP is sure to ignite a greedy appetite.

Drones For Queens features ex-members of Woe, Woods of Ypres, and current members of The Green Evening Requiem, Population Zero, and Dirt Worshipper, and has already lured in attention and acclaim through firstly their cassette EP Health in 2012. Even more potent acclaim came with their split 7” release with Occult 45 which came out at the end of the following year, but recorded with Steve Roche (Stinking Lizaveta, Rat Healer, Nightfall, Witch Hunt, Serpent Throne), it is easy to expect Practically Weapons to push the band into wider recognition such the vicious, uncompromising, little treat of an assault that it is.

State Your Terms is the first to corrupt ears, its initial sonic scrub soon battered by a flurry of voracious stick swinging and d-beat hostility from drummer Evan Madden. It is a tsunami of spite and intensity equally driven by the malicious vocal squalls of guitarist Shane Madden. There is no hiding place as the song consumes every inch of the by now ringing ears but beneath the raging tempest, the bass of Bob Stokes is crafting dark virulent temptation and the guitar a spiky but addictive web of sharp hooks and nagging grooving. It is compelling stuff, a clash of brute force and anger against a creative seduction which is almost flirtatious in its understated but open adventure.

It is a fusion continuing across all the remaining songs in their very individual characters, the following EP title track unleashing a heavy ravenous texture of sound and intent built on groove metal agitation and thrash animosity. Though it does not instantly sparkle in its depths as the first song, the grooves which spear the onslaught are mouth-watering and the rhythmic tenacity and enterprise of Evan exhaustingly gripping, whilst its closing melodic twist just steals the imagination.

From its opening second A Blinding Future has a niggling groove which works incessantly away at ears and psyche from within the rhythmic turbulence buffeting the body. The severity of the track’s examination, indeed the EP’s, is fierce and unrelenting but again the ingeniously intrusive invention of the guitars beneath the turmoil is bewitching and backed with similar endeavour by Stokes’ bass which manages to abuse and seduce simultaneously.

The closing Duress emerges as the best track on the EP, its twists and inventive spite standing toe to toe with the savage storm at the surface of the contagious voracity. The song is a maelstrom of grooves, hooks, and flailing rhythms interspersed with acidic melodic twists and the grouchiest bassline you are likely to meet this year, and with a growl to match. It takes tops honours on the release and reinforces the impressive weight and creative exploits of the EP.

Practically Weapons pushes on an already impressive emergence by Drones For Queens and suggests that fans of everything from hardcore and crust punk to grindcore and extreme thrash/metal might potentially have a new proposition to lust over. They certainly have us hooked.

Practically Weapons is available on 7” white vinyl limited to 300 copies via Riff Lifter Media @ http://rifflifter.bigcartel.com/product/drones-for-queens-practically-weapons-7-pre-order

https://www.facebook.com/dronesforqueens

RingMaster 11/03/2015

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://reputationradio.yooco.org/

Mortals/Repellers – Split 7”

Mortals_Repellers_artwork

Offering the year another rather tasty split, Broken Limbs Recordings have brought together Brooklyn’s Mortals and Philadelphia’s Repellers for a four track explosion of fresh breathed metal. It is an encounter with reinforces the potent stature of one band and inflames the emerging presence of the other, both beginning what potentially can be a massive year for them in fine style.

The first offering comes from Mortals, a band formed in 2009 but with its seeds possibly growing well before then when drummer Caryn Havlik and bassist/vocalist Lesley Wolf met and played together in all-female Slayer cover band Slaywhore. At the same time Havlik and guitarist Elizabeth Cline were playing in a math-rock project. After the eventual demise of both bands, the three musicians regrouped as Mortals and by late 2010 had set about making a potent mark on the local metal scene and further afield. A tour with Mutilation Rites was the prelude to the band sharing stages with the likes of Eyehategod, The Body, False, Samothrace, Black Anvil, Toxic Holocaust, Howl and Lord Dying over the years, whilst the release of their Death Ritual EP in 2012 led the band to signing with Relapse Records and the release of their acclaimed Cursed to See the Future album last year. Ahead of a European tour with Skeletonwitch and Goatwhore, Mortals now fire up the imagination and EP with their lone but thrilling track 10 Years of Filth.

Possibly a statement on their stirring musical career to date, the song swiftly brews and smoulders with the intensive and darkly seductive blackened sludgy sound which Mortals are already Mortals_bandshotmarked for. Within as many seconds, the bass is roaming ears and psyche like an apocalypse gracing charger, striding with predatory intent as grooves and riffs combine for a nest of viperish intent. Similarly lively rhythms from the drums prowl and stroll across this already bewitching landscape, the seductive and melodically dynamic adventure one scene in a rich drama clad tapestry of dark intent and compelling intimidation. For all its predacious craft and hunger, there is an infectious charm to the track too, light and dark challenging each other whilst colluding in the creation of even more provocative hues in the tempestuous narrative. The dark side is driven by the guttural scowls and gothic animosity of the vocals whilst the guitar’s enterprise escorts lighter defiant elements which persist in their persistence until the ferociously boiling and venomous climax of the song. It is an enthralling and ruggedly enjoyable nine minutes easily confirming the impressive qualities and sound of Mortals.

Repellers bring three tracks from their creative arsenal of punk and crust infused metal, swiftly showing why there is a growing broader interest in the 2012 forming band. The two years or so since their arrival has seen the trio release The Coming Storm EP, partake in a split 7” with Georgia-based Dead Hand, and the drawing of multitudes of new fans through tours along the east coast and a constant source of impressive energetic shows. They are a growing force it seems and on the evidence of this release an exciting one.

Repellers   Descend is their first offering, a track which from a melancholic and darkly lit melodic embrace erupts in a predatory and thunderous stalking of the senses. The intensive rhythms of drummer Tony Secreto are vindictive in nature whilst the equally primal basslines of Rob Petraitis growl and leer intimidatingly within the doom drenched atmosphere of the imposing encounter. The guitar of Jon Rifenburg brings various shades of intimidation and temptation to the volatile but controlled tempest too, his enterprise equally sculpting a web of magnetic lures around the malevolently toned vocals. It is a captivating proposition which awakens intrigue and interest in the band before their second song From Jerico to Ai lays a more fascinating and thrilling invitation down. Bass hooks are aligned to acidic guitar grooves, it a mesh of enticement which continues to spear the increasingly ravenous atmosphere and character of the track. Heading only to a turbulent and hostile climax, the track is a riveting persuasion showing more of the depth and imagination in the band’s song writing and sound.

   False Solace is the same, its heavy melodic lures an initial tantalising coaxing which only seeds a subsequent hellacious hardcore bred brawl with the senses. The blackened, almost insidious tones of the vocals unleashes the dark heart of the song whilst the sonic grooves and bass predation provides infectious bait which seduces ears as the track’s lyrical and vocal trespass avail their toxicity.

The two bands make for a pleasing and exciting union with their quartet of thickly satisfying propositions, each confirming their impressive potency and potential. Both have only enhanced their reputation and relative statures whilst already sparking 2015 into being an attention grabbing year for them.

The Mortals/ Repellers Split is available through Broken Limbs Recordings and limited to 500 10″ copies (300 black and 200 red with black smoke).

https://www.facebook.com/mortalstheband   https://www.facebook.com/repellers

Mortals’ Upcoming tour dates:

April 4 – May 2 European tour w/ Skeletonwitch and Goatwhore

04.04.15 Sweden Motala @ Kulturakademin

06.04.15 Denmark Copenhagen @ Pumpehuset

07.04.15 Germany Hamburg @ Hafenklang

08.04.15 Germany Osnabrück @ Bastard Club

09.04.15 Holland Tilburg @ Roadburn

10.04.15 Holland Tilburg @ Roadburn

11.04.15 UK Manchester @ Sound Control

12.04.15 Ireland Dublin @ Voodoo Lounge

13.04.15 UK Glasgow @ Ivory Blacks

14.04.15 UK Birmingham @ The Oobleck

15.04.15 UK Sheffield @ Corporation

16.04.15 UK London @ Underworld

17.04.15 Belgium Brussels @ Magasin 4

18.04.15 Germany Köln @ Underground

19.04.15 France Eragny/Paris @ Covent Garden

20.04.15 France Angouleme @ La Nef

21.04.15 Spain Madrid @ Sala Lemon

22.04.15 Spain Barcelona @ Sala Razz 3

23.04.15 France Lyon @ MJC O Totem

24.04.15 Switzerland Zürich @ Dynamo / Werk 21

25.04.15 Italy Milan @ Lo Fi

26.04.15 Italy Rome @ Traffic Live

27.04.15 Austria Innsbruck @ p.m.k.

28.04.15 Germany München @ Backstage

29.04.15 Germany Leipzig @ Conne Island

30.04.15 Germany Berlin @ Magnet

01.05.15 Austria Wien @ Arena

02.05.15 Czech Rep Prague @ Exit-us

RingMaster 11/03/3015

Fawn Spots – From Safer Place

Pic Ben Bentley

Pic Ben Bentley

Though it will not be the fiercest most hostile offering you will come up against this year, there is definitely a visceral rawness to the debut album from UK trio Fawn Spots which has the senses curling up like paint on a wall under extreme heat. From Safer Place is a furious yet creatively magnetic seduction which rages with a belligerent hardcore and punk voracity whilst smouldering with a noise rock and post punk invention. It is also a massive grower, from a strong and captivating first impression becoming one inescapable proposition drawing ears back again and again with growing eagerness.

Hailing from York, Fawn Spots emerged in 2011, originally as a duo with the intent to “push how much noise two people could make.” One or two line-up changes has led to vocalists/guitarist Jonathan Meager and Oliver Grabowski alongside newest member, drummer Paddy Carley, now standing before the world with From Safer Place in their creative hands. Written and recorded in sheds located in an abandoned Georgian garden and lyrically inspired by T. S. Eliot and Jean Paul Sartre amongst others, the album is a stirring foraging of the senses and sparking of the imagination. It retains the intensity which has already fuelled the band’s sounds and sonic assaults but explores even greater twists of invention and twisted enterprise, its songs barbarous but also ingeniously unpredictable.

New Sense stirs the blood first, its opening sonic yawn the prelude to a maelstrom of aggravated rhythms and caustic riffs raged over by bracing and instantly appealing vocals. Hooks are just as swift a lure too, almost taunting from within the smoggy air of the track. It has to be said that initially the closed in, claustrophobic air to songs took a while to acclimatise to. It did not defuse the success and weight of the persuasions but certainly distracted for the first couple of tracks before slipping into place and becoming part of the inventive furniture of From Safer Place.

The strong start is matched by I’m Not a Man; I Never Will Be, its more controlled entrance just a deceit as it too is soon a tempestuous storm of riff and rhythmic confrontation. Barely safer_place_layout_ideapassing a minute in length, the track throws in the irresistible hook or two also, successful bait courted by a great heavy bassline as the temperature and temptation of the album continues to rise through it and find new heights via the spicy causticity of A Certain Pleasure. The band has understandably been compared to the likes of Rites of Spring, Husker Du, and Mission of Burma, but the third track, and not alone in this, sparks thoughts of older bands like The Fire Engines and Wire, if lost in the blistering causticity of At the Drive In. The track sparks new greed in an already contented appetite for the album, its potency emulated and surpassed again by the outstanding Black Water. Sinister in its melodies and vocal harmonies, toxic in its sonic enterprise, the track is post punk at its most addictively inventive and predatory.

Natural Vision returns to the smoky and oppressive texture of the beginning for its persuasion but turns in on itself with minimalist hooks and melodies which vein the intensive rhythmic and abrasing examination of the senses. Though the track leaves a satisfied smile in its wake it lacks the striking spark of the songs around it, as emphasized by the album’s title track. There is a feel of Josef K in some ways to the next song, as well as a brawling punk ferocity which vocally and rhythmically pulls no punches. It is an exciting peach of a bruising on ears and psyche, and almost poppy in its infectiousness.

The heavy rhythmic entrance of Remains sets the scene for an agitated dance of psychotic beats and brawling vocals bound in a tapestry of toxic melodies and piercing hooks next. It is a glorious violation and imagination sparking incitement which has to bow a little to the superb In Front of the Chesnut Tree which follows. Its start is ripe with choppy dark bass pokes whilst the soon joining melodic winery is pure XTC, though it all evolves swiftly into an even more apparent Joy Division blossomed tempting. The instrumental is bewitching, seriously addictive, and given the clarity which the vocals are not across the album, becomes a lusty seduction on ears and the passions.

The album is completed by firstly the hellacious tempest of Recurring Face, a hardcore spawned furnace of vocal and sonic spite infused with cold post punk ingenuity. At its conclusion it is impossible not to draw a deep breath in recovery before the closing Basque Knife consumes ears with its psychotic and predacious, but controlled swamp of sound and enterprise. It is a fine end to a great release if not living up to the previous peaks on the album though to be fair the strength of all songs seems to grow with every single dive into their corrosive beauty, this no exception.

     From Safer Place is a treat of primal and instinctive noise delivered with a similar inbred passion and animosity. It tests, stretches, and excites in equal measure and makes for a very easy recommendation.

From Safer Place is available now via Critical Heights @  https://itunes.apple.com/gb/album/from-safer-place/id943965796

http://fawnspots.tumblr.com/     https://www.facebook.com/Fawn.Spots

RingMaster 10/03/2015

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://reputationradio.yooco.org/

Shitkill – The New Breed EP

0c44c34c-fca3-472b-bfff-75a078f43c86

The bigger the expanse of sounds and bands we all hear, the more we go looking for that something extra to get excited about. It might not be a big twist which sparks a fire in personal tastes, but something which certainly ignites the imagination and shows that there is still varying degrees of originality within modern music. American metallers Shitkill is a band which with new EP, The New Breed, has plenty of those little differences and definitely teases a burst of enthused attention to ears and thoughts. Hailing out of New York, the quartet cast a sound which draws on a diverse flavouring of sounds; they more often than not seemingly are tagged as groove metal but as the EP shows it is just one shade of many creative colours ripe in their music.

Formed in 2009, Shitkill has continually nurtured a potent reputation for their live presence and sound, not only locally but into broader attention. Their stage impact has been one reason, the band increasingly strengthening their stock as they played with bands like Twelve Foot Ninja, the Cro-Mags, Eyehategod, and D.R.I., but also through their releases. 2010 saw the Asylum EP released but it is fair to say that their self-titled album a year later made the first real mark. Its well-received success was followed by two live albums in 2012 and 2014 respectively, but The New Breed EP is where it is easy to imagine the band soon luring a more global attention.

The EPs title track is first to persuade ears, and does so with swift success thanks to the opening rhythmic dance cast by drummer Damien Moffitt. It is inescapable bait aided by the sonic glances playing around the beats and taken to new heights by the deliciously carnivorous tones of Karina Rykman’s bass. It is animalistic in voice, every flick of a string bringing a predatory edge which simply grips an already awoken appetite. Things only get more compelling as the opening grooves and riffs cast by guitarists Danny Chpatchev and Josh Musto add to the tantalising proposition. The track swings and leaps round with devilment in its heart and creativity, but also an ever increasing unpredictability and imagination. The vocals of Musto scowl and rage, a a0653763495_2gravelly delivery somewhere in the ball park of Phil Anselmo. The song itself can be best described as a mix of System Of A Down, Bloodsimple and indeed Pantera, yet there is plenty more hinting and teasing within the provocation, and showing stronger glimpses as the release proceeds.

It is a potent and highly enticing start, but in some ways just the appetiser as things get more inventive and flavoursome. The next up Vultures instantly brings a new tempest of intrigue and aggressive flavouring, its hardcore essences a buffeting ire against metallic grooving and tangy melodic enterprise. From its initial stomp, the song slips into a compelling noise rock infused stomp, riffs and hooks shuffling with rhythms in a psychopathic yet fluid tango before returning to the stormy onslaught it began with.

Death Giver pushes the adventure of the EP to further riveting heights straight after, the track making a tenaciously imposing entrance with a torrent of riffs pierced by powerfully swung beats. Bass and subsequently vocals only add to the dark drama and intimidation though it is only the lead to greater irresistible temptation. A rugged proposal at first it suddenly throws off its severe manner and goes on an escapade of creative mania. There might be better ways to describe the sudden burst of ingenuity but with deranged grooves and hooks which feel bedlam bred, there is a delicious insanity to the track. The grooving reminds of The Cardiacs whilst around them the roars of vocals and rhythmic predation is as much punk as it is metal. The track is quite brilliant and those insidious grooves, a lingering serpentine infestation.

An even greater punk ferocity fuels Faceless, the song from its first breath a raging brawl unafraid to bring addictive hooks and spicy grooves into its hostile armoury. Though it cannot quite match the brilliance of its predecessor, the turbulent treat has pleasure full and hunger for more, greedier by the second. Punk metal at its best, the song makes way for the closing excellence of Underworld. It is another almost bestial in presence and tone, riffs and rhythms prowling the listener with persistent hostility whilst adding distractions like sudden agitated beats and vocal causticity. Those demonic grooves make their return again, nestling seductively into the different but no less enthralling landscape of the song. Embracing the metal side of the band’s sound with potent whispers of more classical breeding, the encounter has body and emotions engrossed and complicit in its dark deeds, especially through the closing stretch of heavy footed and superbly lumbering beats from Moffitt courted by the cavernous basslines of Rykman and the equally uncompromising enticements of the guitars.

It is a scintillating end to an impressive and thoroughly thrilling release. Probably like a great many, The New Breed is our introduction to Shitkill, another succumbing to their not majorly original sound but certainly a strikingly inventive and most of all fiercely enjoyable one.

The New Breed EP is available now digitally @ https://shitkill.bandcamp.com/

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

RingMaster 03/03/2015

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://reputationradio.yooco.org/