William English – Basic Human Error

w.english_RingMaster Review

The most intimidating and thrilling cauldrons of hostility are those which spit and burn even before you get dirty and scorched within their blistering ferocity, and so it is with Basic Human Error, the debut album from UK noise violators William English. It is a release which singes flesh from ears and boils the senses from its first breath alone, only impacting and thrilling with harsher and richer intensity once you actually delve into the depths of the seven ravishments. The Norfolk quintet lit a fuse in the passions with their first single from the album Bud Vessel a couple of months ago, but hindsight shows its triumph barely scratched the surface of the wonderfully hellacious Basic Human Error

The William English sound is a prowling rabidity of doom enriched, tar thick sludge which is just as open and voracious with heavy strains of hardcore, noise, and dark metal. It makes for a menacing and uncompromising proposition yet one with an array of virulent toxic grooves and rapier like rhythms aligned to slithers of invention embroiled in anything from punk to noise to post punk. It is an invigorating and punishingly exhausting consumption of body and psyche, which only gets fiercer and more scintillating with every listen.

Cover_RingMaster Review   It is Bud Vessel which lights the touch paper to the album, its two minutes plus of vicious addictiveness an instant onslaught of barbed hooks and spicy grooves encased in fuzz soaked, snarling causticity. With mercilessly stabbing beats from drummer Joe Woodbury in the driver’s seat, the track careers through ears with the squalling hardcore tones of vocalist Shane Miller an acidic burn in the hostile and contagious smog of the song. Stoner seeded grooves spring their bait throughout too, everything colluding to ignite ears and emotions in a blaze of cancerous temptation.

The opener is as much a punk roar as anything else and quickly contrasted yet emulated in many ways by Life Of A Fisherman. The song is a slowly invading protagonist, a crawling and persistently expanding threat initially which once settled kicks up a gear and unveils a masterful swagger rich with ravenous and inviting grooves around a volatile nest of barbarous rhythms. Spilling sonic ire and addictive lures with every passing minute of the track’s weighty length, guitarists Ryan Carter and Dave Vickers sear and ignite the senses and imagination respectively, their hostile invention, as across the whole band, forceful and riveting whether slowly trespassing through or raging with tsunami effect at the listener.

The epic assault finally makes way for a just as intensive examination from Seaweed, a track venomously lapping ears with steady persistence, and as the last, creating moments of sheer violence. The bass of Callum Gibb is a predatory stalker within the crushing weight and intensity of the song whilst vocally Miller uncages his full punk spite and expression, especially devouring the air with an effect covered might when the song slips into a cavernous, post punk spiced, doom soaked passage of insidious calm. The torrent of rugged riffs and rhythms provide a constantly evolving and nagging proposal but as other aspects around them are regularly unafraid to switch gait and hostility as the ever gripping drama of the grooves persist in their addictive tenacity.

     Captain Tugboat unleashes its own distinct violation next, bringing extra tang and ingenious unpredictability to a fury of hooks and toxic grooves in a presence which embroils torment and rage in one corrosive and once again irresistible animus of sound and emotion. As the album, at times the track sparks thoughts of bands like Eyehategod and Buzzov*en but equally of others like Coilguns, KEN mode, and Neurosis; raw whiffs just as suggestive in the following Grandpa Sorrow Pt. 1, another taking such elements and sculpting them into something solitary and predacious to William English. The track stalks the senses with a laboured but hungry intent from start to finish, eventually dissipating for A Monger to cast its individual sonic coaxing and bracing creative hostility. There is no escaping its slow encroachment and the subsequent raptorial explosions breeding mouth-watering savagery, nor the spellbinding effect of its unbridled barbarity in tone and sonic enterprise. Bass and the song’s truculent atmosphere provide a bestial embrace, the vocals an ever shifting in delivery and belligerence throughout whilst the guitars emerge carnivorous in invention and enthralling in craft for another viscous treat.

The album closes with the eleven minute sonic opus of Grandpa Sorrow Pt. 2, a full journey in its own right exploring every flavour and inventive corner within the William English invention, ability, and sound. It is as dramatically appealing and darkly ruinous as the world we live in, every passing second and twist a creative cacophony of raw seduction and jaundiced attitude shaped by fearsome tapestries of viscid sludge spawned ingenuity.

The track is a tremendous end to a thrilling first album from William English. Basic Human Error is sure to be an encounter seeing many fleeing for the hills in fear but similarly one to breed plenty of lustful hunger and stalker like attention for its creators. We are the latter and suspect we will be heftily joined in that club over the coming weeks.

Basic Human Error is available now via Grandad Records @ https://williamenglishband.bandcamp.com/

and http://grandadrecords.bigcartel.com/product/basic-human-error-william-english

https://www.facebook.com/WilliamEnglishBand/

RingMaster 01/07/2015

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

 

Infidel – Self Titled EP

Infidel_RingMaster Review

Providing a fresh snarl and roar to the hardcore scene, US punks Infidel introduce themselves with an impressive attention grabber, their self-titled EP. Hailing from the perpetually stirring hardcore scene in Detroit, the quartet recently signed with Imminence Records and has taken little time in slamming their potency and anthemic credentials down on the table with their first provocation. It is also an encounter rich in contagious resourcefulness which whilst the songs are bellowing with confrontation lyrically and musically, they are also flirting away with striking invention. Excitement certainly brewed listening to Infidel with a strength which few bands in the genre have stirred so tenaciously over recent times.

The band’s sound is a skilled mix of old school strains of hardcore with fresh hostility and imagination whilst lyrically they set their sights on anything from animal rights and patriotism under fire to police injustices, the two political party system, and positive incitement promoting “never giving up on life when the road gets tough.” Both aspects of their songs make an immediate and strong impression as the EP opens up with Patriotism Under Fire, the song starting with a sample of the opening scene from Jarhead, its unifying bellow quickly overrun with rhythmic artillery and a torrent of raw riffery equipped with swift infectiousness. In full stride soon after, the song relaxes a slither as vocalist Andrew Thomas uncages its lyrical and impassions intensity, almost immediately raising its ire and aggression again to match and raging like a mix of Stuck Mojo and Minor Threat, the track getting heavier and more voracious with every passing minute.

infidelcoverRingMaster Review     The attention grabbing and appetite igniting start is soon surpassed by What We’re Made Of, a rigorous stomp fuelled by melodic contagion and antagonistic defiance driven by inventive hooks and violent rhythms respectively. There is a touch of Shelter to the catchier side of the song, its tempering infection the perfect contrast to the eager bruising wilfulness and energy, and their union a swift anthemic enlistment of body and emotions.

Call Of The Wild follows and from its first breath it is sonic and emotional rebellion stirring up air and thick satisfaction. Featuring Keith Allen of GhostxShip, the track is as militant as it is inviting, the drums casting a rousing incitement matched by the increasingly spicy invention and antagonism of guitars and bass. Loaded with magnetically uncompromising vocals, the track roars incitement and contumacy quickly matched by similar confrontation in Protect And Serve straight after. As the EP opener, there is a metal seeded ferocity to the encounter which seamlessly slips into a melodically coloured but no less aggressive turn of imagination. With guest DJ Bean of For All Who Fail involved, the song stands toe to toe with the listener, eye balling them with rigorously anthemic sounds whilst challenging the seeds spawning its narrative and emotion.

Next up is Politics, a track built from the same kind of template and core sound but quickly establishing its own adversarial identity with scything rhythms and spearing riffs. Their union provides the frame for swarms of sonic incitement and almost psychotic grooves to strike and if that was not enough to draw keen submission, a burst of melodic vocals and enterprise only lights song and ears further before parting with a final fierce growl for a superb cover of the H2O track What Happened? .

Bringing the outstanding release to a thoroughly enjoyable close with their stirring cover, we can only suspect that Infidel is a band destined to be soaked in attention and acclaim as more engage and become thrilled by this and their subsequent and evolving exploits. Fair to say, hardcore has a new spark to its fire in the belly.

The Infidel EP is available now via Imminence Records.

https://www.facebook.com/Infidel586

Ringmaster 26/06/2015

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

Tvivler – Negativ Psykologi #1

photo by Mads Ogstrup Nielsen

photo by Mads Ogstrup Nielsen

A rousing of the passions like no other; that is probably the best description of the effect the debut EP from Danish noise punks Tvivler had on our tender ears. Bristling with four tracks of something between post hardcore, noise rock, and sonic ferocity, Negativ Psykologi #1 is a blistering trespass of rabid virulence, an addiction in the making for fans of anyone from At The Drive-In and KEN mode to Kabul Golf Club and Coilguns. Band and release has a sound and presence though which is equally unique from those suggestions, a personality and freshness of its own which translates as one of the most exciting debuts in recent times.

Formed last year, Tvivler (Danish for doubter) hails from Copenhagen and comprises the united talent from numerous other Scandinavian bands. Vocalist Thomas Burø is a member of Lack whilst bassist Morten Ogstrup Nielsen is part of instrumental progressive metallers Town Portal. Completing the line is guitarist Thomas Feltheim from Obstacles and drummer Morten Clausen, the pair also part of hardcore band Children Of Fall. The quartet bring an eclectic mix of styles from their other projects into Tvivler but yet again the band emerges with something wholly distinct from those spices and other propositions breeding a similar assault of sound.

front coverReputation Radio/RingMaster Review   The first instalment in a 7″ trilogy, Negativ Psykologi #1 simply explodes in ears with the first breath of opener Almanak, guitars spreading a sonic rub quickly joined by raw and catchy riffs amidst scything rhythms as well as the scorching tones of Burø. There is an immediate contagion to the encounter, hooks and grooves uniting in a web of irresistible sonic flirtation whilst vocals squall with a just as gripping persuasion. UK band The Gaa Gaas spring to mind at times as the tones of Burø climb over the wiry strands of guitar, his magnetic pull the perfect temper to the carnivorous enticing from the throat of the bass and the emerging dance of surf and post punk imagination.

At two minutes it is far too short but in its brief presence an inescapable slavery of ears and emotions making it easy for the following Tænder to turn up the heat and passions. It too has no interest in offering a gentle entrance, bundling itself through ears in a ball of antagonistic bass and jangly guitar temptation courted by Clausen’s concussive beats. It is a thick assault of busy sound but with a clear centre from which Burø unveils the narrative with acidic prowess. Living up to its title, the song switches around with striking invention and rhythmic agitation, guitars and drum sticks a maelstrom of unpredictability to which the bass provides its own twisted grudge. With a whiff of bands like The Mai Shi to it, the tempest is an anthem to the primal and disorientated amongst us and quite scintillating.

Træfælder opens on a portentous ambience wrapping church bells, but an atmosphere taking less than a second to become a cauldron of unsettling suggestiveness leading to a furnace of guitar causticity and raw vocal bewitchment. As imposing and abrasive as the delivery of Burø and in turn the backing of the band are, they expel a ringing harmonious lure which is as seductive and disturbing as the kaleidoscope of psyche sucking adventure around them. The song’s title means traps and there is indeed no escaping the addictive hold of the song, another living up to its name and keeping ears with a greedy appetite chained.

The EP finishes with Tyndhudet, the harshest, most disorientating fury on the release. Each track within Negativ Psykologi #1 gets progressively rawer and violent, the closer bringing the release to a hellacious and abrasing finale. It is not all raw confrontation though, Tvivler again spinning a weave of infectious hooks and addictive grooves which just light body and imagination. Drums and bass are bestial it is fair to say against that alluring tempting but even they have moments where lust gets the best of them and they ease off a whisper to add fresh flirtation.

The track is a glorious end to a stunning encounter. Tvivler and their sound is not going to be for everyone of course but if those hints earlier get the juices bubbling and indeed post and neat hardcore as well as noise and punk rock too, then Negativ Psykologi #1 is going to bring some ecstasy to your lives.

Negativ Psykologi #1 is out now @ http://tvivler.bandcamp.com/releases

https://www.facebook.com/tvivler

RingMaster 23/06/2015

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

 

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

UK post-hardcorers ‘CONDUIT’ have just unleashed new video single for the ‘Others’

Conduit Shot Online Promo_Reputation Radio/RingMaster Review

Born in the West Midlands in 2009, Conduit are comprised of Dave Boyle working on bass & guitar, Ian Harris dishing out the riffs, Steve Hodge providing rhythm guitar and Dave Roberts hammering at the drums. Far from possessing the typical CVs you’d associate with many of today’s up-and-coming melodic hardcorers, two of the band members helped create a floor that appeared in a James Bond film, another volunteered for work in Bosnia and Herzegovina, and their lead singer used to spend his days working in a giant freezer. There is certainly something oft-kilter about Conduit, and it makes the ascending quartet even more intriguing.

The four-piece have a strong bond and friendship, and this solidarity seeps from their music. The Midlanders have a clear philosophy and have grafted diligently for the past seven years on shaping their sound and spreading their manifesto. With influences ranging from Underoath, Haste The Day and Rise Against, Conduit have fashioned a brand of post-hardcore that will batter its way through your skull, tug at your heartstrings, and genuinely make you think. The foursome maintain an earnest approach to song-writing united with meaningful lyrical content, rhythmic refrains, and thoughtful arrangements.

The band have also clocked up the mileage on the road, and after a successful run of shows throughout the UK supporting everyone from War Of Ages, As Cities Burn, Listener, Continents, Heights, Oh Sleeper, Hacktivist, Through Solace, Max Raptor and Fathoms, to name a few, the foursome squirreled away, bracing themselves for a lengthy stint in the recording studio. They soon began work on their debut album, ‘Life On Repeat’, and emerged from the studio in 2015 with an absolute gem of a record.

‘Life On Repeat’ showcases the band at their best, casting a brilliant light on their shrewd ability to fuse and unify genres, despatching intoxicating songs that contort and wrap themselves around your ears. The rising combo have also just released new single ‘Others’; the video single highlights the foursome’s guile and astute use of dynamics to dramatic effect. Stay tuned to the band’s Facebook for further updates and show announcements.

WATCH ‘OTHERS’ NOW AT

https://www.youtube.com/watch?v=sY5bjtQPvvA&feature=youtu.be

https://www.facebook.com/thisisconduit https://twitter.com/ThisisConduit

Graveyard Shifters – High Heels & Broken Bones

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Aggressive devilry and riotous adrenaline is the order of the day as Finnish crossover punks Graveyard Shifters unleash the follow-up to their well-received debut EP of last year. Their new brawling punk ‘n’ roll stomp comes in the hellacious shape of first album High Heels & Broken Bones, a tempest of punk, metal, and raw rock ‘n’ roll with the intent of taking the world on a tour of bone crushing, senses devouring partying. At the same time band and release storm through the explosive highs and lows of life, dragging out the belligerent animal in us all for a non-stop ride of fury and fierce revelry.

Bursting out of Kerava Graveyard Shifters began in 2013, taking little time to make a thick impression with their imposing sound and similarly impacting live presence. Within six months the Brainwashed by Moonshine EP was uncaged to rouse up attention and eager support, its release last year the seed to the broad recognition now being forcibly nudged by High Heels & Broken Bones. Their new ten track protagonist demands you take notice, insists you take part, and leads the listener on a unassailable rampage of bad mannered, virulently contagious rock ‘n’ roll. It might not be the most original incitement, but as the thoroughly enjoyable trigger to mischievous deeds and thrills, it is a job superbly done.

High Heels & Broken Bones opens up with its title track and an immediate rage of rowdy riffs and thumping rhythms stirred up by the antagonistic scowls of vocalist J. Matilainen. Infectious hooks and anthemic band calls proceed to litter the insatiable call to party arms, the track like a mix of Kvelertak and Turbonegro with the punk devilment of a Black Flag as the guitars of V. Vainionpää and H. Kansonen kick up a sonic storm around voice and rhythms.

With a slightly more merciful start, the following Tearvomitor keeps things blazing intensely, its initial lure of riffs and sonic enterprise a rich spice against the exploding beats of drummer A. Salmenoja and the predacious tones of J. Sumkin’s bass. The song is soon an eyeballing, energy igniting punk roar equipped with seriously enticing hooks and again great vocal chants from across the band. Once more you can argue there are few surprises with it yet the song is a memorable and seriously potent stirring of emotions and appetite swiftly backed by the just as hostile and magnetic Buy Low, Sell High. The metal seeding of the guitar’s invention is a compelling lure caged again by a bruising conflict of attitude and confrontation rooted in vocals and rhythms, the combination a keen and flavoursome riling of ear and air.

Love On The Rocks strolls in next with a hard rock swagger and potent catchiness, its early invitation a friendly, almost poppy persuasion but just the lure into another ferocious uproar. Except this time this outburst is just one evolving moment in the imagination and sound of the song, mellow vocals and spicy hard rock tenacity revolving with aggressive and infectious elements. The most adventurous and striking track on the album so far, it is a highly pleasing, expectations defying proposal quickly emulated by both the stylish rancor of Bender with its great tempting of piano amidst rousing vocals and melodic metal guitar flames, and in turn the grizzled temperament of Pocket Puppet Show. The first of the two moves from a bright and almost cheery antagonism into a death metal bled rancor whilst the second is part hardcore and part extreme metal inhospitality with just the right amount of rock ‘n’ roll wantonness, and equally one compelling threat.

A melodic caress emerges from the ire of the song, serenading ears until the inflammatory sounds of Firestarter burn the senses and atmosphere alike. There is nothing especially dramatic and stand out about the track, or so you think, but by its seriously satisfying end it is a lingering incitement, though to be fair quickly overshadowed by the outstanding dark charm of Doomsdaydreaming. Gothic in its climate, caustic in tone, the song is a thick blackened detonation of metal virulence and punk bad blood, like Andrew W.K. and Agnostic Front in an unrestrained dust-up.

Beerserker is a similar type of ravishment, though more metal driven in its character around a furious punk heart, and another making a stronger and more potent impression than first thought, a success echoed by the closing Finnish animosity of Kyynelyökkönen. The last track bellows and incites with ease, riffs and rhythms the gripping web for bitter toned vocals and sonic trespasses to spring from.

It is a fine end to a mightily enjoyable encounter, and for us introduction to Graveyard Shifters. High Heels & Broken Bones is maybe not an album to change your world but undoubtedly will be a hefty nudge to change your listening habits.

High Heels & Broken Bones is available from June 12th on Eternal Sound on CD and digitally.

http://www.graveyardshifters.fi  http://www.facebook.com/GraveyardShifters

RingMaster 12/06/2015

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

 

 

Tyranny Is Tyranny – The Rise Of Disaster Capitalism

TyrannyShout_credit_Bronson_Karaff_Reputation Radio/RingMaster Review

The time between 2013 debut album Let It Come From Whom It May and its successor The Rise Of Disaster Capitalism has certainly seen no change or lessening in the ferocious incriminations and outrage at the current world and its masters from its creators. Musically though, Tyranny Is Tyranny has used it to evolve and explore bolder and more expansive sonic landscapes and ideation. The US post noise rock band has openly grown in songwriting and sound without losing any of the compelling turbulence and ire which sparked within their first pleasing offering. Indeed the Madison quartet has possibly turned their anger into an even more corrosive and uncomfortable trespass this time around but woven it into sparser yet intimately imposing, and inescapably immersive soundscapes clad in caustic and emotionally stark atmospheres. It is another imposing confrontation which will scare as many as it seduces, and further evidence of Tyranny Is Tyranny emerging as one of rock’s exciting uncompromising challenges.

Inspirations to Tyranny Is Tyranny comes from the likes of Neurosis, Explosions In The Sky, and Fall of Efrafa, essences once again laying as clear seeds in the tempest of The Rise Of Disaster Capitalism, whilst lyrically and emotionally the unjust, corruptive landscape governing our lives is again the influential cancer. Opener Or Does It Explode?, brings swift evidence that musically we are into new territory evolved from the band’s previous successes. The guitars of Jason Jensen and Russell Emerson Hall cast the first descriptive hue, chords a cold and ominous lure as well as the spark to an infectious canter of rolling rhythms and dark yet inviting riffs. Shadows drape every aspect of the lively encounter, coating the raw tones of the Hall’s vocals and fuelling the magnetic post punk bred bassline offered by M. Guy Ficcioto. The song fluidly moves through slow, doomy elegance and raucously aggravated energy across its provocative terrain with the rhythms of drummer Jonathan Brown a perpetual incitement. It is a heavy and welcoming, explosive and fearsome journey for song and ears, an adventure which never settles into one scenic provocation for long and has emotions and imagination riveted from start to finish.

DisasterCover_Reputation Radio/RingMaster Review   The following She Who Struggles is an instantly sombre affair, guitars and vocals a low key coaxing of emotive unrest courted by punchier rhythms. As it opens up its narrative and nature a surf spiced tang colours sonic endeavour whilst an agitated and emotionally unbalanced raging overwhelms vocals and riffs. Soon song and listener is in a dark place but there is a constant light and escape through the sultry craft and imagination of the guitars. The bewitching nature of the encounter is ravaged and pulled this way and that across the seven minutes of tempestuous imagination, but never gives way or loses its potency as the album continues its impressive start.

Pillar Of Cloud, Pillar Of Fire makes a similar proposal but with the smouldering enticement of Ficcioto’s trumpet a swift success and enthralling lure in a cauldron of volatile textures and emotions, the song is soon sculpting its own unique and extensive questioning. Brown is the protagonist crafting and roaming a tenaciously unpredictable canvas, the guitars and vocals the rich unsettling passion, but it is even in brief moments, the coaxing of trumpet which tugs on thoughts and emotions with the strongest toxicity.

The album’s best track twists and bellows next, Kabuki Snuff Theater a post punk expulsion of creative drama and raw emotional disquiet. It is glorious, bass and drums building an inescapable rhythmic trap which shards of guitar and sonic causticity shape and colour with even more virulent temptation. For all of its easy contagiousness though, there is a ferocity and abrasive challenge to it igniting the passions and setting up the listener perfectly for the closing epic fifteen minute conflict of Victory Will Defeat You. The final song takes ears and thoughts from a raw calm through an emotional and vocal confrontation before luring them into a severely restless and ireful cyclone with a creative turbulence to match. Though finding it slightly too long, the track is a massive and stirring finale to one simply excellent encounter.

The Tyranny Is Tyranny sound has grown up, not come of age as you sense there is still plenty more within band and song writing to develop, but evolved into something masterful and dynamically striking. That has resulted in an uncomfortable and richly enjoyable new offering which will undoubtedly reward the brave.

The Rise Of Disaster Capitalism is available from June 13th via Phratry Records digitally and on CD and vinyl and @ https://tyrannyistyranny.bandcamp.com/

http://tyrannyistyranny.com/   https://www.facebook.com/TyrannyIsTyranny

RingMaster 12/06/2015

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