Coilguns – Watchwinders

Pic laure gilardhucci

Always seeking proposals that challenge and ignite the senses whilst forging new invasive temptation, Swiss quartet, Coilguns, has always been a rewarding refuge and evolving adventure come trespass of noise and imagination. Unpredictability and creative intensity has as much shaped and fuelled their tracks, EPs and albums as physical intimation and intimidation and new album, Watchwinders is no exception; in fact it is the band’s most compelling, ravenous, and rousing slab of incitement yet.

With both debut album Commuters and its successor of last year, Millennials, we have come away wondering and in regard to the latter maybe doubting whether Coilguns could emulate let alone eclipse their feral majesty. We will not be allow that fruitless thought to arise with Watchwinders despite its magnificence but simply bask in its irresistible provocation and intrusive craft.

Released as all the band’s encounters via Hummus Records, the label founded by guitarist Jona Nido, Watchwinders was written and recorded during one intense month-long session, and as always with the band recorded live, and there is no escaping the instinctiveness of its breath and assault. There are moments when it is as if the band itself does not know what is coming next yet each song is a skilfully woven tapestry of sound, texture, and dissonance as fluid and earnest as it is unscrupulous verging on psychotic.

The album immediately lured unbridled attention with opener Shortcuts. For a minute and a half, Luc Hess manipulates with his galvanic senses poking beats, the vociferously presented tones of vocalist Louis Jucker just as potent in enslaving ears and appetite. In swift time the swipe of noise punk proved enslaving and only enforced its hold and drama before Subculture encryptors forced its thick and also quickly gripping body through speakers. As rhythms fall over themselves to invade, the guitars of Nido and Jucker create a sonic scourge; one only further bracing once embracing the great raw pestering of the latter’s vocals. From the abrasive flurry a just as devious calm emerges, rhythms and sonic threads a virulent nagging matched in prowess and magnetism by the vocals with the synth of Donatien Théivent carrying the same composed yet volatile enterprise, as the track revolves in rapacious noise and intent.

Big writer’s block erupts with its own contagious spite and captivation next, rhythms again at the core of its bold and vigorous creative coercion where punk and hardcore essences entangle in noise and sonic voracity. A breath taking cauldron of untamed and tense captivation it is followed by the album’s title track which eagerly uncages an esurient flood of urgency and compulsive tempestuousness in sound and emotion. The track is superb, managing to eclipse its mighty predecessors even by the brief time it takes its cyclone to slip into a bewitching oasis of magnetic voice and synth. Even so a current of rhythmic badgering escapes the agility of Hess, niggling and inviting as Jucker’s throat provides a similarly rich coaxing.

The prowling doomy presence of The Growing block view follows, the track skirting and courting the senses with its dark, heavy and evocative bait before Manicheans shares it’s twisting and turning, threat carrying drama. It is another drenched in discord bred thought and sound, a track fraught and agitated physically and emotionally with both songs effortlessly adding to the persuasive weight of the release.

Prioress is next up, an encounter haunting and staining the senses with its respective calm intimacy and drama bred turbulence. Locked away in its gripping, slightly suffocating dark defiled rapture, ears and appetite again found themselves defenceless to the band’s invention with eventual escape from the song’s creative confinement only the doorway into insatiable carnal tenacity courtesy of The Morning shower. A rapacious noise punk trespass as psychically catchy as it is emotionally disharmonious it joined its companions in easily luring us to stomp to its tune.

The unpolished, blemish embracing reflection of A Mirror bias beguiled with its singular but potent tenebrous breath with Urban reserves straight after unleashing a hardcore winded cyclone animated tempest to equally enthral and incite. With the keys of Théivent alone a portrait of fateful and predictive suggestion within the track’s tumultuous and unstable expulsion, the second of the two is the kind of infernal uproar that makes Coilguns and indeed Watchwinders so unique and addictive.

The album closes out with firstly the devouring hounding of Broken records and lastly the hypnotic seduction of Periscope. The first simply engulfs and consumes all in its path without suffocating its organic infectiousness while its successor arises upon a sonic line to draw and open up every predatory shadow and caliginous depth of false utopia and together they provide a fearsomely glorious conclusion to an outstandingly impressive release.

Once more Coilguns has left us open mouthed and lustfully devouring an album which leaves the world a better if more soiled place.

Watchwinders is out now via Hummus Records on CD and vinyl; available as a name your price download @ https://coilguns.bandcamp.com/

Full Coilguns tour dates w/ Yautja

08.11 – Paris (F) @ Espace b

09.11 – Sheffield (UK) @ Record Junkee

10.11 – Leeds (UK) @ Temple of Boom

11.11 – London (UK) @ The Macbeth Of Hoxton

12.11 – Glasgow (UK) @ Broadcast

13.11 – Manchester (UK) @ Satan’s Hollow

14.11 – Northampton (UK) @ TBA

15.11 – Utrecht (NL) @ TBA

17.11 – Gdansk (PL) @ Ziemia

18.11 – Warsaw (PL) @ Poglos

19.11 – Krakow (PL) @ Warsztat

20.11 – Wroclaw (PL) @ DK Luksus

21.11 – Berlin (D) @ Zukunft am Ostkreuz

22.11 – Stuttgart (D) @ Ju-Ha West

23.11 – Fribourg (CH) @ Hummus Fest / Fri-Son

24.11 – Lyon (F) @ La Marquise

26.11 – Clermont-Ferrand (F) @ Raymond Bar

27.11 – Angers (F) @ Jokers Pub

28.11 – Oss (NL) @ Lollipop

29.11 – Fontaine l’Evêque (B) @ MCP Apache

30.11 – Liège (B) @ La Zone

https://www.facebook.com/coilguns    https://twitter.com/COILGUNS

Pete RingMaster 04/11/2019

Copyright RingMaster: MyFreeCopyright

The Domestics / Wolfhour Split 7” E.P.

With three slices of their inimitable sound each, Britain’s The Domestics and Wolfhour from Sweden join together upon a split 7″ E.P to equally ravage and ignite the senses. Both have a punk bred sound which is voraciously individual but as the rousing encounter proves they also have a common bond in uncompromising ferocity and raw discontent.

Suffolk hailing, The Domestics have never taken prisoners with their hardcore confrontation and a sound which has only become more irritable and striking by the release. The three songs on the new split prove the thought, each a ravenous slice of invasive antagonism and all a thick lure for punk ears.

A Cold, Raw System is first and immediately batters the senses in pugilistic rhythms and the vocal voracity of James Domestic. As swiftly rabid grooves and acerbic riffs surge the trespass bringing with them a host of hooks and incessancy which keenly arouses, the guitar of Ted Mint leading the insurgency alongside feral emotion sprung vocals. It is untamed magnetism from the first breath with a corrosive infectiousness just as ably unleashed by the following pair of Maximum Hell and Empty.

The first harasses as it floods the senses for a full minute, the rabid swings of drummer Simon Battery bitter pleasure alongside the equally rousing gurning of Rhodes’ bass while its successor bears an old school punk breeding to its hardcore severity. Both see Domestic spewing lyrical rancour with alluring venom as similarly toxic enterprise escapes the strings of Mint and each leave emotions inflamed and the spirit alive.

Gothenburg bred, 2013 formed, Wolfhour is a quartet which drew potent acclaim with the release of their debut album, Dead on Arrival, in 2015. Featuring members and ex-members of Anti-Cimex, Slakattack, Pi$$er and Driller Killer, Wolfhour propagate a form of Scandinavian d-beat/hardcore with its own character and antipathy. Their three scourges savaging the split’s B-side begin with Dead As Me, an unapologetic incursion of punk rock openly infectious and just as boldly quarrelsome whilst driven by rhythms which simply puncture the senses. The track easily hit the spot leaving a debilitating resonance taken up by the following and just as striking Anger Control, a track inflaming the passions with its initial psyche twisting baiting and as thoroughly by the strident holler that triggers.

Last Encore completes the release with a just as raucously barbed incitement of sound and dispute; an altercation of punk which left ears ringing in sonic tinnitus and the spirit roaring in mutual contestation.

We have a constant intrigue and appetite for the coming together of, on the surface, different bands but which share a creative common denominator. The Domestics and Wolfhour have united for one of the most thrilling in recent times, each openly unique and together the purveyors of the most striking hardcore.

With each side given its own unique artwork, The Domestics / Wolfhour Split 7” E.P. is released 18th October through Kibou Records (UK), Kangaroo Records (France), Amok Records (Germany), and Sick World Records (New Zealand). Pre-ordering available @ https://kibourecords.bigcartel.com/product/wolfhour-the-domestics-split-7 and https://kibourecords.bandcamp.com/album/the-domestics-wolfhour-split-2-song-preview

https://www.facebook.com/TheDomestics/

Pete RingMaster 11/10/2019

Copyright RingMaster: MyFreeCopyright

Union Jack – Violence

Two years and a handful of months on from igniting the senses and passions with their previous album, Supersonic, French punks Union Jack have unleashed a just as voracious and compelling assault in the shape of Violence. With ten tracks which sonically live up to its title, the band’s new full-length ravages as it snarls, bounces as it unleashes ravening contagion. After the release of its predecessor we suggested that the Paris hailing trio could infringe on the world beyond their homeland, the UK and parts of Europe; with its successor we expect it.

In many ways Violence is a somewhat harsher and fractious trespass than that offered by Supersonic but still ripe with the instinctive catchiness and contagious character which marked out that previous outing. From vocals to sound, textures to aggression, it is an openly feral affair but one swiftly proving addictively contagious to ears and an ever hungry punk appetite.

Since emerging in 1997, Union Jacks’ fusion of punk, ska, hardcore and raw rock ‘n’ roll has bred its own individuality, one which has grown and evolved as a host of other flavours has been embraced and Violence only stretches that adventure. With its untamed air and trespass, the album in some ways looks back on the band’s early releases but with its noise fuelled twists, lyrical world attacking irritability, and rapacious almost cacophonous breath it is a whole fresh incitement for Union Jack and punk itself.

The album opens up with So Cold, the beat bouncing invitation of drummer Antoine Sirven Gabiache leading the way before the guitar of Tom Marchal and bass of Rude Ben spin their equally ear summoning threads of sound around the song’s initial lure. Quickly it is a volatile stroll of sound and infection, mouth-watering discord uniting with punk belligerence in music and voice, the mesh of vocal voracity from all three band members as tenacious as it is mischievously dissonant. With an At The Drive In-esque sonic tension and unpredictability, the track makes for a striking start to Violence with devilish keys adding to the temptation.

Venom ensures it continues as its swinging gait and savagery is immediately infectious, guitar and bass driving a boisterously truculent and catchy attack with the latter laying down a wicked groove as again vocals collude in a magnetic squall. Three minutes of noisy punk manipulation leads to two minutes of noise twisting ferity as Dance In The Fire springs its own cauldron of vocal and sonic dispute around manipulative hooks and grooves which invade and incite body and instinctive pleasure. The track is pure rock ‘n’ roll at its most wild yet deviously sculpted.

Poison Me instantly infests ears with a dancing melody if one with a certain acerbic edge which is inflamed across the instantly following hooks and an enterprise exposed by craft and imagination. Nimble keys flirt and tease from within the web of contagion unleashed by guitar and bass, the song a rousing and refreshing slice of animated ingenuity proving a definite favourite though matched throughout the album as proven by the calmer but as hungrily catchy Legacy. Like Joe Jackson meets Stiff Little Fingers, the song is pure temptation, if far too short at barely a minute length, and only more irresistible through the addition of Philippe Cattafesta’s piano organ.

Through the primal raging of Vasectomy, the song a fury of contagiousness and Frustration with its fertile noise bred roar, Violence only tightened its grip on attention and appetite; the lively hooks and spirited antics of both an inevitable and inescapable persuasion and each challenging that favourite moment choice, while Sugar is a collision of old school punk and rabid hardcore which ears and body had no defence to.

The final pair of Thieves & Liars and Nocturne take the album out as impressively as it came in, the first a multi-flavoured lure of punk and rock. It’s less intensive and ferocious presence compared to predecessors unveils a landscape of melodic and sonic dexterity but with an inherent cynicism and severity of word and emotion which makes you take stock while the final track is another inferno of the bands highly flavoursome and inventive sound with hooks and melodies that take hold of the senses like the strings of a puppeteer.

There is a definite uncompromising breath to the Union Jack sound which aligns a challenge with the temptation sprung but one which punk and noise fans will only relish along with the devilish enterprise which effortlessly escapes the band.

Violence is out now; available @ https://unionjack.bandcamp.com/album/violence

https://www.facebook.com/badska/   http://unionjack.free.fr

Pete RingMaster 27/09/2019

Copyright RingMaster: MyFreeCopyright

Exploding Head Syndrome – Aristocratical Tendencies

If the recent release of the new Cockroach Clan album was not enough proof there is now the new EP from Exploding Head Syndrome to prove that the Norwegian punk scene is in fine fettle. Aristocratical Tendencies unleashes five slices of punk/hardcore incitement which raucously roar with voracious contagiousness.

Aristocratical Tendencies follows the Oslo based band’s acclaimed 2016 album World Crashes Down and comes just after the quintet have returned from a mini-tour covering Norway, Sweden, Austria, Slovenia, Czech Republic and Hungary and included playing Europe’s Number One punk festival Punk Rock Holiday in Slovenia, sharing stage with NOFX, Pennywise, Frank Turner, Propagandhi, Descendents, Anti-Lam Front and many more. With their live reputation already highly praised and established through their own headlining shows and gigs alongside bands such as Satyricon, Sham69, Honningbarna, The Good Bad and The Zugly and Blood Command, Exploding Head Syndrome only reinforce and push on a similar stature gained through their records with their latest offering.

Shades is first up on the EP, a stroke of guitar igniting a hungry lurch of rhythms and vocal incitement before it all comes together in a virulently voracious trespass of sound. Vocalist Eirik Ekholdt bellows from within the punk eruption, the guitars of Morten Rørvig and Jonas Andreassen casting ferocious yet greedily infectious encouragement around him as all the while rhythms bite and trespass. It is a glorious assault, ripe hooks sprung with keen devilment and sonic threads spun with imposing drama but a song unafraid to go for the jugular.

The following Hardcore Jesus makes a more considered approach, melodic wiring enticing attention as around them a brewing tempest of sound grows. In quick time, the track breaks into a rapacious stroll, the swinging beats of drummer Lars Kirkerud steering its feisty gait as Håvard Jacobsen’s bassline broods. Again it is a feral invitation impossible to ignore and soon resist with its contagion loaded chorus, a hardcore meets hard rock landscape doing nothing to diminish its insistently catchy punk instincts.

I Got Feelings provides two minutes of equally rousing punk confrontation where open irritability colludes with anthemic prowess in a climate of discontent, the result another infectious incursion upon welcoming senses before You Have Your Dreams (I Have My Nightmares) sinks its similarly belligerent and fractious claws into ears and appetite. Once more there is bassline to devour and a creative squall of guitar to swing with, vocals and rhythms only adding to the manipulation as it all heads towards a robust holler.

The EP is closed up by All Change Is Bad, the track springing from the sonic departure of its predecessor with heftily swung beats and an entanglement of wiry guitar enterprise. That alone proves enough to infest body and attitude but with the raw incitement of vocals and the swinging groove of the bass, things only become more insatiable and gripping.

It is a great end to a superb release from a band we only find ourselves becoming more addicted to by the listen.

Aristocratical Tendencies is out now via Big Day Records; available @ https://ehspunx.bandcamp.com/

Upcoming Live Dates:

18.10.19 Oslo Bloodbath X, Oslo

09.11.19 Checkpoint Charlie, Stavanger w/Kåte Klør

15.11.19 Verkstedet Bar, Oslo w/The Nika Riots

http://www.explodingheadsyndrome.net/   https://www.facebook.com/explodingheadsyndrome

https://www.instagram.com/exploding_head_syndrome/

Pete RingMaster 20/09/2019

Copyright RingMaster: MyFreeCopyright

Torchbearer – Against The Tide

The press release accompanying Against The Tide, suggested that creators Torchbearer “are ready to set the world alight their new EP.” Whether that proves the case time will tell but certainly the five track encounter is one ear gripping, appetite rousing protagonist which demands attention.

With ex-members of Blowgoat and Collapse in their ranks, the South Wales quartet unleash a hardcore/punk sound unafraid to embrace other similarly fierce and intrusive flavours yet as their new release proves, it is a fury equipped with the keenest of hooks and fuelled by ravening melodic fire. An early EP, Pass In the Night, hinted at the potential of the band, one partly realised and fully pushed to greater heights by its rousing successor.

The swiftly magnetic and seriously compelling Time Served opens up Against The Tide, sweeping guitars and robustly animated rhythms instantly descending on the senses to lay potent bait. There is no time to reflect though as within a couple of seconds the band is a raging torrent of vocal ferocity and sonic trespass within which a glorious hook teases and taunts. Andy Mansell’s vocal attack is throat raw and heart driven, the sound around matching his intensity even when pulling back to the moment when it is his ire and the prowling menace of bass uncaged by Mohannad Mamoun Abdul-Rahaman Bashir Ahmed Meckey Ghuleb predominantly alone. Courted by the psyche rapping beats of Scott Harris, that moment sparks another rousing moment as the great clean vocal tones of guitarist Ollie Gould with those of Ghuleb alongside fill the magnetic air which in turn leads to a web of metal nurtured temptation before inherent animosity unites in their thrilling endeavour.

The track is superb, a definite favourite moment within the EP but more than matched by Paralysed and its equally creative examination. A touch less venomous and intrusive but just as inventive in melodic, harmonic, and toxic adventure with Mansell again a gripping fury, the song seized ears and appetite with ease and only tightened its hold by the eventful second.

Ascender provides a calm coaxing through its body and heart, Gould’s ever magnetic chords and hooks luring ears to a waiting nest of viperish grooves and devious hooks within a reflective wrath. As its predecessor, the song is a resourceful proposition, its lures unpredictable and inviting as its breath sears and provokes; qualities just as rich within the following Drown where its caustic air and touch is intensive and animated tapestry of flavours and invention ensnaring; Torchbearer bringing another fresh and darker shade to their sound.

It is a darkness though fearsomely intensified within the EP’s closing track, also called Torchbearer. Its gentle melodic opening has an edge in sound and voice, a fateful tone quickly exposed by Mansell and the rapacious sounds around him. The song’s fractious instincts soak its riffs and temptation but each a strong lure within the increasingly intensive and toxic mood of the track. So unique and opposite to the EP’s opener and just as riveting it gives a fine end to a release which just thrilled and impressed with greater strength by the listen.

Whether Against The Tide will indeed set ablaze the music scene we will find out but it certainly gives it a mighty nudge as to the presence of the rousing force that is Torchbearer.

Against The Tide is out now as a name your price download @ https://torchbearerlondon.bandcamp.com/releases

https://www.facebook.com/torchbearerlondon/   https://www.torchbearer.life/   https://twitter.com/torchbearerldn

Pete RingMaster 02/08/2019

Copyright RingMaster: MyFreeCopyright

Pi$$er – Wretched Life

Music will never cease providing unexpected and major treats, moments of if not genius, true ear and appetite inflaming arousals to feed individual desire. Another for us is the debut 7” EP from Pi$$er, a ‘supergroup’ if you wish which devour and chew up the senses whilst inflaming the imagination across four slices of, which for simplicity we will call, hardcore punk.

The Wretched Life EP is a punk bred encounter but woven from a host of essences for rousing diversity. Its creator is the brainchild of vocalist James Domestic (The Domestics / Dis-Tank / Bring The Drones) who has drawn on the matching talent of drummer Charlie Claesson (Anti-Cimex / Wolfhour / The Partisans / Bring The Drones), bassist/organist Rhodes (The Domestics / Hobopope & The Goldfish Cathedral), guitarists Bri Talbot (Doom) and Matt Woods (Dissidents/ex-Revenge Of The Psychotronic Man), and saxophonist Eddie O’Toole (The Shitty Limits / The Filaments / Beat The Red Light / Personnel) to thrust Pi$$er upon a quickly, we suspect, welcoming world.

Wretched Life opens with The Lie is as Good as the Medicine, Rhodes’ keys an immediate dark sinister lure into the waiting arms of contagious punk ferocity. Rhythms show no respect as they infest song and listener alike, guitars equally ravening in their insurgence before the psychotically edged tones of Domestic spring intimidating temptation. As if that ravening mix was not irresistible enough, passions were completely bound with the emerging addition of O’Toole’s idiosyncratic sax enticement, though a thrilling element with a definite X Ray Spex meets Essential Logic psychosis to it. All together it is a devouring incursion which beguiled with its web of enterprise and ravaged with its tidal trespass of animated devilry.

The track Pi$$ER follows with a just as active fervent menace, rhythms thumping on submission immediately as Domestic’s vocals vent with his individual prowess before another scourge of contagious animosity erupts. Hooks and riffs collude in their deviously respective piercing and hostile catchiness, that infernal and glorious raving sax of O’Toole icing on the delicious toxicity escaping a swiftly established favourite release.

I Won’t Repent is next up and needs mere breaths to eagerly intimidate and wholly seduce. Its galloping stroll infests as it manipulates, its swinging groove and predatory instincts proving swiftly irresistible and the perfect incitement for vocals as riffs ravage thoughts and senses. It is two visceral minutes plus of insatiable attitude, virulent harassment, and merciless temptation; i.e. brilliance.

The EP’s title track concludes the pleasure, Wretched Life a harmful and invigorating scourge of punk corrosiveness, dissonance, and crazed contagion. Every element in its rabid character makes for a furious tempting, each moment in that appealing rabid incursion eclectically ravenous and unitedly unquenchable.

The only thing about Wretched Life which worries is that there might be the chance it is a one off affair. We truly hope not because there is already uncontrollable greed in our hunger for Pi$$er and their unique magnificent sound.

Wretched Life is out now through Kibou Records and TNS Records in the UK and Sick World Records in New Zealand; available @ https://www.tnsrecords.co.uk/shop/tns-releases/pre-order/pier-wretched-life-7/ and https://kibourecords.bandcamp.com/album/pi-er-wretched-life-7-e-p with Ltd edition black vinyl version of 300.

Pete RingMaster 02/08/2019

Copyright RingMaster: MyFreeCopyright

Halshug – Drøm

Temptation can come in a broad and varied landscape of enticement; it can be a warm seduction or a nagging teasing among numerous other incitements. In the hands of Danish band Halshug it is a challengingly fearsome proposal and as their new album proves one irresistible proposition.

Hailing from Copenhagen, the trio of bassist/vocalist Jakob Johnsen, guitarist Mathias Schønberg, and drummer Mads Folmer Richter create a voracious trespass of hardcore and noise punk but as their third full-length Drøm quickly establishes it is a sound which has evolved across previous releases to embrace industrial, post punk, and numerous other darkly bred sounds. Its title translated as ‘Dream’, Drøm is bred on the theme that dreams are “a succession of images, ideas, emotions, and sensations that occur involuntarily in the mind. And also sort of a vision or a wanting of something more than just what is.” With even richer depths and variations to that exploration, the album never leaves ears and imagination alone in thought. Whether nagging on the psyche, intruding on the senses, or manipulating body and imagination, a degree of emotive frustration almost lining it’s every moment, it harasses from start to finish and it has to be admitted, few moments shared here this year have been more rousingly thrilling.

From the moment album opener, Kæmper Imod, with its first breath begins clipping at ears, attention and appetite were stirred; Richter’s magnetic percussion almost teasing as it lured. Seemingly knowing when the listener should be hooked beats hold a momentary pause from which a punk scourge of sound and voice explodes. The band’s hardcore instincts fuel the eruption as the song continues to grip and captivate, its proposal just taking on a whole new character to its beginnings and escalating both by each raucous senses baiting second.

It is an outstanding introduction to Drøm yet quickly and continually eclipsed or certainly matched across the release with next up Dø Igen raising the ante in craft and temptation. Richter’s beats again make for an animated and compelling coaxing and more than equalled in enticement by the visceral growl of Johnsen’s bass. If the first song teased with a whiff of post punk amidst darker sonic deeds, the second track exploits their tenebrific coercion to ravish and inflame the senses. From within its voracious noise clad insurgency, essences of bands like Faith No More, Sex Gang Children, and The Three Johns tease which only adds to its inescapable seduction of ears.

Schønberg’s filth soaked guitar brings Fantasi to ears next; Johnsen’s similarly polluted vocal attack standing eyeball to ear on the tide of antagonistic punk riffs and rhythms. Devious twists and diversity only add to the excellent track’s evolving body and increasing prowess before Giv Alting Op swings in with matching animosity and discord. As with all tracks, there is a kind of psychosis which shapes its tone and invasion; one never allowing a moment for album or listener to relax within the infernal kaleidoscope of illusory or maybe real provocation.

Spejl hounds and disturbs next, riffs and rhythms chaffing on the senses as melodic toxins and scorched grooves seduce across a volatile gait which launches itself with nostrils flared and at times prowls with equally venomous intent. Once more there was no defence to the at times almost drone like quality of its urging as neither was there any barrier to prevent the industrial compulsion and intimation of the dystopia flooded 02.42. The track’s cold intense threat is as claustrophobic as it is galvanic; a web of intrigue and ravening malevolence greedily devoured, rapacious hunger just as forceful and rabid for its successor Tænk På Dig Selv. Again Richter had rhythmic claws in psyche and instincts from the off before all three musicians unleashed their enterprisingly tortured throes of sound and emotion. If that was not enough to embroil the passions, an X Ray Spex meets Essential Logic flavoured sax incursion only sparked lustier reactions.

Through the feral yet imaginatively crafted transgression of Ingen Kontrol and the virulent sonic appropriation of the senses by Et Andet Sted resistance was thread bare to the album’s continuing indeed increasing domination, not that defiance was actually contemplated or offered, a fact the closing majestic post punk incitement of Illusion seized with rhythmic and sonic devilment. The simply glorious instrumental is part nightmare part psyche haunting escape from reality and simply cathartic suggestion to, as we found, increasingly greedy ears and animated imagination.

It is an avidity flooded appetite which is just as ravenous for the album as a whole especially as every play revealed further aspects to its devious body. With a presence and sound which ultimately defies being truly pinned down Drøm has declared itself as one of the year’s essential moments.

Drøm is available now via Southern Lord @ https://halshugsl.bandcamp.com/releases

Upcoming Live dates:

7 Sep – Oslo, NO – Vaterland

12 Sep – Aalborg, DK – 1000Fryd

13 Sep – Aarhus, DK – Radar

14 Sep – KBH, DK Stengade

20 Sep – Gøteborg, SWE – Kulturhuset

27 Sep – Malmø, SWE – Plan B

28 Sep – Stockholm, SWE – Hus 7

http://halshug.blogspot.com   https://halshug.bandcamp.com   http://www.facebook.com/halshugcph

Pete RingMaster 24/07/2019

Copyright RingMaster: MyFreeCopyright