PREHUMANITY- Death Wave

Prehumanity 2

A crawling intensive examination of the senses and psyche is the best way to describe Death Wave, the second album from industrial/electronic/rock band PREHUMANITY, or as it is also tagged death wave. It is a striking and deeply pleasing encounter which is as impressive as it is abrasively uncomfortable, and thoroughly compelling.

The band is the project of Alexander K. Harris, an artist who before PREHUMANITY fronted numerous punk and metal bands, flavours which also add their harsh essences to the album. Starting up the project in 2008, Seattle based Alexander primarily took influences from electronic and death rock bands and released three EPs though they were only available at live shows and online which grabbed the attention of a great many. Continually assessing and writing material whilst performing live with additional musicians, the debut album Not So Becoming was released in 2011 to strong responses. Moving to LA the following year, Alexander wrote and recorded 70% of the follow up as well as recruiting percussionist Seage to the mix for live shows in the city. Completed after additional refining and re-recording of some vocals once he had moved again, this time to Raleigh in N Carolina, Death Wave had its release at the tail of the year. The album has a horror tainted heart and sound which is soaked in the new wave and gothic spices of the eighties and a modern harsh electro/industrial imagination. It is a feisty and bruising confrontation with constant rewards from its intensive violations.

Better Broken opens up the encounter with pulsating beats and a prowling intimidating synth pressuring the ear. Soon into its Prehumanitydefined step the track then brings in a melodic hook which immediately reminds of eighties band Visage and as the track spreads its sonic touch and melodic caresses it takes one back to those vibrant times three decades ago with one foot still firmly entrenched in the powerful wells of today’s sinewy sounds. The track is best described as Specimen and Alien Sex Fiend, a band the album often harkens to, caught in an uncompromising position with Landscape whilst Cease2xist is looking on adding its own intrusive thoughts. A compelling and infectious assault the track is an excellent start to the release soon matched by its successor.

As soon as the stomping strokes of Pills breaks the brief silence between tracks the senses are under an electronic barracking from within a thick cloud of energy. As with the opener the vocals of Alexander are a caustic lashing upon the ear. Expressive and impassioned they are an uncompromising grazing which opens the gateway to darker shadows to join those already lit by the again contagious sounds. Taking a more Skinny Puppy/Ministry gait with a hungry blackened intent the song alongside its predecessor makes one greedy for more and more from the release which of course the album happily and spitefully provides.

The doom encrusted Calling with its brew of Sex Gang Children and Nine Inch Nails like erosive melodic squalls and the thick predatory consumption provided by the metallic Bad Things ignite further intrigue and passion for their inventive contention sparking carriages but it is the track which splits them which almost all alone ensures PREHUMANITY and the album has a permanent stature in our personal playlist. Blood Soaked Suits disorientates with dazzling sonic expulsions before unleashing a rampage of insatiable intensity and invigorating energy, though it erodes as equally as it sparks the body and emotions into unreserved life. With towering rhythms, further caustic vocals, and a wonderful unsettling discord wash to the melodic imagination to the track, the song is a memorable and irresistible bruising with only its briefness a niggle for the hunger it incites.

The excellent Single File with its cavernous depths and ravenous breath not to mention viral sonic teasing is a weave of thunderous energies and heavyweight textures which leaves one exhausted and glowing under its blistering heat. It is only the appetizer though as the equally oppressive and intense Vote With Your Dollars brings further aggressive rage to the canvas of the album. The closing track though offers a warmer melodic coaxing to its rampant storm of stomping dynamics and destructive layers. Like early Young Gods if it also contained Marilyn Mansion, Gary Numan, and John Foxx is a way of describing the expansive sound of the track and it makes for a riotous and challenging end to an outstanding release.

PREHUMANITY wears its influences openly yet turns them into something new and refreshing. Death Wave is an album which all from electronic through industrial to metal fans will find plenty of pleasure from, it is just immense.

http://www.prehumanity.com/

http://facebook.com/Prehumanity

RingMaster 11/01/2013

Copyright RingMaster: MyFreeCopyright

Say Just Words: Screams in the Darkness- A Collection

cover

Screams in the Darkness- A Collection is the new album from a band which has emerged as an enveloping impressive force within the world of harsh dark electro and EBM. Say Just Words grabbed the attention of a strongly growing allegiance of now fans with their EP The Perfect Killer at the very end of last year leading into this and with its release December 21st through Engraved Ritual and Mutante Records, Screams in the Darkness will end the year with a high for dance floors and passions just as the band marked its start.

As the title suggests the album is the coming together of tracks from various areas from the band, songs which have been culled from the six year history and earliest recordings of the band. A limited edition CD release in hand–numbered form as well as available digitally, it is an album sure to inspire a ‘brawl’ for its physical ownership. The tracks ignite the senses with a variation of melodic and sinister encounters which leave only elevated satisfaction in their wake and an impatience for more from the band over the next year.

Hailing from Chile, Say Just Words is the project of José Brantes (all instruments, music, vocals) and Eduardo Espinosa (Eduardo Cid (lyrics, live synth)). Early releases A Dark Desire Machine and first album The Shadow Of The Chaos, both self released, certainly marked the band as one to watch in their limited introduction but with the arrival of The Perfect Killer, the band stepped up into one which was promising to have a big say in the direction of the genre, something despite the older material within, the new album continues that impression.

Screams in the Darkness takes over mind and emotions within moments of the opening title track, the dawning melodic ambience and insidious vocal effects evoking chills before the song unleashes its rampage of thumping beats and acidic discord within sonic elegance. The distorted vocals the band are noted for as much as their sounds, lick at the ear with a serpent tongue which brings a caustic edge whilst only engaging and tempering the smouldering beauty wrapped around it and the energetic gait. The track features vocals by Ralph Stahlnebel of Stahlnebel & Black Selket, one of a number of guest appearances upon the release.

The outstanding and disorientating sonic bruising of Infeccion lies its verging on debilitating presence and hungry energy upon the ear next, and is easily one of the best tracks on the album. It is a tsunami of heat and intensity which treats the senses to an unrelenting wash of abrasive breath and synapse challenging enterprise.  Say Just Words is a band with a mastery of fusing melodic wonder and unforgiving sonic intensity and one certainly going by this song, which relishes offering a spiteful intrusive breath to their accomplished triumphant weaves.

It is fair to say in what is really a compilation in many ways there are no fillers which you enjoy but swiftly move on from, all tracks a diverse and invigorating pleasure and emotive soundscape to investigate. Personal highlights though come with firstly This Is Not Salvation, the single which teased us before the album release with its golden shafts of aural sun and electronic caresses. It is a track which treats limbs and emotions like a puppeteer, taking them to lofty raptures and equalled in their own distinct presences by the darkest shadows of Terror Horror featuring the always menacing yet compulsive vocals of Fredrik Croona (Project Rotten, Cynical Existence) and the blistering intimidation of Noise of Broken Souls. Both tracks whip the senses into a storm of malevolence and delicious sonic trials to survive, the latter a seductive weave which kisses the ear whilst ripping fissures of danger deeper within.

Further guest contributions come from Katia Braut of Die Braut on Agreement of Death and Exsubte of Reaxion Guerrilla upon Controlling Me (Skullfucked Mix), again tracks which evoke imaginative thoughts and reactions to their skilled touch upon the senses.

Screams in the Darkness- A Collection is an excellent album which either as a retrospective feast of older material for existing fans or an introduction to Say Just Words for new, inspires nothing but impacting thrills and deeply satisfied emotions. You feel 20123 is going to be a giant year for the band with this album the perfect lead in.

https://www.facebook.com/sayjustwords

http://engraved-ritual.bandcamp.com/album/screams-in-the-darkness-a-collection

RingMaster 09/12/2012

Copyright RingMaster: MyFreeCopyright

Cynical Existence: Ruined Portrait

It seems like mere weeks ago that one of the best harsh ebm/ industrial releases to tease and provoke the senses this year arrived in the shape of A Familiar Kind of Pain, the debut EP from Swedish band Cynical Existence. The solo project of Fredrik Croona (Project Rotten) easily enflamed the passions and set a new benchmark for electro imagination. Now he returns with follow up release the Ruined Portrait EP. It continues the impressive blend of old school EBM with abrasive industrial invention found on his first EP whilst offering a rawer even more intensive breath. The teaser for the highly anticipated full length album Come Out And Play scheduled for an early 2013 release, the EP like its predecessor leaves an invigorating and decisive pleasure in its wake.

As soon as Misery stretches out its mesmeric arms, melodic pulses splashing upon the ear, the sense that the song and release is set to leave an imprint on the heart is immediate, the sonic seduction full and strong from the off. The serpentine vocals of Croona wrap around the shafts of aural light with the man again unleashing personal emotions into his compositions. His delivery is not as venomous as many but soaked in unmistakable shadows which add extra depth to the power of tracks and temper the often dazzling sonic radiance. Though arguably not a major departure from the tracks on A Familiar Kind of Pain, it feels darker, carrying a more abusive or abused energy in what is a vibrant and compulsive presence.

If the opener is a darker proposition the following Am I Alive is a definite plunge into sinister shadows, the vocals bordering on insidious and the accompanying whispers intimidating. The track is magnetic, the lure of acidic melodies irresistible whilst the caustic tones of the song just ignite further contagious entrapments. The best track on Ruined Portrait; it is a taunting combative glory to immerse within and succumb to.

Next up My Shining Halo initially weaves predatory sonic hooks before the ear, their attractive beckoning a wanton mischief,  before rampaging with further heavy touches and salty rubs to form a raw surface to the insatiable melodic swagger of the song. Approaching midway the track goes into a ‘stall’, its eager pace shifting into a prowling sizing up of the prey before erupting swiftly back to the hunger and rampant onslaught which started the corruption. It is another sensational seizing of thoughts and emotions whilst simultaneously, along with its predecessors, inspiring an intense impatience for the forthcoming album.

Let’s Play Dead featuring Polish band Reactor7x, wraps blistering tendrils of sound around the ear whilst the alternating vocals expose extremes of shadows within the sonic softening up of the senses. It is less immediate than other tracks but equally as impactful in its individual way. The jabbing beats cage emotions as the song lays its erosive harmonic caresses and caustic malevolence upon their ethereal flesh, their power cutting off any escape from the almost disorientating experience.

The release is completed firstly by a reinterpreted version of Face Of God by Moscow based industrial project Freaky Mind, and then by two remixes of tracks from A Familiar Kind of Pain. What the difference is between a reinterpreted version and a remix we will have to find out, but the first of the trio is an excited swarm of energy and sonic manipulation, the sounds swamping yet igniting the vocals of Croona for a dance track which fires up good reactions. The other two tracks are remixes of the best and our favourite two songs on the debut EP, and as such were on a hiding for nothing.  Both Insecure (IMPLANTed fear mix) and Paradox (Filtered through MIND:STATE), remixed by Implant and Mind:state (fellow Swede Per Holmström) respectively, are impressive reworkings which open up new thoughts and visions within the tracks but both pale against the brilliance of the originals for us. As always we admit the valid purpose of remixes still generally eludes us, especially when the source is almost untouchable, but given some time to make their case both tracks certainly gave food for thought, especially the jazzy exploits of the first of the two.

Released via  Alfa Matrix with  impressive cover artwork from one of teh best emerging artists in OneTwoTree Designs,  Ruined Portrait is excellent, a release which not only cements Croona as one of the essential contributors to the landscape of industrial but ensures next year and the release of his album cannot come soon enough

https://www.facebook.com/cynical.existence.official

RingMaster 30/10/2012

Copyright RingMaster: MyFreeCopyright

The Bone Orchard Show 34

The Reputation Radio Show has a well established recognition and notoriety for finding, championing and promoting the best of the independent artists and sounds around the globe. Unrelenting and tenacious the promotions company/radio show is acknowledged as the prime source for finding the best talent of all genres with the introduction of the same followed closely. The intense and heavier world of sound is discovered and unleashed through The Bone Orchard, a show where anything with muscle and a riotous tendency is eagerly presented. From all forms of metal and industrial/harsh electro through punk and psychobilly on to noise and psyche with all in between, The Bone Orchard bears their individual shadowed fruits eagerly.

This past week saw the latest episode bringing six of the most impressive and exciting bands around as well as bringing a debate on some aspects of music. Hosted by the blue hued Pete Ringmaster and Reputation Radio Show CEO and mastermind Johnny Summers, the show cleared the sinuses and lit up the ears of all those with urges to match and compliment the great sounds played.

Opening with the traditional opening intro provided by Mr Strange of The Shanklin Freak Show, a band the hosts would talk about at length within the show giving the audience the latest developments from their carnival, the show immediately treated the eager crowd to a track from the debut album Defaced from UK rock band The Self Titled to be released June 18th. Mr Nobody is a stunning track, a metal and rock fusion with stirring vocals from frontman Mark Campbell over a brew of inventive and powerful sounds. With an insatiable thirst for gigging and an equal demand wanting them for shows, The Self Titled are one of the best bands in the country right now, their sharing of stages with the likes of Forever Never and Sarah Jezebel Deva as well as acclaimed festival appearances, leaving nothing but devoted fans in their wake.

Next there was a burst of real punk rock from another band from the UK in the mischievous bruising shape of Dirt Box Disco. With self declared influences ranging from Kerbdog, The Damned  and the Ramones to The Bonzo Dog Doodah Band and Showaddywaddy, the quintet from Burton on Trent make music which is honest, feisty, and insatiably infectious. The contagious track played, I Am Rock n Roll, was an exclusive from Legend another album to be released June 18th. The song played and the album the song comes from is one which revives the true 1977 spirit of punk meshing it with rock sounds as anthemic and voracious as you could wish for.

Before a lively debate about bands including cover songs in their live sets which saw the hosts at opposing lecterns but ultimately ended in the blue man being right, so he claims, things became intensified with the devastating aggressive sound of Amongst Carrion. From South Wales the five piece metallers woke up the airwaves with their track The Fear In Her Eyes taken from their latest EP We That Should Not Be. With a melodic groove recalling In Flames and the brutal riffage of an August Burns Red, the track easily declares the band as an emerging force in UK extreme metal. They have definitely moved on fully from their early days as a cover band, the point which inspired the following discussion.

Continuing the UK theme Leeds band Ourfamous Dead provided the next outstanding track with their forth coming single Claws At The Door. A rampant brew of hardcore, punk, and electro the song is the latest step in the vision of band founder and song writer AJ Reeves. Fresh off a UK tour with another Bone Orchard favourite The Sun Explodes, the quintet are a band on an accelerated rise pulling in acclaim and fans with each show and release persistently. Having supported the likes of The Blackout, Funeral For a Friend and Gallows, the band is fast approaching the point where others are eager to share stages with them.

As the final featured band of the night, US melodic metal band Vajra stunned and thrilled the listeners with their epic masterpiece Inside The Flame. Taken from their forthcoming album Pleroma, to be released in July, the song is a hypnotic and powerful example of the darkly melodic progressive rock fused with Eastern Indian influences which they inventively create. Led by the glorious voice of founder/producer/keyboardist/songwriter Annamaria Pinna, the band is one with a craft and imagination which is sure to find a feverish demand over the months ahead.

Closing out with Irish metallers iBURN, a band which is frequently requested since the debut of their song Where It Begins taken from their new EP of the same name, and another band which leaves you wanting more, The Bone Orchard dished up another formidable dose of new and impressive music. If anyone tells you there is nothing good or new coming out, place them in front of the podcast of the show, and they will soon be put right by this group of bands alone.

With the show primed to unveil more outstanding artists and sounds across the weeks ahead you can catch this, previous and future shows over at The Bone Orchard page at The Reputation Radio Show site as well as watching a selection of videos from a host of the bands featured on the show.

Get in touch with the show via  boneorchard@reputationintroduces.com

RingMaster 16/06/2012

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