Coilguns – Millennials

For all their striking projects and releases, of which there have been numerous, it is as Coilguns that the trio of vocalist/guitarist Louis Jucker, guitarist Jona Nido, and drummer Luc Hess has most lit our personal fires and inspired further our love for instinctive sounds and creativity. Their new album Millennials, with synth player Donatien Thiévent in the fold shows exactly why; the ten track exploration of manipulative noise and physical intimation a beautiful predacious trespass.

Written and recorded at the beginning of 2016, the self-engineered sonic invasion instantly overwhelms with the senses ravishing Anchorite. Guitars entwine ears in a devious, corrosive web as the rhythmic ingenuity of Hess stirs and ignites body and spirit. As arousing as his boldly thrown beats are the Jucker and Nido spawned grooves and noise bleeding tendrils are corrosive, all uniting in a hellacious virulence which strings the imagination and senses like a feral puppeteer; a manipulator simultaneously venting through the vocal squalls of Jucker. The track is immense, a visceral seduction which had us cowering as much as we were welcoming its abuse with greedy open arms.

The following Deletionism manages to breed an even more carnal tone and air; its carnivorous jaws littered with biting beats and caustic toxicity but just as infectiously persuasive as its predecessor in temptation and energy. The throaty bassline echoes in the senses as it courts the mercurial but ever invasive stroll of guitar; it all coming together with concussive majesty alongside the rapier swings of Hess and the throat and word scaring roar of Jucker.

The album’s title track is next, a sense charring blaze of rock ‘n’ roll with sonic lava in its breath and inescapable virulence in its rhythms. Hess is simply superb, stirring the track’s intent with ravenous dexterity allowing the calm in its midst to challenge before stirring up a confrontation as violent as it is invigorating. From pure infection the track leaves as a toxic raping of ears and wow did it excite. From start to finish, there are compelling suggestions of best track on the album, and maybe that from Coilguns in general, this one of the most persuasive.

Spectrogram takes the listener into a sonically incinerated landscape, its shadows and scenery a lure of white noise-esque suggestion before a suffocating wave of sound and intensity thickens the drama and the increasingly haunting and haunted climate. Thiévent’s synth flows over the incitement like melancholic mist but with a surf like teasing which captivates, ears moths to its flame in the oppressively infectious dark of the track.

For one minute and a handful of imposing seconds, Music Circus Clown Care has the senses harassed and swinging as if on a barb lined trapeze before cavernous jaws drag them into the torturously arousing grip of Ménière’s. Once again, Hess had us bouncing as the sonic trespass of his companions infested ears and psyche, the track a murderous swagger of craft and contemplation borne of the darkest deeds and times and moulded into one irresistible breathless incursion.

The brief, inhospitable and again inescapably addictive blast of Wind Machines For Company emulates its title in a typhoon of sonic voracity while Self Employment Scheme is an investigation cynical in tone and air niggling at and sucking on the senses like an argumentative tick; never relenting in its harassment but ebbing and flowing in its severity. Both tracks simply brought our lust levels higher as too the grievously writhing antics of Blackboxing, the glorious track ducking and diving with quick footed rhythms and tenaciously swerving noise until delivering a brutally blistering concussion.

The release ends with The Screening, a fascination examination carrying intrigue, captivation, and threat in every note, syllable, and rhythm cast over the senses. Its initial temptation loaded coaxing with Hess once more shaping the bait, grows and intensifies by the moment, simultaneously becoming a harsher imposition and addiction to leave by its departure its victim on their knees breathless and lusting for more.

There is no one like Coilguns and nothing in even their own repertoire to match the noise alchemy of Millennials. It is far too early to declare an album of the year but believe us when we say it will not be straying from those most vocal nominations come late December.

Millennials is available now via Hummus Records and through https://coilguns.bandcamp.com/

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

Pete RingMaster 27/03/2018

Copyright RingMaster: MyFreeCopyright

Closet Disco Queen – Self Titled

photograph by Monni

photograph by Monni

There must be very few musicians who have bewitched and ignited our ears and senses more than Jona Nido and Luc Hess, and across as many projects. Seeing their names with a band or release stirs up an instant appetite to learn more, all thanks to previous triumphs and dramatic incitements from the likes of Coilguns, KUNZ, The Ocean, The Fawn, Schwarz and…well the list gets longer by the month it seems. Now the Swiss pair has unveiled another fascinating and virulent tempting under the guise of Closet Disco Queen and with a self-titled debut album. Consisting of seven instrumental progressive/psych explorations bred from a fusion of seventies blues rock, stoner and psychedelic rock, kraut and groove rock, to suggest some of the rich hues woven together, the album is an adventure which at times plays like a bedlamic dance party and in others a journey into the darkest, most haunted corners of the soul. Predominantly though it is rock ‘n’ roll to lose yourself within and another inspiring proposal from the sonic and rhythmic imagination of Nido and Hess.

The La Chaux-de-Fonds based pair open up their album with Hey Sunshine! and immediately have ears entangled in a web of melodic and sonic enterprise pierced by sinew swung rhythms. Grooves just spring from the fingers of Nido, instantly pushing away any inhibitions in the listener’s body left from trying to resist the anthemic and intensive shuffle cast by Hess. The music’s unbridled contagion is matched in impact by its smouldering seduction, both ignited further by the spatial warmth and mystery soaking the enthralling start.

The piece flows straight into the dark, haunted embrace of What’s Your 20? next, where compelling yet intimidating shadows ride a raw sonic mist. It immerses ears in a stark yet strangely alluring ambience for a flight into the hidden; a spellbinding slip into the darkest corners of the imagination preying on emotions and the psyche with every provocative breath. It is also the gateway into the instantly dramatic and rousing Caposhi, another heavy duty incitement to send the body squirming and writhing to its virulent drone and hypnotic tapestry of sultrily persuasive noise. The track is pure addiction, a consummate violation and puppeteer of flesh and greed through searing temptations around a robust spine.

    A brief sigh of frustration in its leaving escapes as the track twists into the warped rock ‘n’ roll feast Catch You On The Flip Sid, but that is soon forgotten as the new proposition reveals its own rhythmic jungle and sonic trespass sculpted by the psychotic invention of either geniuses or mad men; you will surely choose as the song creates its own asylum of sound and creative mayhem. It is jazzy and funky, avant-garde and psychedelic, all on another seriously enslaving rhythmic tango from Hess, and at nine minutes there is no complaint it has not given the fullest thrilling work-out for ears and soul.

Closet Queen Disco_RingMaster Review     The Shag Wag is soon brewing up its rich and ravenous blues rock blaze, from gentle flames bursting into a furnace of old school and modern rock ‘n’ roll. It is just as potent when slipping into gentler sighs of sound and energy too but at its best when sizzling on the senses and sparking the listener to get fully involved physically and emotionally. Rock music does not get much more incendiary and gripping than this, or frenzies as mouth-watering.

The duo stay with a blues bloomed tone and texture with next up IYD (In Your Dreams), the melancholic caress of the track spun on a sonic breeze of blistering sound and emotive theatre. Though the piece does not ignite the same intensive reactions and endeavour as other encounters within the release, it is an absorbing sea of invention to wallow in and set up the similarly but more imposing soundscape of Black Saber. The closing song expands and blossoms to greater intensity and emotion the essence of its predecessor, and fair to say that blues kiss is another highly emotive shimmer on the surf and psychedelic coloured investigation employed by the track. Across over eleven minutes, the constantly hinting and generally restrained volatile heart of the track does eventually erupt and steer the track into fresh and exhilarating tempests. Every moment sparks a new hunger in ears and appetite, and making its long length a swift passing of dramatic time.

It is probably fair to say that the first half of the Closet Disco Queen album had the biggest and fiercely lasting impact but even its latter trio of creative alchemy and dark fiery emotion alone only ensures the parting thought with every listen is give me more please. Together all tracks just confirm Nido and Hess an adventure which never stops evolving or getting bolder and more impressive.

Closet Disco Queen is available now on ltd 12” clear orange vinyl through This Charming Man Records, Division Records, and Hummus Records and as a name your price download @ https://hummusrecords.bandcamp.com/album/s-t-5

https://www.facebook.com/closetdiscoqueen

RingMaster 18/07/2015

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

 

Welington Irish Black Warrior – Vafancuneo

02_WIBW_promo Pic

Welcome to this year’s most rigorously exciting and insatiably compelling release, Vafancuneo. Ok it is probably too early to truly give the title to Welington Irish Black Warrior, the creators of the extraordinary release but there are no doubts it will be in the top handful of nominees come judgement time. Brewing a unique sound most closely described as post punk meets psyche rock with a veining of noise and experimental industry, the Swiss band has sculpted a new template for emerging noise driven bands. Their EP is sensational, a riveting and breath-taking, almost tribal incendiary device for imagination and passions to explode over, and certainly one of the essential releases of 2014.

Consisting of vocalist/guitarist Brynjar Thorsson, bassist Léon Jodry, and drummer Steven Doutaz, the Neuchâtel based trio came together in 2005, three music loving men who supposedly came together as a band to stop working in a watch making factory. Since that entrance Welington Irish Black Warrior has been on an upward spiral, notably releasing a self-titled debut album in 2012, collaborating with Kunz on the five track KUNZWIBW of last year, and spending a whole year writing music based on Alejandro Jodorowsky’s movie Holy Mountain, which they performed live in a church in front of the screen during a projection of the 2 hours movie. With a flood of shows, European tours, and festival appearances only increasing their stock, time is ripe for the band to draw the strongest spotlight, something Vafancuneo is potent bait for.

Recorded live by Alberto Dutto (Movie Star Junkies), mixed by Mano Moccia, and mastered by Louis Jucker (Coilguns, Kunz, The Fawn), 02_Front CoverVafancuneo is a virulent infestation of senses and mind from the opening minute of first track Hand on Stomach. The beginning to the song is a scattering of noises and splattering of rhythms but a mix brewing and merging into a united probing as it all comes into potent focus. A resonating throat calls out from the bass as the rhythms of Doutaz roam with a rampant appetite, both prowling and seducing the senses as distorted flames of guitar wind their riveting toxicity around thoughts. It is a thrilling provocation even before the joining expressive almost psychotic vocals tones of Thorsson complete the scintillating package, every aspect of the song a stark yet endearing poison writhing under the skin and into the passions.

The post punk conspiracy of the track is just as intensive in the following Jahzz, reinforcing thoughts of Wire and early Gang of Four hinted at for varying reasons in its predecessor. Jodry’s bass lies down the first delicious lure, its hypnotic suasion a predacious instigator to striding rhythms and sonic scythes of guitar. To those previously mentioned references you can also add Kabul Golf Club and unavoidably Joy Division as the track courts imagination and ears with its unpredictable and unrelenting web of sound and invention. There is also a sinister air to its aural narrative, a noir kissed ambience which colours the intriguing canvas and persistent single minded gait of song and hook.

It is already an irresistible encounter by this point but the album opens an even richer vat of temptation and tempting with Lac Orbu. The initial clutch of short grooves is once again an instant capture of a raging appetite for the EP before the track stirs up an agitated blanket of rhythms with stabbing guitar as the bass groans hungrily by their side. Vocals bring their distinct enticement to the psychotic dance next; a canter pungent with a contagion of repetition and rhythmic disorientation. Thoughts of The Fire Engines add to the suggestive spicery of the romp before everything is smothering in a sonic squall. Lines are blurred and air infused with raw ambience as the song moves towards its departure, the band again leaving assumptions as pointless as warm melodies trying to encroach into the creeping soundscape.

A pulsating distortion of sonic psyching draws the next up Fascination into view, its strobing soon matched by whipping rhythms and the anthemic vocals. The bass brings a stable shadow to the light show, its premeditated drawl holding the scattered bait for one massive and intrusive seducing. The jagged breath of the track scars the senses beautifully, seizing their allegiance automatically as the acidic flight of guitar winds enticingly almost wantonly around the imagination and emotions. A strong whisper of The Gaa Gaas also permeates the scaring of sonics and rhythms but as throughout thoughts of Wire come the closest to describing a little of the brilliant brew the band conjures.

A schizophrenic character grins from within Bankal 10/15; a fruity discordant twang casting its spell over the guitars as the bass again adds the more even gaited poise to the cacophonous exploits littering ears with scarring beauty. The breaking swagger and addictive swerve of guitar and song simply ignite another wave of lustful ardour in mind and heart, inspiring the return of feelings and bewildered yet hungry thoughts arguably not felt since the late seventies when many of the comparisons mentioned reigned. There is a definite nostalgic feel to the release but only as rich hue to something unique and of the corrosive now.

Vafancuneo closes with the just as tremendous Samba Suicide, a hive of waspish sonics making the first play for the passions before an infectious grinding of riffs and sharp hooks pounce with a pop intent. Probably the most accessible song on the EP, certainly the most danceable, the track evolves into a disorderly, unsynchronised adrenaline fuelled waltz, an atonal stomp which exhausts and exhilarates with equal success. It is a dynamic and masterful finale to a quite brilliant encounter. Welington Irish Black Warrior takes noise and discord and weaves them into the most insatiably gripping and antagonistically seducing pleasure possible. Their songs are genius and wickedly captivating, and once they worm under the surface impossible to shake off.

Vafancuneo is available now @ http://hummusrecords.bandcamp.com

https://www.facebook.com/welingtonirishblackwarrior

10/10

RingMaster 01/05/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

 

Twinesuns – The Leaving

twine_bandfoto_sw

Mesmeric and disturbing, like the sinister soundtrack to an invasive inescapable dream, The Leaving is an encounter to equally fear and embrace. Consisting of five extensive examinations of the psyche, the debut album from Twinesuns explores the darkest haunting textures and depths through a fusion of drone and doom within just as imposing stark and ravenous ambiences. Surreally cinematic and corrosively evocative, the release is an experiment in thought provoking sound and cryptic emotion, a hallucinogenic nightmare devouring senses and imagination.

Twinesuns is the result of a union between C (NVRVD) and Thor Ohe (ex- Kinsai, DNAmplified), the pair coming together to play heavy music with no restrictions and that reflects their creative passion. The band says in the accompanying promo to the album, ‘The idea behind THE LEAVING, or more essentially in the foundation of Twinesuns, was to create music that basically allows it to be everything that both of us – as a band like. We wanted to break free from all these rules that dominate today’s heavy music. Why is there a need of rhythm or drums? Why can ́t there be mistakes on a record (since it’s a very natural habit to make mistakes)? Does heavy music need vocals? Why do there have to be different parts and always the same structures in music? Why can ́t we play the same riff for 10 minutes? We wanted to ignore all these guide lines and create something for us, something that would primarily fit our taste and understanding of music and art.’ The album also sees the addition of Abraham’s Renzo Tornado Especial providing moog designs within the caustic and distortion washed sonic incitement of the band. Mixed by NVRVD ́s bass player and C. ́s brother Stefan Braunschmidt, and mastered by Chris Johnson, The Leaving is the rawest, starkest, and most viscerally honest proposition likely to be heard this year.

Recorded live in an eight hour session, the album opens with Epithome. Its emergence is enchanting as it slowly unveils itself from Twinesuns_Coverwithin a background of sonic whispers. A melancholic guitar caress tenderly strokes senses and thoughts initially, its repetitive sigh as magnetic as the twisting shadows creaking and unfurling their own bait behind it. The textures within the song continue to darken as they evolve sinister noir soaked and increasingly vocal temptations. The rapacious scenery of the track eventually consumes the beauty, sonic torches and distorted courting swamping ears and emotions as danger leers at their submission in every turn of sound and an electronic smothering. The track provides a suffocating and intensive realm for thoughts to interpret and explore though in many ways it is just the taster for the tempestuous torment of To Die, When It ́s Right To Die.

The second track reveals its doom sculpted muscle from the opening seconds, its throaty predation and sonic toxicity invading every synapse and thought. Within a breath the track has the listener in the belly of a cavernous leviathan of sound, its scenery drenched in a primal tenacity aligned to a carnivorous drone. It is a monstrous provocation, an unrelenting erosion of emotions but infectiously hypnotic as it lures in further examinations of ideation and emotions by the mind.

Neither Subsonic Prophets nor Like My Father Before Me, I Choose Eternal Sleep show any respite in the invasive potency of the album, the first casting an exhausting rabidity to its insatiable sonic scarring and ravenous low ended hunger whilst its successor explores the eye of the storm, investigating the creative jowl of the beast to bring another diverse and intriguing expanse to the release. With both though, as with all tracks, the pair of musicians add nuances and understated but open movements to the dragging journey of tracks to flirt and continually inspire re-evaluations of the narrative within the imagination’s canvas emotions.

     Die Drei Gesichter Der Furcht brings The Leaving to a close, its premise and haunting presence arguably the most compelling and distressing of all the tracks. Its ‘peaceful’ entrance is similar to that of the first song, and also like that eventually immerses the elegant if intimidating intrigue of sound with a predatory and intensive menace. It continues to stalk right through to its conclusion, never leaping at the distressed emotions and thoughts, just offering a repetition of emotive intimidation and sonic venom. It is a glorious end to an outstanding album.

Certainly The Leaving takes its pound of flesh as you stand within its at times almost too demanding consumption, but the rewards for mind and soul are constant and increasingly stimulating over each subsequent encounter. Twinesuns is a project breeding fearsome and fearful adventures, long may they continue.

The Leaving is available now from Hummus Records @ http://hummusrecords.bandcamp.com

http://www.facebook.com/Twinesuns

8/10

RingMaster 01/05/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Louis Jucker – Eight Orphan Songs

louis jucker pic

It is hard to define exactly what it is that Louis Jucker conjures on his new EP Eight Orphan Songs which creates such an emotional impact and connection but the eight raw lo-fi temptations which make up the release manage to seduce and ignite the imagination with ease through its almost primal craft and persuasion. Certainly the strength and creative ingenuity of the intimate reflections and incitements does not surprise coming from a member of The Ocean, Coilguns, Kunz, and The Fawn but the DIY sound he sculpts on the EP might you suspect unless previously aware of earlier solo efforts. It has an abrasive experimental intent which can be aligned to that of Coilguns but other than that the anti-folk seeded musical endeavour is a unique and haunting examination of thoughts and feelings.

Eight Orphan Songs is the first actual official solo release from Jucker via Hummus Records but follows previous releases including the EPs Spring! Spring! Spring! and Chinese Sketches, all of which are available as free downloads via the label’s Bandcamp profile. The new release continues the exploration started on earlier experimentations, a fusing of bontempi beats, raw almost caustic acoustic guitar, and haunted leaning on traumatised vocals which simply wrap the lyrical narratives in a potent lingering evocation. Written whilst Jucker lived in an old flat in Switzerland in 2012 and inspired by the experience and feelings of that time the EP is an extraordinary aural journal; in the words of Jucker “The odd beauty of the words and melodies of the record is an echo of the days I had there.

The release opens with Feathers, its rhythmic enticement a perpetual hook into the heart of the moment represented. A strong a3645567050_2scuzz kissed guitar provides the landscape which Jucker with his distinctive and startling vocals colours with magnetic intrigue and emotive hues. His delivery with the track, and the release to be honest, has not exactly a schizophrenic feel but definitely an emotional and visual discord bordering disturbed breath which makes it scream in invention and uniqueness whilst immersing the listener into a striking new world and innovative passion.

People Are Noises is the next to transport the senses to a passage of time it sparking the imagination to visualise a speeded up stroll through crowds of rapidly passing emotion clad lives. It is a musically poetic and lyrically inciting venture, one deceptively simply but made of rich textures sonically and emotionally which just captivates as does its successor We Lived A Mountain. The song has a deeper throat to its sound and presence, a darker temptation with an unfussy but effective hook which carries a punkish lilt, especially within the infectious fiery moments. It is a glorious psych rock bred incantation for the passions and the best track amongst an octet of impressive and riveting suasions.

Sleepwalkers continues with the intensive atmosphere, the heavier sonic blaze of the guitar a stirring and burning melodic flame over the simplistic rhythmic frame. The track has a touch of garage rock to its lilt, a rougher predation though one only spicing the enthralling unrefined sirenesque call of the song and the ever provocative vocals. It is another pinnacle in a row of peaks which is emulated in quality and endeavour by The Girl That Left You At The Bus Stop. The track tantalises and stirs thoughts, the acidic guitar and vocal harmonics a sultry caress within a raw production which tempers but equally accentuates their beauty and elegance. There is drama in all songs upon Eight Orphan Songs but this song has the strongest descriptive narrative of all in many ways, it casting a scene in the imagination all can find a reflection within.

Both I Curse You and You Are My Glasses coax the passions further, the first of the two having a seemingly familiar melody which persuades like an existing friend whilst inciting the sense of an emotional unknown Its successor is an evocative electrified consumption which seduces and riles the senses beautifully, the song another riveting example of the rich songwriting and its under-baked yet incredibly informative and adventurous realisation.

Completed by the excellent acoustic and thoroughly stimulating Major Chords Solve Minor Problems, Louis Jucker’s EP is a deliciously honest and expressive slice of invention. Eight Orphan Songs is ingenious lo-fi alchemy and something fans of his other bands and projects should want to explore; they will not be disappointed.

http://louisjucker.ch/

http://hummusrecords.bandcamp.com/music

9/10

RingMaster 15/11/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

The Fawn – Collegium

2013_04_13_TheFawn_Collegium_©juliesemoroz-159

From the first resonating note of Collegium, the album leaves a deep and evocative touch on thoughts and senses which in many ways is hard to express in words. It is an experience which has to be felt in person to truly appreciate the resonating beauty and provocative touch, anything we say here mere whispered guidance to its potent presence. The first official full length release by The Fawn, an artistic collective led by Nathan Baumann, the album explores the realms of thought and emotion whilst easily igniting those of the listener.

The new album follows a quartet of EPs which with a limited release has bred an intense and dedicated fanbase for the project around Switzerland. Began by Baumann in 2011,The Fawn is a collaboration of the most imaginative musicians, plastic artists and technicians in the country all providing their invention for free alongside Baumann for a project of true DIY spirit. Featuring the talents of members of The Ocean, Coilguns, Shelving, Rectangle, Derrick, and many more, as well as other artists from other medium than music, the experimental and impacting release is a series of small soundscapes combining for one sophisticated experience working on many potent levels.

      Collegium was started in the January of 2012 in the church of St- Imier, his native town in Switzerland. Given the opportunity to a3793106535_2have its distinct voice as a canvas for the recording and production for one week, Baumann with producer/songwriter Louis Jucker (The Ocean, Coilguns, Kunz) and sound engineer Christoph Noth, chose to employ a new conceptual approach of recording with the natural reverberation and throat of the building leading the composing and mixing process. Songs were written and explored only once within the walls of the XIth century church with its touch and voice bringing guidance and rich impressions on the recordings and album. For the recording a selection of acoustic instruments were used: piano, 6 and 12 strings guitars, cello, tuba, percussions, drums, as well as the original organ of the building amongst many other factors brought into the intricate and intently crafted preparation to make full use of the opportunity, imagination at large, and the acoustic beauty of the church itself.

From the very first track The Arch, the qualities which ignited the invention and creativity provide a wind through the ear. A melodic drone of organ offers a persistent enticing engagement with a rasp to its invitation whilst leading the listener unreservedly into the arms of the acoustic caress of guitar. The compelling resonate purr of the formidable instrument subsequently lends its exhaustive breath across the whole length of the track to soundtrack the seductive vocals of Baumann and the continuing creative breeze of guitar. It is an imposing but enthralling sensation, an emotively resonating experience which leaves a rich imprint upon thoughts and senses long.

The following Paper Cuts features, as in two other songs, the distinct voice of Jucker; his expressive earnest tones an acidic pleasure within the elegant acoustically caressing narrative crafted by the guitars for an emotional wash. It is a fascinating incitement soon equalled by Two Lines with Baumann returning to coax the deepest heart out of the piece. Already within three songs the echo of the building is a thrilling canvas for the sounds and songs to reach their emotive pinnacles and in the third song with the entry of the cello, it finds the most powerful declaration yet.

The mesmeric Queen of Rain is one of the major highlights of the album, its warm and refreshing waltz through the ear providing a summer walk in an imaginative aural climate of invention and expression whilst Asylum with Jucker returning to lay his individual vocal temptation, is a passion lined conviction of open emotions. Though not every track sparks the same depth of passion and greed as others, Collegium is an album which allows no moment to be wasted, the wave like flow of songs always impacting and bringing strong persuasion before the ear.

Across the likes of Good Friends, the equally haunting and entrancing Nocturne, and the warmly alluring Summerbreeze, the album continues to impress and invite stronger emotion, the tail end of the release its most enriching, whilst closing song Dive uses the building framing its ingenuity, as another instrument of descriptive colour and emotional testament most strongly on the Hummus Records  released album.

Also bringing in to the collective the abilities and invention of two Swiss designers, Gaspard de la Montagne (Spitzhorn) and Jerôme Burgener (Structo) for the album artwork, and Swiss plastic artist Carlo Clopath for photography, The Fawn is a project which is compelling, an imagination of folk pop, to simplify its stance, which deserves to have the chance to bring its undoubted impact before every emotive heart.

Line-up

Nathan Baumann : Vocals, Guitars, Organ, Piano

Louis Jucker : Vocals, Guitars, Cello, Organ, Percussions, Production

Luc Hess : Drums, Percussions

Bertrand Vorpe : Guitars

Philippe Krüttli : Tuba

Pascal Lopinat : Noises and Loops

Christoph Noth: Recording, Mixing and Mastering

Gaspard de la Montagne and Jerome Burgener : Artwork

Carlo Clopath : Photographs

https://www.facebook.com/thefawnweb

8/10

RingMaster 17/05/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com