We’ll Go Machete – Smile Club

We'll Go Machete_RingMaster Review

Though knowing the name and reputation earned through their earlier releases, we had yet to get to grips with a We’ll Go Machete encounter. So it is with thanks to the band’s vocalist/guitarist Paul Warner, who introduced band and new album Smile Club to us just recently. All that can be said is boy have we been missing out, as the band’s second album is a glorious tempest of sound, striking imagination, and creative intensity. Smile Club simply infests ears and psyche with a hex of noise rock, post punk, and math rock plus any other caustic spicing you can think of, and certainly left us not hungry but desperate for more.

With a line-up completed by bassist Chris May and drummer Rachel Fuhrer, the Austin hailing We’ll Go Machete first sparked interest with their 2009 self-titled EP though it was debut album Strong Drunk Hands two years later which was the catalyst to richer attention and acclaim. Live too the band has garnered a healthy name and stature, shows alongside the likes of Future of the Left, Melvins, Hammerhead, and Fatal Flying Guillotines, as well as their own headlining events over time marking We’ll Go Machete out as one of the more exciting emerging propositions. Late to the party, as said Smile Club is our first real taster of the band and fair to say the, as its predecessors, Cedar Fever Records released album just whipped up a frenzy in sound and lustful reactions.

cover_RingMaster Review   Absence is the first welcome stirring of the senses, tangy grooves and thumping beats enriching an instant sonic swamp of noise swiftly loaded up further with the distinctive, angst hued tones of Warner. It is a striking and invigorating mix which has body and thoughts fully involved from the first trespass. Like something springing from a blend of Melvins, Quicksand, and Sofy Major, the track continues to growl and flex its confrontational muscles yet breeds an inescapable contagion. Adventure is already bold in the album, the song for example slipping through mellower evocative scenery across its potently unpredictable landscape for a mighty start to the inventive emprise of Smile Club.

The following and as outstanding Drawstring is just as quickly captivating, its entrance of tenaciously prowling rhythms and rapaciously alluring riffs gripping attention and appetite immediately. Spicy grooves and sharp hooks only add to the emerging theatre of sound and melodic drama with the again pungent voice of Warner only seeming to inflame the sounds around him into greater enthusiasm of craft and energy. Like a web, the track has fresh inescapable treats at every turn, the rhythms of May and Fuhrer cage like in their union around the acidic tapestry cast by the guitar.

A post punk tone and imagination comes with The Bardo though it is soon overwhelmed by a noise rock tsunami of emotional intensity veined by creeping sonic tendrils of guitar. The song does not have the same immediate impact as the pair before, but blossoms into a bordering on sinister persuasion of clanging dissonant chords amidst suggestive and volatile textures to only enslave over time.

Strasberg Air is a far swifter raw seducing with again hooks and rhythmic tenacity key bait in the evolving ingenuity of sound. Like a more restrained Fat Dukes of Fuck and mellower Shevils, the track bounces off the walls of ears and senses with Fuhrer alone creating an inescapable trap with his addictively imaginative beats. Carrying a grungier colour to vocals and melodies, the song leaves a lingering thrill before making way for the melancholic tempest of Scratch Built. The early solemn come doomy premise and air is eventually set ablaze by the corruptive quickstep of toxic riffs and earthy basslines splintered by viciously swung beats. With its own emotional ecoclimate, the track shifts from heavily dark through torrentially volatile to infectiously energetic before heading back into imposing shadows in a final exhilarating outburst.

The major pinnacle of the album is Positive People which comes next. It is another delving into post punk terrain, an eighties genre spicing lining choppy riffs and a wonderfully brooding bass tempting from May. Elements remind of bands such as Artery and The Fire Engines, whilst the cold air certainly has a Joy Division-esque feel to it, but again We’ll Go Machete only sculpt a startling and addictive exploration of their very own. Discord is always a friend of the musician and here perfectly woven into the torment soaked anatomy of one glorious incitement, its majesty continuing into Break the Kettles which evolves out of its predecessor’s tail wind. A slower corrosively elegant proposal, the track binds ears and imagination with sonic lacing whilst simultaneously sending splinters of guitar invention and rhythmic animosity into its angst thick drama.

Both Shot Giant and Cigarettes and Face Masks keep the compelling power and industry of Smile Club ablaze, the first an intensive shuffle pressuring ears with spiteful beat spilling agitation and ravaging riffery but unafraid to slip into something more melodically provocative and hauntingly intimidating. Its successor brews its own ridiculously addictive and threatening maze of fierce imagination and bitchy rhythms infested with swarms of toxic grooves and citric melodic endeavour. Each only ignites greedier pleasure but the second is especially virulently disorientating and thrilling.

The album is brought to an end by firstly the warped harmonious beauty of Molten Tiny Cell, a song nagging in sound and repetitious mastery until satisfaction is drooling and lastly Dust Storms May Exist. The final song is just superb, a hellacious storm of flavour and imagination which at times has a spicing reminiscent of KEN mode, in others moments a raw tone and feel which is similar to In Love Your Mother, and continually leads the listener on a spiral of exhaustive and perpetually resonating adventure in craft, energy, and again relentlessly twisting swirls of rabid sound and invention.

There is plenty more to say in praise of Smile Club but bottom-line is we simply adore it and feverishly recommend it to all fans of noise, psych, punk…well any lover of fierce rock ‘n’ roll.

Smile Club is available now via Cedar Fever Records.

RingMaster 26/08/2015

Copyright RingMaster: MyFreeCopyright

For more independent exploration check out http://www.zykotika.com/

The Top Twenty Noise/alternative releases which had The RingMaster Review lustful in 2014

2014 saw a torrent of creatively inspiring and dramatically thrilling encounters from the inventive realms of noise and alternative incitement, a host of triumphs from which The RingMaster Review picks out twenty releases covered by the site which ignited the greatest hunger in our ears and imagination.

 

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01. The Mobbs – Garage Punks For Boys

https://ringmasterreviewintroduces.wordpress.com/2014/11/21/the-mobbs-garage-punk-for-boys/

02. Solar Halos – Self Titled

https://ringmasterreviewintroduces.wordpress.com/2014/01/01/solar-halos-self-titled/

03. Slug Comparison – Self Titled

https://ringmasterreviewintroduces.wordpress.com/2014/10/24/slug-comparison-self-titled/

04. Heavy Hand – Nothwoods Knives

https://ringmasterreviewintroduces.wordpress.com/2014/08/27/heavy-hand-northwoods-knives/

Juggling Wolves Album Cover

05. Juggling Wolves – Self Titled

https://ringmasterreviewintroduces.wordpress.com/2014/12/10/juggling-wolves-self-titled/

06. Damn Vandals – Rocket Out Of London

https://ringmasterreviewintroduces.wordpress.com/2014/04/07/damn-vandals-rocket-out-of-london/

07. Pink Tatami – Chapter and Verse

https://ringmasterreviewintroduces.wordpress.com/2014/04/17/pink-tatami-chapter-verse/

08. Denim Snakes – Self Titled

https://ringmasterreviewintroduces.wordpress.com/2014/10/26/denim-snakes-self-titled/

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09. Snack Family – Pokie Eye EP

https://ringmasterreviewintroduces.wordpress.com/2014/12/05/snack-family-pokie-eye-ep/

10. The Black Black – Boogie Nights

https://ringmasterreviewintroduces.wordpress.com/2014/12/12/the-black-black-boogie-nights/

11. Norm & The Nightmarez – Psychobilly Infection

https://ringmasterreviewintroduces.wordpress.com/2014/07/29/norm-and-the-nightmarez-psychobilly-infection/

12. In Love Your Mother – The Great Ape Project

https://ringmasterreviewintroduces.wordpress.com/2014/10/10/in-love-your-mother-the-great-ape-project/

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13. Wild Throne – Blood Maker

https://ringmasterreviewintroduces.wordpress.com/2014/03/06/wild-throne-blood-maker/

14. John Bassett – Unearth

https://ringmasterreviewintroduces.wordpress.com/2014/03/30/john-bassett-unearth/

15. Fossils – Flesh Hammer

https://ringmasterreviewintroduces.wordpress.com/2014/03/03/fossils-flesh-hammer/

16. In The Whale – Nate & Eric

https://ringmasterreviewintroduces.wordpress.com/2014/06/27/in-the-whale-nate-eric/

Artwork by Katie Buckett

Artwork by Katie Buckett

17. Jingo – The Art Of loving

https://ringmasterreviewintroduces.wordpress.com/2014/09/01/jingo-the-art-of-loving/

18. Body Futures – Brand New Silhouettes

https://ringmasterreviewintroduces.wordpress.com/2014/08/13/body-futures-brand-new-silhouettes/

19. Death and the Penguin – Accidents Happen

https://ringmasterreviewintroduces.wordpress.com/2014/05/04/death-and-the-penguin-accidents-happen/

20. The Duel – Waging War

https://ringmasterreviewintroduces.wordpress.com/2014/05/21/the-duel-waging-war/

In Love Your Mother – The Great Ape Project

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As well as holding gripping and inventive sounds, a song and release should be an adventure for ears and imagination to make the strongest connection, and they do not come more of a creative and challenging emprise than The Great Ape Project from Swizz trio In Love Your Mother. The album is a riveting and invigorating maelstrom of sound and deranged invention which leaves no stone unturned or bedlamic idea left in the shadows. Cramming eighteen songs in just over thirty minutes of creative mayhem means the album warrants and needs full attention so as not to miss any of the exhilarating drama within tracks which range from fourteen seconds to just short of four minutes in length. But the rewards are unrelenting and furiously imposing in one of the albums of the year.

Hailing from Zürich, the trio of guitarist/vocalist Valentin Baumgartner, bassist/vocalist Amedeo Mauriello, and drummer Andrea Tinner, unleash a sound which reaps the essences of mathcore and progressive metal and filters it through a vat of avant-garde, grindcore, and metalcore ingenuity. It comes out as a sound which can be best described as The Dillinger Escape Plan and System of a Down meets Destrage, Toumaï, and Kontrust yet isn’t like that either. It is a unique concoction which flirts and dances with senses as it brutalises them, and quite irresistible.

Themed by the sick and bad world our mothers warned us of, In Love Your Mother start the album and examination with The Mother Song. A thirty second tsunami of vocal causticity and rhythmic hostility speared by a sonic spite and toxic groove which all combines for a furious and concussive but appetite inflaming onslaught. Its swift assault is followed by the less intensive but no more lightweight 2116@#1916. It is immediately contagious, something alone impressive such its brevity of length, a slice of coarsely melodic and respectfully corrosive groove metal which slips agreeably before the vicious presence of We’re Gonna Dance Till Everyone Is Naked And Fallen Apart takes over. A metalcore canvas of vocals and maliciousness is soon twisted and bound in a weave of unpredictable and schizophrenic invention, the guitar of Baumgartner scything and spearing the heart of the tempest with breath-taking and psyche addling ingenuity. It is a manic endeavour matched by the swinging arms and prods of Tinner and the throaty creative predation of Mauriello. The longest song on the album, it explores and evolves with every second, bewitching and bewildering ears with almost hostile intent. The beauty of this and all songs, is the seamless and fluid transitions, one moment a bestial rampancy becomes a seductive croon and melodic embrace in another, all without a twitch of uncertainty or flex of ILYM_TGAP_albumcoverrandomness.

Johnny Rocket Is Not Dead launches its majestic uncompromising tirade next, grooves and bass temptation as eager and impacting as the vocal squalls and twisted sonic probing aligning to a rhythmic badgering. It is only one turn in the fifty second odd track though, as mentioned earlier every chord and jab of drums the detour to new and generally enthralling bliss, as evidenced no more potently than in Signs Of A Medium Life which splits the two parts of the title track. A hardcore/grind fuelled provocation, the track savages and pounds on the senses from the off. Riffs and beats show no mercy within the stalking gait of the song nor the blistering vocal roar which also has some restraint in its confrontation. Through the storm though, there are small and larger slithers of inventive majesty which enthral as much as the bruising thrust of the song.

The two bits of The Great Ape Project grab the hunger inspired already by band and album, but are swiftly surpassed by the brilliance of the also two parted Wish Me An Ocean, the first of its two scintillating movements a furnace of sonic fire and blistering psychotic beauty steered superbly by bass and drums. From the hasty senses foraging of its counterpart and the haunting piano sculpted drama of Drop The Back Of The Line, In Love Your Mother ignite another major blaze with Signs Of A Real Life. Striding forcibly with rhythmic and sonic nostrils flaring, the track soon slips into something more cantankerous and intimidating, crawling over senses and thoughts with a rabid breath and bestial intensity. It is just one border of the landscape though, an exotic melodic insanity blooming before a final fury emerges.

Through the thrillingly deranged, slightly post punk/noise rock spiced The Disco Fish, the melodically searing and perfectly crazed Inhale, and the restful and emotionally unbalanced Wish Me An Ocean Part 0, the album continues to engross and disorientate. But it is all just an appetiser for the pinnacle of the album, which is the song In Love Your Mother. With its first touch, a ridiculously addictive groove which only intensifies its lure as it is joined by rampant beats and a pleasingly varied vocal persuasion, the track is pure sonic and inventive alchemy. Demanding and infectious, imposing and wantonly accessible, it is a bargain for the soul made of the devil, a term which applies to the whole of the album.

The Hedgehog is more pure in its assault, its extreme metal rabidity direct and untethered yet still veined by a sonic enterprise to spellbind ears and thoughts. Its potent success is emulated by the inhospitable but irrepressibly catchy Ein Hase, Zwei Haese. With a swagger which only inflames its savagery and warped ingenuity equally, the track is a twisted mouth-watering blaze of unpredictability and extreme metal maliciousness to linger over.

Closed by the lo-fi folk croon of a track simply called Outro, The Great Ape Project is a sensational introduction to a band with the potential and invention to turn metal on its head at any time. The release is one of the real triumphs of the year and deserves the fullest of attention.

The Great Ape Project is available now @ http://www.cduniverse.com/productinfo.asp?pid=9357440

http://www.inloveyourmother.com

RingMaster 10/10/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/