Kudzu – Defeated

With a sound as eclectic and unpredictable as it is ravenously catchy, US synth pop duo Kudzu have just released their new album, Defeated. It is an infestation of infectious hooks, flirtatious synths, and rousing escapades but to tag it merely as synth pop is an injustice to its diversity, the album a stirring web of post punk, electro punk, industrial and more across its seriously magnetic body.

Springfield based Kudzu consists of Seth Goodwin (vocals, synth, and drum programming) and Mark Gillenwaters (vocals and guitar). Inspirations to the project include the likes of Tears For Fears, The Cure, Spectrum, Guided by Voices, Sympathy Nervous, and This Heat but as suggested, their sound has a much broader tapestry which is as bred in the seventies/eighties synth landscape as the creative now. It makes for a proposition which is as familiar as it is boldly fresh and one massive treat of a listen.

It opens with the punk assault of Some Cops, a track bursting from its electronic shimmer with zeal and urgency soaked in creative dissonance. At the same time it is a virulently catchy incitement, its fuzzy fumes leaving the senses as woozy as the bone shuddering beats. Like Calling All Astronauts meets Artery at its core, the song equally embraces psych rock winds in its contagious turbulence to provide Defeated with one ear grabbing start.

Straight away the variety of the album is at play as the following and quite superb No Backbone breaks the dividing peace with electro pulses straight out of the early Mute Records catalogue. Instantly thoughts of bands like The Normal arise but are soon pushed to the background as guitar spun melodies and harmonic vocals tease and caress respectively.  The hook Gillenwaters casts with his strings is simply delicious, a psyche enslaving lure soon backed by the darker pulsation of keys and the snapping resonance of rhythms; kind of like a fusion of B-Movie, The Cure, and Modern English yet unique from start to finish.

The album’s title track brings a scuzzier breath to ears; its post punk irritability echoed in the John Lydon textured vocals but again there is a repetitious coaxing teasing and tempting at the centre of the fuzz ball which necessitates only submission to its infectious demands. As its predecessor, it brings another hue to Defeated as does next up Burn Yourself, though its electro punk surge is akin to the opener. With the increasingly magnetic vocals almost gliding over the tides of noise springing from synths and guitar, it was so easy to be swept up in the raw yet skilfully nurtured arms of the track as thoughts colluded with its lyrical insight. Defeated is described as “a reaction to mounting disappointments and frustrations with increasingly frustrating and disappointing realities” and with intimacy and a worldly observation its often dissonant words hit the spot whilst almost arguing with the rousing catchiness of their vehicles.

The mesmeric Balking the Grave is next, the song a riveting post/gothic punk shadow bound serenade which almost seeps under the skin with its slow drawl and bordering concussive clang while Sleep in Disguise is a boisterous slice of synth pop/new wave with the scent of bands like Mr.Kitty, OMD, and early Human League to its bright if slightly caustic breeze.  Both tracks border the irresistible yet still get slightly outshine by One Purpose with its flirtatious Blancmange like melodies and climate.

One definite peak in the lofty heights of Defeated is followed by the ear grabbing proposal of When You Were Mine. The song is almost like a weave of the best traits of its predecessors, a tenacious pop song with attitude and seduction in its raw charms which manages to grumble and serenade in the same breath before leaving to allow B.I.Y.E. to bring things to a transfixing close. With its cold scenery and instinctive bounce, the song merges the alluring traits of a Joy Division and Modern Eon in its industrially edged and melodically draped canter. It is a fine end to an album which we are finding hard to shake off as new propositions to look at build up. That is never a bad aspect to have and as Defeated is so enjoyable we are certainly not complaining.

Defeated is out now via Push & Pull Records; available @ https://kudzukudzukudzu.bandcamp.com/

https://www.facebook.com/kudzuspringfield/    https://twitter.com/kudzuzudukudzu

Pete RingMaster 09/03/2018

Copyright RingMaster: MyFreeCopyright

Pavillon Rouge – Dynasteia Klub

Continuing the conflict in their self-acclaimed “War on the dancefloor”, French metallers Pavillon Rouge are poised to unleash their latest assault in the shape of third album Dynasteia Klub. It brings an escalation in their sonic violence, drama, and virulent trespasses as well as thickly bound fascination as the band’s fusion of electro, industrial, and blackened extreme metal breaches new thresholds and heights in creative dissension. It is a one of a kind hostile pleasure invading body and psyche like a contentious puppeteer.

Formed by guitarist/programmer Mervyn and drummer YVH back in 2008, Pavillon Rouge swiftly made a potent impact with their merger of black metal and hardcore techno bound in atmospheric suggestion but especially caught attention and acclaim with debut album Solmeth Pervitine three years later. Its success and strengths were subsequently eclipsed by its successor Legio Axis Ka in 2015, an inescapable assault and incitement capping a time seeing the Grenoble hailing outfit play with the likes of Psygnosis, Himinbjorg, Svart Crown, and The CNK. Both releases were fuelled by a sound which showed real individuality and now finds even stronger character and adventure within Dynasteia Klub. It has the body dancing, the imagination conjuring, and the senses cowering to its bold invasive tempest; guitarist/vocalist Mu Cephei, bassist E.Shulgin, drummer XVH, and Mervyn, a line-up completed live by guitarist ADB, voraciously trespassing with industrial uniqueness.

Album opener L’Harmonie et la Force instantly spreads an atmospheric breath around ears, intrigue and shadows blending within its intimation as melodies begin to vein the lure. All the time a rhythmic pulse is brewing, looming closer with portentous hues and eventually driving the heart of the sonic incursion. Vocals scowl and holler as beats throb, melodic enterprise as toxic yet magnetic as the black raw intensity of the track. Within seconds the body was bouncing, ears devouring, and enjoyment brewing, the track increasingly offering the kind of predacious enterprise which marked out the last album but with greater craft and maturity not forgetting fresh character.

The following Ô Legions, Ô Triomphes initially gives respite for the breathlessness drawn by its predecessor, synths colluding in the song’s melodic weaving though all the time you sense an underlying voracity and urgency which soon takes the reins of another quickly and fiercely addictive challenge. Even then it still retains its control as vocals and heavy shadows accentuate its theatre of threat and manipulation though a mercurial edge lines it all ensuring a lack of predictability.

The album’s title track immerses the senses next, its weave of electronic, industrial, and grievous metal an infestation of irritable infectiousness around vocal and rhythmic discord and temptation respectively. There is a cosmopolitan hue to the guitar’s melodic web, a theatre echoing the lyrical aspects such as discipline, joy, and forgiveness bred in the release’s Ancient Greek Philosophy inspired themes. Again the band refuse to release the listener from its invasive physical tenacity; ebbs and flows in its gait only adding to the inescapable infectiousness before Le Rayonnement Du Temple Nouveau brings a relative calm with its initial invitation. Soon though, an intrusive tapestry of sound and emotion envelops ears, its grasp dark and suggestive as it explores the senses and imagination.

From its first breath, the outstanding In Aenigmate grips with insatiable hunger, senses whipping rhythms pushing its boisterous trespass as guitars and bass flirt with the same rapacious intent while Bodhisattva offers a kinder intensity though it is just as potent in its creative maze and emotional ferocity led by vocal friction. An inventive fusion of the familiar and fresh, the song did not quite inflame the passions as many before it but with the body uniting in its energy and appetite in its drama, the song left pleasure full before the more atmospherically and physically barbarous Notre Foi Brûle Encore took limbs and lungs on another solicitous ride. As with all tracks, unexpected twists and turns add to the drama of its insatiable intent without ever bringing a deviation from the creative, emotional, and corporeal voracity.

The album concludes with firstly another of its pinnacles in Dans L’ailleurs Absolu; a song which, if not in sound, rhythmically and intensively has something of an early Killing Joke feel to it behind a collage of samples and riveting textures. Its unbridled magnetism draws the listener into the closing ethereal embrace of Ad Augusta. Unsurprisingly it has a tempestuous heart which breeds ravenous rock ‘n’ roll, a storm of enterprise continuing to be draped in the melodic poetry of synths.

It is a tremendous, energy sapping end to an album which relentlessly devours the listener as much as it persistently pleasures them. Like many we were hooked on Pavillon Rouge’s warfare thanks to Legio Axis Ka, now the even more creatively powerful and striking Dynasteia Klub brings lust into play.

Dynasteia Klub is released March 30th through Season of Mist.

http://dynasteiaklub.com/    https://www.facebook.com/LuxDiscipline/

Pete RingMaster 27/02/2018

Copyright RingMaster: MyFreeCopyright

As A New Revolt – Speechless

Unleashing the turbulence and discontent fuelling the world today, As A New Revolt provides a potent voice for the masses and another truly fresh breath for a year with many momentous propositions within its roar. Speechless is a stunning introduction to the duo of Manu Barrero (vocals, machines) and Julien Lhuillier (drums), a four track EP reflecting the oppression around today and the increasing defiance to it but also a title pretty much summing up certainly our lost for words response to its impressive presence.

As A New Revolt create a sound spawned from the feral fusion of rapcore, punk, industrial, hip hop and much more. What emerges is a unique and ravenously rapacious affair driven by the dexterous tenacity of Lhuillier’s rhythms and infested with the sonic discord and vocal dissonance of Barrero. It is a greedily welcomed trespass of noise which swiftly gets under the skin and proceeds to manipulate body and spirit with its almost carnal infestation.

Speechless opens up with its title track, samples and corrosive noise colluding as tension springs an imposing swagger of noise and Barrero’s slightly psychotic tones. An underlying volatility only adds to the threat and lure, the track lumbering along with predacious intent as inspiring rhythms land with calculated intent. Essences akin to bands such as Rage Against The Machine, Pitchshifter, G.R.I.M., and Nine Inch Nails tease within the cauldron, all hues in the stirring and individual web of the French pair.

The following Riot Porn is even more urgent to invade the senses, its gait boisterous but happy to ebb and flow as Barrero fingers song and thoughts with his vocal stabs. As within its predecessor, electronic and melodic tendrils spiral across the encounter, their magnetic attraction and imagination as toxic as the barbarous winds sonically blowing around them. Lhuillier splinters it all with his own gripping rhythmic drama, every beat a shuddering yet anthemic coaxing inciting song and listener alike and managing to be even more manipulative and colossal in next up Now!, a track which steals the show for personal tastes.

With its eastern sonic lures and compelling beats, the track instantly seduces attention, its portentous air gripping the imagination as a tapestry of sound and enterprise aligns in a mutually riveting web. Though not in sound as such there is something of early Killing Joke to the song and band’s general sound, the same kind of rhythmic addictiveness and nagging ingenuity eating away at defences to inescapable success.

Perfect brings things to a close, the song ‘mellower’ in attack but tenebrous in tone and atmosphere as it challenges and incites second by second, note by note, noise by noise. Unsurprisingly after taking in the previous trio of tracks, there is a gloriously capricious character to the assault, a tempestuousness which builds and boils though it is content to menace through simmering provocation too as vocals and rhythms probe and inflame.

It is a superb end to a truly thrilling release which among many mouth-watering and momentous encounters across 2017 just might be the best of the lot.

Speechless is available now through Atypeek Diffusion / Sand Music across most online stores.

https://www.facebook.com/asanewrevolt     https://twitter.com/asanewrevolt

Pete RingMaster 19/12/2017

Copyright RingMaster: MyFreeCopyright

Pig – Prey & Obey

If there is a more potent manipulator of body, imagination, and spirit than Raymond Watts it is hard to think of them especially as the latest <PÎG> EP is infesting the psyche with virulent ease. The mastermind behind <PÎG> and a founding member of KMFDM, Watts has infested the senses and passions with frequent regularity since the eighties whether in his projects or in collusion with numerous others, a long list we will leave you to explore, the Prey & Obey EP now adding to that tide of irresistible industrial rock bred temptations and trespasses.

Consisting of three new psyche trespassing incitements with drama fuelled remixes of each backing them up, Prey & Obey embeds itself in ears and appetite straight away with its title track. Guitars instantly rub themselves upon the senses, their raw intensive strokes almost flirtatious as thicker brooding textures come with rhythms and vocals. With Marc Heal and Phil Barry of Cubanate in league with Watts, the track prowls and preys on the senses, Watts like a dark conjuror as hooks and grooves crowd and litter washes of industrial toxicity. It is a glorious web of intrigue and danger, subservience coaxed and demanded by the track’s rampant rhythmic muscle as well as its virulent sonic and electronic dexterity.

The robustly stirring encounter is followed by The Revelation, an even more imposingly catchy enticement body and vocal chords alone fall before in swift time. Co-written with Ben Christo, long-serving guitarist with The Sisters of Mercy, the track roams with a predacious intent, its creative indoctrination built on waves of persistence honed into thought provoking, body twisting primal seduction. With an additional Ministry-esque nagging around glimpses of cinematic theatre, the song is pure devil spawn scheming, Watts the insidious engineer.

The Cult of Chaos ventures across a calmer landscape of persuasion though the song written with former Combichrist member Z.Marr shares its own individual and challenging shadows. Their dark edges court the mellower presence of vocals and melodic suggestion, the song’s infection carrying eighties industrial flavourings merging with harsher textures reflecting the world today. Transfixing in its throbbing repetition, magnetic in its harmonic and melodic tapestry, the track beguiles and intrudes with equal ingenuity; addiction the guaranteed response.

Completing the release is firstly a psychotic remix of the track Prey & Obey by Leaether Strip, the track given a make-over resembling the bastard result of Th’ Legendary Shack Shakers meeting Celldweller. Its inescapable stomp is followed by the Z.Marr Revelectrix Mix of The Revelation; a version which simultaneously feel heroic and serial killer like in its tone and physical intent.

Completed by the En Esch Remix of the opener, a subdued but enticing take, the Prey & Obey EP is pure industrial corruption bred with the finest creative toxins. Each of its three tracks is a rabidly tempting and resonating anthem backed by highly evocative alternative aspects; what more would you want?

Prey & Obey is out now through Metropolis Records @ https://metropolisrecords.bandcamp.com/album/prey-obey

https://pigindustries.com/    https://www.facebook.com/pigindustries/    https://twitter.com/raymondwatts

Pete RingMaster 18/07/2017

Copyright RingMaster: MyFreeCopyright

King Satan – King Fucking Satan


In a world bent on self-destruction from the intimacy of relationships through to the broader intolerance of religion and the greed of those governing it up front and behind the scenes, never has there been a more suitable and insidiously compelling soundtrack to it all than the new album from King Satan. Recently released by the  Finnish outfit, King Fucking Satan is a ten track devouring of the senses and an insatiable trespass of the psyche as flirtatious and contagious as it is emotionally pestilential.

Originally a solo project for vocalist, multi-instrumentalist, and producer King Aleister Satan (aka fra. Zetekh, the frontman of Saturnian Mist) when it emerged in 2015, the band has subsequently expanded due to live show demands with Kate Boss (vocals, synths, piano), John Oscar Dee (guitars, bass), Martin Shemhamforash (synths, bass), and Magister Demaniac (beats, additional instruments, programming) completing the current line-up. Musically King Satan creates and fester a senses consuming, body inciting fusion of black and death metal with dark electro, EBM, aggrotech and more besides whilst lyrically and emotionally, nothing is left out from being invaded and violated; the album exploring themes “found within occult philosophy, psychological mind-fuck and even sociological satire hand in hand with renegade rock ’n’ roll spirit that surely bows to nothing and no one!”

Dance With the Devil pretty much sums up the experience of listening to the album as well as providing the title for its opener. As a dark atmosphere crowds around ears, a vocal trigger brings hungry beats and synth cast temptation upon the senses. Equally predacious and alluring, with increasing addictiveness and virulence as melodies and hooks play, King Aleister Satan’s vocal trespass bullies and harries, every syllable explored and sharing primal instruction. Like a mix of God Destruction, Skinny Puppy, and label mates Barathrum, the track infests and incites, its infectiousness and inviting hooks as loaded with viciousness as its boldly direct animosity.

It is a great manipulative start soon matched and overshadowed by As Above So Below, a song managing to be even more primordial and catchy as nagging rhythms pound and synths cast their toxic melodies and hooks; an infectious trait matched in the swing of the punk/black metal scarred vocals. Within moments bodies are bouncing and hips swinging, something we have seen in close attention, as thoughts are twisted and stretched by the corrosive vocal and lyrical intrusion. Addiction appears inevitable so be warned as indeed in regard to Enter Black Fire which though not quite having the body as firmly in its puppeteer grip keeps things feverishly pulsing as thoughts are taken on a tour of ascending oppressive power and its escape.

Psygnosis has everything lustfully involved and enslaved next too, its musical psychosis the fuel for more unstoppable infectiousness and lyrical humour honed drama. Physically exhaustive and imaginatively tenacious refusing to leave the listener alone with its creative bordering psychotic enterprise, the track is superb, a new major highlight though instantly eclipsed by Sex Magick. Stomping over the senses with every beat a haymaker and each synth nurtured sortie of ears a rebelliously sexual coaxing, the outstanding track grows into a relentless and licentious tide of industrial/ EBM contamination adding J-Pop like ingenuity with the vocals of Boss glorious and a devilry akin to something Mindless Self Indulgence might expel.

The predatory instincts of Satanized course ears next, its infectious electro canter a bold niggling of the senses around the raw air and tone of vocals and word before Of Internal, Eternal & Spiritual War, with its haunting Cimmerian crawl through an ominous atmosphere woven around darkly whispered vocals and harmonic siren cries, envelops the senses.

Recalcitrant causticity gets its head in the electro punk epidemic of Spiritual Anarchy straight after; defiance and vocal antagonism a potent contrast to the quenchless dance and devious endeavour of synths and guitars while Destroy the World is a calmer but cancerous embrace of the senses. Suggestive melodies vein an invasive smog of sound and intent which dowses the listener in emotional and sonic malignancy.

The album closes with a similarly toxic climate and reflection, though Kali Yuga Algorithm has a thicker sinuous texture to its layers and black industrial, rancor coated wake-up call. The track leaves a lingering imprint on the senses as pretty much all within King Fucking Satan, a release which enthrals on the verge of rapture and provokes to the point of brutality for seriously one of the most rousing and enjoyable stomps this year so far.

King Fucking Satan is out now via Saturnal Records and available @ https://saturnalrecs.bandcamp.com/album/king-fucking-satan

http://www.kingsatan.net/    https://www.facebook.com/kingsatan616/

Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright


2015 saw the release of an album which deserved far more attention than it got and warranted every syllable of praise offered its “visual and aural telescope.” Edari was the invention of French duo OMRÅDE who now return with its equally startling successor Nåde. That first full-length made ears and imagination pay attention, the second simply demands it and repays with what will surely be classed as one of the major adventures of the year.

OMRÅDE consists of vocalist/guitarist Bargnatt Xix, known elsewhere as Christophe Denhez of Nerv and previously Mur and In The Guise Of Men, and drummer/keyboardist/programmer Arsenic, christened Jean-Philippe Ouamer and the skin hitter of Idensity and formerly of Nerv. Together they weave a collection of avant-garde soundscapes nurtured from everything around the ambience hued climates of post rock, industrial, electronica, and avant-garde metal, and that is simplifying their fascinating explorations of sound and emotion. It is a mix which created a compelling proposal in the cinematic adventure of Edari and now the even more aurally haunting and stirring Nåde.

Whereas the first album felt like looking across a broad canvas of universes there is much stronger intimacy fuelling Nåde, like ears and thoughts are peering in on the tempestuous fortunes and emotions of a single soul representing the surroundings and lives within a noir lit and suffocating climate. That is not to say it does not venture through worldly landscapes too, just they all feel cored by the same instinctive melancholy and depressive clad spirit. Influences upon the project include the likes of Ulver, Manes, and God Is An Astronaut, essences certainly seeping across the new album along with an equal infusion of Nine Inch Nails/Palms scented shadows and suggestiveness.

Nåde opens up with Malum and swiftly has electronic beats and guitar coaxing ears as Denhez’ vocals share the song’s heart and beleaguered emotions. Pretty much haunting thoughts and psyche from its first breath, its inner psychosis is just as swift in stirring the imagination as vocals hint at a soul trapped yet seemingly revelling in the inevitability of inescapable turmoil. Strings and brass soon after bring their seductive shadows and flames respectively to the blossoming atmosphere and body of the song, a cinematic wash in tow yet that personal dispute continues to voice things. It is a stunning piece of music and vocal insight, instantly surpassing anything on that impressive first album and just the start of a uniquely stirring journey.

The following XII has a gentler touch, its hazy atmosphere jazzy and sombre yet with a warm glow which only attracts like a night’s final brandy. Keys tease as Leo Sors’ guesting sax woozily blows with suggestive prowess, each flame embracing reflective vocals and in turn a hotly simmering funk shuffle. With Bernard-Yves Querel adding his guitar, the track at times is something akin to 6:33 certainly with the emerging depths and mercurial intensity of the track; ears and imagination enthralled and sucked into its unpredictable enterprise and dark instrumental theatre. Whereas the first was physically provocative, the second is emotionally inciting with just as rich results before the outstanding Enter beckons the listener into its melodically woven, progressively shaped, and increasingly virulent proposal. With a snarling brooding within the guitars and an unstoppable catchiness lining its brewing rapacity, the song is a lively cauldron of infectiousness and trespassing anxiety, each conflicting with and accentuating the other.

Hänelle is pure heart ruptured melancholy, another track which builds in intensity and intimate drama on every level from an initial smoulder nurtured as much by Jonathan Maronnier ‘s clarinet as emotional shadows while Styrking Leið is a haunted croon; a siren like lure of vocals and keys and if slower to tempt as its predecessors simply growing into another lingering highlight especially with its increasing visual potency and emotional desperation. The song sees Edgard Chevallier guesting on guitar while next up The Same For The Worst features additional vocals from L. Chuck D in its jazzy intoxication with Julien Gebenholtz’s bass a captivating pleasure all on its own. Becoming more fevered and intense with emotion as sounds share a volatile almost bedlamic restlessness, the track has ears and thoughts gripped. Certainly it is not the easiest listen within Nåde but boy is it one of the most rewarding and impacting.

The final pair of tracks ensure captivation and pleasure is as burning as ever. Baldar Jainko is as similarly intensive as the previous track, its heart and scenery a sharing and conflict of peace and faith with emotions and suggestiveness working on personal and worldly levels. Closing track, Falaich, is almost apocalyptic in tone and touch; an epilogue or portent of our emotional and physical destructions and apathy to it which is seriously gripping from start to finish and only increasing the vice as it provokes the darkest thoughts and richest enjoyment.

It is easy to suggest that if Edari impressed and impacted on you previously, Nåde will blow you away and for newcomers to OMRÅDE, the moment when music might just become much more than ear pleasing.

Nåde  is released May 26th via My Kingdom Music.

https://www.facebook.com/Omradetheband    http://omradetheband.wix.com/omrade

Pete RingMaster 26/05/2017

Copyright RingMaster: MyFreeCopyright

Freak Injection – Freak Is Fashion

Unleashing in the words of its press release, “Blood, Sex and Psycho!” the Freak Is Fashion EP is quite simply a temptation rather hard not to get down and sweaty with. It is a new slice of devilment from French industrial/electro rockers Freak Injection, a rousing four track escapade fusing the familiar and the fresh in a roar sure to inspire the freak in us all.

It is fair to say that big surprises are not as prevalent within Freak Is Fashion as flavours which tempt like old friends yet the Paris hailing quartet create an aural captivation and physical incitement many unique offerings can only dream of. Inspiration to Freak Injection comes from the likes of the Prodigy, Nine Inch Nails, Nina Hagen, Madonna, and Marilyn Manson, though Freak Is Fashion leaps upon the listener more like an insatiable fusion of Animal Alpha, Die So Fluid, and The Guilt with Kontrust like lunacy leading and fuelling it all.

With the raw essences of metal and punk colluding with electro and industrial revelry, the Freak Injection sound needs little time to infest ears and psyche as EP opener and title track reveals. As soon as its initial electro spiral is joined by distortion kissed vocal coaxing, there is no r escaping the song’s devilry and rebellious intent. Within a breath rhythms are pounding upon the senses like migraine, riffs simultaneously harrying them with their dirty tone as hooks and electronic bait are unleashed with insatiable intent. The vocals of Charlie RED just as swiftly get a hold of ears, her infectious guile and mischief accompanied by the melodic teasing of guitarist MAC-F as Kevin Hapexia’s bass heavily prowls. Continuing to probe with the swinging beats of Anthony bordering on the psychotic at times, the track makes a riveting and body rousing trespass to kick things off, its schizophrenic character increasingly unveiled as its bounds along.

The following Sex Me is an instantly panting arousal of sound and creative intrigue, its introduction a slower, more controlled yet insatiable proposal with instinctive seduction lining every note, beat, and vocal taunting. With an increasing swagger, riffs grow in weight and rhythms in impact but equally so too does an unpredictable web of twists and deceitful turns never going quite where you expect and greatly pleasing because of it. Again it is hard to say that the song is truly unique, certainly not across its whole body yet there are only fresh and enthralling times in its midst. It is qualities equally found within successor Crosses, a meaty stomping of electro pop ‘n’ roll which has the body bouncing,  hips swerving, and vocal chords induced within its first anthemic roar. Charlie is again a beacon within a blaze of tenacious captivation naturally fitting and sparking rock ‘n’ roll instincts.

The release is completed by Psycho (Russian Boy), an emboldened motivation of sound which arguably fits expectations of the tags given to the band’s sound more than most but brews volatility in its rock ‘n’ roll which just detonates in ears. It is a high-voltage end to a creatively bustling and animated, not forgetting fervour driven, rampage that the inner freak just cannot refuse.

Freak Is Fashion is out now.

https://www.facebook.com/Freakinjectionmusic/    https://twitter.com/Freak_Injection

Pete RingMaster 23/05/2017

Copyright RingMaster: MyFreeCopyright