No Religion – Self Titled EP

There seem a few bands with the same moniker across the globe but the one making a really potent impression with their latest release is a British duo crafting highly enjoyable and suggestive instrumental rock as heavy as it is melodically potent. There is not a great deal we can tell you about Bradford hailing No Religion apart from it consists of guitarist Andy Ledder and drummer Darren Brearton who together made up one half of the sadly demised melodic rockers One Day Remains who grabbed attention with The Agony Is Abated EP back in 2011/12.

In sound though, the pair make a real vocal statement; the three songs making up their latest and we are assuming debut EP, an adventure for ears and imagination alike. Opening track, One Line, quickly takes the senses to a darkly intriguing place. Its opening coaxing is almost portentous, a sonic vapour from within which wiry grooves and spiny melodies collude as the swinging beats of Brearton land with purposeful intent. The hook lined surface of those grooves make for a nagging appeal, Ledder using every note as suggestive bait for ears and thoughts. The cinematic air of the piece is a mix of danger and adventure, a creative emprise which is as compelling as it is enterprising with a nice essence of Irish project Arcade Messiah to it.

Second song is Devils Grin, a thick embrace of sound more emotionally intensive than the bolder almost heroic escapade of its predecessor. Ledder again spins a web of melodic exploration as Brearton’s rhythms roam with weight and poise, punctuating every twist and turn in the sonic design of the track. The shadowy depths of the piece add to its emotive design, ears and imagination firmly and increasingly engaged before Blind brings the release to a fine conclusion.

Though it never quite matches the strengths and temptations of the previous pair, the song rises up around ears like a dawning melodic sunrise. Its bluesy air and country-rock scent are fresh hues within a piece of music hinting at dark moments and danger trespassed surrounds but keeping them at bay with its elegant melody woven poetry.

There is no obvious connecting theme to the three pieces of music making up the EP, each seemingly offering individual premises, yet they still feel like they are part of a bigger adventure; glimpses of a broader creative travelogue and emotional subterfuge. Most importantly though, they offer a first listen to the potential loaded imagination and sure craft of No Religion in a release which may not provide major surprises but has ears enthralled and an appetite for more eager with ease.

The No Religion EP is out now through iTunes and other stores.

https://www.facebook.com/noreligion2016

Pete RingMaster 23/05/2017

Copyright RingMaster: MyFreeCopyright

The Parallax Method – The Squid

A couple of months or so short of two years after the release of The Owl EP, British instrumental progressive rock trio The Parallax Method release its companion piece, The Squid. Continuing the theme of “space and a perpetual battle between the owl and the squid to convey their unique sub-genre of modern prog” started with the first EP, its successor takes ears on another groove infested, colourfully inventive, and technically captivating shuffle sure to have the body enthralled and twisted as eagerly as the imagination.

Emerging from the ashes of hard rock band Isolysis, The Parallax Method stepped forward in 2014 with old friends in guitarist Danny Beardsley, drummer Dave Wright, and bassist Daniel Hayes. Drawing on the inspiration of bands such as Between The Buried And Me, Tesseract, and Karnivool, they nurtured and bred the compelling tapestry of sound to grace debut EP The Owl in 2015. Its acclaimed release and complex yet easily accessible escapade announced The Parallax Method as an exciting prospect to watch and an adventure to devour. The departure of Hayes post the recording of the EP saw Ben Edis (Spirytus/Breed77) come in and complete a line-up even creatively bolder and mischievous within The Squid.

Let’s Get Kraken gets things underway; its title the first hint to the knavish and spirited escapade within song and EP. From within a busily engaged crowd, a swing guided bassline joins the jazzy flirtation of guitar, beats skipping along with them. It is an inviting collusion soon luring hips and feet into the waiting net of enterprise; every initial attribute and lure soon infested with lustful intensity and creative boisterousness as things get funky with the arrival of Donald Sutherland And His Magnificent Mane. Evolving from its predecessor, grooves captivate as hooks ensnare, all the while Wright’s swings landing with real bite and snap as the track gets down to laying a web of intrigue and beguilingly evolving adventure. There is chunkiness to its body which sparks the appetite as much as its gentler wanderings across the senses, all making for a compelling incitement for body and imagination.

Its final vocal sigh sparks the similarly spirited and energetic shuffle of You Gotta Be Squiddin’ Me’, the track slyly entwining ears with seductive grooves with a whiff of predacious devilment as around them melodic interplay blossoms its own beguiling enticements. Electronic spicing only adds to the tenacious and imaginative touch of song and guitar, Beardsley weaving another rascality of sound through his strings as Edis’ bass prowls with its own coltish instincts and intent. Fuelled by mood swings of enterprise, the track at times heavy and rapacious whilst in other moments crafty and sprightly, it has body and thoughts leaping and inventing respectively.

As too does the creatively athletic and kinetically energetic canter of Owl Pacino Vs Mega Mango; a piece of music which can feel in certain moments like a stand-off between battling textures and attitudes but at other times a heated yet respectful collusion of both sides; though it is the aggressive instincts of each side which drive the outstanding track.

Its funk lined finale flows into the epic melodic epilogue and dynamically entrancing theatre of I Squid You Farewell (Owl Be Seeing You). The final track is a drama of sound and texture; an imagination woven and guided frolic of the rich craft and strikingly inventive versatility of all three musicians as they lead the listener on a fruitful gest as much of their own as the band’s making.

Every listen of The Squid brings escalating joy and adventure as new twists in the imagination flare up as fresh nuances and layers are discovered. The EP is a stunning move on from The Owl yet still works perfectly with its earlier companion; the full glory of The Parallax Method ingenuity and creative fertility best served with both releases played back to back and given full attention of ears and mind.

The Squid is out now digitally and on CD @ http://theparallaxmethod.bigcartel.com/

http://www.theparallaxmethod.com/  https://www.facebook.com/theparallaxmethod   https://twitter.com/parallaxmethod

Pete RingMaster 16/05/2017

Copyright RingMaster: MyFreeCopyright

Parachute For Gordo – Possibility of Not

Three years ago, British post rock trio Parachute For Gordo impressed with their mini album Ten Metres Per Second Per Second; its instrumental adventures increasingly captivating vehicles for the imaginations of band and listener alike. Now they have returned with its successor Possibility of Not and an evolution in songwriting and composing which had bred the band’s boldest, most bracing yet creatively composed escapades yet.

With new drummer Mark Glaister alongside original members in guitarist Laura Lee and bassist John Harvey, Aldershot hailing Parachute For Gordo escaped to the mountains of Austria for a weekend last year to record Possibility of Not. Whether the assumed isolation their DIY pop-up studio was set up in has been part of the incitement breeding the outfit’s most intimate and refined yet instinctively raw exploration yet only the band can say but certainly there seems a richer and thicker atmospheric depth and boldness going hand in hand with the threesome’s pushing of their creative boundaries.  Where Ten Metres Per Second Per Second was a leap on from debut EP Eight Minutes Of Weightlessness of 2012, Possibility of Not enjoys another step forward in all aspects without losing that organic brashness almost punk bred cacophonous heart which has already set their music out from the post rock incubated crowd.

Jellied Eels opens things up, its initial melodic shimmer a crystaline enticement like a window on a warm and inviting yet stark landscape. Whether it is the pre-knowledge of where the band recorded the album or the track itself, its post rock investigation only sparks thoughts of beauty strapped isolation and the intimacy of thought and emotion such surroundings can inspire. It is a mesmeric piece, that raw essence of the band’s music invasive to temper but equally compliment the sweeping grace of the melodic exploration being woven within it.

The following Anemone to Manatee has a more volatile and intrusive presence from its first breath but equally greater flirtation of joyful revelry in its energetic shuffle further accentuated by infrequent but welcome bursts of vocal incitement. With Lee’s guitar almost carving out its melodic portrait like a post punk steeled knife on canvas and Harvey’s bass going on a throaty groove lined dance as Glaister’s swings with each passing minute take greater relish in their jabs, the outstanding track tantalises from beginning to end; an emerging Fire Engines like discordance only adding to its might.

A mellower tone frequents next up Wallet Moth, every trait strolling with a lighter air as flames of melodic dexterity leave suggestive trails like reflection sharing comets. That previously mentioned intimacy is no more powerful than on the third track, it’s weaves of sound and textures magnetic glimpses into the song’s emotive heart before Gopher the Throat floats across the senses being driven by tribal beats and aboriginal like bass textures. Instantly absorbing ears and thoughts, the track is another dance of intimation and enterprise, the trio conjuring a piece of intrigue and adventure sure to be different for each individual but a creative emprise for all.

There is no escaping the fun and demanding stimulation of Cornholio Slaps the Goose, the track a funk assed, indie pop infused romp of swinging beats and infection spewing grooves unbridled in its hunger to have feet and hips indulging in its primal catchiness. Dips into dub spawned tenacity only adds to the virulent exploits toying and seducing the senses as the track grabs best track status though it is continually challenged with every listen of Possibility of Not.

The album is brought to an equally fine end by Put your hands up if you like Sloths, an eight minute plus saunter into imagined mysterious deeds inspired by its cosmic radiance and cinematic hooks. They grab ears and the imagination like a sticky web of lures rather than making a more imposingly direct attack but with the same inescapable outcome, the listener trapped and basking in its highly suggestive soundscape.

With their music Parachute For Gordo find a more insular terrain to explore than other post rock flights of imagination though certainly Possibility of Not breaks into broader challenges too but it is that more intimate feel which sets the band apart from most, that and their undoubted craft and maybe slightly deranged imagination. Accompanied by a video for each song which together provides a visual experience as potent as the aural one, Possibility of Not deserves plenty of your attention especially if post rock and bands like The Mars Volta and The Fall Of Troy are to your taste.

Possibility of Not is out now through Rose Coloured Records @ https://parachuteforgordo.bandcamp.com/album/possibility-of-not and http://www.rosecoloured.com/parachute-for-gordo

http://www.parachuteforgordo.com/    https://www.facebook.com/ParachuteForGordo/    https://twitter.com/parachutefgordo

Pete RingMaster 18/04/2017

Copyright RingMaster: MyFreeCopyright

Iron Jawed Guru – Mata Hari

iron jawed guru_RingMaster Review

With all the curvaceous moves and intrigue fuelled exploits its title suggests, Mata Hari is an encounter which simply and irresistibly entices ears as it infests the psyche. The new album from West Virginian instrumental groove rockers Iron Jawed Guru, it is creative espionage of the most rewarding order offering seven songs bursting with grooves that writhe like seductive snakes and a rhythmic intimidation as imposing as it is dynamically compelling. Without reserve, Mata Hari is a delicious incitement that the more you struggle to resist and move on, the deeper you get entangled up in it.

Iron Jawed Guru is the pairing of multi-instrumentalist Mike Lorenzen and drummer Roy Brewer; a Morgantown hailing project which emerged in 2013, though both members first met nine years earlier. Originally a trio with Eric Clutter, who later went on to join Karma To Burn, Lorenzen and Brewer continued as a duo from his departure evolving their fiery and rapacious psych/stoner rock sound. It is a proposition which singes the senses as it flirts with the body, its heavy yet salaciously inviting weave of grooves and riffs aligning with rousing rhythms to create the fiercely captivating and anthemic blaze that is Mata Hari.

cover_RingMaster ReviewFirst up on the album is Quake and straight away its impacting rhythms and dusty grooves echo the ferocity and agitation suggested by the name. As a sonic, almost smog like, embrace is cast, Brewer not for the last time swiftly has the senses on edge and energies ignited with his dynamic presence whilst Lorenzen only expands the flame of sultry grooves and intrusive hooks to increase the virulence of the song. An explosive yet controlled incitement, the song is more than matched by the heated aftermath of Aftershock. Toxic and flirtatious, the track is a maelstrom of contrasting and supporting textures again built on the commanding beats of Brewer and shaped by the tenaciously creative fire of Lorenzen. Bands such as Clutch and Kyuss have often been mentioned as a reference for Iron Jawed Guru, and it is easy to see why from this alone.

The deceptively wiry and full-bodied intoxication of the album’s title track is next, it expelling a sinister and tempestuous air around the undisguised salaciousness that ignites every swinging groove and deeply rooting hook. The song is a devious temptress, a predatory romance stealing breath and soul before Gemini and its mercurial saunter lays bold hands on the imagination. With sinews again flexed in every rhythmic swipe and jab as dark volatility lines the sultry climate of sonic suggestiveness, the track has thoughts leaning towards serial killer like imagery rather than astrological based tales such its rich spiral of dark and intensive adventure.

Navajo brings the hues of the dust hugged West next with its smouldering heatwave of melody inflamed enterprise amidst a web of senses scorching grooves whilst Tremors rumbles and grumbles as it descends ravenously on ears with a horde of robustly explosive rhythms matched with equally abrasive riffs. Both tracks in their individual ways are increasingly veined and bound in the ever forceful invention and irresponsible grooves of Lorenzen; they reckless because there is no doubt that hips will never be the same after indulging in the thick devilry of Mata Hari.

Unsurprisingly Vesuvius is a volcanic prowl of sound with lava-esque drama from the guitars and the expected and enterprising bone shuddering swings from Brewer. Its sizzles upon and burns the senses whilst igniting the passions from start to finish; its gripping and increasingly rabid rock ‘n’ roll the perfect exhausting finale to one increasingly thrilling release.

Mata Hari is pure manna for anyone with a groove fetish; for anyone who loves to be flirted with by swinging strains of guitar and rebellious rhythms whilst Iron Jawed Guru is a band surely on the way to recruiting a rampage of hungry appetites and spotlights.

Mata Hari is available now digitally and on CD via Grimoire Records @ https://grimoirerecords.bandcamp.com/album/mata-hari

https://www.facebook.com/IJGrock/

Pete RingMaster 09/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Dog Days – Heat

Pic_Christophe Dutoit

Pic_Christophe Dutoit

From its first inflamed note, the debut album from Swiss stoners Dog Days is a sonic mutt in season; a furiously rocking body of insatiable intent sculpted with sexily invasive grooves and a collusion of heavy boned riffs and rhythms. Consisting of eight instrumentally fertile slices of rock ‘n’ roll, Heat is also loaded with severely addictive hooks and immersive textures ensuring, in our experience, that a mating between release and the passions is inevitable.

Heat swiftly stirs up body and emotions from the off, quickly showing why the Fribourg trio of bassist Marie Riley, guitarist Vincent Yerly, and drummer Julien Vonlanthen are kicking up a potent buzz around themselves. Recorded with Sacha Ruffieux over two sessions of 5 days each at the Studio de la Fonderie, the band’s first album comes fuelled by the band’s intent “…to create an instrumental stoner album that shows our love for the sound we can generate with our instrument.

It begins with Saluki which instantly soaks ears in the thick fuzz of guitar and bass whilst a spicy groove nags and rhythms punch. As a sign of things to come, the air is seriously muggy which just adds to the swift drama lacing the virulence of dirty riffs and splintered grooves sculpted with repetitious persuasion. In no time though, the song is really swinging with fully fledged, intoxicating grooves escaping the stomping rock ‘n’ roll incitement. Fair to say, the imagination and appetite are hastily involved and as greedy as ears as the song from start to finish unloads a rich catchy tempest with a hungry swagger.

Heat Cover_RingMaster ReviewThe excellent start is superbly continued by Shiba and its heavily bruising and similarly contagious intensive boogie. There are no escaping essences of bands like Kyuss and Queens Of The Stone Age as a flirtatiously salty scything of guitar streaks through the brooding invasion of cantankerous bass and swiping beats, but with its gripping atmospheric theatre and ravenous intensity the track is uniquely a Dog Days beast.

Malamute wraps ears in sultry and evocatively sonic tendrils next, that persistently dramatic lure soon joined by the dark rumble of beats and a gorgeously carnivorous bass tone; it all springing a punk infused splatter of temptation as much post punk and noise rock as it is heavy punk ‘n’ roll upon ears. The track is instant slavery, a magnetic fusion of gnarly and sweltering contrast with one thing in mine, to seduce the senses whilst twisting them inside out. The pinnacle of the album, it is closely matched by the dark tempestuous trespass of Broholmer. Straight away, its invasive challenge prowls with leaden grooves and abrasing riffs tempered by the stirring up of a thickly and imaginatively layered lava-esque swamp like temptation leaving the body breathless and enamoured before Hovawart sonically shudders into view with pungent beats for company. There is tribal scented enterprise to the new track’s rhythms which continues to blossom and grip as the guitar caustically resonates and the bass links its own slightly bestial bait to the brewing storm of raw and mercurial suggestiveness.

Throughout new breeds of sound and invention are explored within the volcanic stoner genus of the album, Lancashire Heeler an incendiary groove train with creative rabidity to its infectious fire and thunderous trespass whilst Kyi Apso raps keen attention with its opening rally from Vonlanthen before Yerly and Riley nets that perpetually incitement in their webs of roasting and feral prowess respectively. As all songs within Heat, it is pure rock ‘n’ roll caked in tar like energy, set afire with sonic acidity, and given an off the meter voltage of raw aural electricity.

The album is concluded by the almost eight minute flirtation of Komondor featuring guest guitarist Sacha Love. The song is an uncontrollably bewitching proposal merging mesmeric surf rock with rich intoxicating melodic smoulders and sultry grooves; an exhilarating end to a release destined to be one of the year’s big highlights. Heat is one of those jaw dropping treats which are unexpected but quickly rapaciously devoured. The Dog Days bio calls the band’s sound “Stoner with a boner”; that tells you all you need to know.

Heat is released January 15th on vinyl and as a name your price download @ https://dogdaysband.bandcamp.com/releases

http://www.dogdays.band/   https://www.facebook.com/dogdaysfuzz

Pete RingMaster 15/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Red Sky – Solo Musica A Riempirmi Gli Occhi EP

 

Pic 3

What can we tell you about Red Sky? Well he is a masked guitarist/rapper from Milan, creating a web of creative adventure and imaginative sound. From the founding of his solo project in 2011, he has released one album, one single, and three EPs, each earning increasing acclaim and attention. In the third of those latter propositions, the latest release, he has also revealed a simply fascinating and magnetic new direction in sound and intent. The Solo Musica A Riempirmi Gli Occhi EP is a transfixing and compelling exploration which embraces the artist’s broadest landscape of imagination and flavour yet.

Red Sky initially began as an instrumental rock proposal and swiftly drew close attention with the Tra l’ombra e l’anima EP in 2011, awareness increasing with the release of debut album Origami the following year. The Origami RMX EP in 2013 kept the growing buzz around Red Sky going but revealed little of the new adventure and shift of intent to emerge in forthcoming songs and music. Solo Musica A Riempirmi Gli Occhi is the witness to and evidence of the exciting evolution and change in the Red Sky’s invention. Its six adventurous incitements merge the instrumental rock essences which lit its predecessors with new stirring strands of electronic imagination and rap bred enterprise. It is a captivating union which offers an open familiarity in some ways but fresh invention throughout.

It all starts with Il Prezzo, a short and riveting piece of atmospheric sound and persuasion. The piece magnetically shimmers from its first endearing touch, stroking ears with increasing potency as electronic and guitar crafted radiance embrace the imagination with a sultry ambience. Spoken vocals add to the brewing drama, though being delivered in Italian leaves their narrative and emotion unknown for us less enabled linguists. It is an engrossing entrance though which is continued by the following tempting of Cadono Giù (Freestyle N.1). A symphonic whisper coats its start but swiftly the song is a lively romp of electronic revelry and feisty rock flames. Equipped with irresistible spicy hooks and flowing synth bred flights of warm enterprise, the track immediately has ears and feet involved, gripping the imagination just as potently with its subsequent agitated adventure. There is a feel of The Kennedy Soundtrack to parts of the song whilst its sonic weaves embrace rich melodic and gothic metal theatre and vivacity, and with the sparkling guitar imagination having a whisper of Squidhead to it, the track easily enthrals.

Front     Il Flauto floats in next, its opening flirty radiance skirted by darker shadows. It is a union which continues to court each other as the song develops, each aspect increasing in texture and depth as more instrumentation and creative intrigue gets involved. Vocals are also a prominent proposal within the track, their presence punchy and expressive within the thick melodic blaze around them. Rap and metal are no strangers in music and in the song they bring a recognisable offering yet within the maze of its fusion of imaginative symphonic and folk metal with classic and electro rock; everything takes on a whole new and invigorating adventure.

Next up is Neve which features the soaring tones of Ideogram vocalist Martina Ambruosi. It begins its rise with a sinister and cinematic melodic drama, keys providing a catchy and portentous coaxing that simply basks in emotion as a growing tapestry of sound and ideation blossoms around them. Red Sky and Ambruosi do not exactly duet in the song but entwine their vocal deliveries around that of the other, a highly flavoursome union matching the expressive and provocative music boiling up around them. Though not quite as gripping as its predecessor, the song is aural theatre impossible to tear away from.

A mellower croon of sound provides the mesmeric breath of Stelle, music and voice a warm hug on the senses as delicious strings and sparkling electronic endeavour provides visual colouring for the. The track entrances thoughts and appetite with sublime mastery before making way for the closing Finchè Morte Non Ci Separi, itself a fascination of diversely textured sound and exotic invention. Showing a worldly landscape which is constantly evolving through mysterious calms and raging symphonic blazes, the piece is as expansive as it is deeply intimate and an absorbing end to a thoroughly bewitching release.

Also featuring the scratching skills of Dj Zero Tx on certain songs, Solo Musica A Riempirmi Gli Occhi is one of those encounters which take you by surprise and easily breed a keen hunger for more. The new twists in sound and experimentation from Red Sky have created an impressive exploit loaded with the potential of even greater creative emprises ahead.

The Solo Musica A Riempirmi Gli Occhi EP is available now via Ronin Agency.

http://www.redsky.it/   http://www.facebook.com/redskyofficialpage

RingMaster 25/03/2015

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://reputationradio.yooco.org/

Seven Year Storm – Aion I EP

Sean Lang press photo

With most instrumental releases, especially in metal, there is so often a bias to the instrumentation of its creator or the composer of the pieces. This can work or not depending on personal appetites for the leading element, so it was with extra intrigue that the Aion I EP from progressive metal band Seven Year Storm was allowed to take ears in its creative hands. The band is the solo project of Canadian Sean Lang, a Vancouver-based freelance drummer / instructor who until now has been contented to keep his music compositions restrained just to song writing. Thanks to pressure/support from friends, Lang was finally persuaded and encouraged to record and release his music and a fascinating treat it is turning out to be.

The first thing to thrill and please is that there is no leaning to a particular instrument with Lang’s compositions; yes songs are potently rhythm driven but in tandem with just as dramatically skilled and voraciously creative elements across guitar and bass. This could have been a top heavy and certainly an unbalanced proposition in the hands of some but upon Aion I, every imagination coloured and skilfully sculpted landscape is a thoughtful and inventive equilibrium. Solely written and produced by Lang, the EP sees him link up with guitarist Dean Lamb(Archspire), whose fingers are surely possessed by the devil at times, and bassist Brent MacKenzie, the provider of the dark emotions and shadows which also superbly balance and temper the fiery side of the release.

Morphogenesis opens up the EP, keys an immediate warm lure tenderly coaxing attention whilst also brewing up a sonically misty atmosphere. It is not long before a turbulent climate hits the scene though, snapping rhythms aligning to snarling riffs snarl and subsequently a melodic blaze cast by Lamb. There is a swift visual suggestiveness to the music too, a cinematic incitement which only grows as keys and guitar entwined inventively around the precise yet unpredictable patterns of Lang. Essences of classic rock, jazz, and technical vivacity spice up the progressive emprise, the track as the beats growing into a wonderfully fascinating and perpetually evolving creative theatre.Seven Year Storm - Cover small

The dramatic and invigorating opener is followed by the classically seeded Dyatlov, the track bringing a more intimate narrative to its canvas whilst still expanding into another broad movie of sound and evocative enterprise. Tenacious flames collude with calm passages of melodic elegance and stirring almost sinister ascents of drama, as the music again explores new avenues of imagination and inventive twists. As its predecessor and those to follow, the track does not really end sounding as it began, but like a child is still the same heart just with growth evolving its character.

A celestial charm embraces Virtue next, the song a mesmeric soar across a summery climate within which Lang prowls and directs the adventure like a conductor with his exhausting and exhilarating swings whilst MacKenzie adds a throaty growl to the djent like jaggedness of riffs. Into its rich and slightly tempestuous stride, a haunting calm and melodic beauty suddenly descends, a gothic breath spiced by the noir lit vaudeville of keys a gripping twist backed by Lamb’s increasing transfixing invention. The unpredictable treat is a union of light and dark, much as its successor Nazca Lines. The following piece is an emotionally agitated but as now expected fluid exploration through heavier and darker investigations entangled with bewitching flames of light.

     Blue Car Syndrome brings the EP to an impressive close, again all three musicians spinning an explosive and fiercely imaginative web of sound and ideation. As all tracks, it is as separate an individual as it is a part of one massive sonic travelogue of melodic and dramatic realms, emotionally and physically. It is fair to say that our words do not do justice to the skills of the band, the ravenous theatre of the songwriting, and the sheer strength and diversity of the sounds within Aion I. The first of two EPs planned this year, the final thought is to thank those supporting Lang and hope they continue to inspire him to release further triumphs like this.

The Aion I EP is available now digitally and on CD @ http://sevenyearstorm.bandcamp.com/

https://www.facebook.com/sevenyearstorm   http://www.seanlang.com/

RingMaster 26/02/2015

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://reputationradio.yooco.org/