Deflore/Jaz Coleman – Party In The Chaos

Sometimes you just feel certain link-ups were meant to be, collaborations destined to see the light of day at some point even if no-one realised the possibility. One is definitely that between Italian industrial metallers Deflore and Killing Joke frontman Jaz Coleman. The evidence is there to be heard within Party In The Chaos, a collection of tracks which just roars with the qualities and invention of both sides behind one thrilling encounter.

We will let Coleman tell how the union of the two arose. “Over the last 30 years I’ve been asked one question over and over again: what new band do you like? And the answer generally has been zero, there are not many new bands that I like, except while I was on tour, we played Rome with Killing Joke and the opening act was just stunning. They were so powerful, such epic sounds, so cinematic. The logic seems I have to work with them. So to cut a long story short, Deflore came to Prague and we’ve just done a fantastic EP together, such beautiful music, and I hope everybody gets a listen to this incredible Italian band Deflore!

Consisting of Christian Ceccarelli and Emiliano Di Lodovico, Deflore themselves had been looking for “a singer that could understand our music to give us something more then, unexpectedly, Jaz found us.”  So together they entered Faust Records Studio in Prague in the closing moments of 2017 to record the release, Derek Saxenmeyer mixing the record at Enem Studio mid 2018 with mastering undertaken by Oli Morgan in London at Fluid Mastering.

As soon as opener and EP title track stirs into life that acknowledgement that this unity of creativity was meant to be rises up. Amidst the scorched sigh of guitar, rhythms gather and erupt in an incessant coaxing; a lure within which the riveting grumble of Ceccarelli’s bass finds inspiration in the early releases of their companion’s band. With synth and obviously his distinctive voice, Coleman soon escalates that flavouring, but as quickly the song sets out its own voracious identity, one as raucously infectious as it is dramatically menacing. Di Lodovico’s guitar perpetually escalates the drama and contagion as forcibly as rhythms, its nagging grooves and riffs flirtatious amongst the hypnotic rhythmic incitement. Even so imagination and atmospheric calms have their say on the outstanding track, each of the three stamping their creative authority upon the apocalyptic majesty of song and in turn ears and passions.

Coleman takes to synthesizer and piano for the instrumental, Sunset In The West, which follows; joining the atmospheric intimation and dark shadows similarly woven by Ceccarelli and Di Lodovico alongside. It is a piece the imagination can run with, every listen sparking a new aspect to the dark edge of the elegance and melodic calm it casts. Haunting and at times disturbing but wholly magnetic in its deceptive elegance, the track compelled total attention.

Transhuman World completes the release, its industrial portentousness tempered by a fiery but virulent and catchy web of sound. Coleman returns to vocals as well as on synth as Ceccarelli and Di Lodovico infest the threat and raw seduction of the song with their equally firm Def Con-esque drama and imagination fuelled craft.

It completes a trio of tracks which just command attention and ignite the imagination from first to last breath. Whether this meeting of great talent will rise together again who knows but if not, the Party In The Chaos EP will stand as one of the most potent and striking not forgetting irresistible encounters of recent times.

Party In The Chaos is out now via Subsound Records on CD, LP and digitally; available @ https://deflore.bandcamp.com/

http://www.deflore.it/   https://www.facebook.com/defloreband/

 Pete RingMaster 11/07/2019

Copyright RingMaster: MyFreeCopyright

Tribazik -Tools Of Mass Creation

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Swiftly following the acclaimed success of their recent album Data Warfare, UK band Tribazik unleash their new gripping and contagion fuelled single, Tools Of Mass Creation. The closing track on their outstanding full-length, the song is an emotion and thought provoking tempest of sound and adventure, reinforcing the potential and creative emprise shining within the London based trio.

Formed by Jerry Kandiah (vocals/guitar) and Hedge Seel (drums/samples), Tribazik has grown into one of Britain’s most inventive and formidable prospects, Data Warfare their coming of age and the suspected spark to a world spotlight upon their ingenious mix of sounds. Sculpting an individual presence through the merger of genres such alternative rock, psychedelic metal, industrial, techno and much more, the band grabbed the attention of Killing Joke bassist Paul Raven from the release of the single Yang To Yin alone. The song led to the invitation and supporting of Killing Joke on two European tours as well as Jaz Coleman guesting on a track on Tribazik’s Andy Gill (Gang of Four) mixed debut album All Blood is Red in 2009. From there the pair became a trio with the recruitment of Syan and subsequently the creation and release of the self-produced and Youth (Killing Joke, The Orb, The Verve) mixed Date Warfare earlier this year. It is a fiercely flavoured tempest of imagination drenched sound and inventive force managing to cast a mix of early Killing Joke, Pendulum, Pitchshifter, The Prodigy, and Red Beat, whilst sculpting something new and invigoratingly distinct to Tribazik. Now Tools Of Mass Creation is ready to stir up another incitement for the album and itself, an aim as with its source release hard to imagine failing to achieve success.

The single harasses ears from its first breath, rhythms rapping with thick sinews on the senses whilst guitars blaze with a raw causticity to their riffs and hooks. The gothic harmonies of Syan glance across the turbulent air of the track soon after whilst beneath, the track roars with aggression and antagonistic intensity. It then relaxes into a more merciful embrace, the mellow tones of Syan snuggling closer to the ear as Kandiah unveils the narrative with his captivating voice. It is a smouldering passage prone to forceful eruptions of sonic energy and blazing passion musically and vocally. There is an unavoidable essence to Killing Joke to the track, as well as a tasty tinge of Fear Factory, but as it brawls and seduces body and emotions, the song sets down an individual character and beauty to the fury which belongs solely to its creators.

Tools Of Mass Creation is a riveting and mouth-watering furnace of sound and enterprise, the perfect doorway for those still not infected by the exciting presence of Tribazik, to dive into their glorious depths.

Tools Of Mass Creation is available on September 24th

Tribazik have confirmed a special single release party at London’s Islington Academy 2 on September 24th. To celebrate the single release of Tools Of Mass Creation, the band have promised ‘A storming show with full visual onslaught’

Tickets for the event can be purchased from http://www.o2academyislington.co.uk/event/69196/tribazik-tickets

http://www.tribazik.com

RingMaster 16/09/2014

Copyright RingMaster: MyFreeCopyright

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Tribazik – Data Warfare

 

TRIBAZIK

    Describing the sound of UK band Tribazik is easy, early Killing Joke meets Pendulum with healthy doses of the raw power of Pitchshifter, the fiery electro snarl of The Prodigy, and the rhythmic swagger of seventies band Red Beat, except as is loudly evident on new album Data Warfare, it is only part of the scintillating recipe. Forging something unique and irrepressibly contagious through the merging and rigorous gene altering of alternative rock, psychedelic metal, industrial, techno and much more, the London based trio rampage through the imagination like a sonic tornado, organic electro and rhythmic teasing entwined with hungry rapacious grooves and psyche igniting invention. It is a glorious pulsating confrontation which has already brought the band eager and potent attention though you suspect that will be nothing in comparison to the acclaim once the album reaches out and out.

     The band is the brainchild of Jerry Kandiah (vocals/guitar) and Hedge Seel (drums/samples), two musicians with a rich experience in metal based bands and having their own sound system on the underground rave scene. Linking up the pair explored styles which lit their own passions with a new and boundary pushing invention, the first results including the track Yang To Yin which caught the attention of Killing Joke bassist Paul Raven. His invitation to support his band led to two European tours alongside Killing Joke and Jaz Coleman guesting on a track from Tribazik’s Andy Gill (Gang of Four) mixed debut album All Blood is Red in 2009. Following its acclaimed release the band was then permanently joined by Syan whose previous band Interlock had released the critically acclaimed album Crisis//reinvention in 2004. The recording of the new album was hit by the death of the band’s manager Gary DS but such the force and energy to the breath-taking tempest you can only feel they used the loss to drive their creativity and passion in tribute to the man. Self-produced and mixed by Youth (Killing Joke, The Orb, The Verve), Data Warfare is a sumptuous kaleidoscope of sound and imagination, an inventive fury which transports the listener into lyrical skirmishes looking at ‘the imminent hostilities facing the human race’, and broiling sonic soundscapes woven with aggressively stirring imagination and voracious creative energy.

     A cyber enticement starts things off as Too Dead To Care emerges from an electronic cocoon to incinerate the air with a a2136431759_2furnace of sound and riffs before settling into a deliciously agitated yet perfectly poised enveloping of the ears. Immediately that Killing Joke and Pitchshifter reference coaxes thoughts as electro driven rhythms and pulsating energy fuses with the ravenous guitars. It is a senses dominating introduction to the album, one bold in its invention and unafraid in its dramatic and persistently evolving provocation.

    The intense and breath-taking start has lips of anticipation being licked and soon satisfied as Atom soon followed by Life Force Energy parade their ingenious contagion. The first of the two flirts with and peels away the surface of the senses with a skittish almost acidic electro irritant whilst behind riffs and rhythms carve out a formidable and incendiary canvas for the vocals of Kandiah to paint the lyrical narrative. His tones are very Jaz Coleman like across the whole release which only accentuates that Killing Joke resemblance, but never to the detriment of the adventure and distinctive Tribazik presence. The second of the pair from another subdued but sinister intro erupts into a blood pumping and exhaustive consumption of the senses, riffs growling with every heavy note and the beats of Seel reinforcing the tantalising damage with sharp and incisive animosity. As now expected it is just one facet of the enterprise escorting the emotions into a near rapture, melodic swarms and thought provoking craft washing and twisting around the uncompromising pulse and heart of the track.

     Without allowing the listener a breath unless they use the pause button, Tribazik keep the riveting creative pressure on with 12th Disclosure and Sonar Sumeria, the first a sonic bred incident filled experiment wailing with aural warning signs, caustic sirens, and perilous intimidation all filtered through a dangerously magnetic swamp of techno radiance and industrial predation. It is a masterful seduction taken to even greater heights by Sonar Sumeria, a celestial journey through rave spawned, psychedelic coloured, sonic romance. Throughout a vociferous energy equally brews up resulting in a sultry and elegant evocation which Pendulum would have loved to have sculpted.

    The album continues to fire up the passions and greed in an already gluttonous hunger as firstly the restrained but predatory Hacktivism with its unrelenting electro bait and metallic rabidity seduces and abrases the senses. Just as keenly a virulently addictive groove brings slavery to the imagination before the rhythmically toxic Spacetime Collapse takes over laying a wonderfully wanton and irresistible hand on the emotions as spirals of unpredictable transfixing ingenuity expand the already dexterous invention. With an additional dub coating to its expanse reminding at times of Ruts DC, the song provides another pinnacle on the lofty range of the album before the dark and menacing presence of Bloodline Crossbreed infects and magnetises an admittedly ready to drool over anything appetite for the album. Arguably not as colourfully imposing as previous tracks but with an evocative melody enriched ambience merging with the intensive atmosphere it is on the frontline of intriguing, sophisticated alchemy.

   That deliberately sculpted and thoughtfully layered turn of the album continues through the final two songs, though no song lacks invigorating intelligence and artful ingenuity in its makeup. The melancholic yet vibrantly rousing Absence Of Proof comes first with female calls lighting the surface of the emotive exploration lyrically and musically whilst the closing Tools Of Mass Creation delivers a world of sonic emprise all of its own, it a resourcefully elegant and vivaciously daring flight of moving imagination. The pair makes a mentally and emotionally mesmeric end to an exceptional encounter; Data Warfare a sensational dawning of Tribazik and their time to take the rock world by storm you suspect and hope.

http://www.tribazik.com

10/10

RingMaster 21/02/2014

 Copyright RingMaster: MyFreeCopyright

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Raedon Kong: Self Titled EP

RAEDON KONG

    Raedon Kong is a pair of musicians who on the evidence of their self-titled EP, strives to create apocalyptic sonic soundscapes which work on the listener on as many levels as there are rich dramatic layers within the incendiary expanses. Their latest release gnaws on the senses whilst challenging and eroding emotions but all the while unleashes sounds and an impacting imagination which is impossible not to be impressed by. The release is drenched in excellent corrosive discord but also creates melodic flames which though as acidic as the sonic storm around them is destructive, rewards with an enterprise which is deeply satisfying and inspiring.

The Lafayette, Louisiana duo of Stephen Sheppert (guitars/synth/vocals) and David Leonard (drums/vocals), former members of Collapsar, Hooves, and Icepick Revival, going by the EP experiment with styles, sounds, and influences to create their own tempests of noise, passion, and intensity. The likes of Zeni Geva, Neurosis, Mastodon, Isis, and King Crimson have been mentioned as suggested comparisons but Raedon Kong holds its own singular presence within such flavours. The EP creates a bruising and enveloping furnace of psychedelic and progressive sounds which are toweringly heavy, melodically burning, and driven by a doom metal gait. Lyrically and musically it is also stark and brooding, an apocalyptical landscape as jolting atmospherically as it is sonically turbulent.

The release opens with Heavy Lite, a track which emerges from a deeply resonating and intrusive pungent grasp of noise to ALBUM ARTWORKunleash a maelstrom of bedlamic invention and energy. The song at this early point is an avalanche of tumbling rhythms, incisive melodic flames, and an ever twisting surge of ideas which are defined yet manically unleashed. Soon the listener finds themselves within the eye of the storm as the track nestles within a shimmering heat and slow soft vocals wash gently upon the ambience. It is short lived though as thumping predatory drums stalk the now ignited air and riffs plunder the instilled warmth with malice and searing craft. It is an immense track and start, basically an instrumental and a piece which has thoughts and emotions, let alone senses riled up and unreservedly intrigued.

End Of Days walks into place next with inviting guitar caresses under sonic flames which glow above their beauty. It is an inviting start which explodes into a muscular hunger and intensity to further captivate if equally intimidate. The track has a definite Killing Joke feel to it in places with the vocals reminiscent of Jaz Coleman, and the longer it wraps its sinews around the ear the more compelling and potent it becomes. It ends as it began with a mild wind upon the ear to bookend the wonderful havoc between, and emerges by its end as a track which is hard to shake off emotionally and physically.

As potent in rich diversity as it is in intensive confrontation, the release offers a squall of progressive imagination next within Forgotten Son, a psychedelic flamed piece which enchants and brands the listener from start to finish. Across its protrusive journey the track scars and slices through the senses, its acerbic melodic invention and sabre sharp guitar slashes as damaging and invigorating as the rugged energy. Like each song and the release as a whole, the track reveals more with each burdensome engagement but the rewards leave the extended effort undeniably worthwhile, not that listening to Raedon Kong or their release is a trial in any sense of the word.

Closing with the masterful Ash Is The Omen, a song as delicate as morning dew and as fearsome as an avalanche, the EP from Raedon Kong is an impactful treat for all lovers of extreme, inventively embolden, and imaginatively creative music. The release is like a four headed hydra, each mazard an inciting antagonism for which only a full welcome is offered.

https://www.facebook.com/pages/RAEDON-KONG/130017550342150

8/10

RingMaster 16/02/2013

Copyright RingMaster: MyFreeCopyright

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