Raketkanon – Rktkn#2

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Barely a handful of weeks back, Belgium band Raketkanon not only ignited but incinerated the passions and imagination with the single Florent. A warped rhythmic dance immersed in a startling and ridiculously compelling tapestry of noise, the song not only announced the introduction to one compelling band but made a riveting and exciting appetising to the album it came from. Now that the release has arrived, and though Rktkn#2 does not always quite live up to that first initial seduction, it makes for one blissfully thrilling proposition.

To be fair when we say the album does not match the earlier appetiser it is not strictly true as where Florent was a swift explosive dig in the ribs of attention and lust, many of the songs within Rktkn#2 provide a slow and intensely simmering temptation which need time to convince and seduce. Ultimately they do though, ensuring every listen is a fresh and perpetually unveiling exploration that is very easy to rigorously enthuse about.

With their name meaning rocket cannon in Dutch, Ghent hailing Raketkanon create an experimental incitement seeded in a wide array of sounds and flavours. From sludge and doom to noise and psychedelic rock, the band’s music has a distinct character and invention which defies comparisons on the whole. Some have offered Melvins and Tomahawk as references whilst we could suggest the likes of Kabul Golf Club, Joy Division, Coilguns, and Young Gods as a hint to their sound but only listening reveals the dark majesty of the compelling drones, incendiary rhythms, and dramatic textures fuelling tracks and release.

10959513_10153103655542112_4720665964608033336_nThe album opens with the aforementioned single and after a torrent of listens when first released, Florent still makes the greatest magnet for the band. As feedback and sonic enticement lead into discord kissed enterprise surrounding an unrelenting prowl of invasive rhythms, the track preys on body and emotions. It has a threat, a danger, and a fascination which just engulfs the ears and psyche. The quartet of Jef Verbeeck, Pieter de Wilde, Lode Vlaeminck, and Pieter-Paul Devos continue to entrance as scowling vocals from Devos spill from his throat over the expanding web of noise. A post punk tone to the bass also emerges more prominently as the song takes to a meditative respite midway; it’s tempting aligned to twanged guitar endeavour and a calm which is almost as portentous as the returning deranged dance of noise. The song never turns into a raging fire though; its droning reserved and its croon certainly unhinged yet controlled, with only the vocals a bedlamic fury.

With each song titled by a name, Nico Van Der Eeken comes next and it too opens on an immediate bait of slow but focus grabbing beats before creating a spiralling weave of synth brewed intrigue. The effect coated vocals also have a restrained introduction though it cannot stop them bringing inviting mania into the mix. They surprisingly remain ‘subdued’ as the song raises its intensity and voracity, taking centre spot in the quieter moments of a song which despite its energetic pursuits is also nothing less than mesmeric. A flush of hardcore like influence eventually ignites the vocals in an inflamed finale to a song, and end and song leaving thoughts and emotions startled and enslaved.

The following Suzanne has an instant swagger to its lively entrance and a more stoner-esque air to its melodic sultriness, both aligned to the ever vocal and enticing down tuned coaxing of guitars. The track is a more recognisable rock proposal initially, stomping with aggression and energy before wrong-footing with a drop into calm evocative waters, a simple melodic caress accompanying similarly gentle vocals. Of course all that we suggest has another lining to it, a generally indescribable one which festers and grows into something different, here a psychedelic wind of stark and uncomfortable but mentally and physically stimulating trespass growing from the calmed storm.

The albums adventure twists around again with Mathilde, the song a gentle embrace of cold but welcoming guitar and wistful low toned vocals over repetitive and wonderfully hypnotic bait. For three minutes its sombre yet magnetic temptation enthrals before lifting its muscular head and weight with a new angst in riffs and vocals matched by a dark fuelled bassline and fiercely jabbing beats. Doomy and embracing essences of post rock, the song is one of those longer to persuade but emerges as a spellbinding and ever changing sonic emprise of emotional and physical evocation.

Elisa is another long term simmering in regard to getting under the skin but with a spine of rhythmic repetition and eruption into an angst pooled vat of intensity and sonic rapacity it wins out. Exploring a more alternative rock premise whilst continuing to throw in a constant barrage of musical and inventive curveballs, it takes time to grip the passions unlike Ibrahim which has them enslaved within the first few moments of its driving and almost sonically mystical opening. The track is sensational, a rival to the opener and a tantalising maze of spicy endeavour with an imagination bordering on the chaotic yet staying within a sculpted framework, though to be honest that in itself is bordering psychotic.

Straight away another irresistible triumph is unleashed through Harald, a contagion loaded song which is as funky as it gets in a noise woven, distortion fed, and sonic crazed enterprise. Its opening minute is sheer infection but it is when the band unleashes a rhythmic stalking bred from the same wells of invention of a Wire or Gang Of Four that the track kicks off a torrent of lustful reactions. Entangling disorientating sounds, raw vocals, and sonic disturbances, the track sculpts the most enthralling and mouth-watering demented soundscape.

The album closes with the epic Hanz, a track maybe too long for personal tastes though not one moment of its nine minutes is lacking certifiable invention and engrossing ideation. Its low key emergence is soon a continually growing and intensifying brew, harsh but gentle sounds gaining an edge and attitude in many ways before finally breaking into more tempestuous scenery, though that too is just a stage in the evolution of the song. Cinematic, transfixing, and atmospherically brooding, the track eventually finds its heaviest, intrusive touch at its climax. It is a fascinating end to the album if not the most easily accessible without plenty of attention.

As we said at the start, Florent brought high and excited hopes for Rktkn#2 and the scintillating encounter has not let us down. The single forged a plateau for the band’s music which was always going to be hard to persistently match but plenty of tracks within the album do and those missing its ledge still leave a seriously enjoyable and creatively innovative experience to greedily devour. Bottom line is that Raketkanon is a must for all fans of noise, discord, and experimental challenges.

Rktkn#2 is available now via KKK Records @ http://raketkanon.bigcartel.com/ on CD and vinyl and digitally @ https://itunes.apple.com/us/album/rktkn-2/id972774371

Upcoming show dates…

28/04/15 : Stag & Hounds – Bristol

29/04/15 : The Shacklewell Arms – London

30/04/15 : Audio – Glasgow

02/05/15 : Live in Leeds Festival – The Brudenell Social Club

03/05/15 : The Hope – Brighton

http://www.raketkanon.com/   https://www.facebook.com/Raketkanon

RingMaster 15/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Fawn Spots – From Safer Place

Pic Ben Bentley

Pic Ben Bentley

Though it will not be the fiercest most hostile offering you will come up against this year, there is definitely a visceral rawness to the debut album from UK trio Fawn Spots which has the senses curling up like paint on a wall under extreme heat. From Safer Place is a furious yet creatively magnetic seduction which rages with a belligerent hardcore and punk voracity whilst smouldering with a noise rock and post punk invention. It is also a massive grower, from a strong and captivating first impression becoming one inescapable proposition drawing ears back again and again with growing eagerness.

Hailing from York, Fawn Spots emerged in 2011, originally as a duo with the intent to “push how much noise two people could make.” One or two line-up changes has led to vocalists/guitarist Jonathan Meager and Oliver Grabowski alongside newest member, drummer Paddy Carley, now standing before the world with From Safer Place in their creative hands. Written and recorded in sheds located in an abandoned Georgian garden and lyrically inspired by T. S. Eliot and Jean Paul Sartre amongst others, the album is a stirring foraging of the senses and sparking of the imagination. It retains the intensity which has already fuelled the band’s sounds and sonic assaults but explores even greater twists of invention and twisted enterprise, its songs barbarous but also ingeniously unpredictable.

New Sense stirs the blood first, its opening sonic yawn the prelude to a maelstrom of aggravated rhythms and caustic riffs raged over by bracing and instantly appealing vocals. Hooks are just as swift a lure too, almost taunting from within the smoggy air of the track. It has to be said that initially the closed in, claustrophobic air to songs took a while to acclimatise to. It did not defuse the success and weight of the persuasions but certainly distracted for the first couple of tracks before slipping into place and becoming part of the inventive furniture of From Safer Place.

The strong start is matched by I’m Not a Man; I Never Will Be, its more controlled entrance just a deceit as it too is soon a tempestuous storm of riff and rhythmic confrontation. Barely safer_place_layout_ideapassing a minute in length, the track throws in the irresistible hook or two also, successful bait courted by a great heavy bassline as the temperature and temptation of the album continues to rise through it and find new heights via the spicy causticity of A Certain Pleasure. The band has understandably been compared to the likes of Rites of Spring, Husker Du, and Mission of Burma, but the third track, and not alone in this, sparks thoughts of older bands like The Fire Engines and Wire, if lost in the blistering causticity of At the Drive In. The track sparks new greed in an already contented appetite for the album, its potency emulated and surpassed again by the outstanding Black Water. Sinister in its melodies and vocal harmonies, toxic in its sonic enterprise, the track is post punk at its most addictively inventive and predatory.

Natural Vision returns to the smoky and oppressive texture of the beginning for its persuasion but turns in on itself with minimalist hooks and melodies which vein the intensive rhythmic and abrasing examination of the senses. Though the track leaves a satisfied smile in its wake it lacks the striking spark of the songs around it, as emphasized by the album’s title track. There is a feel of Josef K in some ways to the next song, as well as a brawling punk ferocity which vocally and rhythmically pulls no punches. It is an exciting peach of a bruising on ears and psyche, and almost poppy in its infectiousness.

The heavy rhythmic entrance of Remains sets the scene for an agitated dance of psychotic beats and brawling vocals bound in a tapestry of toxic melodies and piercing hooks next. It is a glorious violation and imagination sparking incitement which has to bow a little to the superb In Front of the Chesnut Tree which follows. Its start is ripe with choppy dark bass pokes whilst the soon joining melodic winery is pure XTC, though it all evolves swiftly into an even more apparent Joy Division blossomed tempting. The instrumental is bewitching, seriously addictive, and given the clarity which the vocals are not across the album, becomes a lusty seduction on ears and the passions.

The album is completed by firstly the hellacious tempest of Recurring Face, a hardcore spawned furnace of vocal and sonic spite infused with cold post punk ingenuity. At its conclusion it is impossible not to draw a deep breath in recovery before the closing Basque Knife consumes ears with its psychotic and predacious, but controlled swamp of sound and enterprise. It is a fine end to a great release if not living up to the previous peaks on the album though to be fair the strength of all songs seems to grow with every single dive into their corrosive beauty, this no exception.

     From Safer Place is a treat of primal and instinctive noise delivered with a similar inbred passion and animosity. It tests, stretches, and excites in equal measure and makes for a very easy recommendation.

From Safer Place is available now via Critical Heights @  https://itunes.apple.com/gb/album/from-safer-place/id943965796

http://fawnspots.tumblr.com/     https://www.facebook.com/Fawn.Spots

RingMaster 10/03/2015

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/

Rosenthal – Heart EP

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Managing to sound invitingly nostalgic and refreshingly new, the Heart EP is a captivating full introduction to Rosenthal, a Danish band already drawing a healthy buzz around themselves. Consisting of five tracks which can be described as being bred from a merger of new wave, dream pop, and shoegaze with a psychedelic colouring, the band’s debut EP is an intriguing and increasingly enjoyable embrace for ears and imagination.

Rosenthal is the brainchild and project of Copenhagen-based songwriter and producer Jeppe Kiel Revsbech. Last year saw the release of two singles, both Lashes and Afraid of Stairs sparking keen attention and enthused reactions to the band’s presence and sound. Now fresh off their successful first UK tour, the band is set to reinforce and push forward again their emerging presence in a wider arena with the Magnus Vad produced Heart EP, and with Ask Kjærgaard (guitars) and Kasper Nyhus Janssen (drums) alongside Jeppe Kiel Revsbech (guitar, keyboards, vocals), Rosenthal is continuing 2015 in fine style.

The EP’s title track starts things off and sets an early pinnacle for the encounter. The resonating yet earthy bass tone which opens the track is alone an instant irresistible persuasion. It has the same dark flavouring which gave depth and potent shadows to the early sounds of The Cure and equally Joy Division. In no time guitars add their minimalistic but expressive colour too whilst the floating vocals of Kiel Revsbech glance over ears like Green Gartside of Scritti Politti. The emerging melodic elegance of the song is a radiant hue, uniting with the mellow and sizeably infectious air of the song to incite an eager appetite in response. It is a fabulous start to the release, mesmeric yet holding a slight agitation which only adds to its compelling presence.

The following April Eyes has a lighter and airier breath to its bouncy energy and presence. From the off melodies are caressing ears whilst the bass toning again carries a dark shade to its otherwise less heavy tempting, both courted by an imagination and unpredictability throughout which sees the song easily slip from its energetic stroll into a reflective calm. This peaceful passage though is soon at the centre of a brewing emotive and sonic tempest, a brooding climate which never erupts but certainly brings an edge and drama to its landscape.

The acoustic charm of the brief instrumental An End to the Trial comes next, the stringed caresses of guitars an evocative spark for the imagination before Void wistfully seeps into ears and thoughts, again guitar expression the leading colour. Its folkish, provocative simplicity makes the perfect canvas for the similarly reserved yet vibrant vocals. It is a simmering sunset of sound and emotion but as darker hues add their tints it evolves into a tempestuous atmosphere of dark alternative pop. From a potent start it grows into a bewitching proposal for ears and thoughts, spicy hooks and tangy melodies expelling mouth-watering noir bred temptation. The song is an enjoyable slow burner but grows even more thrilling in its latter climatic stages.

The closing A Dream is like the first song, one seeded in the post punk and dark pop of previous days whilst casting its own fresh character of sound. Resourcefully bred from a New Order/Bauhaus seeding, dark wave shadows ignite the passions instantly whilst the emerging Billy Momo like folk charm and Cocteau Twins like ethereal melodies, simply absorb and accentuate the whole unique adventure. Keys also add suggestiveness to the mix, an OMD spicing working within their poetic ambience. It is a tremendous song and end to the EP, Heart bookended by its best two tracks but with plenty to eagerly embrace in between.

As the final song slowly drifts away it leaves ears and thoughts keen to immerse once again in the Rosenthal sound. Heart is not exactly going to bowl you over with listen one but it lingers, luring the listener back time and time again, a rich success in any one’s book.

The Heart EP is available now via Afterimages via most digital stores.

https://www.facebook.com/rosenthalsite

RingMaster 10/03/2015

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/

 

 

Horse Party – Out Of Sight/Receiver

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The exciting thing about UK band Horse Party is as much as they have openly grown in songwriting and sound, they have lost none of the instinctively raw and organic essences which made them strikingly leap out with debut single Back To Mono almost two years ago. Their new single is bound in majestic raunchy charms as both Out Of Sight and Receiver show new striking steps in craft, sound, and sheer creative adventure, but each still seduces with that primal spice which brought the trio to life.

Hailing from Bury St Edmunds, the threesome of vocalist/guitarists Ellie Langley and Seymour Quigley, alongside drummer Shannon Hope, have persistently garnered acclaim and an increasingly growing and devoted fan base with their gripping and at times sinisterly devilish sounds. From the Scarlet & Blue EP to last year’s debut album Cover Your Eyes, released through Integrity Records, Horse Party has gripped attention and increasingly greedier appetites, including those of 6music’s Lauren Laverne and Steve Lamacq, Shell Zenner at Absolute Radio and XFM’s John Kennedy. Live too the band is no stranger to eager responses, last year seeing the band successfully playing Latitude Festival’s Lake Stage at the invitation of Radio One’s Huw Stephens and BBC Suffolk Introducing. Now Out Of Sight/Receiver is poised to push the band on again, and as it is without doubt their finest hour to date, it is hard to see it failing to tempt the broadest spotlights upon the band.

Out Of Sight starts things off and is instantly prowling ears with thoughtful yet predatory riffs from the guitars matched by crisp beats. The darkly seducing tones of Langley queens over the 10847766_768484469911623_4136520996259037093_nentrance, her delivery sure and intense yet wholly seductive from the first breath. Widening its expression without leaving its shadowed scenery, the track proceeds to tease with small burst of melodic light and anthemic vocal unity whilst steely hooks only add to the addictive bait of the song. Fizzing up further into its presence with psychedelic lit sultriness and smouldering emotion, the adventure continues to be unpredictable and inescapably addictive with a chorus which similarly becomes more virulent and entrancing over the length of the outstanding song.

It is a glorious temptation but even with its might cannot help being surpassed by the delicious alchemy of Receiver. More energetic from the first second, the track is also an even darker and more sinister provocation, riding in on an irresistible post punk rhythmic baiting of ears and imagination. It is wonderfully repetitive from hereon in, riffs and hooks recycled with compelling effect as the dual tones of Langley and Quigley croon with sobering yet magnetic persuasion. That post punk essence is a constant treat within the song too, essences of bands like Au Pairs and Joy Division merging with the darker side of a Morningwood or Yeah Yeah Yeahs, but coming out as something ingeniously unique to Horse Party.

The song as the single is outstanding, both songs easily the best things to emerge from the imagination of the trio and they have some treats already under their creative belts. Horse Party is a band ready to join the frontline of the UK garage rock/rock scene and with releases like this drive it to new heights.

Out Of Sight/Receiver is available from February 23rd on limited edition 7” black vinyl as a co-release by R*E*P*E*A*T Records and the band’s own Pure Deadly imprint @ https://horsepartyparty.bandcamp.com/album/out-of-sight-receiver-7-single

Horse Party are also on tour right now with upcoming dates at…

Friday 27th February – Ipswich Steamboat Tavern

Friday 27th March – London The Garage

Saturday 2nd May – Bury St Edmunds Fringe Festival

Friday 15th May – Cambridge Junction

Saturday 13th June – Norwich Open

https://www.facebook.com/horsepartyparty

RingMaster 22/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

 

Antigone Project – Self Titled EP

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Creating electronic rock with seemingly a healthy influence of eighties synth rock and new wave, French band Antigone Project recently released their debut self-titled EP. It is a proposition which merges numerous potent flavours into atmospheric flights of sound, each soaked in evocative ambiences and embracing as many nostalgic essences as it does fresh endeavours. The release grows on the ears and psyche, making a strong first impression but evolving into an even more stirring proposition over time and plays. It is fair to say that it did not quite ignite a fire in the belly even then, but like a lover’s caress it coaxes and lingers for a thoroughly enthralling and enjoyable proposal.

The Antigone Project is the creation of vocalist/guitarist/keyboardist Frédéric Benmussa, initially a solo project formed in 2002 and expanded over time by the addition of lead guitarist Nik Nonotte, bassist Manu Ventre, and drummer Fred Monaco. With shows alongside the likes of Moriarty and many festival appearances subsequently under their belt, the Paris quartet has continued to evolve and hone their sound over the years, fusing French and English sung songs into an attention luring collection of songs inspired from the likes of Pink Floyd, Depeche Mode, Radiohead, Joy Division, Tool, and numerous more. Last November the band released this, their debut EP, and the Florent Livet (Phoénix, Housse de racket, Bloc Party) mixed and Antoine “Chab” Chabert (Daft Punk, Justice, Detroit) mastered proposition was swiftly drawing acclaimed loaded reactions.

As The Voyager spreads its elegant charm across ears it is easy to see why the release has been keenly embraced so far. With radiant and vocal melodies emerging from keys as a spoken narrative whispers in raw tones, the song is soon sparking the imagination. It eventually erupts into a magnetic flight of sonic intrigue and suggestiveness as rhythms roll across its broadening a1738344167_2scenery before settling into a more restrained grazing of evocative vocals from Benmussa and matching sounds. Predominantly though there is a spatial air to the track, a vast soundscape of aural drama and sonic adventure which drives the music and sets the release off in striking style.

The following Lux Machinae bubbles with electro vivacity from its first breath, a darker yawn of keys the only shadow to the track’s melodic dance. Benmussa again immediately impresses with his vocals whilst musically the song has a flirtatious essence of bands like Blancmange and Depeche Mode to its character. Rawer tones from the guitar also infuse the flavoursome tapestry of the song, helping create an almost fiery heart and presence especially in the raucous finale where vocals are as emotionally aflame as the rich sounds around them.

Diversity is openly available on the release as shown again by the guitar led entrance of Egolist. The track glides into an eighties bred sway of sound from that initial coaxing bringing a definite Visage flavouring to the French language delivered temptation. A relatively gentle stroll from the start with a slightly brooding texture to its persuasion, it breeds an increasingly intensive drama which subsequently fuels every emerging aspect of the impressive and riveting romance with the senses. It is the peak of the release but straight away backed by the celestial seduction of Alphabot. Keys once again take charge as they steer the song, creating a soaring sonic expression nicely tempered by a great darkly lit bassline. There is a feel of Interpol and UK band Silhouettes to the emotively crafted croon which only aids the seduction enveloping ears and imagination. The song does not leap from the speakers but binds the listener into a long term and persistent tempting which is just as potent as the more immediate thrills of other songs.

The EP also comes with a trio of bonus tracks, starting with the rhythmic jungle and melodic incitement of Eko. The song explores another avenue to the band’s sound, its body taking on an indie and rock rawness to stand aside of its predecessors. The track is a riveting look into another corner of Antigone Project’s sound and invention, and definitely is more than just a bonus treat, much like God Played A Trick On Us which equally explores new territory with an underlying folk lilt to its emotive balladry. As it simmers with increasingly livelier intent, keys and guitars create a magnetic cradle for the alluring vocals. The song reminds ears in many ways of Colin Vearncombe and his project Black, rivalling anything else on the EP before the outstanding Infinite Pulse provides a closing weave of electronic tempting. Its sizeable enticement comes complete with a bass lure surely inspired by The Cure as well as vocal and melodic theatre bred from seeds of The The. It is a striking end to an excellent introduction to the Antigone Project who, in bridging nostalgic and modern sounds in their unique yet welcomingly familiar way, you can expect to see in more intensive spotlights from hereon in.

The Antigone Project EP is available now via Samla Music @ http://findiemerch.com/en/antigone-project-antigone-project/ and digitally @ http://dooweet.bandcamp.com/album/antigone-project

https://www.facebook.com/antigoneproject

RingMaster 07/01/2015

Copyright RingMaster: MyFreeCopyright

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

http://www.thereputationlabel.today/

 

 

 

 

The Black Black – Boogie Nights

BandPhoto-1-WalterWlodarczyk

There is no denying that the One Blunt Death Party / You’re A Danger 7” single from The Black Black towards the end of last year, scored a deep rooted place on the soundtrack of our and a great many other’s passions with its three tracks of psyche flirting post punk. The release was not only confirmation of an already impressing emergence from the Brooklyn band but a sign post of greater exploits being brewed. It is a recipe which has come to a scintillating and seriously compelling boil on the trio’s debut album Boogie Nights, a salaciously contagious and schizophrenically toned incitement of post punk devilry. Inspired by the 1997 movie of the same name, the album is dirtily seductive and sonically swarthy, though no fakery in colour or overblown additives can be found on the lean and creatively rapacious groove machine. If you thought The Black Black was already the tang to your ears and day, be prepared for melt down once the rhythmically voracious and sonically irresistible Boogie Nights takes hold.

Formed in the latter months of 2011, The Black Black were soon luring attention with the self- release of a pair of EPs in 2012 and a split 7” with fellow Brooklyn band Low Fat Getting High. The early weeks of 2013 saw the band entering the studio with drummer Stephen Chopek (The Everymen) to record the double-A single One Blunt Death Party / You’re A Danger, the first for Money Fire Records and released in the September of that year. It was the spark to a far broader awareness and attention upon the band, the acclaimed release also in the words of the band, the first which “truly captures the bass-driven, groove-heavy sound and energy of the band.” With drummer Tomo Ikuta joining the founding pair of guitarist/vocalist Jonathan Daily and bassist/vocalist Chris Schnaars also that year, the band has obviously continued to hone their sound and invention resulting in an album which stalks new plateaus of imagination igniting alchemy.

From the first stubby rhythmic swipes and acidic strikes of guitar, opener the plan is, there is no plan has thoughts and appetite on their feet and throwing moves. The angular spicy sparks and grooves of guitar are instant flirtation which the wonderfully throaty bassline and crispy rhythms match in imposing kind. Teasing with a bluesy scent to those grooves and its air, the song continues to rumble and shuffle vivaciously as expressive vocals behave as mischievous and predatory as the sounds around them whilst sudden dips into restraint and melodic seducing add extra bewitchment.

The tremendous starts is straight away emulated by black black snow, the second song again throwing out wiry and tasty grooves as its body swings beats and riffs like an Ian Curtis dance. AlbumCover-MichaelSincavageThoughts of Wire come to the fore quite swiftly, as too of The Gaa Gaas whilst the raw and rhythmically addictive side of the track is bred from the same primal instincts as The Fall. The track is a scuzzy turbulence of pure addictiveness and sonic sexiness, but it and its predecessor soon have to bow before the brilliance of until death do us party. The lead single from the album, it is a temptress from start to finish with a compelling acidic groove, coldly exotic hooks, and anthemic vocals as its biggest weapons out of many. Discord as ever is a vibrant colour to the band’s sound whilst a toxic melodic hue only excites the already vivacious adventure, but with grizzled bass tones and agitated rhythms courted by Mekons like sonic tenacity, the track breaches an ingenuity which is breath-taking.

The following what the world needs now strides purposefully in next with a beat carrying bulging biceps and a grizzly bass enticement which soon has the appetite licking its lips. A low tone to the vocals adds to the addictive drama before the song expels a caustic breath and garage rock ferocity. It slips through both elements again before twisting into a psychotic swing and vocal bedlam which again has body and thoughts dribbling in pleasure. The glorious tempting takes a different avenue with the darkly shadowed machine, who me?, cold almost sinister essences draping over the vocal agitation and Joy Division seeded revelry. As in all encounters though, numerous side steps and unpredictable turns bring greater fascination and ardour the way of the eventual Baddies flavoured evocation.

The previously exalted you’re a danger soon has ears and feet engaged with its slightly unruly but seriously infectious sonic emprise. Wrapped in richly spiced tendrils of melodic fire and intimidating bass menace, the song simultaneously smoulders and stomps on the way to hypnotising the senses with its unrelenting and feverish tapestry of alluring discord and searing guitar toxicity. The track as so many from the band, just seems to grow and worm deeper under the skin over time, a persistence which flows through the album and especially in songs like this drink’s familiar. Shimmering loudly with every shudder of guitar strings and grouchily tempting with every bass slap, the song slowly swarms over the senses, flirting with ears on the way through with bright flickering moves and raunchy beats.

Things get dirty and greedily energetic again with the silence is deafening, a grooved beast of riotous and infection fuelled escapades, and restrained with the sultrily tempting phillip gets divorced. The second of the pair is unafraid to occasionally fire up its bedlam though and bursts into occasional fierce blazes of sound and vocal fury, whilst both songs treat the imagination and passions to exhilarating doses of bracing and abrasing rock ‘n’ roll.

With the similarly irresistible creative psych-out of this land is not your land bringing the album to a close, Boogie Nights has little difficulty inflaming old passions and triggering new lustful responses. It is a certain challenge to all best of lists due to be offered around now and for newcomers to The Black Black an inescapable and thrilling doorway into post punk anarchy whilst for fans it is simply the best thing since…well the band’s last sonic plaything.

Boogie Nights is out now via on Money Fire Records digitally and on 12″ white vinyl @ http://moneyfirerecords.com/boogie-nights-by-the-black-black/ and http://theblackblack.bandcamp.com/album/boogie-nights

https://www.facebook.com/theblackblack.nyc

RingMaster 12/12/2014

Copyright RingMaster: MyFreeCopyright

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

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Dope Body – Lifer

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In covering Natural History, the previous album from US noise sculptors Dope Body, we boldly declared the band as ‘without doubt one of the most exciting bands in music right now’. Returning with its successor Lifer, the Baltimore quartet has done nothing to change or dispel that declaration. The release is a glorious and voracious maelstrom of invention as now expected from the band, but also one with another open twist in the evolution of Dope Body’s sound. Certainly Lifer is the band’s most rock ‘n’ roll release to date, raw and attractively abrasive, but within tracks and sounds are as dramatically eclectic as ever.

Formed in 2008 for originally just a one off show, Dope Body soon saw and found their sound stirring up the local scene and its passions. Early releases via HOSS Records drew potent attention but it was Natural History, released as the new album through Drag City, which widely announced the band as one of the more original and creatively warped fresh breaths in modern music. Between albums the band has feverishly toured and played shows before seeing the latter part of last year out taking time focussing on other endeavours, bassist John Jones on his solo project Nerftoss and guitarist Zachary Utz and drummer David Jacober with their two piece band Holy Ghost Party, whilst vocalist Andrew Laumann turned to his visual arts side and exhibited work at the Galerie Jeanrochdard in Paris, the Pre Teen Gallery in Mexico City, and Signal in Brooklyn. This year though soon saw the foursome back together in the studio and with producer Travis Harrison creating what is another stirring encounter from them.

The album opens with Intro, an instrumental with carnival-esque vivacity and mischief to the gripping rhythmic juggling of Jacober and scuzz bred tenacity of guitar. It is a great raucous start to the album, instantly unveiling some of the varied rock ‘n’ roll seeded essences to be explored across the release. The piece subsequently slips seamlessly into Repo Man and its opening slow caress and shadowed crawl. Right away the distinct tones of Laumann entice and flirt with ears before raging to match the increased intensity and aggression of the music. It is a captivating track which has as much an air of Nirvana to it as it does The Stooges. In hindsight it is a steady opener to the album in many ways, a raw encounter which as the album, holds a real live feel to its touch and breath, but proves to be just a taster of greater things to come.

That stronger potency grips ears and imagination right away with Hired Gun. From a deliciously acidic web of sonic revelry, the song strides out with a garage punk energy and causticity, though it is still prone to the great scythes of sound liferwhich opened up the encounter. Taunting senses with a devilish swagger and punkish rabidity, the track is a transfixing slice of noise rock, but as expected from the band only part of the story as seductive surf rock sultriness and rhythmic tantalising emerges before a fiery finale. From this song the album really takes unpredictable and diverse shape, the following Echo sauntering through ears with a smouldering blues climate aligned to garage punk turbulence. Like Tom Petty plays The Cramps, the song is an enthralling croon with tendencies to expel caustic ferocity as it makes another step up towards the album’s highest peaks.

They come in the next clutch of songs, starting with AOL. A brawling slab of blazing hard and punk rock incitement, whispers of The Clash and Melvins hinting away, the track comes loaded with lingering grooves and biting hooks for a relatively brief but scintillating roar. It sets ears and emotions up perfectly for the even richer triumph of Rare Air. A song which kind of bridges this and the last album, it emerges from a metronomic coaxing lined with a ridiculously infectious sonic tempting. Instantly there is a post punk emprise to the song, bass and guitars flirting with a mix of Joy Division, Tones On Tails, and John Foxx led Ultravox breeding. It is a gripping adventure with Laumann as vocally enterprising as the tapestry of sounds and textures around him. The pinnacle of the album, the song alone reasserts Dope Body as the imaginative masters of sonic and noise alchemy.

Straight away confirming that point, the dark seductive Day by Day steps forward next. With a heavily shadowed bass resonance spotted by sonic elegance making the first gentle touch, the track forcibly intrigues and entices senses and imagination, increasing its lure and potency as it gathers pace to craft a Bauhaus like tension and presence. That increase in energy also brings a funky gait and appetite to the song, which in turn leads to squalling clouds of scuzz lined ferocity and garage rock devilry. With a pinch of psychobilly and a dab of old school rock ‘n’ roll too, the song takes the listener through scenery of explosive invention and bold creative mischief, all persistently cored by the irresistible throaty bassline which kicked it all off.

Toy strides purposefully across ears next to return the album to another boiling garage punk/grunge soiled stomp, engaging ears in a dusty rampage of Rocket From The Crypt meets Damn Vandals like irreverence. As everywhere though, references only give a slight idea of something uniquely Dope Body, the band forging new templates and imagination smothering ingenuity at every turn, proof of course immediately coming forward through the pair of Nu Sensation and I’d Say to You . The first of the two is another multi-flavoured rocker, seemingly embracing every corner and era of rock ‘n’ roll to give birth to an uncompromising and inescapably addictive rock devilry, whilst its successor is a torrent of repetitive hooks and lingering grooves as catchy as the common cold and sneakily lingering.

The album is closed by the striking Even In the End, a song opening on another skilfully conjured rhythmic contagion before spreading its melodic and atmospheric tendrils into a progressive terrain of bracing sonic invention and immersive dark shadows. Within that landscape though, guitars and beats unleash imaginative and lively agitation whilst vocals range from slow drawls to raging emotion. It is an absorbing exploration bringing the outstanding release to a mighty close.

Lifer is not a step forward in quality for Dope Body but a side step from Natural History into similarly impressive and individual waters. The excitement brought by a Dope Body encounter continues and the band grows in stature once more.

Lifer is available via Drag City now.

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RingMaster 23/10/2014

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