Louis Jucker – Eight Orphan Songs

louis jucker pic

It is hard to define exactly what it is that Louis Jucker conjures on his new EP Eight Orphan Songs which creates such an emotional impact and connection but the eight raw lo-fi temptations which make up the release manage to seduce and ignite the imagination with ease through its almost primal craft and persuasion. Certainly the strength and creative ingenuity of the intimate reflections and incitements does not surprise coming from a member of The Ocean, Coilguns, Kunz, and The Fawn but the DIY sound he sculpts on the EP might you suspect unless previously aware of earlier solo efforts. It has an abrasive experimental intent which can be aligned to that of Coilguns but other than that the anti-folk seeded musical endeavour is a unique and haunting examination of thoughts and feelings.

Eight Orphan Songs is the first actual official solo release from Jucker via Hummus Records but follows previous releases including the EPs Spring! Spring! Spring! and Chinese Sketches, all of which are available as free downloads via the label’s Bandcamp profile. The new release continues the exploration started on earlier experimentations, a fusing of bontempi beats, raw almost caustic acoustic guitar, and haunted leaning on traumatised vocals which simply wrap the lyrical narratives in a potent lingering evocation. Written whilst Jucker lived in an old flat in Switzerland in 2012 and inspired by the experience and feelings of that time the EP is an extraordinary aural journal; in the words of Jucker “The odd beauty of the words and melodies of the record is an echo of the days I had there.

The release opens with Feathers, its rhythmic enticement a perpetual hook into the heart of the moment represented. A strong a3645567050_2scuzz kissed guitar provides the landscape which Jucker with his distinctive and startling vocals colours with magnetic intrigue and emotive hues. His delivery with the track, and the release to be honest, has not exactly a schizophrenic feel but definitely an emotional and visual discord bordering disturbed breath which makes it scream in invention and uniqueness whilst immersing the listener into a striking new world and innovative passion.

People Are Noises is the next to transport the senses to a passage of time it sparking the imagination to visualise a speeded up stroll through crowds of rapidly passing emotion clad lives. It is a musically poetic and lyrically inciting venture, one deceptively simply but made of rich textures sonically and emotionally which just captivates as does its successor We Lived A Mountain. The song has a deeper throat to its sound and presence, a darker temptation with an unfussy but effective hook which carries a punkish lilt, especially within the infectious fiery moments. It is a glorious psych rock bred incantation for the passions and the best track amongst an octet of impressive and riveting suasions.

Sleepwalkers continues with the intensive atmosphere, the heavier sonic blaze of the guitar a stirring and burning melodic flame over the simplistic rhythmic frame. The track has a touch of garage rock to its lilt, a rougher predation though one only spicing the enthralling unrefined sirenesque call of the song and the ever provocative vocals. It is another pinnacle in a row of peaks which is emulated in quality and endeavour by The Girl That Left You At The Bus Stop. The track tantalises and stirs thoughts, the acidic guitar and vocal harmonics a sultry caress within a raw production which tempers but equally accentuates their beauty and elegance. There is drama in all songs upon Eight Orphan Songs but this song has the strongest descriptive narrative of all in many ways, it casting a scene in the imagination all can find a reflection within.

Both I Curse You and You Are My Glasses coax the passions further, the first of the two having a seemingly familiar melody which persuades like an existing friend whilst inciting the sense of an emotional unknown Its successor is an evocative electrified consumption which seduces and riles the senses beautifully, the song another riveting example of the rich songwriting and its under-baked yet incredibly informative and adventurous realisation.

Completed by the excellent acoustic and thoroughly stimulating Major Chords Solve Minor Problems, Louis Jucker’s EP is a deliciously honest and expressive slice of invention. Eight Orphan Songs is ingenious lo-fi alchemy and something fans of his other bands and projects should want to explore; they will not be disappointed.




RingMaster 15/11/2013

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Shevils – Lost In Tartarus

Photo - Kamilla Kvamme

Anticipation for the new album from Norwegian hardcore band Shevils has been eager even bordering on rabid for us, especially after the temptation and hinting of impending glory which came with the already released singles from it, We Walk On Shattered Glass and Black Eyes. The songs showed perfectly why the band has bred a fervour clad following for their distinctive and adventurous sound and why Lost In Tartarus could be the trigger to the widest deserved recognition for the Oslo quartet. The ten track fury of invention and passion is a monster of a release, a brutal yet ingeniously sculpted confrontation which equals the heights suggested by the singles and surpasses the promise set by previous releases. The band has an adventure and exploration to their sound which not only sets them apart from most hardcore bands but puts them on the frontline of the genre, the evidence being rife and rampant within Lost In Tartarus.

Shevils first made a richly promising and attention luring entrance with their debut album The Year Of The Fly of 2011, the release coming a year after the band’s formation. It made a strong impression, receiving enthusiastic responses and acclaim, as did the following single Is This To be (Our Lives)? the same year. The foursome of vocalist Anders Voldrønning, guitarists Andreas Myrvold and Christoffer Gaarder, and drummer Anders Emil Rønning (expanding to a sextet live), continued to build their stature and sound through live performances, which has seen them to date play with the likes of Man The Machetes, Social Suicide, Overthrow, Barren Womb and many more, and the excellent Necropolis EP of 2012, that release receiving its uncaging in Indonesia early this year to incredible acclaim and greedy attention. As mentioned the two singles released in 2013 has triggered a hungry appetite for the band’s second album in a great many, all rewarded and more by the sonic riotous alchemy of Lost In Tartarus.

Opener Is This Where We Are At?, as maybe expected barges through the ear from its first breath, riffs and rhythms striking 1424384_730606523620529_1143928494_nhard whilst squalling vocals from Voldrønning and band bring a causticity which Shevils is so good at making distinct to themselves. The band brings multiple flavours and ideas to their songs, styles which flirt and run amok within the hardcore heart of their songs, and the first easily shows how effective and inventive it is. Grooves and hooks conspire to seduce whilst the energy of the band bruises with unrestrained intensity as an unleashed melodic acidity colours the fury. It is an invigorating and incendiary mix which with a want, maybe need within the band to experiment is irresistible.

Black Eyes is a trap quickly sprung by the passions, its rhythmic swagger and challenge an addictive enslavement  and the frame for the antagonistic vocals to launch their tirade upon. The guitars equally lure with virulent scythes of sonic temptation from the off which ignite into a burning fire as the throaty bass prowl and ferocious energy of the band explodes in hot crescendos of attack. The track is an intrusive and unbridled contagion, creating a stunning maelstrom of adventure best described as Coilguns, Kunz, Man The Machetes on a rampage with a lighter punkish feel of Baddies. That description applies to numerous exploits within the album but all tracks are pure Shevils in their potency and ultimate sound.

The heavy bass stroll provided by Marcus Forsgren brings Timelines purposely and pleasingly into focus  next, another rich enticement laid as the band combines to stomp and lurch around the ears with another epidemically riveting punk brawl. Offering a persistent stalking, the song ripples with attitude and antagonistic intent musically and vocally whilst the constant growl to the guitar riffs bring a primal intimidation which only reinforces the confident prowl.

Both Sorely Fucking Provoked and These Walls Are Coming Down exploit lustful passions for the album further, the first a rapacious tempest of rhythmic combativeness and sonic pestilence honed into a tantalising yet menacing aggressor, group shouts and energy driving it forcibly home whilst its companion led by a crawling bass examination expands into a ridiculously captivating fascination of spellbinding melodically touched grooves and scathing sonic imagination.

We Walk On Shattered Glass soars to the highest pinnacles of the album next, the song still as scintillating as its first appearance as a single a few months back. Intensive rhythms barrack and massage the ears first, a bass growl their delicious companion to be soon joined by the sonic web of noise from the guitars and the ever impressive vocals. Incredibly hungry in its reserved yet ravaging voraciousness and unstoppably infectious in its maelstrom of ingenuity, the track is a titanic persuasion, easily one of the songs of the year and soon rivalled by State Of Regret. Once again bass and drums ignite the senses and passions to set up the frame for a canvas of vocal scowling and skilfully grooved sonic teasing to play out their intentions, the result another quite hypnotic creative frenzy.

The relatively straight forward hardcore attack of Blizzard Beach, which reminds a little of Irish band Gacys Threads, adds another brief but powerful element to the album whilst the excellent perpetually evolving Destroy All Villains and the closing storm of Young And Restless impressively concludes a quite exhilarating slab of breath-taking invention and adventure. Shevils offers hardcore something new and different and in Lost In Tartarus, an album which just sounds and gets better with each listen, one of the genre’s pinnacles of the year, of hardcore, punk, and extreme rock of any description to be honest.



RingMaster 08/11/2013

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Coilguns: Commuters


    We have always thought and declared Coilguns as one of the most important bands in rock music today, a group of musicians who are evolving a template for future extreme noise bands  to aspire to. Through their varied releases the Swiss trio has grown and evolved from something already special into a force of creativity which is as inspiring as it is destructive.  For all the great things to date it they all pale against the stunning might of their debut album Commuters, a release which makes our current sense of their importance seem inadequate.

Consisting of The Ocean members Louis Jucker (vocals), Jona Nido (guitars, bass, mini-moog), and Luc Hess (drums, bass), Coilguns conjure extensive intrusions which explore a merger of d-beat, grind, black metal, and a technical prowess which strips the senses whilst rewarding them with sheer corrosive pleasure. Though discussed as a project for many years the band found its seeds in the songwriting of Nido whilst alone in the US. Returning he recruited the other members and within weeks they left a studio with three striking tracks which went to make up the excellent split release with Kunz on Pelagic Records in 2011. The EP Stadia Rods followed the next year, a raw and devastating 30 minutes release recorded as a live confrontation in a day. After the following impressive and acclaimed split release with NVRVD also in 2012, Coilguns was at their height of power and invention, or so many thought but Commuters is the band at another incredible aggressively inventive level and just another step in their unstoppable rise.

Released on Pelagic Records on February 22nd, Commuters was again recorded entirely live apart from the vocals, each song in 02_Front_Cover_Webone take and it is this intensive attack which also helps alongside the immense songwriting, to give it the organic power and energy which sets the release and band apart from the rest. It is abrasive and intimidating but layered with textures and primal structures which are violent manna for thought and passion. The album also features invited guests including Keijo Niinima (Rotten Sounds / Nasum) who added  vocals for a track.

The release opens with the two parts of the title track, the first bursting onto the ear with stirring riffs and a towering rumble of rhythms and energy. Into its hungry stance the track expands into a tempest of incendiary sonics, persistent drum jabs, and a breath which scars and gnaws on the senses whilst the clean squalls of vocals lay their declaration with passion and aggressive intent. The track is an exhausting encounter which ignites every primitive and emotional response within and leaves a blissfully sore and breathless listener in its wake though there is no time to sit back and soothe the wounds as such as part two looms into view on military beats and a stroking acidic guitar caress. The spoken vocals engage thoughts and ear with their evocative narrative and there is an unsettled peace soaking the air though also a slowly brewing intensity which grows as the track and vocals conspire to consume and thrill. It is well into the second half of its eleven minute presence that you realise just how much the song has thickened in intensity and a kind of desperation is coating the vocal encounter and as the realisation sinks in the track frees its full corrosive magnificence to devour and burn the senses.

The sensational likes of Hypnograms with its insidious groove and mesmeric persistent seduction and the equally compelling Machines of Sleep bring a diverse yet similarly destructive facet as of the first songs to the continually evolving album. Both tracks are linked in venom and malevolence with the second the brutal merciless doppelganger to the milder mannered but still aggressively intimidating first sonic flame. To be honest there are not enough varied and strong enough superlatives to be found to describe the album at this point alone such the abusive and creative masterclass of perfectly designed contagious noise let loose so take it as read that from here on in Commuters just pushes the boundaries of band and extreme music beyond their limits with skill and startling imagination.

First single from the album Plug-in Citizens is a brawling furnace of intensity which enriches the already spawn rapture further whilst songs like the infectious and ruinous Submarine Warfare Anthem and the ravenous Minkowski Manhattan Distance featuring Keijo Niinima, thrust body and soul into a manic maelstrom of fierce ingenuity. The diversity and blistering quality just continues right through to the end with 21 Almonds a Day and Flippists / Privateers further pinnacles in nothing but powerful highlights.

Commuters is quite brilliant, an album which will be called a classic for decades to come, and right now Coilguns stands even more impressively as one of the most important bands in music today.



RingMaster 07/02/2013

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Haut&Court.: La vie

Haut & Court

If you have not yet discovered French destructors Haut&Court. then read on to learn about your first essential purchase of 2013. Formed only in June of last year with this their debut EP being unleashed in the closing weeks of the 2012, the trio from Strasbourg has announced themselves with a quite incredible and irresistible onslaught of sonic intensity driven magnificence. It is wonderfully raw and unpolished, a cancerous corruption which uses your testicles, real and imaginary, as a malevolence drawing punch ball and the senses as passion soaked whipping boys. For a debut from a band arguably still learning their craft and way around their sound it is one of the most promising and rewarding releases in a long time.

Consisting of vocalist Arnaud, guitarist Bernard, and drummer Ravind, the band has fused the essences of grind, mathcore, crust, and hardcore to name a few of the flames which heat their sound to create a sonic furnace which is tagged as mathcrust. Whatever title you wish to give it, the music is a compulsive and invigorating abrasion which just sparks rapturous reactions. Describing the release as a mix of Dillinger Escape Plan, Pig Destroyer, Kabul Golf Club, Kunz, and Extreme Noise Terror is a mere hint but the best we can do for this unique and inspiring confrontation.

Let It Burst sets to upon the ear and beyond first with its sonic squalling, corrosive breath, and vicious growling vocals. Mixing up1102917326-1 its pace and pressure throughout, the song is either gnawing away at the synapses with tight insidious manipulation or pummelling with a tempest borne energy and might. The track in hindsight is the mere appetizer for the violent imagination to follow but is still an impressive and stirring opening for the release.

The raw almost suffocating edge to the production only adds to the strength of the EP, which has its pinnacle across the remaining rages of sound. Krokodil is a sensational infestation of serpentine guitar licks, crushing rhythms, and enveloping erosive energy. The soft undergroove of the song is a sirenesque beckoning from within the scything sonics and ravenous presence of vocals, intent, and simply the song itself, all merging to consume the senses.

The excellence of the song is exceeded by the following This Genesis, a track which is like a rabid beast playing with its victim, twisting, slapping, and slicing it into a bloodied whimpering husk. It is a staggering riot of invention and sound which sucks the breath away and turns thoughts and emotions to a quivering mess. We all know the term noise annoys but here noise is an orgasmic pleasure which is continued with the almighty bruising depths of Colision. Like a tsunami of sound the track overwhelms and snakes into every corner of the psyche and heart. It is a giant brawl of rhythmic malice, guitar mayhem, and vocal spite which triggers every positive acclaim possible especially with its squirrelling hornet nest of sonic nastiness.

La Vie is completed by the aural swipe Life, an avalanche lasting less time than it takes to grab a breath and the final triumph Wasted Time For Wasted Minds. The ingenuity of the EP continues into this last slab of brilliance, its vindictive presence crawling into the deepest corners as it lies on the ear with a richly ominous weight. It is a brutal swamp of intensity to perfectly end a release for which only the highest acclaim can be offered.

With La Vie being just the first introduction for Haut&Court. it is frightening of just how immense the band could become and very exciting. Released as a name your price purchase this is the only way to start your imaginative noise driven 2013.


RingMaster 03/01/2013

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Coilguns/NVRVD: Split EP

Everything about the new split release between Swiss sonic manipulators Coilguns and German hardcore destructors NVRVD (Never Void) is stunningly impressive. From the 10″ black & white marbled vinyl presentation through to the synapse staggering heart thrilling sounds, the release is exceptional. From previous Coilguns releases there is now a set expectation of something special with each confrontation upon the ear, but with this split they and equally NVRVD have pushed up that bar for and pleasure from violent noise driven invention.

Released through a clutch of labels in Dead Dead Dead Music, Hummus Records, Savour Your Scene Records, and Invektiv Records, the release finds two  new tracks from each band paired with a couple of live cuts from both too on the digital download version. It is a full and explosive mix of studio and live which is raw and intrusive alongside being experimental and imaginative. Each song holds down the senses to violate and abuse whilst igniting a smouldering glow within as they stand grinning over their prize, your passions. If either band has raised your temperature and heart rate before than the split will leave you simpering in your own blissful juices, if both are new than a devastating treat is in store.

First up Coilguns unleashes two caustic sonic delights in Mandarin Hornet and Dewar Flasks. With their debut

photo by Gobinder Jhitta

release, the outstanding split with Kunz and the following thirty minute brutal intimidation of Stadia Rods, the trio of Louis Jucker, Jona Nido, and Luc Hess set out their stall as one of the more inventive and twisted sonic manipulators around and this pair of tracks only elevate that standing. Opener Mandarin Hornet roughly but with reserved aggression strokes the ear with its initial presence, the riffs salty rather than abrasive and rhythms cagey rather than destructive. The opener prowl is certainly steamy if not a furnace of intensity and continually intrigues thoughts and winds around the ear with unpredictable gait and lustful intent. The bristling energies soon erupt into a torrent of antagonistic guitar and drum assaults whilst the bass chews at flesh with relish. As the track rampages it also twists through an onslaught of magnificent breaks, diversions, and sonic teasing so that the experience is as compulsive as it is a fiery corruption. The band has never sounded so good or as innovative and they were no slouches before as their previous tracks showed with ease.

Devour Flasks is a two minute scything of corrosive sonics and blistering vehemence, the guitars scorching sense and synapse whilst the rhythms just stomp the debris into the ground. It is a track which borders on painful for all the right reasons and leaves a delicious soreness in its wake. If the first song did not leave disorientation enveloping the senses this second gets the job done on all levels. It is a rabid furnace and viciously beautiful.

Formed in 2004, the Minden trio of Christian and Stefan Braunschmidt, and Lukas Heier, has been on a steady rise as NVRVD. From their debut album Watch Me Burn and through strong live performances the band picked up good responses to their sound early on whilst the following releases A Grain Thrown In The Sandbox of 2010 and A Memory Of Angst placed the band as certainly ones to watch closely if not more. With an EP in the pipeline for 2013 their two songs on the split leaves one eager for its release. Even rawer than the sound of Coilguns, if that is possible, the hardcore driven assaults of Hungry For Needs and Direktore are tempests of burning energy and malicious degenerative invention, their ever shifting and twisting hook entrapments soaked in vindictive intent within the eroding intensity which shields their insidious charms. The first of the pair leaps upon the ear with spite, anger, and a fury of bone splitting rhythms and scathing riffs. It is the intertwining groove and acidic squall to the voice of the guitars which triggers the most adoration, their squealing pleas the perfect foil to and conspirator with the abusive vocals and drums. The following Direktore takes a slower less direct approach to its victim yet still leaves nothing but a smouldering carcass behind, the snarling bass and venomous guitar play engaging with a constantly changing form of contact, whether a hit and run or seize, burn and scar capture of affection it achieves  its target with ease.

The digital release also contains live tracks of Mastoid and Parkensine from Coilguns alongside Son Of Man and Null And Void from NVRVD, all showing why you should check the bands out on stage if they come anywhere near to you. Powerful, energy sapping, and wholly invigorating the quartet of songs throw you right into their live storms for pleasure and further realisation how impressive both bands are.

There have been many releases this year which deserve your hard earned cash but this is right to the fore and marks Coilguns and now also NVRVD as bands which will take extreme noise to new triumphant levels.




RingMaster 02/11/2012


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Negativa: Self Titled EP

Arguably like a blob fish, an ugly baby, or Shane MacGowan, the beauty within the self titled EP from technical death metalers Negativa, is one which only a mother can see and love. Well her and those of us who find discord and chaotic imagination the only truly fresh thing in music today. The release really is a thing of beauty, a corrupted and disfigured beauty for sure, but still something starkly beautiful and intrusively stirring.

The three track EP first came out in 2006 as a limited release of 1000 copies, making physical copies highly sought after and near impossible to find. Now re-released through PRC Music, the release shows the band not only ahead of their time but probably still streets ahead of what mass consumption is ready for.

The Canadian band was formed by guitarist/ vocalist Steeve Hurdle (Gorguts ,Purulence)and guitarist/ vocalist Luc Lemay(Gorguts). The EP also sees drummer  Etienne Gallo (Augury, Neuraxis, Aborted) and bassist Miguel Valade (Ion Dissonnance) bringing their distinct imagination and skills to the canvas that was Negativa. The music the quartet spawn is staggering and in just a trio of tracks leaves most other bands struggling to match ideas let alone their realisation. The band since the original release of the EP has seen line-up changes with Lemay one to leave, but all things found true perspective with the passing away of Steeve Hurdle in May of this year aged 41. The release is an impactful and impressive aural monument to Hurdle and the band which leaves a saddened pleasure to its colossal magnificence.

Opener Chaos In Motion preys on the senses immediately with crippling scythes of guitar dishing out blistering destructive discordance. With rhythms from Gallo expelling the breath from the body through its vicious and disorientating attack and vocals as abrasive as high grade sand paper upon the ear, the track is an immoral and delicious sonic cluster bomb of intent and originality. Though a completely different genre the track takes one back to bands like The Fire Engines and Diagram Brothers from the eighties, two more who use discord as a full ingredient , exploring its textures and properties. Negativa go much further igniting its life and shadows with a madness of creativity which envelopes and challenges every synapse and a power which is equally demented and far reaching .

The following epic Thedium Vitae is a monster of a track. It crawls and prowls all over the body disrupting all senses, thoughts, and emotions. The track throws a spanner into rational thought and emotional safety to confound and cripple sanity during its venomous mesmeric assault. From its consuming energy the track intensifies into a brawling clash of rhythms, riffs, and indecipherable but wholly contagious scarred notes. The track is ever evolving, a seemingly maniacal improvisation, but all is perfectly and ingeniously structured to singe and scorch deeply with intense thought and imaginative creative malice the conjurors. The sounds and release as a whole, is a nightmare in sonic form giving no escape and perpetually incessant in its intent, and most of all simply blackened annihilatory beauty.

Closing with the slightly jazzy Rebellion, if that term can be applied to sounds which almost defy description, the release is incredible. This song treads and ultimately stomps over the debris already left in the wake of its conspirators to unleash its own dazzling and dehabilitating majesty. The EP is confrontational and inspiring, ruinous and so refreshing, and without doubt one of the most impressive things heard in a long time. Thank goodness there has been another and for some of us a first chance, to enjoy its towering brilliance.

Negativa is tagged as progressive death metal primarily but this goes far beyond that to have its own unique stature and world. As stated earlier the kind of references and comparisons which come to mind are far from being death metal bands, those earlier unique sounds added to by at a push the likes of Kunz, Coilguns and Dope Body, maybe even Morkobot to try and give some idea of the genius at play on the EP, but it is something distinctly different and special. If you want something to bring back the thrill, danger, and menace which has been generally lost in music, then go and let Negativa do their glorious worst.

RingMaster 15/08/2012

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Interview with Louis Jucker of Kunz

The recent split EP release from members of German experimental metal band The Ocean in their side projects Coilguns and Kunz was a startling and intriguing powerful insight into different musical sides to the members. Kunz consisting of Luc Hess and Louis Jucker provided songs that were challenging and provoking, bristling creatures of trampling rhythms and distorted discordance. Inventive and intrusive they left a definite mark on the senses. The RingMaster Review had the chance to ask Louis about the band, EP and distinctive sounds of Kunz.  

Welcome and thank you for talking with us.

How long has Kunz been in the works as an idea or band?

Actually, even before we joined the ocean. We’ve been playing together in many bands before that, and jammed a lot too. We always had the idea to do something as a duo, but we really started officially in 2009 under the name KUNZ.

Your sound is extremely intense and caustic, how do you approach your song writing and are the songs as spontaneous as they appear?

A song always starts with a beat, that’s actually the only thing we use rehearsals for; to find new beats. Then I’ll work on some melodic ideas to sing on top of it, and finally we meet in the studio and
improvise a structure to it. Flush is the perfect example of this process; we had this riff, I had lyrics, we tried one take without a single idea of structure and that’s what you hear on the EP.

There is a very varied mix of flavours and sound to your songs once one burrows through the sonic attack especially a strong punk and hardcore one, what are your influences that has helped shape your sound?

Whoops. Hard to say, at the time we recorded these songs I was really into duos like One Day As A Lion, Lightning Bolt, Pneu. But our sound is not really reflected by these 4 songs on the EP, we have a lot of other songs on tape that are way more mellow, pop. What we unveiled for now is only the heaviest part of our sound, because it was supposed to fit with Coilguns.

Is the music from Kunz your natural and instinctive sound within you both that you have had to curtail somewhat for The Ocean or something you have created? Is it deliberation from or evolution of your musical journeys to date?

KUNZ is a more intimate project than The Ocean, and in many ways: we’re two, we’re new, we’re less exposed. So yeah, it’s more instinctive and direct, free somehow. I hope we’ll be able to put some KUNZ spirit in The Ocean!

Were the songs recorded at the same time as those you did for Coilgun?  

No, they were recorded a year before! We did two sessions, one in the summer in a big hall full of mics (flow, apnea), and another in winter in a small crappy studio (flush, what makes me sleep).

As with Coilguns did you record your tracks for the EP live as well?


There is seemingly plenty of venom and violence that bristles within the songs, are you unleashing personal demons or haha simply are angry men?

As I said that’s only the noisy/heavy part of our live set. KUNZ is not about violence, I’m sure. Flow is a peaceful song and is a relief to play usually. Check out the ukulele version if you don’t believe us.

Are there live shows in the near future for Kunz and if so who will you bring in if anyone to deliver your sounds?

We play only when we’re invited to. We don’t book shows ourselves. Nothing is announced yet, but we’re working on some new concepts for 2012. We don’t try to find the perfect FOH for us, we rather let technicians come up with their own ideas and method.

Any conflict or problem arisen yet from being part of three great bands?

Not at all. We’re thinking of playing together actually. Maybe some festivals in Europe… TBA

What is your vision for Kunz short term and long?

Publish all the tracks we’ve already recorded. Invite more people to play with us, play weird shows all around the planet. Record more, write more songs. You know, what bands do. Except I don’t want any routine in KUNZ, so obviously we’re not gonna sign with any big label and tour to promote albums we don’t get royalties for.

Can you envisage a time where projects like Kunz with its growing popularity will become a welcome but intense pressure on your time and lives with The Ocean?

Glps… hard to say. I hope we’ll be able to do both as long as possible.

Many thanks for giving us insight into Kunz and yourselves would you like to leave those new to the band which song should be their starting point on their discovery of your treasures?

Forget about one song that would explain it all – check instead our videoblog http://www.k-u-n-z.ch <http://www.k-u-n-z.ch>  : that’s all you wanna know about us.

Thx, Louis

Kunz spilt EP with Coilguns is available now via Pelagic Records


RingMaster 01/11/2011

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Coilguns Interview

Copyright : David Robinson

One of the most exciting releases this year has come in the split release between Coilguns and Kunz, both bands featuring the members of German experimental metal band The Ocean.

Coilguns consisting of Louis Jucker, Luc Hess, and Jona Nido especially grabbed our attention with the three songs of stunning aggression, intensity, mayhem and deeply striking sounds they contributed to the release. The RingMaster Review obviously leapt at the opportunity to fire questions about the band to guitarist and songwriter Jona.

Hi and welcome to The RingMaster Review and many thanks for taking time to indulge our questions.

Thank you for your interests in our new project.

With you guys well known and busy with The Ocean how long have the sounds and ideas for Coilguns been lying in wait to be unleashed?

You know, Louis, Luc and I have been playing together for 10 years now, so I’d say it has always been there. Then, The Ocean crossed our path and we dedicated the last 4 years of our lives to this band.

Now, to be more specific about Coilguns itself, I think we started talking about having a new band, for fun, some kind of a D-beat-punk-math-whatever-you-call-it band during a European tour with The Ocean in 2010. It was a drinking night in Berlin. From there on, I really started to feel like I needed to do my own stuff again. I’ve been writing songs for my bands since I’m 13 so even with all the good stuff that goes with being in a band such as The Ocean, I started having this urgent need of expressing myself the way I used to do it.

But to be honest, the first time I wrote some tunes for Coilguns was in December 2010 when I was spending a month in New York. It actually took me one day. So here’s the answer to your question: It’s been there hidden somewhere for ages until I had a bit of Ocean-free time and then it was like an explosion of riffs and ideas!

What was it that made now the right time to bring forth Coilguns?

It is just that last December / January and this last summer was the first time in 4 years where we didn’t have anything at all with The Ocean.

Starting a band is one thing, but if you wanna get anywhere it can come to a(n) (unpaid) full time job really quickly. So Instead of going to the beach (that doesn’t exist anyway where we live) and do barbecues with friends we just decided to spend 6 hours a day in the rehearsal room and after that I was spending another 4 hours working the PR, office part. I would even say that this year was the worst one to launch a new project actually. We’ve never been so much on tour with The Ocean than this year.

We just wanted to do it and dealt with the time we had. We were even able to squeeze a Coilguns tour right before going for a massive 4 months tour with The Ocean.

Jona, it was an obvious and seemingly the only choice to bring Luc and Louis to help realise your ideas?  Did you think about other musicians too at any point?

Not at all. There are obviously dozens of musicians I’d love to jam with but why would I look at someone else in the end?

We all live in the same town, have pretty well equipped home studios, friends that have amazing studios, we have the exact same schedule for the whole year and most important we’ve been playing together for 10 year, toured the world and played 500 shows together, so there really was no reason to look after someone else.

And this is without talking about the fact that Luc is just one of the best drummers I’ve ever seen. Him and his drum kit are really just one entity. He’s such a groove machine, tight as fuck, super creative, always tasty and he’s got this unique human/organic approach of drumming that most of the modern metal drummers are missing.

For what Louis is concerned, well… He was there, we were drunk and he kinda forced us…

Your sound is wonderfully hard to pin down, how would you classify it?

I don’t like to label my own music, like no one obviously. I could make you a list of labels that would fit the way I feel about this band but it’s useless.

Generally, and I’m not talking about the 3 tracks from the split only, I use the following adjectives:

Dark, oppressive, negative, violent and experimental.  We like heavy and crushing sounds. And even though in our new songs we have some long build up instrumental parts it is still really tortured and dark as fuck. that’s what we like. Being extreme is not about being fast or technical, it’s about being EVIL, and our music def. is. My favourite description of what we do is:

it’s like a good rough fuck. While you’re doing it, you slap, spit, choke but when it’s over, everybody’s happy and had a good time.”

You have just released the excellent split release with Kunz, Luc and Louis’ band, were the songs already in a near finished state before you entered the studio or constructed within its walls? 

Nope, I just sent Louis and Luc guitar tracks while I was still in the US. They were really enthusiastic about them so I booked a studio straight away. We once rehearsed with Luc 2 hours and then it was studio time.
Louis wrote his lyrics and found his vocal lines in the train, on his way to the studio… It wasn’t meant to be like that though. It’s just that we weren’t really taking this seriously. I think it’s always better to know what you are doing when you get in the studio then you can spend more time on improving your songs than actually rehearse them.

You recorded the tracks live to bring rawness to the sound and certainly the songs have a delicious abrasive and striking edge but apart from the obvious what were the advantages and negatives that you encountered by doing it this way?

There are many ways to record live. For this one we still used a click track in order to do some overdubs and stuffs…So I guess this would be the best way to “fake” a live recording, because if everybody’s in a separate room and you record to a click track you can still edit whatever you want.

My favourite way of doing it is just to be in the same room, facing each others, no click track, no bullshit, just balls.

I don’t see any negatives to be honest…maybe the fact that you’ll never be able to get a massive production with such raw material but that isn’t what we’re looking for anyway.

A good thing when you record live is that you really need to work hard on your instrument and with your drummer. Recording in one take is not something that everybody can do. Means if you can do it then you’re gonna be able to play it like that on stage.

I’m really fed up with all these bands that have over-produced records and are so bad live…and there are so many of these “scene” bands that all sound the same and are not even able to play their instruments.

Recording live is just being the real you, in our case it’s about 3 people looking at each other and on a simple eye contact we start a song, no hi-hat counts, no given tempo. And people can feel that on the record and on stage as well.

Please describe how you write and construct your songs. Is it just you and where do you start?

At first it was only me. But although I usually have a few drums ideas I never tell Luc about it until he writes his parts. Usually he’s never doing what I expected and that’s what makes it interesting.

So basically I track my guitar, send it to Luc and then we meet in the room and play for hours. For the next album we wanna try a different approach and just jam around a few riffs and build the songs together. I have a pretty unusual setup even being alone I can do many many things so I think the best way to go is to write stuff on the spot with this setup and with Luc in the room. We really wanna boost the dark experimental side of our music.
The songs are a maelstrom of energy, intrusive sounds and inspiring ideas that at times feel random, just how carefully are songs layered and when do you know when to stop before going too far?

I just learned through the years to contain myself. I still like tricky and tech stuff but I found out that writing a good simple song is more challenging than compiling nerd-tech riffs and call it a song.

But I’m no one to say that I’m not going too far. The songs from the split really are the first ones I wrote for this band. Things happened so quickly that there wasn’t any time to step back and see what were the weak points of these songs. But even now, I don’t think we’ve been too far. Maybe on the next record we will, but more in an experimental / noisy way.

I also have to admit that Louis’s an amazing songwriter, really talented musician and he has a good vision on what’s necessary or not. I rely on him a lot in that regard.

You have also recorded a 30 minute EP Stadia Rod, could you tell us about this and was it recorded at the same time as the three tracks for the split EP?

Alright, for the first time, I’ll tell the whole story:

When we confirmed our first show -which by the way was a support slot for Dillinger- we only had 11 minutes of music. and this was about a month before the show…So we worked our asses off to have a 45 minutes set and we rehearsed so much that 10 days before the show we were like: “Shall we book a studio and record those songs?” and so we did! It took us 5 hours to get one good take of each song. The day after, Louis recorded the vocals in his living room, 2 days later Julien Fehlmann mixed and mastered it in 4 hours and we then manufactured ourselves 150 records in a nice fancy homemade silk-screen print packaged. All of this in a week.

The songs are obviously more personal, still “straight in your face” but we also integrated instrumental parts, really dark ones though that build up for like 5 minutes. That’s the result of me being really comfie with my new setup and we’re just gonna keep developing this.

Also the concepts and lyrics behind every title are much more elaborated than on the split.

Since the recording Louis has laid down his bass to concentrate on the vocals and the band has decided not to replace him apart from with technology and your skills. Was this decision to use technology another obvious one or did you contemplate a new member to the band?

We never considered having another member. I really do think that the less people you are in a band, the better it is. And seriously, I wouldn’t have imagined having another bass player than Louis anyway, at least not for this band.

How easy has it been to incorporate the bass sound into your hands in the live show area?

Well as soon as I figured how to have a bass sound, it was fairly easy. It was hard in the first place since I’m not so much of a gear nerd. I really had to look to all options and finally came up with my own thing which consists of a huge custom pedal board with many effects but moreover switches that allows me to control 2 different guitar amps and a bass amp as well.

Live we just have the same amount of gear than a five piece band. The bass is just coming through like a regular one. But I make it sound fat and bassy but not super clear and defined. You can really hear that there is a bass and I’m really working with all these switches to give some dynamics and relief to the songs. I can have only one guitar playing, both, without bass, with the bass, only the bass…some effects are going only through one guitar amp…I’m so happy with this setup man, I can just sound like 3 people but without having to deal with them personally!

There is a unity to the band from working together for a long time and constantly that comes out in the sound, do you think bringing someone else in would disrupt that?

I think it would. The 3 of us really are on the same page on what this band’s concerned. We don’t need to talk much about things or do compromises. We are confident enough in what we do and the decisions we make to not care much or ask anyone’s opinion on anything Coilguns related.

What is next for Coilguns, an album maybe?

We’re gonna try to release our first full length next year yes. Before that, “Stadia Rods” will be released on 10” vinyl early next year through Scottish label Dead Dead Dead Music. The guy running this label, Neil, is amazing and he really wants to help us out in the UK.

The booking of our second tour has started, it’s gonna be around mid-March until mid-April and this will most certainly go through the UK! I’m really excited to come over with this band. Reviews and feedback have been really good for Coilguns there.

Could there be a chance of a show with Kunz, Coilguns, and The Ocean on the bill? It would make lots very happy.

This is gonna happen in May in a festival in Eastern Europe. Even Earthship (Robin’s other band) will be on the bill! but we are gonna play on different days. Maybe a Kunz / Ocean bill would work but I know Luc wouldn’t be able to do a Coilguns show and a The Ocean one. We talked about it but it would be too intense for him.

Again many thanks for talking with us would you care to leave with a last thought for your fans and those yet to find your great sounds?

Thank you, really interesting interview and thx for your enthusiasm and support!

Support your local scene, go to shows, discover unknown bands and buy merch!!

The split EP between Coilgun and Kunz is available now via Pelagic Records for more info check out



RingMaster 27/10/2011

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Coilguns/Kunz-Split EP

Split releases are always intriguing, often revealing new bands and sounds or bringing a mutual union of bands with a connection in some way or another. The new spilt EP from Coilguns and Kunz is no exception with the common denominator being members of the German experimental metal band The Ocean. Musically though the release comes from different extremes though there is still a common need and urge from both bands to stretch and re-invent not only sounds but the senses of the listener too. Direct and punishing the EP provokes with its intrusive drive and inventiveness, and is as eagerly challenging as it is sonically consuming. The release tests boundaries and the ear with an effect as varied as its ideas and sounds.

The first three tracks come from Coilguns, a trio made up of Louis Jucker, Luc Hess, and Jona Nido (all members of The Ocean).  Stunning and mouth watering they mark the release as something special all on their own. Combining punk, grind, D-beat and any other aggressive, intense and striking sound you can imagine, the tracks ripple with quality and the band inspires as deeply as it abuses and rips open the senses. Starting with ‘Mastoid’, the band whips up a frenzy of noise controlled with the keenest of skill and the sharpest variations of invention. From the first note of the song the band hold the head tight as it shoves searing riffs and sonically scarring guitar sounds down its ear, reinforced by harsh bitter vocals and a punishing rhythm that makes a wind tunnel feel like a summer breeze.

Second of their three is ‘Phersu’, a track that continues the onslaught with equal effect with a pulsating dark bassline and highly skilled musicianship. As it progresses it evolves into a filth coated groove that splices sludge with math metal to create a unique twisted sickness. Though not as infectious in accessibility as maybe the opener it contaminates with equally satisfying effect. ‘Kachinas’ completes Coilgun’s triplet of chaos returning to the manic urgency and addict making riffs and grooves from ‘Mastoid’.  The band is jaw dropping intensity and creativity packed into a wave of sound that devours and consumes; wonderful stuff.

Kunz is made up of just Luc Hess & Louis Jucker alone, and a totally different proposition. At first their sound especially after Coilguns appears to just be a wall of noise without structure or direction. Repeat listening and closer inspection unveils a mutated beast fusing a dirty heavy grunge flavour with trampling rhythms, distorted discordance, and the urge to rip a wide one in the senses of its listeners. Admittedly it takes some effort to delve deep enough to find the blissful traits deep within the sonic violation but it is there and worth the effort, it is just that alongside Coilguns it starts off with a disadvantage when placed against their terrific sounds.

The four songs that come our way from the duo all slice deeply and viciously, scrambling the senses with their scattered chords and infected riffs. By the time the band have spread through their opening three tunes of ‘Flow’, ‘Aprea’ and ‘Flush’, one realises they are mesmerised by the incessant drone and scarcely recognisable scathing melodies. Final track ‘What Makes Me Sleep’ is a punk crusted brief explosion of energy and the band’s best track on the EP.

Both bands give music as experimental as it is caustic and it is not really a surprise considering the musicians involved.  The bands are very different but similar too and their split EP is a treat that should be enjoyed often. Coilguns will simply wake up and bring aural radiance to the senses whilst Kunz given more time and work will inflame and excite, maybe not to the same depths as their partner in crime but with more than enough satisfaction.

RingMaster 14/10/2011

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