Loom – Self Titled

Photo by Kurt Fairbairn

With quite simply raw rock ‘n’ roll nurturing its heart, the debut album from UK band Loom takes ears through every shade of punk rock you can imagine within its ten track confines. It is an adventure which has the imagination fired up, ears burning with ardour, and aggressive tendencies bubbling to the surface in a striking and rousing incitement of a self-titled proposal. Each song as suggested reveals a new aspect in its furious landscape yet brews a united character distinct to a band and release which just commands attention.

Leamington Spa hailing, the trio of Tarik Badwan, Matt Marsh, and Joshua Fitzgerald took little time in attracting ears and praise with their early releases including a pair of well-received EPs within their first year. The second of 2013 featured six covers of songs from the strongest inspirations for the band in its early days, The Jesus Lizard, Bad Brains, Pixies, GG Allin, Misfits, and Warsaw. Alongside the other encounters, it sparked support from the likes of Zane Lowe and Daniel P Carter at BBC Radio 1as well as laying the first steps in a springboard for Loom live to support The Rolling Stones at Hyde Park and tour the UK and Germany with artists such as Frank Carter & The Rattlesnakes, Queen Kwong, and Turbowolf.

The band’s first album is not slow in suggesting those influences in its multi-flavoured roar, as mentioned each song distinct from the next but there is a vein of unique Loom-ness running through all which we would suggest goes beyond the cohesion of aggression suggested by its press release. It opens up with Lice, a sonic itch you just cannot scratch enough to escape from. Its initial glaze to an instantly robust sound has a gothic/indie rock spicing, coming over like a blend of Leitmotiv and The Victorian English Gentlemens Club before its grouchy rock ‘n’ roll instincts burst free. It is a glorious nagging of the senses and imagination taking magnetic twists along its contagious enmity of sound and attitude.

The great start continues as firstly Hate imposingly shimmers with electronic radiance upon grunge bred antipathy to be followed by the rousing exploits of Get A Taste. There is a whiff of Pere Ubu for these ears to the first song but a thicker Nirvana like causticity to its nature and again niggling potency. Embracing garage punk confrontation too, the track stirs ears and appetite with ease, a triumph matched by its successor with its old school punk meets seventies garage rock growl as demandingly catchy as it is openly crotchety.

Grunge colludes with post punk for the feistily prowling Leopard, guitars winding spicy tendrils lined with delicious discord around ears as rhythms reveal a rapacious nature to their drive before Salt entangles the imagination in a fusion of Joy Division post punk and the irritable punk rock of The Stooges with just a tang of psych rock bewitchment. It is an enthralling mix opening new aspects with each passing flick of a chord and sonic detour yet throughout a fluid tart snarl never deviating from its quarrel.

Seasick bawls as its stalks ears with predacious intent straight after; indie rock merging with raw hardcore ill-temper in a track which steals the passions within seconds. Vocals are as unpredictable and instinctively volatile as the sonic flames cast by the guitar and indeed the rhythmic jabbing around them. With the bass a brooding threat within the tempestuous joy crowding and seducing ears, the track makes a big play for best track glory but is quickly challenged by the muggy grunge venting of Bleed On Me and eclipsed by the glorious dark deeds of the band’s latest single, Nailbender. The latter is a compelling caliginous seduction of gothic and punk metal; like Type O Negative fused with Descendents and 1919 yet still emerging as something unique and gripping to Loom.

The punk grouse of Barbed Wire grabs something from all decades of punk since the sixties whilst in finishing up the album Slowly Freezing Heart crawls across the senses in a kaleidoscope of sonic toxicity and shadow loaded rhythms united with vocal psychosis. Both tracks are treats greed gets the better of composure over while bringing one superb album to a memorable and rousing end. Listening to Loom you get the feeling that the band creates on instinct, not searching for a sound but letting it find them and infusing their music with its own unique character. The album reminds of numerous artists across its riveting body but never comes over as anything other than the offspring of Loom, the first of many more belligerently sculpted and physically visceral gems we hope and suspect.

The Loom album is released May 19th via Silent Cult across most stores.

https://www.facebook.com/Loomband/    https://twitter.com/loomband

Pete RingMaster 17/05/2017

Copyright RingMaster: MyFreeCopyright

Estetica Noir – Purity

EN_RingMasterReview

There is no need of any written text to realise the inspirations to the sound of Italian band Estetica Noir, strong flavours which openly line each song within their debut album Purity. They weave haunting and atmospheric, frequently addictively infectious, proposals which court the imagination as easily as ears; all eighties new/dark wave influenced encounters as familiar as they are refreshingly fuelled by twenty first century imagination. The result is a sound which demands attention and a thoroughly enjoyable first album.

Hailing from Torino, Estetica Noir was formed by vocalist/guitarist/songwriter Silvio Oreste and bassist Rik Guido in 2013. Their self-titled first EP came out in 2014 with a re-mastered re-release coming two years later, its body showing more of the electronic spicing which now adds to the tapestry of sound shaping Purity. With their track I Will Kill You making a potent addition to the For The Bats compilation and another in Beautiful Absence part of the third instalment of the series, the songs nesting between offerings from the likes of The March Violets, The Eden House, and The Danse Society, Estetica Noir have only lured increasing interest and support to match a praise drawing live presence seeing the quartet share stages with bands such as Christian Death and The Chameleons. Last year, Estetica Noir linked up with Italian label Red Cat for the release of Purity, both sure to come under greater spotlights due to the album’s captivating presence and character.

With its line-up completed by guitarist/backing vocalist Guido Pancani and drummer Paolo Accossato, Purity swiftly grabs ears with opener Hallow’s Trick. An initial electric shimmer of guitar is the spark for a great crystalline melodic hook within a fuzzy keys bred seducing around a swinging rhythmic coaxing. It is an instantly successful persuasion increased by the expressive tones of Oreste. Like Thomas Dolby meets the synth pop version of Ministry, the track strolls magnetically into the imagination, its virulent chorus inescapable bait for participation as it makes a powerful introduction to the release.

art_RingMasterReviewNext up Plastic Noosphere is no less a tempting; its own instinctive catchiness immediately grabbing body and appetite as guitars and keys conjure individually descriptive enterprise for a B-Movie meets She Wants Revenge like offering with a nagging rhythmic persistence from Guido and Accossato recalling the likes of Leitmotiv. As its predecessor, the song has ears in the palm of its creative hand before In Heaven provides a fiery romancing of ears with its steely guitar bred melodies, melancholic yet inviting bassline, and fuzzy keys. A thicker intensity and drama does little to lessen an inbred infectiousness in the Estetica Noir sound, rather showing the variety and imagination nurturing it, echoed again in the likes of Suicide Walk and I Hate.

The first of the two creeps around ears like atmospheric fog, almost prowling with its instrumental suggestiveness as a melodic radiance glows at its heart while the second straight away flirts with the senses through bold but controlled and imagination serenading melodies. It is just the opening shadow to another rampantly catchy escapade with lively beats and a just as tenacious brooding bassline calling from inside a web of feisty electronic and guitar spun temptation.

The outstanding Polarized brings its electro pop spiced exploit next, complete with another irresistible hook and smouldering keys in something akin to Nine Inch Nails meets Blancmange while Deluxe Lies Edition reveals the strength of inspiration the band find in The Cure, its dark climate and emotive shadows as inspired by Robert Smith and co as Oreste’s vocals. Both tracks captivate and inspire ears and imagination respectively, the adventure in the Estetica Noir creativity here and across Purity compelling.

Hypnagogia is a second instrumental which like its earlier companion is a provocative piece, its piano cored emotional shadow intriguing before the band gives its own touch to the Pet Shop Boys written, Eight Wonder track I’m Not Scared. It is another easy to embrace offering but lacks something the band’s own penned songs have, as emphasized by A Dangerous Perfection which follows. Laying somewhere between Modern English and again The Cure and early Ministry, the track throbs with rhythmic and melodic theatre as an epidemic of creative infection swarms through ears.

Completed by the melancholy haunted You Make Life Better, an imaginatively twisting and turning track as fascinating and persuasive as anything on the album, Purity leaves nothing but lingering pleasure in its wake. As mentioned, its influences are a strong texture in its body and songs but it is a ‘lack of uniqueness’ which matters little in the unbridled enjoyment found. If any of those influences mentioned hit the spot, checking out Estetica Noir is a must.

Purity is out now via Red Cat Records through most online stores.

https://www.facebook.com/esteticanoir   https://twitter.com/esteticanoir   https://esteticanoir.wordpress.com/

Pete RingMaster 31/01/2017

Copyright RingMaster: MyFreeCopyright

Rusty Pacemaker – Ruins

Rusty Hessell_RingMaster Review

The first listen of Ruins, the new album from Austrian project Rusty Pacemaker, definitely caught ears and thoughts by surprise but laid the seeds to an increasing understanding and appetite for the artist and release’s particular uniqueness. It has grown with time into a compelling and fascinating proposition, one with aspects which still challenge slightly the success of the release, but an encounter which never lacks the ability to intrigue and thickly satisfy.

The band is the solo project of the Lanzenkirchen hailing Rusty Hessel, a musician who began making his own music in 2003. Heavily influenced by Quorthon of Bathory, Rusty enlisted drummer Franz Löchinger to play on his first album Blackness and White Light which was released in the October of 2010 on his own Solanum Records, a union which is repeated on the new album. Within a few months of its release, Rusty was writing new tracks for its successor and with preproduction finished in 2012, the Markus Stock mixed and mastered Ruins began emerging; its recording completed last year and release coming a few short weeks back. It is an encounter which commands attention and sparks the imagination, and even with a ‘flaw ‘or two, only leaves a contented appetite and certain captivation in its wake.

Rusty Pacemaker Ruins_RingMaster Review   Ruin’s title track is the first engagement on ears and thoughts, opening with a tantalising melodic caress of guitar. It is melancholic yet vibrant and already from that stroking of strings, a gothic air kisses the senses. That whisper only increases as sounds and invention develop, and indeed once the striking vocals of Rusty join the tempting. His delivery is as distinctive and individual as the sounds cradling his monotone stance but also more of a challenge as they conflict organically and purposefully with the dark beauty of the music. At times across the album his voice simply flows with the tide of the emotion and tone of the music but in others, as here, wrong-foot and test song and listener alike. It has to be said though when working well or even not quite agreeing with personal tastes, his vocal presence, as the album’s, is a riveting texture and incitement. The song itself continues to evolve and explore fresh strains of gothic and dark metal, its atmosphere stark and intimately provocative simultaneously.

The following Made Of Lies is a more rugged and furious blaze of metal, rhythms and riffs a swiftly enticing confrontation breeding even greater endeavour and persuasion as it embraces sonic and vocal enterprise. Though predominantly a metal and heavy rock seeded offering, the track reveals a great eighties and nineties gothic/post punk nature to its shifting character, bands like Leitmotiv and Type O Negative coming to mind. The rousing encounter departs to be replaced by the opening lapping waves of Ocean of Life, a song growing into an evocative and poetically harmonious croon within dark and predacious shadows. It also features the siren-esque vocal charm of Lady K, her alluring presence perfect company to the more dour but resonance wrapped tones of Rusty. Musically as in the previous songs, the Austrian creates an enthralling landscape of ideas and flavours skilfully woven into passages which only lure the firmest attention.

The steely air and textures of The Game come next, its imposing death seeded tones the lead into an infectious shuffle within a fiery web of classic and melodic metal. The song feistily simmers in intensity and attitude, often unveiling a raw snarl to disrupt and complement the more restrained but piercing sonic tenacity entangling ears. Vocals ebb and flow in potency and note, but their element of discord so often only aligns to a similarly striking flirtation in sound.

Both Night Angel and Candlemass push the album to another level, the first a sorrowful piano and melodic seducing which perfectly suits the slow and plain dynamic style of Rusty’s vocals whilst again welcoming the bewitching voice of Lady K. Her appearance so lights air and song that it is easy to wish she was a more regularly hue to the album, it being no coincidence that many of the pinnacles within Ruins involve her presence. The folkish hue and serene elegance of the song’s sound is as mesmeric, potency emulated in its successor for different reasons. The excellent track is a haunting and imposing proposal, its darkly clouded sky and doomy breath invading cavernous like depths whilst colluding with sinister shadows. Yet half way in, a bright light expels XTC like revelry, a wispy charm sparking a fresh turn and endeavour to the tempestuous landscape of the song.

The swift acoustic enticing of Forever reveals the strengths and weaknesses of Ruins in its one minute plus before Matter Over Mind unveils its own creative bellow of imagination and inventive sound. Again thoughts are nudged by bands of the past, March Violets and Fields of the Nephilim whispering in ears as the song takes the listener on its own diverse and absorbing journey, but equally, as across the whole of the album, there is plenty more original ideation and sound going on.

Knowing is another where Rusty’s voice takes attention away from the gentle stroll of music, yet there is no thought of tearing away from his almost mischievous presence, which is good as the song is soon breeding muscle and drama with hungry snarling riffs and quaint melodies. Fair to say it is a song taking time to persuade, winning out by the time Pillow of Silence comes forward to complete the album. It also opens with a mellower air but is persistently brewing up a raw volatile climate which never actually explodes to consume song and senses but ensures even in its closing kiss of beauty, the track has a dark and menacing edge to it.

It is probably fair to say that Ruins will split opinions, mainly when it comes to the vocals. Acclimatising to their peculiar ‘oddity’ is worth the attention though as many songs use them as bold textures to the undoubtedly skilled atmospheres and sounds woven into the album. It is a magnetic and charismatic release making another potent step in the emergence of Rusty Pacemaker. Just one request to the man though, please use Lady K more, and if we dare suggest as the lead as there feels a potential show stopper with her tones leading Rusty’s striking songwriting and sounds.

Ruins is out now via Solanum Records

https://www.facebook.com/rustypacemaker   http://www.rustypacemaker.com/

Ringmaster 21/07/2015

Copyright RingMaster: MyFreeCopyright

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Secret Sight – Day.Night.Life

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Seemingly bred from the heyday of the genres it embraces with its spellbinding sound and presence, Italian band Secret Sight has brought 2014 one of its unexpected and compelling triumphs in the dramatic lure of Day.Night.Life. Brewing up a starkly haunting and rigorously riveting blend of post punk and gothic rock, band and album is one of those finds which you hope for but rarely get over the course of a year, an encounter which connects with primal instincts and personal passion with a recognisable sound explored and twisted into a new distinct adventure. There is plenty to intrigue and ignites ears of those without a post punk/gothic bent to their preferences though, incendiary melodies and rhythmic tenacity as prevalent as the core sound driving the release. It is a tremendous proposition and one to put the band in a firmly attentive spotlight.

Emerging from the ‘ashes’ of the members previous band which released a self-produced EP and played several gigs around Italy, Secret Sight was formed earlier this year and took little time to start working on their first release and debut Day.Night.Life. Consisting of vocalist Matt Schipsi, guitarist Cristiano Poli, bassist Lucio Cristino, and drummer Enrico Bartolini, the Ancona quartet linked up with Paolo Rossi to record the album at Studio Waves in Pesaro. Released on Red Cat Records it is fair to say that as young as Secret Sight is as a band, there is an experience and maturity which shines from obviously the member’s previous endeavours within what is a quite striking introduction to the band.

The release opens with Conquest and instantly has ears and appetite tight in its grasp as the bass of Cristino sets a dark and flavoursome coaxing in motion from within a subdued sonic squall around thumping rhythms from Bartolini. It is a4203391273_2an irresistible lure reminiscent of Leitmotiv and Joy Division, especially once the drama of the guitars and throaty tones of Schipsi join the infectious aural narrative. With a voice somewhere between Ian Curtis and Nick Cave, the frontman is a captivating shadow to the feisty but dark beauty coating the virulent energy and hook littered grooves of the song. It is a tremendous start to the album, and early pinnacle swiftly matched by Earth Overflows. With new wave seeded melodies flirting with the cold steely glare of bass amidst the song’s chilled atmosphere, it is a captivating and eagerly striding encounter. Every element of band and song casts a contagious hex without defusing the haunting resonance and cavernous emotion of the mouth-watering proposition. It many ways the track is like Interpol meets Bauhaus or maybe more so Tones on Tail, a web of scintillating sonic grooves and virulent rhythms entwined with a cold post punk voracity.

The pair of Under This Truth and Life keeps the exceptional charge and majesty of the album going, the first another melodic flirtation with a She Wants Revenge like vivacity and catchiness but exploring a heavier and imposing landscape than its predecessors. Again it is hard to ignore the pleasing Joy Division whispers but also there is a Play Dead and Public Image Ltd spicery, though it should be reinforced that despite the references Secret Sight weaves a sound which is familiar yet openly fresh and uniquely gripping. The second of the two takes a slower gait to its entrance, punchy rhythms from Bartolini leading the imagination into the waiting web of bass and guitar temptation. Though beats make a forceful energetic stride, sonically the track is a more reserved wash but no less inciting in the intriguing melodic and caustic designs of Poli and the pungent ensnaring lures spawned by Cristino.

The bassist again springs the first seduction of Indelible, an enticing swiftly enhanced and fuelled by the grooves and hooks spicing up the exceptional track. Schipsi stands powerfully over the brewing contagion of the song with his raw and starkly emotive tones but it is the bass bait and acidic strands of guitar ingenuity which sets the biggest fire. As in all the songs there is a cinematic drama which is as equally persuasive and engrossing, the following Need an instant example at this point, its noir cloaked almost sinister breath and intrigue a delicious spark for ears, feet, and imagination.

The album is completed by the similarly visually suggestive Long Line and the slightly Sister of Mercy-esque If You Turn, both songs resourcefully provocative and elegantly structured within their roaming lyrical and sonic shadows. The first has a sultry twang to its climatic presence and voice whilst the closing song ebbs and flows with intensity and energy as its masterful soundscape explores the corners and depths of dark emotions and melodic intimacy. It is arguably the most involved and exploratory track on the album and just as irresistible and explosive as those before it.

Day.Night.Life is a must for all post punk/gothic rock fans, and for us a definite favourite of 2014. There is little more to say than just go treat yourselves.

Day.Night.Life is available now from Red Cat Records @ http://www.amazon.co.uk/Day-Night-Life-Secret-Sight/dp/B00NODLP1I/ref=sr_1_1?ie=UTF8&qid=1412691294&sr=8-1&keywords=Day.Night.Life+Secret+Sight

https://www.facebook.com/secretsight

RingMaster 07/10/2104

Copyright RingMaster: MyFreeCopyright

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Conjuro Nuclear – Self Titled

Artwork

It has to be said that the band name alone sparked intrigue and anticipation in thoughts but once the first strains of sonic conspiracy from Conjuro Nuclear’s self-titled album wrapped its charms around ears and senses, that interest soon bred a hunger. The predominantly instrumental release is a blistering and caustically charming fusion of post punk and black metal which manages to simultaneously sound strikingly unique yet recognisable in its creative drama. It is a masterfully compelling proposition which maybe does not consistently enough set a blaze in the passions but certainly owns the imagination from start to finish for a just as potent success.

Formed in 2012 and hailing from Barcelona, Conjuro Nuclear is the solo project of Emesis. Originally a duo, the project released Luna llena y radiación (Full moon and radiation) last year to strong responses. Now Emesis alone, the band has unleashed its sophomore encounter, a release easy to suspect and expect to have the potency to push Conjuro Nuclear into the spotlight of a much wider attention. Consisting of eleven tracks which are like individual episodes in a united series of events yet not necessarily within a continuous soundscape, the album is a riveting and bewitching antagonist for senses and thoughts.

The title track is the first adventure to embrace the listener and immediately its dark noir breath is an irresistible lure for ears and imagination. Keys and beats link to build a shady atmosphere which the sonic suggestiveness of the guitar lights up with acidic coaxing. The track takes little time in building scenery of danger and unpredictable drama, its creative invention and sounds the rich colour to its eventful canvas. The track has the dark tones of an intrusive mystery and the exotic hues of a sci-fi emprise, and easily lures thought and emotions to its expressive and inescapable bosom. Production, as it is across the whole album, has a muggy/ sultry come oppressive feel which only adds to the intensive weight and texture of the sounds, which in turn thickens the thoroughly absorbing incitement.

The following Oscura lisergia is of similar breeding, a repetitive lone groove stealing the passions as a tempest brews and squalls around its infectious bait. Initially thoughts of eighties bands like Crispy Ambulance and Leitmotiv come to the fore, the prime sonic hook reminiscent of that era but the track is soon flushing a black metal causticity across the senses which smothers but does not extinguish that ever virulent enticement. It is a brilliant slice of hostile beauty which like its predecessor sets the album on the highest plateau immediately. Its lofty success is then matched by the elegant beauty of Atomización. Keys float across and call emotions from its first spatial breath, courting their instincts with a haunted but crystalline grace which again urges the imagination to cast its own designs.

The next up Divinorum is borne of a more malicious intent, its blackened storm of sonic abrasing and severe ambience a searing black metal animosity. Through it though, a spine of sonic tempting casts a contagious line, its sharp twang and citric flavour carrying reminiscent of a The Jesus and Mary Chain like lure. Raw insidiously spawned vocals make their most forceful appearance on the album too though they are submerged within the corrosive wash of the song to lack real clarity. The track broils ears with its ravenous presence and erosive breath, leaving them smarting intensively, though the psych rock/darkwave tenacity of Intoxicación brings an initial soothing before unveiling its own irrepressible and infectious toxicity of sound and energy. Though neither track matches the heights of the first few songs, each leaves an exhausted pleasure and appetite in their wake which the gripping Visiones tóxicas exploits further through its darkly lit melodies and even more damaging sonic rabidity. From the somewhat clearer atmospheres of the first few songs, the album definitely takes a blacker and voraciously shadowed turn across this stretch of tracks; severe corrosive storms the core violation though they always come littered with hooks and post punk grooves which flirt continuously.

     Coros radiactivos crafts a respite to the tempestuous flow of the album at this point, its crystal honed melodies and reflectively colourful keys simply tantalising. Its magnetic beauty is taken and laid into a more fiery rock embracing setting in Bosque de cráneos, the combination a constantly expanding and growing crescendo of passion and vigorous intensity. Elements of Sisters Of Mercy and The Mission seep into the persistently bubbling mixture, spicing up an increasingly darkening and imposing landscape of sound and imagination. It is a thrilling encounter but soon left short by the outstanding punk driven abrasion of Desechos tóxicos. Binding hardcore and old school punk inhospitality with black metal rancor and sonic venom, the track simply ignites ears and passions, especially when not for the first time on the album, a surf rock enticing shows its seduction.

The album is completed by the melodic poetry of Ecos de la noche, keys and emotional hues again painting a piece of music which immerses senses and emotions with beauty and invention, and lastly the nocturnal maliciousness of Sólo para locos. Using lyrics from The Steppenwolf, the track is a deathly black metal driven scavenging of senses and feelings, which again crawls over the psyche with a sonic toxin of post metal which has the raw causticity of sound and emotion of a band like Artery.

Conjuro Nuclear has created a release which is ridiculously compelling and scintillating. Certainly there are moments where tracks without an intensive attention merge into each other’s arms and the rhythmic side of the album does not impose anywhere as much as you would like and expect, but they cannot stop it being one riveting proposition. Conjuro Nuclear is a project to only get excited about.

Conjuro Nuclear is available as a name your price download @ http://conjuronuclear.bandcamp.com/album/conjuro-nuclear-2014

https://www.facebook.com/pages/Conjuro-Nuclear/145499728948249?fref=ts

8.5/10

RingMaster 05/08/20134

Copyright RingMaster: MyFreeCopyright

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Calling All Astronauts – Post Modern Conspiracy

Calling All Astronauts CD art_Page_1

There are times when a band fills a gap in a genre or sound with something distinctly unique and impressive but is still wrapped in a mystery as to why it has not been delivered wider awareness and recognition. One such proposition is UK electro goth punks Calling All Astronauts, a band which from its first release has lit up ears and passions with their stirring and incendiary blend of guitar carved alternative rock, gothic soaked shadows, and electro/industrial bred toxicity. It is a stunning fusion which ignites the passions and incites thought led rebellion. So as to why still the Fulham based trio even after a clutch of outstanding singles are still relatively undiscovered just defies understanding but with the release of their exceptional debut album Post Modern Conspiracy, the hopes and feeling that things will surely change are at a peak.

The fourteen track release is a blaze of imaginative and snarling sounds, the band’s potent lyrical attack on society given an CAAimposing and riveting platform of caustic and invigorating rock in which to shell its restraints. Consisting of David B (vocals, keys, programming), J Browning (guitar), and Kristi Bury (bass), Calling All Astronauts has left a searing mark with their tracks since releasing their first two track single Living In The Shadow Of The Red Flag/ Someone Like You. The seeds of the band go back further though with J Browning and the band Caffeine, who he played in, being managed by David (ex-US:UK) whilst Kristi and David were also previously married to each other. Since emerging in 2011 the band has earned strong acclaim for their live performances which has seen them play alongside the likes of Echo & The Bunnymen, PWEI, Sigue Sigue Sputnik, and A Place To Bury Strangers whilst also headlining and selling out Alan Magee’s Death2Disco at Notting Hill Arts Club. A quartet of singles has also fired up greedy anticipation for this debut album within fans and the blogging media alone, an appetite which will be soon breathing heavily and intensely over the impacting triumph the album it shows itself to be. Two of those singles took the band to the No. 1 slot in the Twitter Music Chart to breed further excitement and dare one say impatience to the wait for the long time in the making Post Modern Conspiracy, but there will be no complaints, only feverishly devouring musical jaws upon its exhilarating body now it is here.

The album opens with that previous single track Someone Like You, a song which rips the attention from everything else but its own pulsating invitation. From the first second the bass and guitar snarl at the ear, Kristi offering an intimidating seduction with her dark conjured tones and the guitar of J producing an acidic groove which triggers instant rapture. With heavy dark shadows offering their own vibrant compulsion before the senses there is a distinct eighties wash at work with the likes of Play Dead and Leitmotiv coming to mind as the song prowls and stomps with irresistible potency from first note to last. Virulently contagious and equally magnetic creatively, the track is the perfect and strongest start to the album, an immense beginning soon matched and continued by Freaks and What’s So Good About?

The second track drapes itself in even darker intensive shadows, the beats and electronic invention caustic and magnetic whilst the guitar and bass bring their own individual abrasion to the brooding encounter. More reserved than the starter and with an even harsher lyrical bite, the song places down a gnarly canvas for melodic flames and senses plucking electro scorches to lay their heat and colour. It is a mighty lure driven by the dour yet vibrant vocals of David, the extremes perfectly expelled in a delivery which walks the same shadowed sun as the sounds.

The tracks Scenesters Vs. The World and Politicized – Ignorance Is Not An Excuse attack and evoke attitudes and thoughts with composed and cutting invention in word and sound, the first drenched in a dramatic noir atmosphere around its sinewy exploration and the second locked in an tempest of sonic grazing, coarse riffs, and rapacious energy which provokes and riles up the passions in similar strength to the opener. Through the song and album there is always a loud hint of Sisters Of Mercy spicing things up, essences which are seeded in the early days of that band and filtrated into something which lingers and imprints with thrilling enterprise from the creative ingenuity of  Calling All Astronauts as shown in these songs alone. The mistake to avoid though is to think with these references that band and album are re-treading old sounds and times, but as the likes of the industrial punk fuelled It Could Have Been Lust and the sinister, haunting gothic and bruising ebm embrace of Eye Of God show, that is far from the truth, both songs stunning and riveting unique journeys.

The highlights keep coming track after track, such as in the immense shapes of Simple Man, a song which provokes the senses with thick ambience within which a melodic kaleidoscope sends shards of light and electro seduction into dark corners and the excellent Winter Of Discontent, a confrontation which unleashes another epidemic of infectious and evocative persuasion. The second of the two stands full and bold with an anthemic calling within its premise of dark times, a resonating drone cured atmosphere enveloping the senses and thoughts whilst the emotive vocals and fierce flames of guitar alongside thick bass caresses ensure a forceful and fully inciting treat.

Each subsequent track upon Post Modern Conspiracy cannot resist also capturing and firing up the imagination and passions, Faith In Your Cause and Feel The Pain (Again) especially adding intoxicating fuel to the fire raging within for the release whilst closing track Red Flag confirms again that this is a band of incalculable craft and promise, its invitation of Skids like guitar borne sonic tempting and passion sodden emotion a final irresistible thrill.

Calling All Astronauts as proven by their outstanding album stands before UK rock as one of its most inventive and provocative sparks, and this is just the beginning.

http://callingallastronauts1.bandcamp.com/releases

http://www.callingallastronauts.com/

10/10

RingMaster 15/05/2013

 

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Sinezamia: La Fuga

Foto di P.Rubini

Foto di P.Rubini

Despite one frustration arising from it, La Fuga (The Escape) the debut album from Italian gothic rock band Sinezamia is a rather tasty shadowed delight. Fusing dark rock with new wave and post punk, the Mantova quintet has created an album which is perpetually enthralling with its often nostalgia inspiring sounds and emotive breath. From an initially absorbing first impression it also grows into a presence which is hard to tear oneself from though once you do it is arguably not as memorable in hindsight as you expect. In its company though it is a thoroughly pleasing and exciting release.

That frustration mentioned at the start is actually surprising. Usually there is never an issue with bands singing in their native tongue, in fact very often it adds something extra emotively, but on La Fuga it left one feeling out in the cold a little, like missing out on the secret you are meant to support without knowing its content. Despite that the album leaves only satisfaction and welcomed intrigue amongst thoughts and emotions.

Formed in 2004, Sinezamia began finding a shape and stronger response to their well-received dark wave/rock sounds from 2006 which elevated with the release of their debut EP Fronde the following year. Media and fans took to the release with eagerness and the band began pulling in more to their fan base through touring. With a new line-up in 2009 the band recorded their second EP Sacralità which was released to strong success and interest from the print media and radio not forgetting an ever increasing legion of fans. As a foretaste of what was to come from La Fuga, the single off of it Ombra came out in 2011 to fire up anticipation for what has emerged as a very impressive debut full length.

The album has a grip on the passions immediately with opener Ghiaccio Nero (translated as Black Ice), the breath of synths and sinezamia-la-fugathe pulsating velvet clad bassline an instant infectious lure. Within seconds one is reminded of The Cure around their second and third albums with the contagious melodic hooks of Leitmotiv. The bass of Marco Beccari is irresistible within the weaves of sonic elegance from the keys of Charles Henry Scaietta and the teasing guitar play of Federico Bonazzoli. Into its stride with the great vocals of Marco Grazzi at their expressive might the track shifts into the darker aural shadows of Bauhaus to leave one even more magnetically drawn to the track. It is an excellent start instigating memories and pleasures from a few decades ago with a fresh touch.

The title track is a harder straight forward encounter of rock n roll with the rhythms of drummer Stephen Morbini leading the muscular passage with skill and tight control. The song still leads the ear into beckoning dark corners but lacks the mesmeric charm of the first though instead offers a bite which not only shows a good diversity to the music of the band but entraps a willing attention with ease.

     Nella Distanza opens on a slow haunting bass resonance before expanding into a sultry presence with a tight irresistible serpentine hook. The track took time to get to terms with, musically it is a smouldering wash of elegance and energetic passion but accosted by the initial distraction of the vocals of Grazzi. It is obviously down to personal taste but his slow almost spoken delivery send the song slightly awry and startlingly out of place compared to what came before. Thankfully it is only until he surges into his full singing range where you can only be impressed, his heart driven tones as powerful and thrilling as the constant musical imagination. Being selfish one only hopes he avoids this slow walking delivery in the future, but that is just one lone view of course.

The album continues to excite but when the aforementioned single arrives it just sends shards of rapture through the senses.  Ombra (Shadow) is sensational, a song which is like a beacon for the heart, especially if the likes of Leitmotiv and Play Dead hold a place in the emotions from times past. With a persistent sonic tease and boisterous energy around the ever inciting caresses of the keys, the track commands body, thoughts, and emotions like a sonic temptress. It is the best track on the album though matched by the closing triumph Nebbia di Guerra (Fog of War). It too is an insatiable wash of melodic elegance and almost raptorial energy from guitars and rhythms section speared by contagious carnivalesque teasing and sultry wantonness. Like a cross between Sex Gang Children and the poppier touches of The Danse Society it is a final act of magnificence from a simply stunning release.

If the heady times of the older bands mentioned do things to your little blood pumping organ than Sinezamia and La Fuga are a must.

https://www.facebook.com/sinezamia

RingMaster 19/12/2012

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