Plastique – Quake

By Loïc Martenot

By Loïc Martenot

Bringing fresh aggressive incitement to the dance-floor along with the virulent contagion of sound they are renowned for, alternative-electro trio Plastique unveil new single Quake. It comes after a quiet period for the band, a time which saw them take time away to reassess their direction and next step. Vocalist Anelise Kunz spoke about that period and the new single recently, saying “After two albums we kind of wanted to add something new to our sound, but we started pressuring ourselves for new song ideas…and because of that nothing was really happening, the new single [‘Quake’] came out as a sign of hope…there was no pressure, the vocal jam just happened, and soon we were all involved in getting this one ready to go!

11035313_812517938830346_8230624647920208335_n     It is fair to say if only with one song to assess it by so far, that it was a reflection and exploration spawning potent results. Kunz, guitarist Fabio Couto, and DJ/producer Gabriel Ralls have returned with a feistier and more voracious attitude in sound and intent. Coming together as Plastique, Brazilians Kunz and Fabio Couto with British bred Ralls quickly gripped keen attention with their self-titled debut album late 2011. It was a release backing up their growing stature on London’s alternative scene, a presence pushed and ignited further by its successor #SocialScar two years later. Now after that time away, the threesome are back with a more industrial rock fuelled incitement, one sure to spark frantic activity on the dance-floor again but this time with darker predatory inclinations.

From its first creative mechanism of sonic and rhythmic provocation, Quake displays a psyche challenging imagination and turbulence to it. Beats thump with resonating toxicity whilst guitars blaze with their own raw aggravation, yet there is that expected virulent catchiness and techno energy which sends addiction spawning urges through ears and body. The vocals of Kunz bring their own challenging posture to the song, her tones and delivery reminding a lot of Lesley Woods of eighties post punks Au Pairs, and indeed there are elements of that genre within the increasingly magnetic encounter. Equally essences of PJ Harvey and Cauldronated come to mind as the song continues to cantankerously ripple and contagiously seduce the senses.

If Quake is the sign of things to come, the wait since the last album was well worth the frustration for fans and band alike. It also suggests that Plastique’s next full-length will be their finest most intoxicating offering yet, something you can apply right now to their single.

Quake is available now @ https://itunes.apple.com/gb/album/quake-single/id980105266

http://www.plastiqueband.com/   https://www.facebook.com/PlastiqueBand

RingMaster 05/05/2015

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

 

Trioxin Cherry: Hell To Pay EP

Trioxin Cherry

The Hell To Pay EP is a release to have every graveyard rocking and monster, mythical or real, adopting as their personal soundtrack. It is a malevolent infestation of the senses leading to a full consumption of the heart whilst igniting a furnace of passion with its horror punk glories. The release comes from Nottingham, UK band Trioxin Cherry, a band made up by a trio of insatiable ghouls who grab your soul with irresistible hooks and venom drenched riffs born of the darkest pit of punk, psychobilly, and garage. Raw and hungry, band and EP just leave one a carcass of blissful satisfaction.

Consisting of guitarist/vocalist Rebecca Campbell, bassist/vocalist Pete Grady, and Ryan Murphy on drums, Trioxin Cherry go for coverthe jugular from the very first second of Hell To Pay and do not let go until they have chewed and ripped a hole out of the throat by last snarling note of the release. The title track is the first confrontation and without concern unleashes a flesh scorching groove and flurry of rising rhythmic aggression. The initial persistent hook continues as the bass riffs of Grady leers menacingly from within the bruising guitar scraping and forceful beats of Murphy. Campbell all the while is lighting up the air with her potent vocals and sounding like an English Fay Fife , front lady of Rezillos/Revillos; the first of those bands also being reminded of as the psychobilly drenched track exhilarates the senses. It is a riotous encounter brought with bruising intensity and superbly crafted intrigue conjured by skill and imagination.

The terrific start is flowed up by the equally compelling Children Of The Damned, a track with an enticing throaty bass lure and the sultry vocals of Campbell. Well into its stride the track unleashes a bassline which is a very close cousin to that from The B52’s track Rock Lobster. It is a mischievous but very pleasing addition to a song which leaves one drooling over its wanton presence. Vocally Campbell this time has an attitude and tone which brings to mind Lesley Woods of eighties band Au Pairs, her delivery melodic but with a bite which intimidates beautifully.

Two songs in and the release has already won the heart over to be honest, and with following triumphs in Bad Company and Sideshow Molly leaving their own distinct infection to douse the passions in further thrills, one can only wax lyrical about the release. The first of the two rising from a subdued yet threatening prowling stomp to an antagonistic storm of raucous group harmonies and vocal spite thrust on a caustic onslaught of energy, raises the temperature further, the almost anthemic brawling crescendos wonderfully acidic on the ear. The other song opens with a garage punk breath and that dark texture The Cramps spawn so long ago soaking the bass and the backing vocals of Grady. It is a contagious Lycan themed rumble with a surf wind whipping up extra wantonness to the already virulent entrapment at play.

The release closes with yet another distinct rage of sound, the band continually able to offer a different flavour and texture to every aural recip. Hit Me is a tempest of punk n roll, a compelling rockabilly growl from the bass joined by a fire of punk aggression in sound and attitude with Campbell bring a rage born of Polystyrene of X-Ray Spex. It is a quarrelling slab of contention and insatiable noise and quite delicious.

If any of the genres or artists mention make things happen which your mother would not like to know about then the Hell To Pay EP and especially Trioxin Cherry  is a must have treat to devour with greed. The release is an eclectically spiced joy and without doubt, one of the highlights of the year. Watch out for band and release on The Bone Orchard podcast.

https://www.facebook.com/trioxincherry

RingMaster 05/12/2012

Copyright RingMaster: MyFreeCopyright

Holly Walker: Bedroom Bangers EP

Holly Walker is quite simply a poet who uses clean and uncomplicated music to punctuate her insightful and sharp lyrical observations. She is a literary guerrilla striking from the inside of music and life to highlight with wit and wonderful flair the world of the artist and us. Easy to relate to and even easier to be captivated by the debut EP from Holly Bedroom Bangers, is immense and easily one of the most striking and thoroughly enjoyable releases this year so far.

The EP unveils four new songs from the artist and brings her skills as a trained pianist and striking lyricist into an additional blend of restless lo-fi beats to create a hypnotic minimal aural breath. Imagine a mix of John Cooper Clarke with Young Marble Giants and a splash of the likes of Lily Allen and you get a flavour of the stunning talent of Holly Walker. She brings a pied piper effect with her music, the EP from its start having an immediate pull and irresistible lure and by its end leaves you needing to follow her music anywhere.

Opening track Modern Life begins on a single repeated piano note before slowly spreading its fingers for a catchy grip of the ear whilst Holly stalks those supposedly in the know with their own recommendations and words though the lyrics can just as easily be read for our own personal cyber endeavours and lives. Simply piano and voice with rhythmic rattles of beats and a persistently underlying muted bass like pulse, the song hooks the senses with the fullest power and addiction whilst lighting up thoughts and pleasures.

The following Penelope ignites the senses next to cause an even more viral infection upon the heart. With a slightly livelier pulse but still beautifully uncluttered the song sways and teases to send inner and outer smiles to their wider and fuller climax. With flushes of strings weaving throughout the song and lyrics again sparkling with a mischievous grin it is vocally where Holly really captures the imagination, her delivery seizing her words to thrust them forward with at times military precision and always with an enchanting and spicy clarity.

Third song Sterile Facile badgers and jabs the ear with initial beats and a feistier energy. The song reminds of eighties post punk band Au Pairs and brings the realisation of who Holly reminded of in previous songs, Lesley Woods from the same band.  With a higher bounce than the other songs on the EP the track whips up the emotions into a near frenzy of swinging and frenetic energy.

    Panic Beats Panic closes the EP with the most emotive essence of all the songs, its personal melodic heartbeat an easy compelling wrap for feelings and thoughts. It finishes the release with the same irrepressible and siren like hold which enveloped from within the other songs whilst bringing a further diversity to the release.

Bedroom Bangers released on her own Hungry Bird Records, is wonderful, a real pleasure to walk the summer hand in hand with. Intelligent, witty, and completely infectious this is the one release you need to have this summer and Holly Walker the one artist to follow closely.

https://www.facebook.com/hollywalkersongs

RingMaster 10/06/2012

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