Tyranny Is Tyranny – The Rise Of Disaster Capitalism

TyrannyShout_credit_Bronson_Karaff_Reputation Radio/RingMaster Review

The time between 2013 debut album Let It Come From Whom It May and its successor The Rise Of Disaster Capitalism has certainly seen no change or lessening in the ferocious incriminations and outrage at the current world and its masters from its creators. Musically though, Tyranny Is Tyranny has used it to evolve and explore bolder and more expansive sonic landscapes and ideation. The US post noise rock band has openly grown in songwriting and sound without losing any of the compelling turbulence and ire which sparked within their first pleasing offering. Indeed the Madison quartet has possibly turned their anger into an even more corrosive and uncomfortable trespass this time around but woven it into sparser yet intimately imposing, and inescapably immersive soundscapes clad in caustic and emotionally stark atmospheres. It is another imposing confrontation which will scare as many as it seduces, and further evidence of Tyranny Is Tyranny emerging as one of rock’s exciting uncompromising challenges.

Inspirations to Tyranny Is Tyranny comes from the likes of Neurosis, Explosions In The Sky, and Fall of Efrafa, essences once again laying as clear seeds in the tempest of The Rise Of Disaster Capitalism, whilst lyrically and emotionally the unjust, corruptive landscape governing our lives is again the influential cancer. Opener Or Does It Explode?, brings swift evidence that musically we are into new territory evolved from the band’s previous successes. The guitars of Jason Jensen and Russell Emerson Hall cast the first descriptive hue, chords a cold and ominous lure as well as the spark to an infectious canter of rolling rhythms and dark yet inviting riffs. Shadows drape every aspect of the lively encounter, coating the raw tones of the Hall’s vocals and fuelling the magnetic post punk bred bassline offered by M. Guy Ficcioto. The song fluidly moves through slow, doomy elegance and raucously aggravated energy across its provocative terrain with the rhythms of drummer Jonathan Brown a perpetual incitement. It is a heavy and welcoming, explosive and fearsome journey for song and ears, an adventure which never settles into one scenic provocation for long and has emotions and imagination riveted from start to finish.

DisasterCover_Reputation Radio/RingMaster Review   The following She Who Struggles is an instantly sombre affair, guitars and vocals a low key coaxing of emotive unrest courted by punchier rhythms. As it opens up its narrative and nature a surf spiced tang colours sonic endeavour whilst an agitated and emotionally unbalanced raging overwhelms vocals and riffs. Soon song and listener is in a dark place but there is a constant light and escape through the sultry craft and imagination of the guitars. The bewitching nature of the encounter is ravaged and pulled this way and that across the seven minutes of tempestuous imagination, but never gives way or loses its potency as the album continues its impressive start.

Pillar Of Cloud, Pillar Of Fire makes a similar proposal but with the smouldering enticement of Ficcioto’s trumpet a swift success and enthralling lure in a cauldron of volatile textures and emotions, the song is soon sculpting its own unique and extensive questioning. Brown is the protagonist crafting and roaming a tenaciously unpredictable canvas, the guitars and vocals the rich unsettling passion, but it is even in brief moments, the coaxing of trumpet which tugs on thoughts and emotions with the strongest toxicity.

The album’s best track twists and bellows next, Kabuki Snuff Theater a post punk expulsion of creative drama and raw emotional disquiet. It is glorious, bass and drums building an inescapable rhythmic trap which shards of guitar and sonic causticity shape and colour with even more virulent temptation. For all of its easy contagiousness though, there is a ferocity and abrasive challenge to it igniting the passions and setting up the listener perfectly for the closing epic fifteen minute conflict of Victory Will Defeat You. The final song takes ears and thoughts from a raw calm through an emotional and vocal confrontation before luring them into a severely restless and ireful cyclone with a creative turbulence to match. Though finding it slightly too long, the track is a massive and stirring finale to one simply excellent encounter.

The Tyranny Is Tyranny sound has grown up, not come of age as you sense there is still plenty more within band and song writing to develop, but evolved into something masterful and dynamically striking. That has resulted in an uncomfortable and richly enjoyable new offering which will undoubtedly reward the brave.

The Rise Of Disaster Capitalism is available from June 13th via Phratry Records digitally and on CD and vinyl and @ https://tyrannyistyranny.bandcamp.com/

http://tyrannyistyranny.com/   https://www.facebook.com/TyrannyIsTyranny

RingMaster 12/06/2015

Copyright RingMaster: MyFreeCopyright

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Tyranny Is Tyranny – Let It Come From Whom It May


Stark in tone and stark in its regard to the world, Let It Come From Whom It May the debut album from US post noise rock assassins Tyranny Is Tyranny, is a corrosive breath not only upon thoughts and senses but the capitalistic hold of society and man; the band name taken from title of the fourth chapter of Howard Zinn’s A People’s History of the United States. As with most bands a tag only gives one or two levels and sides of a sound and certainly it is the same with the Madison, Wisconsin quartet. Throughout the seven startling and demanding tracks there are coarse whispers of post punk and doom rubbing their toxicity into the caustic mix to help provide an extensive and exhausting confrontation which wears down and consumes the body from top to bottom, inside and out, whilst simultaneously invigorating the self-same victims alongside enforced thoughts and contemplation.

Tyranny is Tyranny rose from the demise and collapse of United Sons of Toil, guitarists/vocalists Russell Hall and Jason Jensen emerging as an unashamedly confronting and uncompromising fury lyrically and musically, but a tempest carefully and thoughtfully crafted for maximum provocation and success. With bassist/vocalist M. Guy Ficcioto and drummer Ben Aldis alongside the pair, the band creates an oppressive web of stirring and cutting narratives within a senses sapping smog of sonic sludge and rhythmic challenging. It is a bleak and suffering encounter but deviously addictive and impressively accomplished, with a sound and presence which seduces from its first spiteful note to its last threatening breath.

Opener Manufacturing Truth makes a tempting entrance, guitars casting a slow melodic beckoning within a gradually intensifying atmosphere. Soon a sludge heavy blanket lies down upon the energetically growing riffs and awakening concussive percussion, the brewing union flaring with belligerent sinews and rabidity drenched vocal squalls. Elements of Part Chimp and KEN mode stir within the track as arguably does a taste of Black Flag but more dominantly it is a fresh and rapacious provocateur insidiously but welcomingly working upon and seducing senses, thoughts, and emotions.

The impressive start steps aside for the following Owned By Thieves, another song which makes its introduction with a slow and smouldering embrace. The track has a tender hand upon the ear again from guitar whilst a sonic uprising is just initially hinted at, an expulsion further incited by the roaming predatory bass. Strangely there is an indefinable familiarity to the track which teases throughout, at times distracting from the quality and depth of its persuasion as thoughts try to grab onto a suggested name to compare the sound to, ultimately unsuccessfully. It is an immense and enthralling continuation of the opening plateau stepped upon by Let It Come From Whom It May, and a level soon elevated by the outstanding Down The K-Hole. With riffs and bass gnawing upon the senses from its first seconds whilst a sonic hook adds addictive intrigue, the song immediately raises thoughts of early Killing Joke, that same intensive and tight primitive lure and savagery at restrained but potent work. The punk scourges which unleash their bruisings throughout accentuate the ravenous snarl and disdain, adding to a storm of intent and Prong like metallic brutality.

The best track on the album is soon followed by the equally imposing and thrilling instrumental The Haze Of Childhood; the piece an evocative slow soar through emerging menace and elegant key bred emotive caresses into a loss of once safe innocence and consumption of a stark, bleak horizon. It flows straight in its successor Apostasy, the song accepting the set premise and building upon its presence with gentle vocals and a post punk sinister glaze, the track initially parading an invitation not dissimilar to one Wire would offer. Into its full body the forceful persuasive growl and provoking pressure of the vocals and intensity make compelling declarations and impressions on the passions, and though the song does not ignite the fires of earlier songs it is arguably the most powerful and skilful in creating an unavoidable reaction within the listener.

The album concludes with firstly the contagiously repetitive and droning call of The American Dream Is A Lie, its lure a hypnotic seizure as its oppressive nature steals submission for its deceitful sonic promises, and finally the equally mesmeric Always Stockholm, Never Lima. The track in its forceful and sonically scrubbing of the senses induces a total union from the listener to its demands and control, its aggressive but devious enticements another thrilling venture within the album.

Recorded and mixed by Russell Hall and Jason Jensen at The Dock and at The House For Wayward Boys, Let It Come From Whom It May is an outstanding introduction to a band which you sense will make a major impact on noise and caustic political rock for a long time to come. The album is certainly stronger in its earlier presence but only recruits a full hunger from start to finish with its somber erosive incitement. Tyranny Is Tyranny tell it as it is with a noise spawned majesty which is as controlling and merciless as those it rages against, but in a very good appealing way.



RingMaster 20/09/2013

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