Coilguns – Millennials

For all their striking projects and releases, of which there have been numerous, it is as Coilguns that the trio of vocalist/guitarist Louis Jucker, guitarist Jona Nido, and drummer Luc Hess has most lit our personal fires and inspired further our love for instinctive sounds and creativity. Their new album Millennials, with synth player Donatien Thiévent in the fold shows exactly why; the ten track exploration of manipulative noise and physical intimation a beautiful predacious trespass.

Written and recorded at the beginning of 2016, the self-engineered sonic invasion instantly overwhelms with the senses ravishing Anchorite. Guitars entwine ears in a devious, corrosive web as the rhythmic ingenuity of Hess stirs and ignites body and spirit. As arousing as his boldly thrown beats are the Jucker and Nido spawned grooves and noise bleeding tendrils are corrosive, all uniting in a hellacious virulence which strings the imagination and senses like a feral puppeteer; a manipulator simultaneously venting through the vocal squalls of Jucker. The track is immense, a visceral seduction which had us cowering as much as we were welcoming its abuse with greedy open arms.

The following Deletionism manages to breed an even more carnal tone and air; its carnivorous jaws littered with biting beats and caustic toxicity but just as infectiously persuasive as its predecessor in temptation and energy. The throaty bassline echoes in the senses as it courts the mercurial but ever invasive stroll of guitar; it all coming together with concussive majesty alongside the rapier swings of Hess and the throat and word scaring roar of Jucker.

The album’s title track is next, a sense charring blaze of rock ‘n’ roll with sonic lava in its breath and inescapable virulence in its rhythms. Hess is simply superb, stirring the track’s intent with ravenous dexterity allowing the calm in its midst to challenge before stirring up a confrontation as violent as it is invigorating. From pure infection the track leaves as a toxic raping of ears and wow did it excite. From start to finish, there are compelling suggestions of best track on the album, and maybe that from Coilguns in general, this one of the most persuasive.

Spectrogram takes the listener into a sonically incinerated landscape, its shadows and scenery a lure of white noise-esque suggestion before a suffocating wave of sound and intensity thickens the drama and the increasingly haunting and haunted climate. Thiévent’s synth flows over the incitement like melancholic mist but with a surf like teasing which captivates, ears moths to its flame in the oppressively infectious dark of the track.

For one minute and a handful of imposing seconds, Music Circus Clown Care has the senses harassed and swinging as if on a barb lined trapeze before cavernous jaws drag them into the torturously arousing grip of Ménière’s. Once again, Hess had us bouncing as the sonic trespass of his companions infested ears and psyche, the track a murderous swagger of craft and contemplation borne of the darkest deeds and times and moulded into one irresistible breathless incursion.

The brief, inhospitable and again inescapably addictive blast of Wind Machines For Company emulates its title in a typhoon of sonic voracity while Self Employment Scheme is an investigation cynical in tone and air niggling at and sucking on the senses like an argumentative tick; never relenting in its harassment but ebbing and flowing in its severity. Both tracks simply brought our lust levels higher as too the grievously writhing antics of Blackboxing, the glorious track ducking and diving with quick footed rhythms and tenaciously swerving noise until delivering a brutally blistering concussion.

The release ends with The Screening, a fascination examination carrying intrigue, captivation, and threat in every note, syllable, and rhythm cast over the senses. Its initial temptation loaded coaxing with Hess once more shaping the bait, grows and intensifies by the moment, simultaneously becoming a harsher imposition and addiction to leave by its departure its victim on their knees breathless and lusting for more.

There is no one like Coilguns and nothing in even their own repertoire to match the noise alchemy of Millennials. It is far too early to declare an album of the year but believe us when we say it will not be straying from those most vocal nominations come late December.

Millennials is available now via Hummus Records and through https://coilguns.bandcamp.com/

https://www.facebook.com/coilguns    https://twitter.com/COILGUNS

Pete RingMaster 27/03/2018

Copyright RingMaster: MyFreeCopyright

Welington Irish Black Warrior – Vafancuneo

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Welcome to this year’s most rigorously exciting and insatiably compelling release, Vafancuneo. Ok it is probably too early to truly give the title to Welington Irish Black Warrior, the creators of the extraordinary release but there are no doubts it will be in the top handful of nominees come judgement time. Brewing a unique sound most closely described as post punk meets psyche rock with a veining of noise and experimental industry, the Swiss band has sculpted a new template for emerging noise driven bands. Their EP is sensational, a riveting and breath-taking, almost tribal incendiary device for imagination and passions to explode over, and certainly one of the essential releases of 2014.

Consisting of vocalist/guitarist Brynjar Thorsson, bassist Léon Jodry, and drummer Steven Doutaz, the Neuchâtel based trio came together in 2005, three music loving men who supposedly came together as a band to stop working in a watch making factory. Since that entrance Welington Irish Black Warrior has been on an upward spiral, notably releasing a self-titled debut album in 2012, collaborating with Kunz on the five track KUNZWIBW of last year, and spending a whole year writing music based on Alejandro Jodorowsky’s movie Holy Mountain, which they performed live in a church in front of the screen during a projection of the 2 hours movie. With a flood of shows, European tours, and festival appearances only increasing their stock, time is ripe for the band to draw the strongest spotlight, something Vafancuneo is potent bait for.

Recorded live by Alberto Dutto (Movie Star Junkies), mixed by Mano Moccia, and mastered by Louis Jucker (Coilguns, Kunz, The Fawn), 02_Front CoverVafancuneo is a virulent infestation of senses and mind from the opening minute of first track Hand on Stomach. The beginning to the song is a scattering of noises and splattering of rhythms but a mix brewing and merging into a united probing as it all comes into potent focus. A resonating throat calls out from the bass as the rhythms of Doutaz roam with a rampant appetite, both prowling and seducing the senses as distorted flames of guitar wind their riveting toxicity around thoughts. It is a thrilling provocation even before the joining expressive almost psychotic vocals tones of Thorsson complete the scintillating package, every aspect of the song a stark yet endearing poison writhing under the skin and into the passions.

The post punk conspiracy of the track is just as intensive in the following Jahzz, reinforcing thoughts of Wire and early Gang of Four hinted at for varying reasons in its predecessor. Jodry’s bass lies down the first delicious lure, its hypnotic suasion a predacious instigator to striding rhythms and sonic scythes of guitar. To those previously mentioned references you can also add Kabul Golf Club and unavoidably Joy Division as the track courts imagination and ears with its unpredictable and unrelenting web of sound and invention. There is also a sinister air to its aural narrative, a noir kissed ambience which colours the intriguing canvas and persistent single minded gait of song and hook.

It is already an irresistible encounter by this point but the album opens an even richer vat of temptation and tempting with Lac Orbu. The initial clutch of short grooves is once again an instant capture of a raging appetite for the EP before the track stirs up an agitated blanket of rhythms with stabbing guitar as the bass groans hungrily by their side. Vocals bring their distinct enticement to the psychotic dance next; a canter pungent with a contagion of repetition and rhythmic disorientation. Thoughts of The Fire Engines add to the suggestive spicery of the romp before everything is smothering in a sonic squall. Lines are blurred and air infused with raw ambience as the song moves towards its departure, the band again leaving assumptions as pointless as warm melodies trying to encroach into the creeping soundscape.

A pulsating distortion of sonic psyching draws the next up Fascination into view, its strobing soon matched by whipping rhythms and the anthemic vocals. The bass brings a stable shadow to the light show, its premeditated drawl holding the scattered bait for one massive and intrusive seducing. The jagged breath of the track scars the senses beautifully, seizing their allegiance automatically as the acidic flight of guitar winds enticingly almost wantonly around the imagination and emotions. A strong whisper of The Gaa Gaas also permeates the scaring of sonics and rhythms but as throughout thoughts of Wire come the closest to describing a little of the brilliant brew the band conjures.

A schizophrenic character grins from within Bankal 10/15; a fruity discordant twang casting its spell over the guitars as the bass again adds the more even gaited poise to the cacophonous exploits littering ears with scarring beauty. The breaking swagger and addictive swerve of guitar and song simply ignite another wave of lustful ardour in mind and heart, inspiring the return of feelings and bewildered yet hungry thoughts arguably not felt since the late seventies when many of the comparisons mentioned reigned. There is a definite nostalgic feel to the release but only as rich hue to something unique and of the corrosive now.

Vafancuneo closes with the just as tremendous Samba Suicide, a hive of waspish sonics making the first play for the passions before an infectious grinding of riffs and sharp hooks pounce with a pop intent. Probably the most accessible song on the EP, certainly the most danceable, the track evolves into a disorderly, unsynchronised adrenaline fuelled waltz, an atonal stomp which exhausts and exhilarates with equal success. It is a dynamic and masterful finale to a quite brilliant encounter. Welington Irish Black Warrior takes noise and discord and weaves them into the most insatiably gripping and antagonistically seducing pleasure possible. Their songs are genius and wickedly captivating, and once they worm under the surface impossible to shake off.

Vafancuneo is available now @ http://hummusrecords.bandcamp.com

https://www.facebook.com/welingtonirishblackwarrior

10/10

RingMaster 01/05/2014

Copyright RingMaster: MyFreeCopyright

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The Fawn – Collegium

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From the first resonating note of Collegium, the album leaves a deep and evocative touch on thoughts and senses which in many ways is hard to express in words. It is an experience which has to be felt in person to truly appreciate the resonating beauty and provocative touch, anything we say here mere whispered guidance to its potent presence. The first official full length release by The Fawn, an artistic collective led by Nathan Baumann, the album explores the realms of thought and emotion whilst easily igniting those of the listener.

The new album follows a quartet of EPs which with a limited release has bred an intense and dedicated fanbase for the project around Switzerland. Began by Baumann in 2011,The Fawn is a collaboration of the most imaginative musicians, plastic artists and technicians in the country all providing their invention for free alongside Baumann for a project of true DIY spirit. Featuring the talents of members of The Ocean, Coilguns, Shelving, Rectangle, Derrick, and many more, as well as other artists from other medium than music, the experimental and impacting release is a series of small soundscapes combining for one sophisticated experience working on many potent levels.

      Collegium was started in the January of 2012 in the church of St- Imier, his native town in Switzerland. Given the opportunity to a3793106535_2have its distinct voice as a canvas for the recording and production for one week, Baumann with producer/songwriter Louis Jucker (The Ocean, Coilguns, Kunz) and sound engineer Christoph Noth, chose to employ a new conceptual approach of recording with the natural reverberation and throat of the building leading the composing and mixing process. Songs were written and explored only once within the walls of the XIth century church with its touch and voice bringing guidance and rich impressions on the recordings and album. For the recording a selection of acoustic instruments were used: piano, 6 and 12 strings guitars, cello, tuba, percussions, drums, as well as the original organ of the building amongst many other factors brought into the intricate and intently crafted preparation to make full use of the opportunity, imagination at large, and the acoustic beauty of the church itself.

From the very first track The Arch, the qualities which ignited the invention and creativity provide a wind through the ear. A melodic drone of organ offers a persistent enticing engagement with a rasp to its invitation whilst leading the listener unreservedly into the arms of the acoustic caress of guitar. The compelling resonate purr of the formidable instrument subsequently lends its exhaustive breath across the whole length of the track to soundtrack the seductive vocals of Baumann and the continuing creative breeze of guitar. It is an imposing but enthralling sensation, an emotively resonating experience which leaves a rich imprint upon thoughts and senses long.

The following Paper Cuts features, as in two other songs, the distinct voice of Jucker; his expressive earnest tones an acidic pleasure within the elegant acoustically caressing narrative crafted by the guitars for an emotional wash. It is a fascinating incitement soon equalled by Two Lines with Baumann returning to coax the deepest heart out of the piece. Already within three songs the echo of the building is a thrilling canvas for the sounds and songs to reach their emotive pinnacles and in the third song with the entry of the cello, it finds the most powerful declaration yet.

The mesmeric Queen of Rain is one of the major highlights of the album, its warm and refreshing waltz through the ear providing a summer walk in an imaginative aural climate of invention and expression whilst Asylum with Jucker returning to lay his individual vocal temptation, is a passion lined conviction of open emotions. Though not every track sparks the same depth of passion and greed as others, Collegium is an album which allows no moment to be wasted, the wave like flow of songs always impacting and bringing strong persuasion before the ear.

Across the likes of Good Friends, the equally haunting and entrancing Nocturne, and the warmly alluring Summerbreeze, the album continues to impress and invite stronger emotion, the tail end of the release its most enriching, whilst closing song Dive uses the building framing its ingenuity, as another instrument of descriptive colour and emotional testament most strongly on the Hummus Records  released album.

Also bringing in to the collective the abilities and invention of two Swiss designers, Gaspard de la Montagne (Spitzhorn) and Jerôme Burgener (Structo) for the album artwork, and Swiss plastic artist Carlo Clopath for photography, The Fawn is a project which is compelling, an imagination of folk pop, to simplify its stance, which deserves to have the chance to bring its undoubted impact before every emotive heart.

Line-up

Nathan Baumann : Vocals, Guitars, Organ, Piano

Louis Jucker : Vocals, Guitars, Cello, Organ, Percussions, Production

Luc Hess : Drums, Percussions

Bertrand Vorpe : Guitars

Philippe Krüttli : Tuba

Pascal Lopinat : Noises and Loops

Christoph Noth: Recording, Mixing and Mastering

Gaspard de la Montagne and Jerome Burgener : Artwork

Carlo Clopath : Photographs

https://www.facebook.com/thefawnweb

8/10

RingMaster 17/05/2013

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The Ocean – Pelagial

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Undoubtedly The Ocean has always been a band which demands a deeper concentrated focus to discover, understand, and reap the rewards of their creative leviathan like albums. They continually challenge the listener and themselves from album to album, investigating the complexities and simplicities of sound, emotion, and imagination. Their eagerly awaited new album Pelagial is no different, a release which offers a journey of beauty, intensity, rapacious shadows, and impacting depths which ignite the visual and emotional heart.

Pelagial as its title suggests, is a submersion through the open ocean, an intriguing and inciting dive through five pelagic depth zones: epipelagic, mesopelagic, bathyalpelagic, abyssopelagic, and hadopelagic. It is also simultaneously a provocative soundscape across the darker crevices and corners of the mind to which emotions and reflective shadows are ignited for an individual and personal concept; it is a unique travelogue of intensity and inner exploration unique to each listener. One continuous piece of music split into passages or episodes with interludes of underwater sounds and samples taken from old submarine movies to mark transitions, the album envelopes the senses and thoughts in a richly enterprising and invigorating expanse of sound and descriptive sonic narrative. It is challenging and at times claustrophobic, an overwhelming intrusively close wrap devoid of light the further down into its dangerous depths you go, and a piece of invention with a current which guides and forces listener and album into an emotional pressurised squall.

Mixed and mastered by Jens Bogren (Opeth, Katatonia, Witchcraft), the Metal Blade Records released Pelagial is a progressive Covertour-de-force and an album which at the same time leaves questions in thoughts, not as to how impressive it is, that is undeniable, but how to interpret not only its expanse but the emotions it ignites within its enthralling company. It is without doubt an album which has to be devoured numerous times to appreciate and reveal all the scintillating adventure, pure invention, and furnace of multi-faceted emotions it unleashes, and that is possibly the only thing to lever against its towering presence for some, the intensive work needed to truly understand it and reap the deepest riches within. To counter that comment though it should be said that the album is one of their most accessible releases in recent years making for as mentioned an insatiably intriguing and evocative encounter which continues to make the band the most wonderfully unpredictable and forward thinking boundary pushing forces of within metal/rock.

From the opening light soaked piano crafted instrumental Epipelagic, its surface a light and warm dazzling beauty, the album breaks the surface to melodically swim through Mesopelagic: Into the Uncanny. The guitars of Robin Staps and Jonathan Nido sculpt the coloured textured waters magnetically whilst additional strings add emotive whispers to elevate the lush coaxing. The rhythms and guitars raise the temperature as the urgent busy surroundings to the continuing submergence end the link between air and water with the vocals of Loic Rossetti, as ever irresistible whether scowling and growling or seductively expelling the lyrical revelation and its mutually descriptive and personal potency, lights up the atmosphere. Beside him the crisp guiding rhythms of drummer Luc Hess frame and vein the piece whilst the bass of Louis Jucker adds further menacing textures to the now imposing strength of the landscape.

The three part passage of Bathyalpelagic steps out from the already riveting drop, especially parts I: Impasses and II: The Wish in Dreams, both virulently persuading the passions with their continually shifting and swirling addictive and uncompromising declarations. The vocals of Rossetti on the first are aural manna, an irresistible temptation within the bruising and explosive enterprise persistently buffeting and thrilling the senses. The second part increases the intensity and exhausting toll with a ravenous and imperious tempest of sonic strokes and melodic sirenicity within an imposing provocation which refuses to take no or defiance for an answer.

The two sections of Abyssopelagic press harder with a predatory breath as the pressure and intensity darkens and increases further into the release you go through but also hold moments of acclimatised calm and resolve which temper the building ferocity of emotion and intensity whilst Hadopelagic I: Omen of the Deep and especially its companion II: Let Them Believe makes the listener feel at ease with the new depth, the seeming elevation away from the impending blackest depths a melodic and inspiring deep breath for the final push which the beckoning primal rhythms of Demersal: Cognitive Dissonance welcomes with contagious invention and initially startling mesmerism, like a lack of oxygen induced temptress,  and the closing Benthic: The Origin of Our Wishes devours, greedily accepting the offering with carnivorous hunger.

Pelagial is exceptional but as mentioned an album which has to be dived into numerous times preferably as one continuous movement, to truly feel its full triumph, each submergence unique and  consistently rewarding invigorating explorations from the distinct and innovative imagination of The Ocean.

http://theoceancollective.com/pelagial/

9.5/10

RingMaster 01/05/2013

 

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Coilguns: Commuters

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    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.

https://www.facebook.com/coilguns

http://pelagic-records.com/artists/coilguns/

RingMaster 07/02/2013

Copyright RingMaster: MyFreeCopyright

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.

www.facebook.com/coilguns

www.facebook.com/NVRVD

www.coilguns.bandcamp.com

RingMaster 02/11/2012

 

Copyright RingMaster: MyFreeCopyright

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?

Sure.

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

http://pelagic-records.com

RingMaster 01/11/2011

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