Starsha Lee – Post-God Metaphysics

You venture into the dark dusty corners of a previously unexplored attic and within find the predictable, almost dauntingly alluring yet sinister looking dolls house long told tales and visually evocative movies often portray. You peer through its small enticing windows and wonder what goes on within their plastic panes, what adventures play out within the surrounding walls in the darkness. The imagination conjures, thoughts tease…then as their distinct sounds search out both from speakers below, the possibility is obvious; they just might house the unique world of Starsha Lee.

Not that the sound of Starsha Lee is nursery room fit, unless it is those lurking within the distorted lines between reality and nightmares. As in evidence within the band’s debut album, Post-God Metaphysics, it is a rapacious psyche trespassing endeavour spawning songs borne of discontented snarls with characters bred in demon haunted mania. It is also one fiercely addictive treat which may find itself a challenge too far for some but fingered our passions from start to finish within an album that just demands attention.

Though undoubtedly highly individual, the Starsha Lee sound also has a side to it which is akin to a fusion of the rebellious punk rock of In Evil Hour, the noise bred catchiness of Melt Banana, and the mischievous alternative rock of Daisy Chainsaw. The latter is no surprise as they and Starsha Lee are inflamed by the distinct senses scathing, spirit rousing guitar enterprise of Crispin Gray, also formerly of Queen Adreena, and Dogbones. Beside him, the quartet consists of the rhythmic adventure of Lenny Verallis (Dumbjaw/You) and, headed by the vocal devilment and lyrical incitement of Portuguese singer/ visual artist Sofia de Oliveira Martins. Epitomising the uniqueness of the band tenfold, she can best be described as having the vocal prowess of Lene Lovich twisted and distorted through the hands of Jigsaw as the juices of KatieJane Garside (Daisy Chainsaw/Ruby Throat) and Dawn Lintern (Das Fluff) are squeezed into their high pitched results. It all adds up to anarchic beauty in a release which had us drooling with lust rather quickly.

Post-God Metaphysics opens up with Love Is Superficial and immediately Gray is teasing ears with sonic intrigue, coaxing them and the imagination with infectious rhythms in close quarters. As swiftly the richly enticing tones of Martins flirt and dance on the blossoming landscape of the song, it all as infectious as it is musically and emotionally predacious. The track is superb and just the beginning of one exhilarating creative emprise.

The punk rock throes of People Are Horrible follows, its rhythmic raps and sonic writhing spinning a web of stop go virility entangled with Martin’s vocal rascality. In its far too short a stomp, the song, as all, embraces an array of flavours in one devious recipe, all spicing up ears and an already greedy appetite here for the album’s loco lined exploits.

With the guitar again laying the first line of bait, next up Holy Hatred seduces and feverishly ignites within its opening breaths; growing from a gentle caress into a metal infused blaze of incendiary rock ‘n’ roll with venom in its voice and sounds before Life Is Suicidal shares its own sonic pyre with virulent contagion to its bold vocal blend and bounce. The nihilistic tone of word and heart floods the proposal, another constant menacing allure across the album, and bonds perfectly with the raucous bounce and captivating discord conjured.

Post Modern is an electric scowl, the guitar almost grimacing with acidity as Martin’s skilfully and heartily delivered intimation are again aligned to the harmonic breath of Gray’s backing vocals. Verallis and Zahra-Hall stamp rhythmic authority on the temptation, working on hips and neck muscles as the song serenades with open causticity while within the more hard rock nurtured Used To The Bruise, their rhythmic arousal comes wrapped in melancholic harmonics and emotive suggestion. Both tracks simply captivate with ease, the latter an inescapable lure to participation before Even God Doesn’t Know Your Name ensnares the senses with its addiction sharing punk ‘n’ roll canter. With a Cauldronated like hue to its tenacious body as Martins vocally writhes around, the song matches, at times eclipses, the temptation of its predecessors as another major highlight within the album drew further lust.

Through the scuzzy climes of Sterile Girl and the similarly raw discordance of Uncle Nietzsche, Starsha Lee just increase their grip; the first with a gentle twist and the excellent latter with a tug like one induced within an inflamed sexual endeavour. It stomps through ears with a hunger which veers on the rabid but with a controlled predatory nature matched in the following swagger lined march of Glass Diamonds. Its Marilyn Manson-esque swing underpins a senses scorching flame of sonic toxicity, an aural drug which   bewitches and bewilders with craft and imagination.

Laugh Of God and (I Am) High And Divine bring things to a close, the first a cauldron of punk, metal, and garage rock which scars and seduces by the second, Martins once again a vocal Harley Quinn centre stage. Though not quite living up to other songs, it simply grabbed eager attention but was in turn overshadowed by the closing track’s acerbic croon. A song epitomising every aspect of the Starsha Lee sound if without continuing the line of springing essential hooks on the imagination, it brings Post-God Metaphysics to a glorious conclusion.

It is fair to say that Crispin Gray has been behind and involved in numerous bands which have unerringly hit the spot and instincts of us and a horde of others, but few if any striking dead centre the same way Starsha Lee has with Post-God Metaphysics.

Post-God Metaphysics is out now on digital download, streaming, CD and vinyl via Syndicol Music; available @ https://www.syndicolmusic.com/store

http://starshalee.wixsite.com/starsha-lee    https://www.facebook.com/OFFICIALStarshaLee/

Pete RingMaster 27/03/2018

Copyright RingMaster: MyFreeCopyright

Zebras -The City Of Sun

Zebras_RingMaster Review

If you could sum up the rage and discontent burning through the world right now it would be in the same kind of angry roar to be found in The City Of Sun, the new album from US punk metallers Zebras. The release is a brawl on the senses, a violent incitement for the emotions, and simply the best thing to come out of the band and arguably hardcore fuelled metal this year.

There is no surprise to the potency and hostility drenching the release, Zebras’ self-titled debut album of 2012 and subsequent release and songs, have all been virulent animosity equipped with the ability to stir addictive tendencies through fearsome hooks, wild rhythms, and searching grooves. The City Of Sun is exactly the same but the trio of guitarist/vocalist Vincent Presley, keyboardist Lacey Smith, and drummer Shane Hochstetler have taken and stretched everything to new benchmark setting levels.

Again like the uncontrollable bastard son of Lard and Dead Kennedys, but with its own ever increasing identity, the Zebra sound instantly burns as opener Hollow Earth brings The City Of Sun to dynamic life. An initial spicily grained groove pierced by thick rhythmic jabs grips ears and attention first, that lure within a few breaths unleashing antagonistic tension and weight as riffs and swinging beats descend with great zeal around the raw tones of Presley. An already in place appetite for the band through past successes explodes with greed as the song continues to twist and rage, the trio spinning a lethal yet contagious web of violence and doom bred turbulence.

cover_RingMaster Review   It is an invigorating and addictive start continued by The Turning Of The Bones, where again the toxic invitation of grooves binds and enslaves as Hochstetler batters and Lacey’s keys stroke the senses. The repetitious nagging quality of riffs and grooves is also easily devoured manna, an essence which enhances every track upon the album as Presley’s ire shapes and colours the confrontational energy and heart of each incitement further like in the outstanding death shuffle of My Apocalypse and the corrosive majesty of The Bell. The first of these two bounces along throwing sonic spears and bone splitting beats out whilst ingraining the imagination with a hook lined groove carrying a Biafra and Co breeding. From one peak to another as its successor seamlessly escapes from its companion with its own hypnotically debilitating rancor and seriously catchy tirade of guitar and bass enterprise. Ministry at their corrosively niggling best comes to mind as the song continues to bind and scar but again the face and character of the song is all Zebras.

Baalbek is a rather similar tempest next, its body and lures closely matched to the previous track though with admittedly equal success, but in the only ‘issue’ with The City Of Sun there is certainly a kind of surface similarity to the tracks, and between others, which less bold and determined listeners might be fooled into thinking the album lacks strong variety. As The Garden swiftly shows it is not the case even though the template for songs is a constant seed. Expelling a thrash like urgency and tenacity, the song goes for the jugular straight away, uncaging more of the prime ravenous riffs and infesting grooves Zebras are already and set to be further acclaimed for. Swarming over the listener from every angle as vocals and drums create a hellacious and addictive beating, the track has ears ringing and emotions lusty, both more than ready for the barbarous tango of Levitation where punk and metal collude in engagingly oppressive conflict.

There is no let-up in the emotional fire and physical ferocity, or indeed the pleasure as firstly Solomon shares its exhaustive ill will and synth led exoticism and then Vitrified which comes forward with a sultry climate around a predacious turbulence of word, voice, and sound. The track is a spellbinding proposal, another fresh spark for the imagination with arguably the album’s most inventive and experimental song, and nectar for the instinctive desire for twisted tapestries of noise.

Closing with the sonic blaze and rhythmic grudge of Filled With Fire, Zebras leave the body shattered, senses drained, and emotions aflame. With only a wish for the synth craft of Lacey to be a little more forward in the overall production of the fabulous turmoil, Zebras has crafted another stunning release but more so their greatest triumph yet. They are a band come of creative age and with recent times seeing the band supporting the likes of Jello Biafra, Black Flag, Negative Approach, Melt Banana, High On Fire, Goatwhore, and Die Kreuzen, The City Of Sun offers inescapable reasons as to why Zebras should be spoken of in the same kind of acclaiming breath.

The City Of Sun is out now @ http://zebras.bandcamp.com/ digitally, on vinyl, and Ltd Ed CD.

https://www.facebook.com/zebraswisconsin

Pete RingMaster 07/10/2015

Copyright RingMaster: MyFreeCopyright

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Pord – Wild

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Employing a cauldron of hostile noise rock soaked in sonic causticity, Wild is a proposition which simply lights up ears and passions as it numbs and abuses the senses. The new album from French band Pord, the release is an exhilarating and at times gorgeous violation of sonic ingenuity which inspires a deep hunger for more. Their sound is not going to be for everyone but if the likes of Keelhaul, Melt Banana, or Craw tick all the right boxes then Wild is a must investigation.

Formed in 2001, Pord hail from Lozère and through line-up changes evolved with a raw and imposing sound which was not the initial intention of the band on its emergence according to the new album’s press release. Thankfully the band has taken, whether organically or intentionally, a corrosive and raucous route with their sound which has increasingly garnered potent attention and following. Their well-received debut album Valparaiso three years ago drew acclaim towards the trio yet it is easy to feel that Wild will brew a much more vocal and aggressive attention once its uncompromising claws dig in.

Recorded with Serge Morattel (Knut, Tantrum, Ventura, Basement) at Rec Studio in Geneva and released via Solar Flare Records, the album instantly lights up ears and thoughts with Staring Into Space. The first thing igniting the pord_wildpassions is the bass, its presence from the first second offering more primal testosterone than a pair of rutting stags and never losing its carnivorous snarl and beauty across the whole release. Its bestial predation and animal magnetism is soon joined by scythes of guitar, their sonic swipes no less attractive and spiteful on the senses. Drums as swiftly add their antagonistic punches whilst vocal squalls roar with an element of restraint within the storming mix. It is a riveting mix, the repetitive bass lures irresistible whilst the guitar casts scorched tendrils of enterprise which almost crawl in the songs slower sludgier moments and charge with a melodic tailwind when the song opens up a cauldron of energy.

The song is a tremendous start, hooks and grooves lethally delicious, and swiftly matched by I’m Swimming Home. The second song is like a mix of KEN Mode and the now demised Kabul Golf Club, its caustic melodies and abrasing textures simultaneously threatening and seductive, not forgetting ridiculously addictive. Vocals are submerged in the tempest of sound but still a potent protagonist in the contagion of noise and bullying enterprise. As with most of the tracks, there is a swagger and array of barbed creative hooks which are virulent in their persuasion to slightly temper and often accentuate the hostile tenacity. It is formidable romance of noise which is contrasted impressively by My Bloody Galantine. Whereas the previous song has an endearing side, the third track is a predator of the psyche, crawling over the senses with a sinister gait and intimidating ferocity honed into a primal stalking loaded with sludge thick intensity. It is a carnal beast of a track and no less compelling than it’s, shall we say ‘lighter’ companions on the album.

The short fury of Laguiole Bull’s Balls is outstanding. It just exceeds a minute and digs up old school hostility to its sonic furnace and an ever debilitating bass enticing which recalls early Killing Joke in many ways. The devastating statement is followed by the scarring qualities of What Are Tuesdays For? which from a menacing and ear splitting entrance, unleashes a rhythmic agitation and sonic maelstrom which blisters every surface it touches whilst sparking another epidemic of seductive infectiousness. The track has a real swing to its bones as it launches its own insatiable and senses scorching web of sound and ultimately leaving ears blissfully ringing by the time of its departure.

Pools’n’Chicks is another sparking thoughts of earlier eras. Its raging intent and creative wall of sonic temptation proceeds to evolve through a post punk like cold snap and predation before developing a rhythmic addictiveness and discord driven expanse of noise aligned to a raw aggravation. It is an incitement which reminds of The Fire Engines and The Fall as it uncages its mouth-watering tide of sound, living up to the album title whilst sculpting its own addiction forging glory.

The album ends with On The Couch, a final and individual furnace of sonic oppression and rhythmic ferocity which inescapably thrills as it bludgeons ears, body and. soul. It is a last exhausting vindictive suasion, an eleven minute plus violent, corrosive dance within a haunting and menacing atmosphere, and quite brilliant.

As mentioned Wild may not be for all but with a body and soul which lives up to its name, it is one of the physically unhealthy and emotionally invigorating triumphs of2014.

Wild is available via Solar Flare Records now @ http://music.solarflarerds.com/album/wild

https://www.facebook.com/pordnoise

9/10

RingMaster 08/09/2014

Copyright RingMaster: MyFreeCopyright

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Deathcrush – Lesson #16 For Beatmaster V /Fun

 

 Photo: Anne Irgens.


Photo: Anne Irgens.

   Deathcrush is one of those encounters for which anarchy and rebellion was invented so their riotous sounds could soundtrack their landscapes. The Norwegian tempest of noise and rhythmic antagonism has anthemic toxicity running through their veins, a seductive poison which enflames and invigorates their sounds, and thus all those eagerly submissive hearts coming across them. March 17th sees the release of the band’s new single, Lesson #16 for Beatmaster / Fun; a slice of incitement which ignites the imagination and riles up the body. The track is maybe their biggest and baddest yet, certainly their most wickedly compelling and deliciously mischievous, and one more slap around the senses from one of the most exciting new bands around.

   It was Lesson #13 For Nanker Phelge / Fire, a flexi disc double poster magazine debut single early in 2013, which put the music world on alert over the Oslo trio but their following Skool’s In 12” later in the year which really sparked an almost lustful intrigue and appetite for Deathcrush from the music scene. The four track temptress with devilishly seductive and merciless infectious weaponry in its hands ignited media and fan attention instantly, its raucous and contagious noise rock a feisty provocateur for the imagination. To be fair the band was already firing up passions before any release; shows and tours as well as festival appearances at the likes of Roskilde, Øya, and Way Out West drawing strong attentive gazes as the band shared stages with bands such as Battles, Melt-Banana, Vivian Girls, Sleigh Bells, Trentemøller, and The Dillinger Escape Plan.

    Recorded with Jørgen Træen (Datarock, Annie, Sondre Lerche), Lesson #16 For Beatmaster V /Fun sees the threesome of a0417735420_2vocalist/guitarist Linn Nystadnes, bassist/vocalist Åse Røyset, and vocalist/drummer Vidar Evensen in devilish mood from its opening seconds. Militant beats and antagonistic riffs immediately seize the ears whilst the vocals of Nystadnes accompanied by Røyset, add seduction laced with equally unmistakable intimidation. The rhythms of Evensen stomp and threaten with inviting revelry and predacious hunger whilst the guitar and bass cast a psyche infecting web of adventure and rapacious stalking respectively which is impossible to resist. There is the rawness to the proposition too which marked previous songs and again here adds an extra abrasive aspect to the song intensifying the menace and anthem clad lure of the involvement.

   A puppeteer for feet, arms, and emotions, the track is noise alchemy; a devil spawned maelstrom with aligning clarity and venomous provocation uniting for a primal antagonistic waltz. With further tracks recorded with Billy Anderson (Swans, Melvins, Mr. Bungle) and currently in the mixing hands of Nystadnes waiting to infect the world as well as an equally dramatic video for the new single, which has been selected for the Berlin Independent Film Festival, Deathcrush is well into their ascent towards world domination. It will be a dangerous and imposing ride for us all but a hell of a hellacious thrill too as shown by Lesson #16 For Beatmaster V /Fun…bring it on we say.

http://www.deathcrush.no

10/10

RingMaster 16/03/2014

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Wild Throne – Blood Maker

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Photo Credit:
Ryan Russell

    There are times when an introduction to a band smacks you dead centre in the face and stops you in your tracks, one fine example being the debut EP from US band Wild Throne, only they additionally rip open your torso with great scything riffs and gnaw your insides with rhythms carrying more voracity than a rabid predator. The three track onslaught is much more than mere aggression though, lethal melodies and impossibly captivating sonic imagination just as greedily at work as the release provides an early major statement for 2014. Blood Maker is a dramatic entrance from a band destiny will have a lot of time for you suspect on the evidence of their impressive tempest.

     Though the debut release from Wild Throne, the band have since 2009 already been crafting and honing their striking blend of progressive rock and melodic metal under original name Dog Shredder. With a couple vinyl EPs and numerous tours and shows with the likes of Dysrhythmia, Melt Banana, Kylesa, Marnie Stern, Helmet, and Black Cobra under their belt, the trio of Josh Holland (guitar/vocals), Noah Burns (drums) and Jeff Johnson (bass) have evolved into Wild Throne and announced this new chapter in riveting style. Recorded with producer Ross Robinson (At The Drive In, Machine Head, The Cure) after the band completed a US tour with Red Fang and Helms Alee, the EP declares the Bellingham, WA trio as not only a proposition to watch very closely but one to devour hungrily right now.

    The Brutal Panda Records released EP smuggles all of its ready to erupt creative armoury into the imagination through the BloodMaker_1600opening rhythmic intrigue of The Wrecking Ball Unchained, the coaxing dramatic beats of Burns, soon aided by the expressive potent vocals of Holland, hypnotically distracting the senses. It is a transfixing start which belies the lying in wait tempest which soon has its moment and bursts through the ears in a torrential storm of invention and passion. Riffs and rhythms stalk and incite with determination and skill whilst the bass of Johnson adds a throatiness which only further seduces but it is the fiery inventive sonic flames and twists Holland also unleashes alongside his stirring vocals which cement the captivation. It is a powerful almost tempestuous engagement with plenty to justify the comparisons to bands such as The Mars Volta, Helms Alee, and These Arms Are Snakes, Wild Throne has drawn, but also in many ways we would add Manic Street Preachers in their early days, Black Tusk, and Muse for various aspects and essences which expel their bait throughout the tremendous track.

     Ebbing and flowing like a tidal wave of energy and emotion, the opening majesty is soon equalled in presence and depth by Shadow Deserts, a track with an acidic call from its first breath aligned to another pulsating bass growl and rhythmic agitation. Like its predecessor, the song’s start is the perfect set up and doorway into the immediately following tsunami of passion and intensity. The celestial, bordering ethereal, ambience and vocals add another avenue to explore within the rage whilst the earnest vocal squalls and compelling punk fury of the track skirted by further melodic imagination and classic metal exploration, simply enslaves an already feistily hungry appetite for band and EP.

    From the exhausting and searing heat of the second song, the title track takes over and instantly opens a fiercer acrid vat of sonic exploration and senses searing enterprise. More At The Drive In than Mars Volta with a toxin of psychedelic vitriol to the expansive and unbridled fire of guitar and vocals, the track is a breath-taking plunge into rapacious creative rabidity and exhaustive passion. The song smothers and permeates every synapse and cell with an irresistible contagion and alone brings an intense spotlight upon the band, which the other songs of course only inflame.

    Blood Maker will not be the first time that Wild Throne leaves people opened mouthed you can be quite sure of that, but it makes a very important and exhilarating base to explode further from.

http://www.wildthrone.com/

10/10

RingMaster 06/03/2014

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Canaya – Sealed Within The Walls

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    Like being caught between the eyes with a sledgehammer and then brought back to consciousness with a voraciously brutal seduction, the Sealed Within The Walls EP from British metallers Canaya is a real beast of a proposition. It is a merciless and compelling slab of ferocious confrontation infused with a riveting and absorbing wealth of inspiring riffs and potent grooves, a towering heavy weighted triumph from one of the UK’s most impressive if still ‘undiscovered’ metal bands.

     Featuring ex-members of Tangaroa, Executive Distraction Tasks, Hot Prophecy and Nerve Engine, Canaya was formed in 2010 and soon drew acclaim and eager attention with debut EP Alignment Of Dying Planets that same year. Live the Leeds quartet of vocalist Simon Wright, guitarist/vocalist Owen Wilson, bassist/vocalist Chris Wilson, and drummer Andy Richards have also wasted audiences, performances amongst a great many including Damnation Festival, Brew Records, Big Spaceship, Brainwash, and British Wildlife and with bands such as Narrows, Keelhaul, Knut, Coliseum, Humanfly, Melt Banana, Hawk Eyes, Brontide, and Lavotchkin, all increasing and reinforcing the powerful emergence of the band. The video of the single Dios Muerto found heavy viewing and support on YouTube, leading to the attention of Ginger from The Wildhearts who invited Wright to provide guest vocals on his album Mutation. The Hyde & Seek released Sealed Within The Walls is the next thunderous incitement from Canaya and possibly the trigger to the widest recognition, it is hard to imagine any other outcome.

     Opening track Levitating Casket, the new single from the release, instantly storms the ears and senses with a concentrated 1797464_581774275248163_604048507_nand intensive barrage of punches from the drums and broad sonic swipes of guitar. Each has a fearsome weight and intent in their power which the bass only empowers with its imposing predacious intensity. It is a striking start which spreads into a sonic causticity with animosity drenched vocal squalls from Wright supported by the two Wilsons. Continually twisting its attack with grooves and hooks flailing the senses amidst the infernal rampage of riffs and energy, the track is a tempestuous and mouthwatering onslaught, and as contagious as it is disturbingly venomous, the song soon has attention and imagination sealed within its corrosive embrace, both eager to fall deeper into the roaring invention and malevolence.

     The unpredictability and imagination of the first song is replicated by next up Award Winning Bastard, a distinct character with more sonic voracity than its predecessor but equally as captivating and incendiary upon the senses. You almost feel synapses and emotions withering within the tracks scorching sonic persuasion and rhythmic pummelling, but with another irresistible distraction from the band’s adventure and ingenuity only instinctive hunger prevails under the avalanche of sound. For something so vicious and brutal it is hard to believe the contagion of the songs is so virulent but it is and just as impressively repeated in the following Monarch Of Sin. Standing tall and muscular from its first seconds of rhythmic provocation and corruptive riffery, the song takes a less forceful approach in comparison to previous tracks but is just as dramatic in its enticement. A smouldering melodically fuelled acidic casting is aligned to a cleaner vocal delivery, the union almost Killing Joke like at times, and sandwiched between a heavily weighted predatory stalking brought by the bruising intensity and ravenous metal ferocity. The song is a savage and ruinous yet bewitching encounter, a temptation elevated by the Converge like fury of group vocals at the song’s finale; it and track a glorious tempest.

    Committed rages next and features John Sutcliffe from Humanfly within its scintillating exploits. From the first rapacious swagger and torrent of guitar invention the track secures greedy attention which it’s subsequent rampant riffing and transfixing rhythmic antagonism, not forgetting brawling vocal combination. The song swings and lurches from one explosive and thrilling point to another, infection and toxic animosity unrelentingly igniting it’s too brief but outstanding presence. The best track on the release, amongst only major triumphs, the song gives a big test for the closing Audio Porn to live up to. Raw and abrasive within an evocative melodic crafted enterprise, the song easily rises to the challenge providing release and listener with another individually startling expanse of inventive vehemence and exhausting adventure. It is a mighty intrusive end to a severe and masterful incitement for ears and passions. Influences for the band are cited as bands such as Black Sabbath, Metallica, Pantera, Mastodon, and Gojira , a list you suspect the name Canaya will eventually be added to as an inspiration for others. They and Sealed Within The Walls are right now collisions you simply need to stand in front of to bend and bask within.

www.facebook.com/canayauk

www.canaya.bandcamp.com

9/10

Ringmaster 15/02/2014

 Copyright RingMaster: MyFreeCopyright

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Deathcrush – Skool’s In

deathcrush pic

As instantly impacting as a right hook to the jaw, Skool’s In from Norwegian band Deathcrush easily shows what the buzz covering the band right now is all about and proves it is more than justified. A seamless collage of sounds and invention brought with a primal growl and uncompromising hunger, the 12” debut from the Oslo trio is a scintillating and passion gripping tour-de-force, and one you only feel is scratching the surface of the band’s depths and future.

Released on the back of their limited flexi disc release within a double poster magazine, Skool’s In is a four track vinyl temptress which is devilishly seductive and mercilessly addictive, and again that is only the tip of the sonically and rhythmically carnivorous bewitchment. Since forming the threesome of vocalist/guitarist Linn Nystadnes, bassist/vocalist Åse Røyset, and vocalist/drummer Vidar Evensen has garnered potent acclaim and fanbase through their live performances across Norway, Europe and beyond with their thick and magnetic noise rock originality. Recording a bundle of songs with Billy Anderson (Swans, Melvins, Mr. Bungle) and Jørgen Træen (Datarock, Annie, Sondre Lerche), the band is with Skool’s In starting off a much anticipated series of singles, the first a mighty scintillating beginning it is.

Opening track Lesson #3 for Gina Kikoine / You Now takes no time to unleash a bass snarl which preys on the ear whilst the drums stalk a1169124254_2with their own teasing design. Across it the vocals of Nystadnes and Åse Røyset either alone or together enchant with charm and menace whilst the guitar splits and sculpts the air with flesh singing sonic narrative. It is a powerful insidiously sirenesque persuasion which brews an intensity and smothering embrace which defies escape and breeds addiction whilst the electronic teases and taunts only excite the senses further into greater lustful submission. Like a mix of Melt Banana, Spinnerette, and 4 Non Blondes, but not, the track is a blistering almost disorientating sabre swipe of noise rock with acidic pop infectiousness and an exceptional start to the EP.

The immediate pinnacle is soon followed and matched by Lesson #4 for Wharton Tiers / Strauss, a track which explores even darker intensive shadows and the sonic creative destructive depths of the band and their craft. The first soundscape of the song is an apocalyptic like burning corrosive flight which takes a breather for the vocal almost childlike kisses to sooth and strap the passions in before making another fall through a synapse scraping imagination poking tempest. Nor as easily accessible as its predecessor but completely equal in impacting strength, aggressive persuasion, and unbridled excellence, the song leaves no doubt to the extensive intent and expanse of the band’s sound and ideas. It helps pile on the rabid anticipation for future singles and releases, something which is just as easily fed by the next up track.

     Lesson #13 for Nanker Phelge / Fire was the song which featured on the flexi-disc and within such immense company stands as potent and unique as before whilst increasing further the band’s reputation and stature. A track which from the start stalks and prowls the senses providing ammunition for heart and mind whilst feeding the senses and emotions with a slow romp of ridiculously contagious sound and imagination, the track just traps and enslaves with its ear bracing synapse eroding guitar and bass crawl within a rhythmic herding of the passions. There is a post punk charm and punk voracity to the song which reminds a little of the Au Pairs and The Raincoats whilst the noise slicing of the atmosphere is Pixies/ Valentiine like, yet again these are slight references  to something unique to Deathcrush.

The outstanding release is completed by the Fire remix of the third song by James Njie. It is a pop /dancefloor igniting electro stomp with a breath of J-Pop to its mesmeric and irresistible dance. Still managing to retain an element of the carnivorous side of Deathcrush the track is a crystalline treat which makes us almost reassess our thoughts on the point of remixes.

Released via Norway Rat Records, Skool’s In is just magnificent, a raptor of brilliance within a noise and mental examination, and the undeniable debut of a band which is going to coax and command our attentions and passions for horizons to come.

http://www.deathcrush.no

10/10

RingMaster 07/10/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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