Quantum Leap – No Reason

Creating a tantalising yet portentous fusion of post punk and garage rock, Swedish trio Quantum Leap make their major entrance with a debut album which through its dark climes and apocalyptic tones makes for one hungrily infectious and enthralling proposition. No Reason, in the words of its introduction, “invites you to a heavy and dark feast celebrating the very last setting of the sun”, a beckoning as arousing as it is threatening.

Hailing from Uppsala, Quantum Leap consists of vocalist/guitarist/keyboardist Björn Norberg, bassist Andreas Hennius, and drummer Mats Gustavsson. With a diversity of musical backgrounds taking in thrash, death and black metal, electronica and pop, the three came together in 2014. A demo was released in 2016 after the band linked up with producer Tomas Skogsberg of legendary Sunlight Studios (Entomed, Refused, Backyard Babies, Dismember). That led to a contract with Swedish label Viskningar och Vrål (Whisperings and Growls), who now release the fiercely magnetic No Reason, the release again seeing the trio working with Skogsberg and featuring guest musicians in Lea Martinelle (saxophone), Rosa Kristalova (cello), Mattis Fredriksson (accordion), Daniel Söderberg (on modular synthesizer), and Janet Simmonds (backing vocals).

It opens up with That’s The Reason, a swiftly compelling trespass of post punk bringing an initial menace of sound before rumbling through ears on a rhythmically driven stroll wrapped in sonic dissonance. Norberg’s vocals, as strong and magnetic as the web of sounds around them, are soon accentuating the lure. It is a dark, suffocating, and invasively heavy confrontation but inescapably contagious with echoes of eighties bands such as Joy Division, Play Dead, and Leitmotiv to its rasping winds.

It is an outstanding start which swiftly aroused a keen appetite for things to come; one soon reinforced by the following In Between Worlds. It too springs from a raw sonic misting into a virulent attack, its swing eating at instincts and psyche with viral tenacity whilst spreading another exploration of stark, ravenous times. There is more of a noise infested rock ‘n’ roll attack to its post punk, bass and drums a rapacious incitement upon which guitars and keys spread a toxic glaze while escalating the infectious and fractious catchiness of the song.

With an even darker climate Blind comes next, the track a calmer but equally emotionally and atmospherically invasive proposal. It offers a more art/alternative rock spicing with not for the last time within the album a Bowie-esque hue which only adds to its persuasion before Yeah sees the band embrace a metal lined garage rock flavouring with matching success. The diversity within the band’s sound is in full swing at this point, each song revealing a new shade and flavouring to keep things unpredictable and intriguing. Trust quickly backs this variety up with its seventies psych toned dark rock. Though all uniquely different, the quintet of tracks so far all slip perfectly alongside each other, the alluring overall Quantum Leap voice uniting their eclectic characters.

The Fiction In The Daily Life bounds in with a mix of garage punk and heavy rock straight after; the excellent track swiftly stirring up attention and pleasure while Sea repeats that tempting straight after with its again Bowie reminding saunter. There is a definite Heroes like feel to the track which maybe does not lead it to impress as some of its companions within the album but only richly pleases within its fuzzy climate.

Through the bruising and hungrily rousing rock ‘n’ roll of All I Ever Wanted and the Bauhaus meets Wire like gothic/post punk air of I Don’t Know attention and enjoyment only escalated, both tracks unsettling magnetism while Dreaming taps a poppier gait to its darky lit romancing to equally attract. A bit like a blend of Modern English and Modern Eon with once more that hint of Bowie, the song entices from start to finish.

The album concludes with firstly the groove wired heavy punk ‘n’ roll of Mayday and lastly the senses consuming, imagination sparking sonic tides of Like A Memory From A Long Time Ago. With a melodic Skids like current ebbing and flowing in its infectiously sinister but thickly alluring ominous waters, it is a last entrapment for the suggestively impending apocalypse and another sepulchral proposal which is quite irresistible.

Quantum Leap have uncaged a debut which simply demands attention of the band and their dark foreboding layered sound…so stop reading and go explore.

No Reason is out now through Viskningar och vrål.

https://www.facebook.com/quantumleap2/

Pete RingMaster 06/06/2018

Copyright RingMaster: MyFreeCopyright

Dollhouse – Dawning and Rolling Around/Laudanum

Dollhouse_RingMaster Review

Allow us to introduce you to UK band Dollhouse, a quartet from Stroud with a sound that whilst still brewing and evolving is already showing the potential of becoming something special. To be fair, as the pair of newer songs we are looking at show, there is a compelling imagination and potency to the band’s music already. It is a sound bred from potent essences from Krautrock and garage rock but again on the evidence of Dawning and Rolling Around and Laudanum alone, the prime heart of their creativity is post punk.

There is little background we can offer about Dollhouse, except that the band consists of vocalist Zak Thomas-Akoo, guitarist/backing vocalist Will Ainsley, bassist Nick Browning, and drummer Tom Stevens. Inspirations to the band include the likes of Massive Attack, Groove Armada, Portishead, Can, Hot Chip, and Joy Division, the latter and similar genre influences the most open flavouring to certainly this riveting pair of songs, though a look at the band’s SoundCloud account sees those other spices woven into a handful of diversely sounding songs.

   Dawning and Rolling Around quickly grips ears and our ever ready appetite for post punk with its opening resonance of beats aligned to a brooding bass lure. As a slim and potent sonic lure of guitar joins the plain but effective vocals, there is no escaping the feel of Ian Curtis and co, a swiftly enjoyable haunting which only increases its grip as rhythms twist and the guitar moves through its shades of melodic colour and emotive expression. At the same time an infectious swing grows, emerging halfway with an Artery meets Crispy Ambulance like temptation, hooks and bass bait still undeterred in their creation of aural addiction. The track is outstanding, the recommended doorway into the emerging adventure of Dollhouse, though Laudanum is strong on the art of tempting too.

Again beats and guitar make an early beckoning but with them comes a slightly warmer and alluring air which further opens up as a catchy hook lined stroll breaks out along with a less intensive, compared to the other track, flow and tone of the vocals. Keys suggest as they caress the imagination with mellow vocals and restrained but potent rhythms fuelling the sonic web increasingly wrapping ears and appetite. Like a chilled mix of Modern Eon, The Associates, and OMD, the song enthrals and intrigues, and though it takes longer to ignite the same level of greed in body and thoughts as Dawning and Rolling Around, it too becomes a lingering slice of thorough enjoyment.

It is only the beginning for Dollhouse, and as their SoundCloud shows there is plenty of experimentation going on as the band develops into their own sound. With more propositions like this pair of tracks though, they are certainly heading towards stirring up strong attention with a following to match, for sure amongst post punk fans.

Explore the Dollhouse sound @ http://www.soundcloud.com/bewildereduk

https://www.facebook.com/thedollhouseband

Pete RingMaster 11/11/2015

Copyright RingMaster: MyFreeCopyright

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