Trepalium – Damballa’s Voodoo Doll

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They can try to call it groove metal, progressive metal maybe, or even avant-garde death metal, but quite simply the Damballa’s Voodoo Doll EP is swing metal in all its fresh faced glory. The six track dance of voracious metal rabidity and ridiculously virulent contagion is the new hex cast by French metallers Trepalium, a band no strangers to unleashing some of the most blistering and imagination stretching extreme metal over the past decade. French metal is in the midst of an innovative heyday right now, with seemingly every corner offering a new proposition to devour. It is also producing some of the most startlingly inventive proposals, unique experimental /avant-garde offerings from the likes of 6:33 and Carnival in Coal through to Pryapsime, Hardcore Anal Hydrogen, and Toumaï. One of the most rabid and nastily inventive of them all is Trepalium and their death metal bred sonic pestilence.

The band across four albums has persistently pushed their and metal’s boundaries with a raw hunger to infest viciousness with a seductive multi-flavoured originality, an intent bearing the most compelling fruit on Damballa’s Voodoo Doll. Cloaked in the allure of arcane mysticism and bursting with the tenacity and energy of vintage New Orleans jazz and swing, the EP is a nonstop stomp through fiercely grasping shadows and insidious black-hearted temptations, commanding feet and emotions like a maniacal puppeteer.

Voodoo Moonshine sets the sorcery in motion, a violent barroom the scene for big imposing and alluring beats to tone up ears and appetite ready for the salacious flames of brass and the throaty vocal malevolence of Cédric ‘KK’ Punda. His tones, as the music comes with a swagger, a demonic confidence which even in short grunts has intimidation and temptation dripping from every sound. The guitars of Harun Demiraslan and Nicolas Amossé are soon spinning a web of grooves and swing induced revelry, every flirtation and melodic toxin embraced in the rhythmic contagion of bassist Ludovic Chauveau and drummer Sylvain Bouvier. Embraced in the seductive heat of a full complement of brass and caressing keys, the track is a festival of sound and creative devilment, like a brawling romance between Gojira and Cherry Poppin’ Daddies with Destrage and Mucho Tapioca in close attention to give some hint of its infectious alchemy.

Talking of the first of those bands, Gojira’s Joseph Duplantier appears on the following title track, another taking a mere breath to enthral with its swinging 30’s big bandUpdatedArtwork like entrance clad in a just as immediately imposing and ferocious but catchy aggression. As in its predecessor, grooves bind and vein the track like vines, creeping deep into the passions and psyche as keys conjure their own individual demons. Imagination and emotions are just as swiftly inflamed by the villainous tapestry of sound, every unpredictable note and twist as well as boozy growl, an epidemic of incitement, though it is soon over run by the dark majesty of Possessed by the Nightlife. Twenties seeded keys paint the landscape before beats and riffs prowl and lurch up on the senses, their danger and menace as inescapable as the anthemic bait provided by the increasingly punchy rhythms. The song is brutal and uncompromising. from the pestilential tone of the bass to the barbarous predation of the guitars a merciless threat but again pure viral addiction leaving feet exhausted and thoughts ignited.

     Guédé Juice provides its own enslaving irreverence next, rhythmic swings and acidic grooves the frame to dirty jazz colours and a feverishly sultry climate of enterprise and creative rapacity. By the end of the song exhaustion and bliss are in overload and the spell keeps being casted as Fire on Skin broodily appears. Offering an opening impression or certainly the spark to thoughts of Creole like prohibition and dark magic in an embrace of the Dirty Thirties, the track is a muggy affair initially before the fetid mists part and the band bursts through with a metal driven rampage. Still employing eruptions of jazz endeavour, the track roars and bellows with extreme metal hostility and melodic rock enterprise, though it is a devious savaging as again there is a swing to much of its intensity and a venom which simply seduces body and soul.

The closing Blowjob on the Rocks spills its own dangerous persuasion to being the release to a mighty conclusion. There is a shadow and underlying animosity to the track, a seeming secret which flirts with ears and imagination throughout as the fully stocked brass persuasion spreads a weave of tangy intrigue and noir lit drama. It is a dark theatre only enhanced by the spicy nature and invention of the guitars, the trapping weight of the rhythms, and the treacherous elegance of the keys.

Damballa’s Voodoo Doll is dangerous; it is bad for the health of the body with its ridiculously infectious tempting and lethal for the psyche with its serpentine seduction and mystique. Ultimately though, the EP is one of the most exhilarating and lustful things likely to be heard this year, the next, or whilst the sun still warms our souls.

Damballa’s Voodoo Doll is available now via Klonosphere @ http://www.klonosphere.com/trepalium/

https://www.facebook.com/TREPALIUMBAND/

RingMaster 10/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Hardcore Anal Hydrogen – The Talas of Satan

Hardcore Anal Hydrogen

Sometimes a release just stops you in your tracks, presses an irresistibly inviting hand into yours, and pulls the psyche into an undiscovered experience which ignites every pore, thought, and emotion. Such is the case with the unpredictable, thoroughly compelling, and insatiably gripping new Hardcore Anal Hydrogen album, The Talas of Satan. Though their third album it is the first to cross the always eccentricity inspired greedy appetite of the site, which is quite irritating realising we had missed out on the previous sure to be thought provoking creativity of the French quartet. Their new album is quite glorious, an exploration where predictability and assumptions do not even get a sniff of realism in its exhausting inventive tapestry of sound and imagination. It is an unforgettable adventure everyone should experience at least one in their lives if only to show that originality and bold invention is not a dying trait of modern music.

Hardcore Anal Hydrogen was formed in 2009 with the meeting of Martyn Clement (guitar/backing vocals) and Sacha Valony (vocals/keys/flute). A duo in the studio expanding to a quartet with the addition of bassist Jonathan Marole and drummer Damien Salis on stage, the band has released two albums before the new revelation, Fork You and Division Zero in 2009 and 2011 respectively. The band’s sound is a fusion of metal and ethnic music, brewed into rabidly diverse and fascinating ventures in turn soaked in experimentation and imagination. Released via Apathia Records, The Talas of Satan is an eclectic dance of modern and traditional spices thrust through a maelstrom of structural instability and physical might aligned to disorganised invention sculpted with the purest skill and instinct.

Every track on the album is a unique character in presence and sound, making a general description or comparison for the album impossible. logoThat is a wonderful essence which constantly exploits and ignites the imagination from the opening track Dhamar. Hand drums, possible tablas open up the track, the eastern lure instantly captivating as the thick blaze of metal spawned riffs and pungent rhythmic caging join in soon after. Still merging both ethnic and aggressive counterparts, the track steers ears into a groove and psyche metal escapade which constantly relaxes to flirt with that initial Indian folk tempting. The vocals scratch and scowl as an additional texture to the opening piece, provoking thoughts of Korn whilst musically elements suggest Motherjane and Pryapisme, the last a constant and most accurate relation to Hardcore Anal Hydrogen.

The mouthwatering start is swiftly reinforced by the outstanding Ramahd, a ravenous squall of sonic and hardcore hostility with plenty of sonic and electronic toxicity which again sends the passions into a hectic scramble for more. There is a definite Mad capsule Markets feel to the rawest psychotic aspects of the track whilst the guest scratching skills of DJ Mattéo produces a spice you can find anywhere from Limp Bizkit to The Kennedy Soundtrack for another potent flavour to the virulent contagion. It is a bordering on pestilential treat with rhythms which resonate in their uniquely specific tone, a breath-taking enticement taken further by Release The Crackhead. The track prowls and prances with a posing gait which dances mischievously around the ears, coaxing closer attention for the subsequent unleashing of blackened vocal spite and dramatic intensity. With more shadows and colours to its imposing endeavour than on a dysfunctional TV, the track courts every emotion from passion to fear, seduction to madness .

The following Pentamère is a celestially borne instrumental with twinkling sonics and bubbling expression within its expansive flight. It is a piece of music which at first was not a certain success for ears but once it stretched its warm arms into an oriental sunset with tribal chants and charmed vocals, submission was rapidly given and retained by the following Kalakaka. The storm unleashes a punk metal ferocity, its persistently twisting sonic grooves entwining the senses as the vocals rage with tempestuous expression, again the previously mention Japanese band coming to mind. The track scores and rages against ears and emotions, taking stabs with rhythmic spite and antagonistic riffery whilst vocals torment thoughts and its victim within the climax. It is another song which unveils a new facet and side to the album, as does quite brilliantly Rupack. It isa track which stomps and dances with the imagination through fevered keys and menacing rhythms. Side steps into jazzy avant-garde revelry makes a delicious fuse to the already smiling appetite helping it develop a greater predatory hunger. Imagine a mix of Pryapisme, Cardiacs, Kontrust, and Mucho Tapioca and you get a whiff of the mania superbly offered.

Next up COI rages with chucky riffs and brutal rhythms for another addictive metallic onslaught; guitars scything air and senses with vicious intent whilst bedlamic vocals find a new vitriol to their grazing tones. Once more though there is a wealth of additives which ensure song and experience is one of a kind, just like the very short sonic disorientation which KRR offers, the track psyche/hardcore at its noisy inventive best.

The seemingly distressed passion of 한오백년 probesthoughts next, driven by the equally intense guest vocals of Doowah before Coq au vin strolls in with a big naughty grin on its face and an electro/Nintendo devilry which masterfully teases around the coarse punk vocals and ravenous riffs. It is no surprise at this point to hear the song unlock a bedlam of ideas and psychotic imagination converted to equally deranged sounds, continuing the strengths of the album so far. The song is a beautiful meshuga sparking a rapturous and maybe equally cracked ardour for it.

The album ends just as powerfully compelling as it started, Chautal a rigorous mix of ethnic and metallic genius which flows as if family whilst offering extremes in beauty and character. It is impossible not to immerse in and be seduced by the track and all of its imagination, drama and epic intent making for a sensational finale. The Talas of Satan is quite brilliant and Hardcore Anal Hydrogen a rare proposition which creates something that is truly new and inspirational, not forgetting unbridled fun.

https://apathiarecords.bandcamp.com/album/the-talas-of-satan

https://www.facebook.com/hardcoreanalhydrogen

http://hardcoreanalhydrogen.com/

10/10

Ringmaster 01/04/2014

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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Destrage – Are You Kidding Me? No.

 

byMichaelGardenia_04

     Destrage is a force which confronts and seduces the imagination with such an exhaustive vivacity of sound and adventure that it becomes a proposition which has you simultaneously confused, bewildered, and thrillingly basking in a maelstrom of sonic alchemy. Hailing from Italy, the band has forged an impressive and unforgettable once bitten presence which is ascending into more fevered attention release by release, but it is the release of new album Are You Kidding Me? No. which feels like the trigger into worldwide recognition and ardour with its Metal Blade Records release. With more flavours, styles, and imagination than a carnival in Rio, the release turns a band which was still waiting to explode around the globe into an exhilarating infection of the psyche and passions with that target in its sights. With words like unpredictable and intriguing the weakest descriptions of the inventive anarchy teasing and ravishing the senses, Destrage is a ten-legged groove machine with just as many schizophrenic characters posing as songs within its latest temptation.

     Formed in 2005, the Milan quintet has been on a charge of persuading and recruiting hearts at home and further afield since their first days, the current line-up in place since 2007 especially stoking those the fires. From their first demo Self Id Generator, Destrage has continued to evolve into a aurally spectacular provocation, the albums Urban Being of 2009 and The King Is Fat’n’Old the following year potent bait greedily devoured by more and more willing souls, though you suspect it will be nothing compared to the awakening sparked by Are You Kidding Me? No. Live too the band has left wasted bodies and hungry bodies in their wake, the undertaking of tours across Europe, Japan, and numerous festivals and shows where they have shared spaces with the likes of Every Time I Die, Parkway Drive, Red Hot Chili Peppers, Parkway Drive, Hatebreed, Unearth, Municipal Waste, Sick Of It All, Freak Kitchen, Monuments, Jeff Loomis, Penny Wise, After the Burial, Puddle of Mudd, August Burns Red, Enter Shikari, Caliban, Lordi, Moonspell and many more, increasing their stock. The new album though feels and sounds like their time to lead the pack has now come and it is not a moment too soon.

     You may be wondering what the band sound like, which we will endeavour to reveal song by song, but suffice to say it is Coverwonderfully something quite impossible to label. Opener Destroy Create Transform Sublimate tells you all you need to know about Destrage and whether to unreservedly embrace or stand scratching your head over their voracious experimentation and invention. The track opens with a spiral of sonic enterprise courted by aggressive riffs and combative rhythms, the mix alluring and intimidating in equal measure. It is not long before the song is throwing off any restraint to stomp with entwining essences of groove and funk veining a still voracious assault of technical and carnivorous metal. The impressive vocals of Paolo Colavolpe are just as eager to tempt and savage as the music with a delivery as wide as the range of sounds around him. The song aggressively dances like a fusion of Jane’s Addiction, Red Hot Chili Peppers, American Head Charge, and French band Mucho Tapioca, but even with its gait it switches and shuffles its suasion without notice or care.

   With a climactic finale which simply thrills and enthrals, dub and techno added to the spice cupboard of the song, the towering opener is swiftly matched in quality and psyche twisting grandeur by Purania. From a charged entrance of rapacious riffing and similarly hungry rhythms, the song settles into a melodic bordering mellow stroll which lasts just the length of the impatience the band has to light the touch paper to another maze of eclectic sonic fascination. Imagine a hybrid of Mr. Bungle, Dillinger Escape Plan, 6:33, and System Of A Down and you get a glimpse of the beauty and schizophrenic glory of the song, a triumph within which the guitars of Matteo Di Gioia and Ralph Salati craft a narrative and web which bewitches and challenges, their hypnotic mix of creative frenzy and skilful acidic elegance spellbinding within the predatory frame built by bassist Gabriel Pignata and drummer Federico Paulovich.

    My Green Neighbour rifles ears next, its first breath a frantic tsunami of beats and riffs courting a bedlamic mind-set. Forcing its agitated psyche and attack into a smoother flowing blaze of heavy and melodic metal, the song takes little effort in replicating the temptation of its predecessors, merging varied flames of sound and persistently captivating detours into a brawling riot of invention and insatiable metal manipulation. The stunning tempest then has to step aside for the more primal bordering bestial presence of Hosts, Rifles & Coke, its heavy throated savagery magnetic and even more tantalising when it shares time with a contagion of melodic prowess and mouth-wateringly catchy choruses, all seared by a scotching solo to top things off.

    Both the discordant and masterful mayhem of G.O.D. and the smoother voiced mesmeric Where the Things Have No Colour unveil new scenic aspects of the Destrage’s songwriting and imagination; the first a riot of Faith No More meets Ugly Kid Joe voraciousness aligned to a mind tripping sensibility and the second a progressively honed melodic venture through rapturous harmonies and exotic melodies within an irresistible toxin of craft and infectiousness. Arguably the track is the band at its most restrained artistically but certainly no less potent and imaginative as well as exciting.

     Waterpark Bachelorette has the band squalling and rioting over the senses, grooves and lethal rhythms a blistering endeavour matched by the predacious expulsions of vocals and sound which litter the rampant torrent of rock ‘n’ roll. Guitar doodling veins the song for only the most satisfying results whilst the addictive anthemic call of vocals and hooks make a lingering bait which seeps into the breather of melodic caresses and sonic entanglement. Its excellence is soon equalled by firstly the dramatically textured Before, After and All Around and the almost hysterical invention of – (Obedience), the track verging on maniacal with its avant-garde/melodic metal ants nest of busy yet ordered chaos.

    To prove that the song is still not the deranged imagination of the band exhausted the closing title track takes all honours on the Are You Kidding Me? No. Featuring a guest appearance by Ron “Bumblefoot” Thal (Guns’N’Roses), the track is an inventive meshuga but one which knows exactly what it is doing. Fusing experimentation, jazz, funk, and pure dementia into its unrelenting crazed waltz, the track is a triumph of insanity which disorientates and seduces with perfect touch and irreverence. Ending on a sensational emotive stomp of gypsy punk with swing desires and reminding very much of Kontrust and another French band Toumai, the track is a magnificent concluding revelry to a quite brilliant and monumental release.  Quite simply Destrage has provided your probable album of the year.

www.facebook.com/destrage

10/10

Ringmaster 06/03/2014

Copyright RingMaster: MyFreeCopyright

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Toumaï – Sapiens Demens

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Creating what they term psyche-fonk metal, French band Toumaï is one of those encounters which send tingles down the spine as it teases and ignites the imagination. Unleashing a majestic psyche twisting bedlam in the tasty shape of debut album Sapiens Demens, the quintet from the south of France bewitch and tantalise with each psychotic note and every maniacal rhythm. Their album is a tempest of ideas and cracked invention presenting an adventure like no other and a pleasure which only turns lustful over time.

What little we can tell you about Toumaï is that the band formed in 2006 and consists of vocalist Antoine Flaven Hude, guitarist Julien Mahoudeau, bassist Christophe Applanat, drummer Clement Mahoudeau, and Célia  on keys and trumpet. That is about it, apart from the fact that their first album is irresistible and uncontrollably insatiable with imagination, mischief, and inventive hunger. The five-piece bring influences from the likes of Psykup, Infectious Groove, Primus, Gojira, Mr. Bungle, Primus Band, Rage Against The Machine, Tool, and Red Hot Chili Peppers into their fusion of funk, rock, and metal, but it is only one shade of the whole picture; the release a musical canvas which only the ears can truly represent not our simple words, though we will give it a go of course.

The opening track is Little Psycho, a title so apt for song and album. From an initial percussive tease the drums lay down a riveting frame around which the bass roams and leans on the senses with a menacing glee whilst the keys dance with energy and mischievousness over the ears as vocals explore their narrative with quality and equally enterprising rascality. The swagger of the song is a delicious bait alone within its ever changing gait and presence of the song whilst bursts of aggression make the perfect suitor to the elegant beauty which coats the keys and their melodic caresses. There is a similarity to fellow Frenchmen Mucho Tapioca at times as the song climbs and soars through its persistently shifting glory but also of System Of A Down in its latter moments and Faith No More across its stirring flanks.

The impressive start is immediately left in the wake of next up Madness in Mind, the best track on the album with ease. Vocal croons wrap the ears right away as the guitar and keys stroke attention to its fullest height, before the song settles into a ska kissed, reggae bred stroll within metallic walls which get their turn to intimidatingly press upon and please the senses. With its funk hips swaying leading to the raucous chorus, the track is like King Prawn meets Korn though when it slips into a beauteous wash of ever engaging keys and vocal harmonies punctuated by another striking bass line and rhythmic probing, the band takes the listener down a more alternative rock avenue. This is only halfway in though and the track only accelerates to greater potency and persuasion once it lifts its knees to romp into an infection soaked waltz of enterprise fusing the loco folk/pop of Mano Negra with the contagious unhinged temptation of Kontrust before thrusting it all through a Skindred bred causticity. It is crazy and completely enthralling, not forgetting simply sensational.

The following Petit Punk en Ut#m is no slouch in tripping the switch to the strongest satisfaction either, its more noise seeded rock and disorientating psyche funk tempting another feast of unpredictability and hunger breeding invention. Scavenging the senses for the weakest spot, the song flares over the opportunity with punk belligerence and metal sculpted antagonism as it works towards its climax, not before having seduced with dazzles of psychotic indie melody seeded teasing. Another highlight, the song is backed in strength by the less crazed Anachron, a track which admittedly does not quite reach those earlier set heights but still magnetises attention and appetite with its funk stepping vibrancy and contagious melodic smile.

Both Bankster and Wiki Puppies keep the listener on their toes physically and mentally, the first and extensive expanse of craft and imagination which lays down a pulsating quickstep of reggae spawned pop. This is then wrung through voracious cantankerous crescendos at certain moments which burst from the song’s wonderfully exhausting enticement which builds towards a dramatically powerful and aurally traumatic brilliant closing declaration. Its successor pounces and leaps over the imagination as if its notes and ideas are crossing hot coals. It is a tempestuous mix of jazz, rock, psyche, and avant-garde devilry placed in a maelstrom which seamlessly forges an addiction spawning triumph from it all, rhythmically, melodically, and vocally.

The two parts of the title track almost come as a shock, the first especially subdued and restrained in its cinematic atmosphere and noir clad shadows and spoken vocals in comparison to the rest of the album, though the second part is soon climbing up the walls with scorching grooves and twisting melodic flames igniting the air around the again excellent vocal presentation. A relatively, and we say that with tongue slightly in cheek, straight forward heavy rock infused slice of metal with those continually entrancing keys of Celia enticing the emotions, the track is a deeply pleasing venture setting up the appetite for the closing mastery of  Prey of Birds.

The final song enjoyably plagues the ears with a kaleidoscope of sounds and challenging invention shuffled to an inch of its cohesive life, but as on all tracks it casts a proposition which is fully coherent and wholly. Sapiens Demens is a thrilling testament to endeavour and outside the box thinking but crafted with a knowledge nestling within Toumaï of how far to go and where to link everything for an innovative and breath-taking whirlpool of sound. Another to add to the must have list.

http://www.toumai-music.net/

10/10

RingMaster 07/01/2014

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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Mucho Tapioca – Self Titled

Mucho Tapioca pic

The self-titled album from French band Mucho Tapioca is one of those treats where you are never quite sure what is going on but enjoying every thrill of the investigation and the imaginative thoughts it inspires and makes suggestive gestures with. The eight track release is a schizophrenic maze of progressive and avant-garde rock with just as vibrant and eager jazz, psyche, and experimental tendencies. It is a delicious adventure which leaves you mystified, fulfilled, and with an appetite for much more of the band’s seductive mania. Imagine a mix of Mr Bungle, or other Mike Patton exploits, with 6:33, Pryapisme, and System Of A Down, then you get an idea what is going on upon the album; add extra spice from Dog Fashion Disco or Diablo Swing Orchestra to the blend and you get closer again but still only scratch the surface of what is uniquely Mucho Tapioca.

Hailing from Toulouse/Tarbes area of France, the band hits you right away with the packaging of their CD version of the album. With nostalgic imagery and recipe providing its art on the outside wrapping and each disc containing one of the two “comic-booklets” inside with artwork from Matthieu Andro, ours contained the desperado tale of La Venganza whilst the other possibility is Scrabble au Coin du Feu Chez Baba Yaga, the first positive impressions are soon confirmed and take to higher plateaus with opening track Parano Yack. The song is an instant swagger through the ear with guitar and bass teasing coaxing the ears into its sultry dance. Voice effected vocals equally flirt at the start whilst the song shuffles itself into position before unveiling its continually twisting and evolving drama and unpredictability. Stomping with and questioning the imagination from second to second, the track is a feast of magnetic invention and psychotic mischief, a devilment which goes within a breath from caressing and kissing the senses to tearing a strip of their flesh off and chewing it boldly before their eyes.

The following Cherche le Fusil! walks in with a jazz seeded strut to its confident stroll, the vocals testing the ear from within the brewed a3282689786_2elegance with a devilry and intent to leave thoughts wrong footed. They are successful as is the sound in the same endeavour but simultaneously it all mesmerises and ignites a fire in the passions to leave a big grin on every surface of the listener from face through to heart. Undoubtedly Mucho Tapioca’s sound like those references we mentioned earlier is not for everyone but taking the previous comparisons as a marker if they appeal this album will have juices dripping.

Both Scrabble au Coin du Feu and Soirée Diapos continue the total persuasion already rampaging from within the album, the first with a throaty resonating bass croon to its sound and atmosphere which with a dark jazz character creates an intrigue of sinister provocation and dramatic shadow clad exploits. There is a bedlamic tone to its invention too which only sparks greater enjoyment and thoughts whilst its successor takes that insanity onto open territory with a kinetically fuelled bewilderment of rhythmic concussion and enchanting jazz crafted ambience speared by tempests of unbridled sonic madness. Reminding at times of eighties band Essential Logic through its brass temptation, it like the whole album feels like the crazed soundtrack to the cartoon Oggy and The Cockroaches, and provides another outstanding incitement for mind and soul.

The moody breath of Malhabile Lama makes an evocative wrap for the great clean passionate vocals opening up the song, rhythms and percussion on the brink of psychotic revelry whilst guitars and bass shape their individual claims on the ear and beyond with craft and magnetic enterprise. Increasing its intensity and pulse rate the further into its inner turmoil it ventures, the track is a slow burning joy with gets better with each encounter whilst the next up La Venganza is straight at the ear and emotions with its jazz funk twist and sultry sax sex matched by the guitar and its loose aural desires. The track is a thrilling hypnotic scat with the drums the puppeteer and ringleader to the tango of scurrying and sizzling synapse firing rodent like ingenuity, its charms and toxicity burrowing unseen into the lustful passions.

     Chez Baba Yaga is another which at first approach is pleasing if not as openly persuasive as other tracks but all the time it is working away with its noir enticing and shadows mastery to seize the listener into its frantic meshuga. It burns a stronger attraction with each taking of its emotive bughouse and makes a stirring appetiser for the final declaration of the album, Méchant Chameau. The track is also a smouldering inducement which takes time but leaves no doubt of its potency and excitingly baited trap. Arguably the most complex track on the album, though no song comes with simplicity as its driver, it completes one oddball and compulsively irresistible crossing of thoughts and imagination, a meeting which is sheer joy and the trigger to a real hunger for more from Mucho Tapioca.

https://www.facebook.com/muchotapiocafanpage

http://muchotapioca.bandcamp.com/

10/10

Upcoming shows:

Oct 30 L’Ubu, Perpignan, France

Oct 31 La Pleine Lune, Montpellier, France

Nov 02 Le Pakebot, Chadron, France

RingMaster 03/10/2013

 

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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