Enoch – Killing Starts Where Hate Begins

Originally released digitally back in 2018, Killing Starts Where Hate Begins from Enoch gets a deserved reboot this month through Soundmass, It’s return brings an additional new track and a gem of a live cut with it and if you missed it the first time around, we can declare the six track treat the perfect way to discover the potential soaked, ear grabbing sound and presence of the New Zealand band.

Formed in 2016, the Auckland hailing outfit fuse essences of groove, nu and alternative metal with their darker, predacious flavours for a keenly individual sound. It is a proposition which trespasses the senses whilst igniting the imagination. Part barbarous and part seductive with every attack between involved, as their EP proves, it is a proposal which crosses the familiar and unique to present something hard to ignore.

EP opener, Pieces, immediately demanded attention, the rapier like swings of drummer Ross Curtain landing with contempt as the song forcibly stirs with the bass of John Brodie beginning its grievous grumble. That alone has us more than attentive and with increasing focus as the guitar of Micheal Germon began unwinding its sonic wiring. Out the senses challenging start, rousing grooves wind around ears before, within a breath or two, the melodic tones of Lorraine Brodie complete the creative palette as the track’s imagination really takes off. It continues to prowl, severely growl, and harass but equally weaves a deviously infectious tempting which is echoed in the dual styled vocals of Lorraine.

It is an excellent start to the release which Reasons Why continues as it uncages its own twin personality of senses demeaning threat and eagerly fertile enterprise. Through her continually twisting and magnetic delivery Lorraine left her potent mark yet again, a highly pleasing incitement matched by the ever writhing grooves and the intense growling of the bass. Fair to say the track swiftly got under the skin before Stranger powerfully strides in springing more of the band’s ear devouring grooves. Bass and drums again unite in a quickly addictive provocation, the former’s low guttural snarl especially inflaming instinctive pleasure before guitar and voice weaved their melodic captivation around it. Germon’s basal growl easily fits with and contrasts the ever fertile delivery of Lorraine, his guitar casting acerbic lines just as rousing as the track reveals a new depth and adventure in sound and writing.

Loner provides more of the same in its own original way, contorting the air with its grooves as Lorraine provides vocal gymnastics with her throat backed by Germon’s voracious roar, every word and syllable either caressed or abused by her agility alone as guitar and bass again emulate the oral gyration with their own particular dexterity. With beats whipping the senses throughout, it too left a thickly pleasing mark while Bow and Be Devoured from its melancholic melodic start builds a steeled woven latticework of craft and imagination, one which preys on insecurities as much as it hugs them.

With Reason Why revisited for a live moment with the band, an example why their stage performance has earned them a potent reputation, Killing Starts Where Hate Begins simply left us hungry for more and eager to share the word.

Certainly there is still more to find in originality and imagination within their sound but Enoch already are a fresh breath for the metal scene and surely destined to be embraced far further afield than their homeland.

Killing Starts Where Hate Begins is out now via Soundmass.

https://www.facebook.com/enoch.nz

Pete RingMaster 28/01/2020

Copyright RingMasterReview: MyFreeCopyright

Miss June – Bad Luck Party

Miss June demand attention”

These words leap out at the end of the band’s biography and the fact that the likes of The Foo Fighters, Shellac, Wolf Alice, Idles and Die! Die! Die! have all grabbed New Zealand hailing Miss June as support on stage is strong evidence. Even stronger confirmation of their declaration comes with debut album, Bad Luck Party, a collection of songs impossible to ignore which make no apology in their virulent contagion and rousing insistence.

Released on the eve of their world-wide Bad Luck Party Tour, the album is a persistently boisterous and often belligerent stomp of punk rock bred, pop fuelled rock ‘n’ roll honed into eleven tracks which effortlessly captivated. To be honest the band’s sound is far richer and animated than that description suggests, each song additionally holding mischief, defiance, and energy in their hearts.

Twitch kicks the album off, a controlled squall of guitar its introduction before a swift addition of swinging beats adds to the immediate fuzz soaked temptation, the song quickly hitting its infectious stride. As the guitars of Annabel Liddell and Jun Cheul Park unite in their scuzz coated virulence, the former’s magnetic tones dance in ears, a smile accompanying every syllable shared. There is something akin to Blood Red Shoes meets Sonic Youth to the temptation exuding from the speakers though already there is no mistaking it is a proposition individual to its creators.

An attention grabbing start it is only eclipsed by the following Best Girl. From its first breath the song nags ears, its stroll more of a march on the imagination as hooks and rhythms toy with the listener. A great confrontational edge lines Liddell’s delivery, the same tone infesting the devilry of guitars and the irresistible persistent nagging of Tom Leggett’s beats courted by the similarly compelling and brooding bassline cast by Chris Marshall.

Then from one major highlight of the album to another with Two Hits which instantly dived under the skin as the rapid fire vocal exuberance of Liddell rides the boisterous roll of Leggett’s rhythms. It is the trigger to an irresistible surge of garage infested pop punk, every element an insatiable incitement finding no defence to its irreverent virulence before Anomaly calms things down with its melodic swing and seductive charm. It is a mellow breeze of sound yet carrying volatility in its breath which erupts in squalls of sonic flame and rhythmic rapacity.

Similarly Orchid shares tranquillity prone to incendiary eruptions, vocals and melodies respectful caresses on senses subsequently scorched by the track while Double Negative from its Young Marble Giants-esque post punk elegance erupts in a fire of rapacious shadows and dark moods. Though unique in their character and bodies, there is a matching beauty to both which beguiles and in the second haunts for a fascinating crepuscular seduction.

Each track within Bad Luck Party brings an individual experience amidst a web of intrigue, the predacious Enemies with its compulsive noise punk voracity and the sonically discord soaked Aquarium further rousing evidence. The latter is as psychotic as it is hungrily catchy, the guitars and vocals alone gluttonous temptation while its successor, Scorpio, with its pop loaded canter and hook ridden antics had swift subservience in its hands like a devious temptress.

The final pair of the punk rock spawned, truculence fuelled Please Waste My Time and Polio with its initial leaden crawl leading to an irritable post punk tempest simply brought further magnetic faces to the kaleidoscopic personality of Bad Luck Party. The first was an immediate infestation of ears and appetite the second a longer persuasion but both wholly compelling and thrilling proposals just as the album itself; another of the year’s true highlights.

Bad Luck Party is out now via Frenchkiss Records.

Bad Luck Party Tour Dates:

September 18th – Maze – Berlin

September 19th – Blue Shel – Cologne

September 20th – Reeperbahn Festival – Hamburg

September 23rd – Cinetol – Amsterdam

September 24th – Trix – Antwerp

September 28th – The Flapper – Birmingham

September 29th – Yes – Manchester

September 30th – Headrow House – Leeds

October 1st – Poetry Club – Glasgow

October 2nd – Sneaky Pete’s – Edinburgh

October 5th – Tiny Rebel – Cardiff

October 6th – Port Mahon – Oxford

October 7th – Rough Trade – Bristol

October 9th – Latest Music – Brighton

October 10th – The Lexington – London

October 14th – Rough Trade – Brooklyn, NY

October 15th – Once – Boston, MA

October 16th – DC9 – Washington, DC

October 17th – Kung Fu Necktie – Philadelphia, PA

October 19th – Velvet Underground – Toronto, ON

October 21st – Subterranean – Chicago, IL

October 23rd – The Basement – Nashville, TN

October 24th – The Earl – Atlanta, GA

October 27th – Bronze Peacock – Houston, TX

October 28th – Hotel Vegas – Austin, TX

November 1st – Valley Bar – Phoenix, AZ

November 2nd – Morrocan – Los Angeles, CA

November 4th – Rickshaw Stop – San Francisco, CA

http://ihatemissjune.com/   https://www.facebook.com/missjunenz/

Pete RingMaster 07/09/2019

Copyright RingMaster: MyFreeCopyright