Defeat – Rise

A handful of weeks short of two years since the eagerly welcomed release of their EP, You Know What You Are, British electro industrial/synth pop duo Defeat return with new album, Rise. This too, such the highly enjoyable offerings from the band before, has been a keenly anticipated encounter since news of its coming; enthusiasm rewarded with the pair’s most accessible yet creatively imaginative and skilfully accomplished proposal yet.

The successor to debut album [Seek Help] of 2013, Rise is a collection of anthems to dark thoughts, corrupted emotions, and invasive shadows. They are tracks which unleash the most virulent hooks and infectious escapades laced with menace and creative threat like a twisted twenty first century Fad Gadget; indeed there are times where you just feel that if Defeat were emerging in the eighties, Mute Records would have had them snapped up.

With inspirations from the likes of Nitzer Ebb, Depeche Mode, NIN, Front 242, Front Line Assembly, and Skinny Puppy teasing their own ever potent and individual sound, the twosome of vocalist/lyricist Anthony Matthews and keyboardist/programmer Gary Walker have taken the evolution and promise of You Know What You Are and pulled it into another realm of craft and maturity, challenging their songwriting and imaginations along the way.

Rise opens up with The Phoenix; its sound elevating from the breath and ashes of an emotional wasteland. Melancholy honed melodies soon surround a rhythmic throb; the menacing and almost frustrated air becoming a hypnotic stroll jut as swiftly with a swagger and character as much a threat as a defiant realisation and action to its initial corrosive state. With catchy electronic flirtation and salaciously dancing shadows, the song is an easy to succumb to trap, Matthews’s words and tone a compelling mix of challenge and resurging hope.

The following Rage starts as an irritated emotional and physical ember which flickers and flames into an EBM nurtured blaze and again washed with defiance. It never becomes a furnace but instead wonderfully nags at the senses and imagination, stroking and provoking both with its relentless catchiness before The Hurt grows in ears. Its opening lure is almost predatory, laying dark electro seeds which swiftly bloom into another niggling refusing to be ignored temptation. Matthews echoes its shadows with his inimitable vocal prowess and presence; the drama within all aspects blossoming and immersing song and thoughts in contagious theatre.

Dirty/Sick crawls and trespasses the listener next, Matthews’s introspective guise a festering depravity surrounded by the deceitfully tempting sounds and invention of Walker, his melodies licking at ears with a relish almost matching the lustful threat of each trespassing syllable. The track is a grievous seduction and just irresistible while its successor and the album’s title track shares a toxic serenade invading and suffocating the senses with its envenomed mist; an ambush which should not be welcomed and embraced such its sinister intent but surely is.

Following track, The Fatalists sees Walker take lead vocals for the only time within the album. With pulsating electronics and shimmering harmonies, the song shuffles and glides through ears, vocals shaping its honest heart and melodies colouring its electro pop scented landscape. As with all tracks, shadows and light embrace and collude; often challenging each other or as here uniting in solemn and rousing beauty.

Even more galvanic and masterful is Nothing You, a lead single if ever we heard one. As its creative kindling smoulders, there is an air of excited intrigue and magnetic compulsion awoken; anticipation swiftly fed with a kinetic canter of creative virulence. With voracious hooks and grooves woven into one deliciously persuasion, the outstanding song is one virulence driven adventure unafraid to change gait and energy on a twist of a note as it pounds, pulses, and provokes the passions with irrepressible majesty.

The album closes with the melodic croon of Live Your Life, a gentle and darkly tender but still shadow wrapped incitement and reminder to find the strength and believe in being yourself. It is a fine smouldering and seductive end to Defeat’s most impressive and enjoyable encounter yet. All of the potential of their previous releases has been realised within Rise creating something deserving of the richest attention.

Rise will be released April 14th digitally and Ltd Ed CD with pre-ordering available now @ https://defeatmusic.bandcamp.com/album/rise

https://www.facebook.com/Defeatmusic     https://twitter.com/defeatmusic   https://defeatmusic.blogspot.co.uk/

Pete RingMaster 06/04/2017

Copyright RingMaster: MyFreeCopyright

Defeat – You Know What You Are EP

Defeat pic

And so it continues, the emotion twisting sounds of Defeat have returned to voraciously crawl through ears and into the psyche. The UK duo have already increasingly trespassed into and seduced the senses through their previous encounters, each bringing evolution to their music and breaching new creative plateaus whilst suggesting there is more to come. The band’s new EP, You Know What You Are, is the realisation of much of this promise yet in turn it gives the feeling that they have still come nowhere to exhausting their potential, even though it sets the loftiest marker yet for the band in sound and invention.

Hertfordshire hailing union consists of vocalist Anthony Matthews and the master of synthetics Gary Walker, two school friends who have continually played together through previous guises from those days onwards. Each exploit has been a stepping stone to Defeat, and the breeding of a sound inspired by the likes of Nitzer Ebb, Depeche Mode, NIN, Front 242, Front Line Assembly, and Skinny Puppy. As Defeat, the pair swiftly lit attention with the release of their Outbursts! EP in 2012. Its emergence around a year after Matthews and Walker were truly able to concentrate on Defeat, lured an increasingly number of eager ears and appetites, backed by a subsequent remix EP entitled simply Defeat Remixed. It was debut album [Seek Help] in 2013 that pushed the band most forcibly onto the European EBM/ electro-industrial map though with its raw and magnetic atmospheres around angst soaked explorations. It was challenging and infectious, a fusion of dark climates and virulent electro pop digging now taken to even more experimental and striking depths with You Know What You Are. There is still that expected and inescapable catchiness, each track whipping up vivacious energies and anthemic temptation but equally they devour the most imposing and darkest corners of emotion and life.

YKWYA_cover     The EP opens with Want and instantly has ears intrigued and hungry as pulsating bassy electronics rap on the senses before being joined by a fiery melodic coaxing, It is a restrained but pungent start, rhythms quickly building up a head of intent and steam leading to a purposeful stride where the always expressive tones of Matthews invite and provoke. His delivery is part monotone, part dour, and all thick persuasion, the perfect temper and compliment to the bubbling electronic tenacity and haunting shadows respectively. As with previous encounters, the band’s sound stirs up welcome thoughts of Fad Gadget, the fusion of light and dark, invasive tempting and compelling contagion similar as Defeat sculpt their own unique incitement of dark pop.

The following Twist is just as dynamically gripping and texture entwining. Theatrical, gothic kissed keys spark the imagination first, the lure never relinquishing attention as a more caustic electro breeze joins the play. In no time the song is sauntering along with thickly jabbing beats, fizzy electronic tempting, and the narrative shaping delivery of Matthews. Things only blossom further as Walker infuses a great blistering of guitar, its presence adding to the sinister ambience evoked and fuelling the encounter. As its predecessor, there are moments of clear pop within the hazy almost portentous embrace of the track, those enticements boldly seeded in the eighties electro/synth pop which has also been a ripe influence on the band’s sound and songwriting.

Resist comes next and dares you to comply with its title, but to no avail as a Numan-esque smog wraps ears first before volatile electro sounds and rhythms rigorously simmer in an expanding provocative landscape of sour melodic tension and vocal prowling. There is always drama to the sound and narratives of Defeat, but possibly this song is their most incendiary on ears and imagination yet, thoughts especially running with its rich persuasion to create their own dark exploits alongside that of the song. It is a transfixing proposition matched by the outstanding Attention Seeker. This is a predator of a track, every beat carrying menace and each syllable a spiteful leer whilst synths cast a web of diverse colour and enterprise; even its addictive swing and spicy melodies seem to have a carnivorous grin to their tenacity.

The song is an invigorating and intoxicating anthem contrasted impressively by the next up Care For Me, a track uniquely individual but a match in magnetism and invention. Whereas Attention Seeker was open in its antagonistic charm, its successor embroils itself in another intriguing imposing caress of sound and reflective exploration. Spatial melodies seep from keys whilst guitars bring a raw fiery texture to the immersive croon, and within it all Matthews slowly releases deep rooted angst and emotional torment in the dark intimate tale.

The industrial air of Goodbye is an early hook which only thickens its bait as the song and vocals create an aural dystopia within an increasingly more rugged and inflammatory infection soaked stomp. It forces its dance upon feet and emotions, chaining their submissive enlistment into its ferocious staging of riveting sound and menacing intent. The track is a pulsating gem, at its heart pure slice of rock ‘n’ roll and in its increasingly psychotic character, pure inventive, belligerent devilry.

You Know What You Are is completed by a quartet of mixes, Ruinizer bringing the Bye Motherfucker Bye Mix of Goodbye, Paresis offering the Blackened Mix of Want, and Cease2Xist casting their Self Loathing Mix of How Pathetic, a track from the band’s Outbursts! EP. The cream of an enjoyable quartet though is the Shaken Not Stirred Mix by X-KiN of Twist, which features the exceptional vocals of Veronick. It is a gloriously fresh slant on the song with the lady’s voice enthralling as it takes centre stage.

Defeat have returned with yet another impressive step in their songwriting and sound whilst, as suggested earlier, implying that there is plenty more still to be unearthed in their imaginations and creativity. So whilst enjoyment boils over with You Know What You Are, anticipation is already on the rise again.

The You Know What You Are EP is available now digitally and on CD @ https://defeatmusic.bandcamp.com/album/you-know-what-you-are

https://www.facebook.com/Defeatmusic     http://www.defeatmusic.com/

RingMaster 23/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Black Strobe – Godforsaken Roads

Photo Philippe levy.

An adventure which has the imagination bouncing around as enthusiastically as the body, Godforsaken Roads from French band Black Strobe, is an exhilarating stomp with more juicy flavours than a Pick ‘n’ Mix stand. The band’s new album is a tapestry of sound and enterprise which is as insatiable in its eclectic intent as it is contagious in its devilry. Seamlessly and inventively entwining fiery melodic rock and sultry blues spicery with a flirtatious electronic resourcefulness, and that brief description still only a thick hint of what is in store, the release simply lifts spirits and passions as one of the year’s most captivating and thrilling releases.

Black Strobe is the brainchild of Arnaud Rebotini, a Parisian musician and producer just as renowned for his instrumental electronic explorations released under his own name. Alongside this and a horde of remix work for the likes of Rammstein, Depeche Mode, The Rapture, Bloc Party, Nitzer Ebb, and Fischerspooner, Rebotini’s 1997 founded project has released a host of well- received singles and debut album Burn Your Own Church which saw its founder collaborating with Kill the DJ label head Ivan Smagghe. Live the band has equally earned potent acclaim, touring the likes of USA, South America, Japan, Australia, and Europe to great success and lighting up festivals such as Reading/Leeds, Sónar, Primavera, Pukkelpop, Dour, and Transmusicales. Now with guitarist Mathieu Zub, drummer Mathys Dubois, and bassist/keyboardist Benjamin Beaulieu alongside him, Rebotini and Black Strobe return with, we suggest, their finest moment yet, Godforsaken Roads.

Recent single Broken Phone Blues offers the first temptation and from its initial touch it is fair to say that Godforsaken Roads is in full control of excited attention and increasingly lustful emotions. An electro bubbling opens things up and is swiftly joined by the distinctive and dark toned voice of Rebotini. His voice has lured comparisons to Nick Cave and Johnny Cash and it is easy to see why as it sits somewhere between the two in expression and tone. Just as quickly a pulsating electro stroll adds its captivating invitation before guitars and bass align to jabbing beats to cast an irresistible canter over the senses. It is a virulently infectious electro rock romp which in some ways brings thoughts of The The and also Helldorado with its increasingly steamy ambience.

It is a tremendous start right away surpassed by the outstanding Monkey Glands. The track is an out and out rocker; again electro essences stirring up ears for a gripping entrance before vocals and riffs finding seeds in fifties rock ‘n’ 10646751_10152620336545266_4319895831447366858_nroll which in turn infuses even greater captivating colour into the devilish engagement. Wonderfully exhaustive in its dramatic vivacity and hungry energy, the track sets a new plateau for the album which the blues scented He Keeps On Calling Me matches with its smouldering sonic heat and melodic intrigue. Bass and guitars take centre stage alongside the relentlessly impressing voice of Rebotini, the song a forcibly seductive yet controlled spaghetti western spiced drama standing tall like a mix of Nick Cave and Fatima Mansions.

Both Blues Fight and For Those Who Came on Earth Thru The Devil Asshole keep ears and appetite hungry for the album. The first draws on a steamy funk hue to ripen its sultrily woven blues rock climate, with the guitars showing a growl and bass a throaty predation to temper the flirty swing and electro tantalising of the track. It all unites in another ridiculously catchy and addictive proposition with a touch of De Staat to it. Its successor idles in on a slow melodic and vocal croon embraced by an exotic electro teasing within a portentous and ever darkening keys bred atmosphere. It is a compelling encounter which feels like it is brewing up to a major fire, and at moments comes close, but almost taunting the listener instead just ebbs and flows with an intoxicating evocative charm and intensity which is just as gripping.

The two triumphs are emulated and over shadowed a little by the delicious cover of Johnny Cash’s Folsom Prison Blues. Held in a transfixing electronic embrace only, the song is given an exceptional make-over. Rebotini strokes its body with an individual vocal delivery but the same shadowed irresistibility as offered by Cash whilst keys simply create a seducing beauty which steals the passions whilst keeping the unique expression and presence the legendary song has always held. It is a stunning offering backed up right away by the heated temptation of Swamp Fever, a song mixing acoustic and blues rock with electro elegance around one of the most infectious and anthemic choruses on the album.

House Of Good Lovin’ revisits a fifties rock enterprise for its agitated rumble of addictive beats and blues soaked guitar endeavour; think Muddy Waters and Joe Cocker with definitely a twist of The Cramps and you get another riveting incitement on Godforsaken Roads. It though only warms up the passions for Dumped Boogie and From The Gutter. Both tracks provide a masterful feet enslaving temptation, the first riding a steamy wave of electronic contagion and the second bringing a less urgent but just as enticing electro pop waltz reminiscent of Heaven 17 to transfix body and emotions.

Levels slip slightly with Going Back Home, a dance floor spawned encounter which still shines with beacon like strength within the album but to be honest is less appetising for personal tastes, but raised again somewhat with Boogie in Zero Gravity, one of two songs exclusive to the digital copy of the album. With a touch of The Correspondents about it, the song is a tempered yet persuasive dance which though not at the heights of the more rock infused tracks leaves satisfaction full.

The album is completed by Promised Moon, a song seemingly bred under the influence of The Beatles’ Get Back and on the digital version by The Girl From The Bayou; the pair further inescapable temptations without casting the same potency of suasion as earlier encounters upon Godforsaken Roads. They still add a fine end to an exceptional release though which simultaneously nostalgic and innovative as it weaves an epidemic of ingenious sound and body gripping enterprise.

Godforsaken Roads is released on CD and vinyl 6th October via Blackstrobe Records/K7 Records and digitally @ https://itunes.apple.com/gb/album/id903413308

http://blackstroberecords.com/

https://www.facebook.com/BlackStrobe.Official

RingMaster 06/10/2014

Copyright RingMaster: MyFreeCopyright

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System:FX – Twentyfirst Century

   Front Cover

     Twentyfirst Century, the third EP from UK industrial antagonists System:FX, is one of those releases which as it ravages and enthrals the ear feels like it is standing astride the senses with a sledgehammer of sound and wash of melodic animosity. It is a collection of colossal songs which seem to come at the body and those beleaguered senses from every angle and through every pore whilst treating the bruising with invigorating and refreshing radiance. Already used to strong acclaim upon their steady and rapidly ascending rise the London duo have taken their sound and stature to another level with the new EP, giving it a spite and anger that provokes from start to finish whilst unleashing the most potent rewards.

Formed in 2011, System:FX has already set stages alight alongside the likes of Panzer AG, 32Crash, DAF, Client, Implant, Grendel, Assemblage 23, Nitzer Ebb, Combichrist, Leaether Strip, Uberbyte, Inertia, Deviant UK, Cybercide, Crash Symptom and many more, each performance adding to their increasing reputation. Last year saw the band playing Resistanz 2012 as Phil Barry’s (Be My Enemy, Cubanate) live band whilst this year at the same event their new EP felt the hunger of fans as they clamoured for its purchase, something which is going to be emulated one suspects as the release works its way into the passions and psyche of not only the UK industrial scene but the world. Consisting of Steve Alton (vocals/guitar/programming), who recently also linked up with Fredrik Croona in the latter’s project Cynical Existence, and Debs (drums/backing vocals), with the band expanding to a trio for live performances, System:FX go for the jugular with Twentyfirst Century, its sinew driven body of sound and the lyrical/sonic intensity inspired by the disappointment of adult hood and seemingly seeded in the memories of the London Riots, clenching its jaws around the throat of the senses and thoughts never relinquishing the grip until the last note has seared its imprint into place. No mercy is given, or wanted when a release sounds and feels this good.

Surrounded by the dissident calls of the populace opener Vengeance courts the ear with scratchy guitar and equally blister electronic lures before exploding into a storm of thumping hungry rhythms awash with deliciously fiery melodic bait. It is an instantly hypnotic temptation, its touch a barracking intensity on the senses but accompanied by a colour fuelled seduction which ensures any discomfort is a prize worth taking. Just as passions and thoughts have no resistance to the intensity and empowering provocation of the song, limbs are mere pawns to the heavy trodden dance beats and the epidemically compelling sonically sculpted enticement. It is a maniacal puppeteer leaving a breathless and fully satiated victim in its undertow.

The following Fire, skirts around the ear initially with a scattering of sonic steps punctured by muscular strokes before letting the intensity off of its rein to prowl and intimidate. With samples adding further menace and intrigue the track is a rapacious journey through the shadows and blackest corners of society, its Prodigy like urgency and punk toxin aided by the snarling vocals, a belligerent poison to the seemingly warm electronic embrace. Though not as impossibly addictive as its predecessor the track is a thoughtful imagination spiking treat which evokes and narrates its intent superbly.

The title track like the first brings the sound of streets in turmoil to the ear to compliment the rigorously persistent start of worrisome electronics and riffs framed in unbreakable rhythmic caging. Danger and unrest stroll hand in hand with the pulse bursting stomp of the song whilst the sonic heat rinses the air of the song in impacting and emotively inspired imagery, helped by the continuing samples of sirens. An intensive imposition on apathy and assumptions, the track is another weighty tempest to capture the appetite before handing over to the closing red alert of Stay In Your Homes. With samples of martial law declarations punctuating the thrilling start, the track pulls to its loftiest heights on the EP and proceeds to oversee a nation in self-destruct with a rain of sonic mercury and melodic acidity falling upon a web of rhythmic and bass toned predation. It is a stunning finale of corrosive imagination and commentary leaving the body and mind exhausted but fulfilled.

Twentyfirst Century is a devastatingly outstanding release which only gives a ‘complaint’ to its briefness of just four songs, but episodes which confirms System:FX as one of the most exhilarating bands in the UK. Roll on an album is all that is left to say.

https://www.facebook.com/SysFX

10/10

RingMaster 14/08/2013

Copyright RingMaster: MyFreeCopyright

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Defeat – [Seek Help]

Defeat pic

Our first introduction to UK electro/industrial duo Defeat came with their impressive Outbursts! EP, a release which marked the band as having the promise to be a prominent part not only national but the European industrial scene. Since that the release anticipation for their debut album has been keen to say the least but even that hunger fell short in expectation when finally feeling the might of [Seek Help]. The eleven track album is immense, a sinister and sizzling beast which whilst thrilling and igniting thoughts and passion still provides evidence that there is plenty more still to be discovered within the band.

Taking inspiration in the sound and area of music stalked by the likes of Nitzer Ebb, 242, Depeche Mode, and NIN, the pair of Anthony Matthews (Vocals) and Gary Walker (Synthetics) firmly gripped the imagination with their sounds and debut release, the album though shows the band has since taken a major leap forward not only in sound and composition but confidence and stature. Two school friends who from meeting were writing songs together, Walker and Matthews have realised the brewing strength and flavoursome imagination first indicated on Outbursts!, with [Seek Help], the album title incidentally the name of their first venture together, confronting the ear with enterprise and compelling provocative mastery. Seek Help the project, existed from 1992 to 95 with the duo playing several gigs before it came to an end, with Defeat  emerging from its ashes with a new intent and flavour to the already existing and subsequently reworked songs. The EP, released as the album through Static Distortion Records, thrust Defeat to wide attention but the suspicion is that their album will see them on the fullest lips of attention.

The Hertfordshire based pair draw the listener into the album with In Vestri Genua Descendamus, a brief piece of dawning epicAlbum Sleeve Final toned ambience and grandeur heralding vocal harmonies offering religious whispers upon air of cavernous magnificence whilst a seductive falsehood deviously leads right into the hungry jaws of Fear. The track flexes its muscles with a slowly opening swagger, melodic caresses firmly igniting the senses whilst the shadowed more rapacious spine of the introduction intimidates and seduces with equal voracity. Settling into an even pace with the wonderfully raw vocals of Matthews stalking the ear and prowling the lyrical venom, the track ignites emotive connections and flames of passion especially with its sonic eruptions around the chorus and the returning breath of church bred provocation. It is a stunning  track which sets up the rest of the album perfectly though also puts the following songs under pressure such its early benchmark.

Not that Ripcord and Defeat struggle in that respect, both songs offering individual stances with full unity in their contagion. The first of the two initially sizes up the listener with predatory concentration, the pulsating dark shards of electro probing testing the waters before opening up its grip for the emotive ambience and shadowed breeze of the song to envelope ear and thought. With Matthews gently pressing forward the menace of the narrative within the evocative sounds of Walker, thoughts of Fad Gadget easily invade, the conjuring of dark beauty here as impacting and irresistible as in the hands of Frank Tovey. The track soon announces it is one which will not settle in one corner and explodes with a fiery caustic rub to further the danger and malevolence brewing within the shadows, whilst the Tubeway Army sonic teasing which breaks out also only enhances the adventure and pleasure. The following track raps on the ear with thumping sinews whilst a scintillating abrasion threatens to break free, its taunts and grazes within the coarse groove at play challenging the nerve whilst similarly grained vocals leave no atom untested. It is an uncompromising mix of beauty and beast like sonics, a ferocity lurking with rabid intensity just waiting its chance to feed but held in check by the potent melodic toxin pervading the track.

    [Seek Help] does nothing but further impress as the likes of the toxic, lyrically and musically, Revenge, the brooding Tear Me Apart, and the insidious Wish You Dead, unleash their imaginative magnetic poison emotionally and excellence sonically. Though the latter pair do not quite rise to the heights set in place before them there is only the fullest satisfaction and hunger bred from their offerings whilst the outstanding Pedestal soon has the album touching the highest bar again. An industrial scourge honed into an immersive restraint of melodic and electro temptation, the track plays with passions and limbs like a satanic puppeteer, its control and insatiable fascination impossible to resist or not devour greedily.

Both Coffin and Cry At Your Funeral lay an appetising and inflammatory impression deep within inciting and stimulating thoughts and emotions before leaving closing song, the smouldering Scar,  to waltz off with the last ounce of passion yet to be submitted towards the release. Released June 22nd, [Seek Help] is an album which sets the previous thought that Defeat ‘will become a major player in their genre’ in stone making it now a towering undeniable declaration.

www.defeatmusic.com

8.5/10

RingMaster 16/05/2013

 

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Defeat: Outbursts!

Having treated us already this year to the impressive releases from the like of Ghost In The Static and MiXE1, Static Distortion Records now introduce us to electro/industrial duo Defeat through their deeply striking Outbursts! EP. The release offers a quartet of electro/harsh EBM/industrial shaded songs with infectious melodic pop pulsations throughout. The EP mixes all elements into a sometimes crawling, often insatiable, and consistently a welcomingly lingering contagion which leaves its mark long after departure for the fullest satisfaction.

Defeat is Hertfordshire based Anthony Matthews (Voice) and Gary Walker (Synthetics), a pair of school friends who came together to create in the description upon their bio music which is ‘Atmosphere, Angst and Rhythm’ in the mould of Nitzer Ebb, 242, FLA, Depeche Mode, Gary Numan and NIN.’ That pretty much sums it up though it only gives some of the full flavour the duo has creates on Outbursts!

Opener and lead song for the release, with a video for it due soon, is Parasite, a track which instinctively accelerates an addiction with electronic hooks which have a beckoning lure and effect like silver to a magpie. The track slowly exhales its musical breath initially with a metallic call before winding up its electro heartbeat with surging pulses of sonic light. Once the almost dour low key vocals of Matthews come in within an almost restrained energy the song immediately reminds of Fad Gadget, Matthews and the shadowed atmosphere created especially reminding of the inspirational work of Frank Tovey. The song gets more excitable with eager energy and catchy electro hooks whilst the enthused surge teasing as it progresses only adds to reinforce the Fad Gadget comparison and ignite a deeper delight, the mesmeric mix of dark and lit shadows irresistible.

The title track makes its presence known next with opening thumping beats and a belligerent bass toned electro spine taunting the ear. Crescendos of frenetic melodic eruptions erupt throughout and fuel the chorus, sparking against the darkened intensity brewing from the core of the song. The track beings a flavouring of Joy Division, NIN, and Depeche Mode to stalk the sound excellently and though not as openly inviting as the opener is equally as irresistible and impressive.

How Pathetic and Bored complete the line-up of what is quite simply an impressively crafted and outstandingly thrilling EP. The first of the pair is a track spilling attitude and contempt from every note, beat, and syllable. Its agitated melodic core energy is niggly and caustically explosive at times especially when speared by the bulging and throbbing intermittent dark surge of sound. Spiteful and twisting gleefully in its own venom the track is anthemic and uncontrollably contagious. The closing track is a more soothing and warm song, well that is the initial impression it gives and though it still retains a discordant beauty and darkened harmonious presence throughout it is just as shadowed and emotionally scarred as those before it. The track soars to great heights of light and heated sonics at times but always there is the distressed undercurrent to bring a hypnotic balance.

Outbursts! is an instant and undeniable proof that electro and industrial music in The UK is on a definite rise with bands like Defeat and others brought by Static Distortion Records as examples, leading the way with quality and inventive imagination. Defeat will become a major player in their genre, Outbursts! the evidence.

http://www.defeatmusic.com

http://staticdistortionrecords.co.uk/album/outbursts

RingMaster 15/06/2012

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