BulBul – Hirn Fein Hacken

EOM57_PromoWallet

Ok I will admit I had not come across Austrian band Bulbul before being handed their new album Hirn Fein Hacken, a release which sees them returning after six years from not sure where, but from here on in after the intensive psyche examination presented by their latest, a backward investigation is sitting high on the list of musts. An insatiable and mischievous, not forgetting criminally addictive, exploration of every delicious element you can imagine to rile, ignite, and seduce the very core of the mind and senses, Hirn Fein Hacken is quite simply sonic irreverence and quite brilliant.

The first sign of Bulbul we can find is the release of their self-titled debut album in 1997, Bulbul a one man project of guitarist/vocalist Raumschiff Engelmayr at the time. With Derhunt linking up on bass, the band released second and again self-titled album in 1999, via as the first via Trost Records. Drummer Ddkern joined not long after as the band continued to experiment with sound, imagination, and their fans minds through their third and fourth albums in 2003 and 2005 respectively, again under the same monikers as the others. 2006 saw fifth album BlllBlll unleashed whilst the Patrick Pulsinger produced 6 was uncaged via Exile On Mainstream two years later to strong acclaim and attention. Hirn Fein Hacken is as mentioned the band’s return, again via EOM, and takes little time in slipping under the skin of the senses and psyche as well as giving the passions an irresistible creative toxicity to feast upon.

The Vienna hailing band’s influences according to the press release include the likes of The Kinks, Cpt. Beefheart, Rhys Chatham, Django Reinhart, Abner Jay, Fats Domino, and Bob Dylan, but as the album seduces with its ingenious seductive dementia we would suggest artists such as Kontrust, De Staat, Yello, and Fantomas as a starting place. Opener Fire offers a wide groan before bringing all of its thought and energy into a concentrated rhythmically driven nagging of ears and senses. Riffs gently niggle as the bass provides a fuzz kissed tonic to greedily swallow whilst all the while strong vocals dance over the bait with devilry in their tone and relish on their lips. The song continues to swagger and weave across the imagination, enterprise of the guitar as boisterously naughty as it is creative and the bass an irresistible growling incitement impossible to tear emotions away from.

It is a magnetic start which has little difficulty in making slaves of thoughts and passions, leaving the following Uhu a willing canvas to play with. An electro simmering ebbs and flows initially, its voice slightly smothered but eager to break free to greater clarity. That aspect is taken by the funk bred grooves and suasion of the guitar matched by the vivacious vocal delivery. The song smoulders, never lifting its gaze or energy from a wanton sway of its body and sex infused melodies. Not as dramatic as its predecessor but equally as enthralling, the song makes way for I hea eh scho lång nix mea, a song which like the first secures its initial conquest through repetitive coaxing before exploring an industrially inspired realm with clanking tubes, concussive temptations, and unpredictable almost maniacal imagination. The track pushes the earlier thoughts of De Staat to the fore, the song a cousin of their Sweatshop track without the same feverish urgency. It is a glorious trap for the passions warming them up for the even greater infestation to follow.

That virulence comes in the shape of the ridiculously addictive and epidemically infectious instrumental Kanzla. From its first second, guitars respectfully grind against the ears whilst the bass again adds a barracuda like tone to the abrasing lure of the song. The rhythmic restraint with punctuating twists of the drums only reinforces the delicious irritancy as the track persists with its rub through sonic rises and falls. The dip into a brief sultry teasing only inflames the senses more before the track reverts to its feverish meshuga of a tango, intermittently interrupting its blaze with further inventive twists.

Both the psychotic Fisole, where instruments are abused and random items employed for a warped bedlamic cacophony, and the noise rock taunting of Quicksand keep the passions breathless, the second of the two finding an element of Melvins and even Pere Ubu to its spellbinding guitar sculpted temptation. As impressively thrilling as they are the pair are only the appetiser for the pinnacle of the album, Gurdy. The track takes a breath before cantering eagerly through the ears, spicy short guitar strokes and rumbling riffing spurred on by the darkly sinister vocals and unrelenting rhythms. The track is pure 100% unbudging contagion, every flavour, trait, and inventive bait pure addictiveness. Imagine Mike Patton, Pryapsime, and Queens Of The Stone Age engaged in an illicit enterprise and you have the quite magnificent Gurdy.

Genderman Can provides a raw punk fuelled rampage next, vocals and bass antagonistic whilst the guitar boils the air with a blues tasting sonic toxin which again is only good for health and passions, especially its closing warped and sizzling smothering of the senses. From here the album relaxes its energetic stance to unveil a pair of slowly burning treats. Bomb comes first, its opening air awash with the fiery country blues flames which were hinted at on its predecessor. With pulsating beats and a psychedelic ambience drifting over song and listener whilst the vocals like the music flickers within a seductive fire formed around the narrative, the track is a mesmeric enchantment littered and primed with broad intrigue and unruly invention, but within a relatively sobering confine.

The closing A To Beans is just aural sex, a slow hip swerving seductress with smooth rhythms, a throbbing intent, and a sinister vocal invitation which should be avoided but impossible not to embrace as deeply as the noir blessed sounds. It is a ridiculously captivating end to a quite sensational release. As these last words are written contemplation of how BulBul avoided our attention is loud and incriminations rife, but it is hard to imagine previous releases being better than Hirn Fein Hacken so maybe this was the right time to find the band. We are heading back into their history as you read and suggest you do the same once you have been infected by this mad beauty.

http://www.bulbul.at/

http://bulbul.bandcamp.com/album/hirn-fein-hacken

10/10

RingMaster 08/04/2014

Copyright RingMaster: MyFreeCopyright

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Sunsmasher – Hell/Noise/Church

sunsmasher

A sonic suffocation and intrusive adventure which smothers the senses whilst igniting the imagination, Hell/Noise/Church the new EP from Scottish metallers Sunsmasher, is one of those exhaustive violations you can only welcome hungrily.  The three track release is not a comfortable listen but certainly a compelling ravaging to which addiction is an easy option. A merger of doom, crust, sludge, noise and plenty more, the Glasgow trio’s sound takes no prisoners and shows no mercy ensuring that their new EP is an inescapable predator, one fuelled by a thrillingly corruptive toxicity.

The Glasgow quartet was formed in 2010 with the intent to create ‘claustrophobic, intense, and violent music’ with essences bred in the member’s background in the Scottish grind, crust, and hardcore scenes. Debut release, the Mammothian/Loud/Cult demo a year later drew good attention and helped the band to a potent following which was accelerated as Sunsmasher exhausted stages alongside bands such as Conan, Dragged Into Sunlight, Monarch, and Wormrot. The last couple of years saw a few line-up changes in the band and a stronger crust and noise inspired sound emerging through their original doom seeded invention, the result as evidenced by Hell/Noise/Church, a not exactly unique but certainly a hellacious proposition individual to the band. Mastered by James Plotkin (Khanate/O.L.D.) and recorded with Kevin Hare (Black Sun), the new release easily pushes Sunsmasher into a greater spotlight, one deserving to reward as much as the band thrills.

Axe To Grind emerges from an increasingly intensifying and swirling sonic incitement, though the emergence is more a vicious launch at Sunsmasher - Hell-Noise-Church - coverthe ears with guitars and drums carving chunks from the senses and synapses whilst vocals squall with a razor sharp edge and malicious savagery. It is a brutal abrasion of hardcore and noise voracity which within seconds has ears ringing and emotions cowering. The band soon teaches though that they are unafraid to experiment and wrong foot as the track suddenly stops and drops into the thick embrace of an oppressive sludge prowl. Bass and drums find a restraint to their onslaught, though not their bestial intimidation, whilst the guitars merge a melodically hinting sonic tempting with a deeper guttural growl. It is a riveting enticement which consumes and invigorates simultaneously; a droning bait veining it all to captivate infectiously as a stalking low slung groove seduces. With vocal and atmospheric torments searing the air, the track is hypnotic slavery which grows stronger and more compelling over time.

The following Redeemer is just as rapacious but uses a ‘lighter’ sonic toxin to master senses and passions early on. There is a discordant lilt to the guitar call which immediately adds a tempting edge to the opening crawl whilst the lumbering rhythms and heavy throat of the bass provide a formidable canvas for the evolving stature and incitement to ravage. The best track of the three, the song worms its way into the psyche for a long term and intensely lingering chastisement.

Final song Perdition lets a great bass line draw in the imagination first, guitars soon joining it’s tempting with magnetic riffery. The initial premise of the song is almost gentle in comparison to that of the previous tracks, a caustic yet embracing abrading. It is not for long though as the weighty intensity of the track smothers all to enclose and consume the senses. Confirming the invention and exploratory heart of the band, the new thick doom clad swamp of sound is speared by a heavy swaggering groove right out of the Pantera songbook before merging all essences into a choking and enlivening strangling. As all the songs, it twists and turns with enterprise and malevolence, employing all the flavours announced at the start of the review into a mouthwatering and contagious destruction.

Obviously Sunsmasher and Hell/Noise/Church are not going to be for everyone but for noise corruption and feral sonic sculpting within a sludge/doom landscape it is hard to recommend much better.

https://www.facebook.com/sunsmashermlc

http://sunsmasher.bandcamp.com/album/hell-noise-church

9/10

RingMaster 26/03/2014

Copyright RingMaster: MyFreeCopyright

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Parachute For Gordo – Ten Metres Per Second Per Second

Parachute For Gordo

   The most rewarding explorations are those which challenge and push your limits whilst covering them in a simultaneously organic and deliberately sculpted seduction. One such testing experience comes in the striking shape of Ten Metres Per Second Per Second, the new release from self-penned noisybastard instrumental rock band, Parachute For Gordo. The trio from Aldershot in the UK take senses and imagination on a helter skelter of adventure and emotions, through a tempest of noise and melodic invention which persistently immerses and antagonises senses across its numerous evocative soundscapes. It is also a collection of tracks which are as much at home providing fun fuelled revelry as they are at inciting shadows and dangers within sound and emotions. The band does not provide a necessarily easy passage into the depths of their imagination and sound but boy is it thrillingly rewarding.

    Parachute for Gordo consists of guitarist Laura Lee, bassist John Harvey, and Johnny Somersett on drums. Formed in 2012 the project initially was simply a live provocation, one soon drawing acclaim and a greedy following across Hampshire and Surrey. Ten Metres Per Second Per Second is the band’s second EP/album, following the five track debut Eight Minutes Of Weightlessness of 2012. The new release was recorded live across a mere three hours bringing the heart and intense presence of the band in person powerfully into the tracks making up the proposition.

   The opening Bandage Of Scat instantly wraps the ears in a dark ambience, haunted vocal hums and distressed harmonies coveradding to the brewing shadows. The track fully envelops and smothers the senses before a rhythmic dance of schizophrenic beats and unpredictable urgency adds its bait to the darkly mesmeric piece. It is a sinister and slightly uncomfortable start which immediately awakens the imagination and an intrigued appetite for the impending ventures. That brewing hunger is instantly given a compelling feast of noise and experimental rock with the following I Offered You A Small Dog In The Kitchen. A rhythmic and vocal ‘chorus’ makes the first invitation before the clean and impressing guitar intrigue of Lee casts a melodic and descriptive sonic design, one elegant and precise but not lacking a sense of punk seeded incitement either. The bass of Harvey brings a darker throat to the stroll of the song whilst the rhythmic contagion of Somersett grips and leads instincts to embrace the developing creative drama with extra relish. The first two minutes of the song sees the band weave in jazzy and punk essences into post rock and noise soaked influences, that adventurous stance taking on more intense melodic metal and progressive traits the further the song flirts and romances with the imagination.

     10,000 Bay Leaves In A Koala Bears Mouth slowly unveils its emotive narrative from a slowly materialising ambience of lonely whispers and stark textures. As the guitar casts its evocative web with grace and skill and the bass skirts with its own distinct shadows, the song evolves into a stronger forceful picture upon a sinew built rhythmic canvas. A spoken sample adds to the noir kissed breath of the piece, whilst sonic endeavour lights the fuse to mental and emotional interpretation. All the tracks inspire self-visualisation and reflection for their often meandering but always controlled and thoughtful suggestiveness, with this one of the most inciting as melancholic and starkly lit scenes are conjured within a similarly colourful wind of hope and scenic expression.

    Decoy Octopus is easily the best track on the release, its eager stomp of rhythmic agitation and sonically hued flirtation an infectious and impossibly irresistible flight. Awash with colour rich melodies and watching dark shadows provided by the bass, the piece is a festival of movement and thought, musically and emotionally. As the post punk like dance of the song raises its temptation and intensity, the heady and impossibly appealing mix sparks thoughts of KingBathmat meets eighties instrumental funk/indie band Mouth? to spring up.

     The release is completed by The Labrasaga, a sixteen minute soundscape of enterprise, mischief, and adventure made up of two parts which flow together for one expansive journey. Part I: Labrador Deceiver also takes its lead from a searching ambience before a dialling tone marks the springboard for a concussive belt of riffs, drums, and bass provocation. They then relax for vocals to add their bait, their rare appearance on song and release as ever providing texture and colour. Across its length and through Part II: LabraDoodlebug, the scenery musically climbs mountains and prowls valleys, taking ears and thoughts on an inspirational and satisfying investigation. The whole piece is a little too long to be honest though there is never a moment where mind and attention wanders away.

    Ten Metres Per Second Per Second is released physically via Rose Coloured Music, including a special limited edition 12” red vinyl wrapped in the fine artwork of an artist local to the band, Karina Fraser. It is also digitally available from the band as a name your own price offering, providing two extra tracks, Give Up, Break! featuring Alyx Jones and Entropy Is Not What It Used To Be. The pair are both appealing, acoustically driven songs with full vocals; folk bred tracks which add another aspect to the creativity of the band. Parachute For Gordo and their counter is an at times demanding proposition but equally a richly promising and mightily enjoyable one, a challenge all noise and rock fans should take an intensive look at.

http://www.parachuteforgordo.com

http://parachuteforgordo.bandcamp.com/album/ten-metres-per-second-per-second

8.5/10

RingMaster 19/03/2014

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

Copyright RingMaster: MyFreeCopyright

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Tense Men – Where Dull Care Is Forgotten

Tense Men promo

    Bringing a primitively lustful tingle inside with its post punk bred fusion of noise and psyche rock, the Where Dull Care Is Forgotten EP from UK band Tense Men, is one of those delicious treats which flicks all the right switches. Band and release is a ripe proposition for those with a strong appetite for post punk, repetitious discord, and minimalistic adventures of noise and maybe less tasty not for those with different appetites, but we would suggest still a rewarding encounter leaving a lingering mark whatever your penchant.

    Tense Men was formed in 2011 by Cold Pumas guitarist/vocalist Oliver Fisher and singer/drummer Richard Phoenix of Sauna Youth. Combining drums, guitar and a loop pedal the duo made people stand up and notice with a clutch of live performances before recording the six track Where Dull Care Is Forgotten. Since its recording the Brighton band has expanded with the addition of Omi Palone bassist Liam O’Neill. Now with its release via Faux Discx on 12” vinyl and digital download, the debut EP from Tense Men is poised to push this union of craft and noise sculpting into an eager awareness, its success on the strength of the release something hard to doubt.

    As soon as opener Stages Of Boredom scars the ears, imagination and an already assumptive hunger are lit as guitars lash the Layout 1air with sonic persistence matched by a rhythmic enticement. The first piece of insidiously addictive weaponry is unleashed within seconds, a repetition driven groove entwining the senses with seductive potency as the vocals of Fisher offer a mutually monotone seeded suasion. Into its full drone bred swagger, the track baits the emotions with a mix of The Gaa Gaas like psyche temptation and the post punk causticity and repeating moroseness of Joy Division. It is a magnetising provocation which worms itself under the skin with an insatiable toxicity and an intensively powerful lure into release and band.

    The following RNRFON resonates through bone as its rawer body presses on the senses with a bass cast coaxing rapidly joined by equally unrelenting rhythms. Across their flanks shards of caustic guitar sear the air before the vocals join the affair with a sombre wishful tone to their delivery. The track reminds of another English band; The St Pierre Snake Invasion with its rawer punk lent persistence, again restrained torrents of repetition veined by squirreling guitar leading the passions into another ardour clad response. With a coat of discord to the jangling swipes of Fisher’s strings in dramatic contrast to his vocals and the low hum of the track, Tense Men has imagination, theirs and ours, tightly clasped in their hands.

     Lie Heavy (Desperate Times) has a thicker rapacious throat and presence to its sound, Mary & Jesus Chain with a touch of Birdland coming to mind whilst the enticing jagged guitar melodies add a touch of The Fire Engines to the abrasive incitement. Though the song does not spark the same depth of greed as its predecessors it still leaves satisfaction basking in a resourceful web of noise which the title track tries to exploit further with its slow and patient consumptive breath. The dark wash of the track almost swarms as it offers its doomy pressure, the drone preying on body and thoughts and in a different guise repeated through the equally potent Nonentities. The track has a slightly lighter atmosphere which also ventures into a Reid brothers inspired premise as its predecessor, but still allows no respite from the intensity and mesmeric call that unbridled reduplication brings.

    The EP ends on a riot to match the incredible start of the release, Opiate Glow the dramatic treat. The rawest punk spawned track on the album with post punk voracity, the tempest emerges from a two barrelled incitement into a ridiculously contagious stroll, rhythms and vocals simultaneously beckoning and taunting before expulsions of furious guitars and energy savage the air. It is an outstanding trap which has more than a whisper of Wire to its devilment, in fact the song like a close relation to the legend’s track 12XU, just a few generations on in the family time line.

     Where Dull Care Is Forgotten is a fabulous release, a scourge of nostalgic and modern smothering which ignites the passions from start to finish. Whether Tense Men will have to bide its times as its members return to their day jobs we will see but already the anticipation for their next offering is impatient.

http://tensemen.tumblr.com/

http://fauxdiscx.bandcamp.com/album/where-dull-care-is-forgotten

9/10

RingMaster 10/03/2014

Copyright RingMaster: MyFreeCopyright

 

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Monstre – Self Titled LP

 

Monstre @ Fête de la musique 2012

    With more flavours than a Cornish ice cream parlour and twists than a snow boarder on an Olympic half pipe, the debut album from French rock band Monstre is a startling and scintillating beast of a release. The self-titled ten track encounter challenges and treats the senses from the first second, a constantly evolving mix of metal and rock in numerous guises all colluding to infest the imagination and passions. With a suggested depth of potential that is still to be fully untapped by the band as their album thoroughly captivates and thrills from start to finish, Monstre is one of the most exciting propositions to tantalise the ears in recent years.

     The creation of Toulouse duo King Pilo (vocals/guitar/bass) and Seb (drums/backing vocals); the album was recorded in November of 2013 at the Meskine Records Studio with its release at the start of this year. List your favourite metal and rock styles and most likely Monstre will be employing their essences in the multi-faceted and voraciously inventive release. More unpredictable than an orgy in the dark and just as rabidly enterprising, the album works on the primal and creative wants of all with a rhythmic alchemy which leaves you exhausted and drooling alongside a sonic kaleidoscope of ingenuity which simply dazzles and enthrals.

    The album opens with Obey, the jaws of bass an instant intimidation on thoughts as the guitar lays a slow glaze of causticity coverover the senses. With vocal harmonies grazing air as expressively as the stalking sounds, the track subsequently expels a sludge toned weight and intensity on its recipient. Whilst circling and probing emotions with its lumbering and incisive predation, the track’s lyrical incitement as across most songs is a minimal but equally imposing and effective lure helping create a towering entrance for the release.

    The following Green Fish not only builds on its predecessor’s presence but thrusts the album to new heights with its fusion of noise and psyche rock aligned to menacing alternative metal. As in the first the bass has an irresistible savagery which immediately sets the passions beaming, but it is just part of the wonderfully toxic bait building a web of virulence. There is an early Killing Joke potency to the song but also slithers of invention which suggest bands like Melvins and Faith No More has added spice to the band’s artistically informative years. The track is a glorious slice of intrigue and adventure for the imagination, a tantalising and chilled enticement soon matched by the instrumental Mother. Revisiting a sludgy textured prowl with that metallic snarl of the bass and equally ravenous riffery amidst a sonic voracity, the track is an epidemic of rhythmic seduction and inventive endeavour.

    Both Prick and Less taunt and light up the ears, the first coating everything from rhythms and riffs to vocals and sonic weaves in a rapacious breath. The guitars scythe and sculpt a riveting maze of provocative ideas and textures whilst the bass scowls and leans heavily on the senses as the drums pummel their tender flesh. It is an absorbing and incendiary mix offering a Gang Of Four compulsion and Fugazi liking attitude and combativeness. Its successor provides eight minutes of cantering sonic hostility and rampant incessant rhythmic incitement, the track’s first half an instrumental taking of the imagination and its latter stretch providing a great vocal enticement and grunge bred expression to the relentlessly anthemic charge of rhythms. Both songs are formidably imposing and irrepressibly magnetic upon thoughts and emotions continuing the impressive stance of the album.

     Drunk blends a grunge and stoner persuasion into its hungry design, a Nirvana kiss smooching in some of the song’s punkier moments whilst the following What U Say takes that same punk essence and immerses it in a more hard rock brawl with again a Gang of Four post punk tempting. Without strolling along the same plateaus as set by previous songs, both tracks providing a healthy feeding for a greedy appetite before Song One thrusts its muscular and sonic grunge/rock swagger through the ear for another contagious trap for the passions.

    The album is brought to a close by firstly the niggling pressure and charm of Nothing, a track with a provoking adventure and inventive voracity which reminds of Wire at their most transfixing, and lastly by the persistently shifting Welcome, a song which between a top and tailing Middle Eastern seduction which is very similar to that of The Cure’s Killing An Arab, immerses the ears in every essence of sound it can conjure for a fluid and inspiring soundscape of incisive metal and heavily boned rock ‘n’ roll. The pair of tracks impressively concludes a tremendous album and introduction to Monstre, a band with all the imagination and flare to rise into the strongest spotlight. The anticipation of that is full and sure whilst pleasure now is fat and bloated on the excellence of Monstre.

https://www.facebook.com/pages/MONSTRE/285147271524380

https://monstremusic.bandcamp.com/

9/10

RingMaster 19/02/2014

 Copyright RingMaster: MyFreeCopyright

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Hollow Leg – Instinct

Hollow Leg BAND

     Following on from the release of their well-received second album Abysmal last year, US sludge metal sculptors Hollow Leg have their debut beast re-released by Argonauta Records this month. A raw and caustically honed brute of a consuming and oppressive encounter, their previously sold out first album Instinct returns to fill in the blanks of where the acclaimed Florida band began for those missing out the first time. Uncompromising and incessantly rapacious, the album is a sonic brutality with a merciless causticity but simultaneously holds and is tempered by a certainly rough but open seduction through often hidden but bare and potent addictive temptations.

     Instinct was originally released in 2010 when Hollow Leg was just the duo of Tim Creter (vocals, drums) and Brent Lynch (vocals, guitars), the band since expanding to a quartet with the addition of Tom Crowther (bass) and Scott Angelacos (vocals), and followed The Hive Demos of the same year. Demanding and exhaustingly heavy, the album is an unrelenting predator of the senses and psyche, a smothering intensity of sound with a taste for southern groove metal within its ferocious belly. Whereas last year’s excellent Abysmal had a more tempered if still abrasive breath to its impacting and suffocating enterprise, Instinct bares no niceties or respect in its invasive sludge swamp of noise and intent. It is not a release which thrust Hollow Leg onto the frontline of the genre but it is easy to see why it triggered an enthused response to its release, a potent entrance taken on to greater levels by its successor.

    Opener Caretaker attaches itself to the imagination on a sonic spear of sound, spoken vocals providing the initial narrative HOLLOW LEG - Instinctbefore intensive riffs and flattening beats add their scuzz fuelled presence. Employing raw vocal squalls and a leaden but irresistible groove, the song strolls with reserve and intimidating weight through the ears. It is a strong enticement into the album, not strikingly eventful but fully potent in its lure, bait stretched and reinforced by the likes of the bestially bruising Shattered and the more energetic devilish proposition of The Return. Whereas the first is another imposing and senses pinning load of sonic confrontation the second has an eager and fiery gait to its body, though that eventually succumbs to the core heftiness of the band’s sludge intent for a prowling and threatening climax.

     As the tracks follow each other it is fair to say that repetition of structure and chunks of certain riffery make a formulaic surface encounter which needs to be pierced to discover the extra delights tracks like The Source with its dirty melodic grazing upon another contagiously addictive groove offer. That southern lilt to the sound is especially rich and tantalising on this particular track, thoughts of bands like Sourvein, EyeHateGod, and Clutch making loud whispers in the raucous noise persuasion but also of another band, The Fat Dukes Of Fuck where certainly vocally and in a certain mischief the similarity is loud. For all those similarities, Hollow Leg ignite a hunger with their still distinct and raw invention; Bacchus with its inflamed swagger and addiction forging grooves around thrilling nagging riffs and punchy rhythms as well as the corrosively compelling Nothing Left drawing thoughts and emotions in with greater strength for a matching return of appetite for their voracious and intensive toxicity.

    The niggling violence of Spit In The Fire comes next to spark up another greedy response, the scowling vitriolic vocals against the equally tartish wash of exacting noise a rabid suasion, whilst the band’s intensity takes on a further burdensome and exciting depth with Warbeast, the title summing up the track quite accurately. Hooks and grooves, as across the album, come regularly and forcibly but as with most tracks also with a pleasing variation though their true potency often comes only after an excavating beneath the perpetually gruellingly textured skin of the release. The rhythmic taunting of Grace is an example of the variety at play beneath Instinct, but also proof of having to bury yourself into the song to best reap its rugged rewards.

      Closing with the tantalising and unpredictably twisting Wayside, a great epic finale of arduous invention and challenging enterprise, Instinct is a satisfaction filling entrance from a band we know goes on to an even more impressive endeavour. If you missed Hollow Leg on their initial entrance the new releasing of the album gives you a chance to make up for lost time, it a strenuous and stringent view of a band taking its first sonically acerbic steps.

www.facebook.com/hollowlegfl

8/10

RingMaster 05/02/2014

Copyright RingMaster: MyFreeCopyright

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Slippertails – There’s A Disturbing Trend

 

Slippertails_COVER

     US rock band Slippertails is a bit of a mystery you will find when looking for info on the creators of new album There’s A Disturbing Trend. Based in New Jersey and formed by its members in Bloomington, Indiana where they roomed together, the band is apparently a duo though the only name seemingly offered up is that of frontman Nick Casertano who recorded demos alone in his basement which would eventually become this album. Other than that it is pretty much left to the imagination to wonder what the band is about, but what is not a secret is the stirring addictive sound band and release persuades with. A merger of sludge bred tendencies within an alternative rock/garage punk narrative and steered by a hypnotic vocal drawl which at times embraces shoegaze mesmerism, Slippertails creates a presence which worms deep under the skin and into the psyche with irreverent contagion.

     The album is not a flawless affair if being critical but such its potency and potential it is hard not to be excited about the prospects and future creativity of the band whilst glossing over any small negatives. Varied in fuzz drenched sonic spice and caustic imagination which sears and scores the senses, There’s A Disturbing Trend has a nagging almost pestilential beauty which just empowers and improves over time and though a raw lo-fi proposition which maybe will grate on some, the nine track tempest of noise is a masterful slice of sonic alchemy. The immediate description of the band’s sound which comes to mind is Frank Black meets Everclear, the latter thanks to the vocal delivery and alternative rock/grunge tendencies of songs, with plenty of Melvins juices in the mix but that is only part of the story to be honest as the songs soon reveal.

     Opening with its first single Hip New Jerk, the album makes an energetic entrance with keen punchy rhythms puncturing the instantly compelling smog of scuzzy guitar. The vocals of Casertano soon seize control with a Frank Black like presence which infuses into the heavy garage punk sounds too. It is an irresistible lure of a starter with a very relaxed breath which fits in perfectly with the more boisterous and scowling aspects of the song. A great single and opener it makes an early strong plateau for the album to maintain which the following Failure matches with its different type of temptation. A slow almost stalking encounter for the ears, the track seduces and intimidates with equal efficiency, flames of guitar smouldering in the air whilst bass and rhythms scowl belligerently beneath them. Again there is a Frank Black like suasion which predominantly seems to guide the inspirations for the whole album but it is not so overpowering as to dismiss any of the uniqueness of Slippertails.

     Both Walk and Garden State Of Mind ignite the appetite into a hungrier state of eagerness; the first from a hypnotic drum coaxing evolving a garage punk tempting which latches on to the exceptional rhythmic bait whilst a sonic web of guitar toxicity and effect showered vocals play out their narratives. It is one of those songs which holds a virulence which the emotions unavoidably get infected by whilst its successor with another crawling sonic festering of an approach, wraps its fuzz sculpted arms acidically around the ears before serenading them with delicious vocal harmonies alongside the ever engaging core vocal causticity of Casertano. The pair only inflates the already buoyant pleasure spread by the album and though it at times takes time to fully recruit the passions There’s A Disturbing Trend by this point already has full command of thoughts and emotions.

   The following pair of Gold Tooth and I Will Peel You Open move into that Everclear side of things, the vocals very much reminding of Art Alexakis whilst the expressive emotive sonic casting is a close cousin to that created by the Oregon band. It is fair to say that both songs fall short of what comes before them, the second almost labouring in its persuasion, but still the two ultimately convince with a craft and infectiousness which can and does only enhance the presence of the album. Things are soon back on course though with the brilliant All Seeing Eye, a song which sounds like Jesus and Mary Chain in tandem with House Of Love as they seduce The Walker Brothers. It is a transfixing mesmerism which leaves imagination and senses lost in a fuzz drizzled evocation of an emotively crafted sunset.

     The brief punk surge of Altar Wine also has a sixties temperament to its aggressive outburst whilst closing song I Wanna Take Pills With You is a psyche addled piece of sultry enchantment, a shadowed soaked melodic psychedelic glow of danger and seduction. It is a slow burning conclusion which like the album just gets more potent and magnetically thrilling over time and plays. There’s A Disturbing Trend is a striking encounter which makes you work for its rapture but pays handsomely with some quite enchantingly abrasive treasures.

https://www.facebook.com/pages/Slippertails/487759917932606

8.5/10

RingMaster 14/01/2014

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

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Mod Fiction – Hoax EP

    Mod Fiction Pic 1

The Hoax EP from US rockers Mod Fiction is one of those releases which from an intriguing and strangely magnetic seed in its first initial encounter grows into an irresistibly compelling and thoroughly exciting provocation. Consisting of four fuzz drenched persistently nagging tracks which simply infect and infest the psyche over time whilst breeding an eager hunger for much more from the Albany trio, the release provides an acidic and caustic landscape of minimalist noise invention, scuzz kissed guitar imagination, and hooks which are unrelenting in their temptation. Part noise rock, part garage punk, and part alternative rock, a mix which borders schizophrenic toxicity, the band’s sound merges different decades in an inventive brew that takes its time but all the time works a captivating spell upon thoughts and emotions.

     Formed in 2011, Mod Fiction released their debut album Come Back Down in the summer of 2012.Citing influences from the likes of Mudhoney, Velvet Underground, 13th Floor Elevators, Neil Young, Nirvana, The Beatles, The Kinks… and the list goes on, the threesome of vocalist/guitarist Kevin Gadani, bassist/vocalist Peter Monaco, and drummer Greg Gadani have honed a presence which certainly points and hints at their inspirations but equally sculpts an identity of its own. It does not leap out as fully unique quite yet but as Hoax reveals it is well on the way.

    A sonic spear of feedback and forcefulness surges on the ear to open up first track Quit Stalling before being rapidly joined by Mod Fiction Artworka heavy gaited deep throated bassline which would find a home in any L7 song. Soon acidic grooves and barbed riffs alongside crisp rhythms enter the provocation and intensify the temptation. Into its stride the track is a contagious mesh which plays for UK fans like a mix of The St Pierre Snake Invasion and Houdini, a raw melodic coaxing aligned to a punk causticity which ingrains its bait deeply in the appetite. The core groove of the song is a virulent lure from which everything else erupts and swings from whilst the twin vocal suasion only accentuates the raw and magnetic presence of a destined to be favourite of a great many, especially with another little Nirvana like spice breaking out at times to spice things up.

     It is an impressive start taken on by the following Losing Interest, a song which is rendering flaming chords and melodic tempting on the ears from its first breath. A sixties garage pop air coats the song though equally a seventies garage rock essence is working its charm just as vibrantly within the twenty first century fuzz driven keenly cast enterprise. Like its predecessor the song is impossibly infectious through its summery chorus and ever present hooks around bluesy grooves, especially at its climax, but it does just fall short of making the same impact sitting in the middle of the first song and the EP’s best offering which comes next. Silence in Stereo is a prowling treat of a song, a delicious menace which nags and probes the senses through its bass built spine and jagged cuts of jangly guitars. It immediately takes thoughts back to seventies/eighties punk and bands such as Swell Maps whilst its garage blues outbursts pulls up later decades and insatiable flavours.  The song swells and saunters along with a hypnotic allurement, which like the sonic flavouring, ebbs and flows through different gaits and structures. It is a masterful piece of noise alchemy, simple and concise within its muggy air but beautifully sculpted to belie its expertise.

    The closing track Is This Morning? for personal tastes just does not come close to matching the first three though its unique intent is as welcomed proposition. A heated ambience washes the ear whilst singular key notes plonk a lone discord narrative before all come together in a haunted union. With spoken samples colouring its air the piece is an evocative and intriguing, as well as intimidating, drama but so different to what came before that it does not sit easy on the EP itself. This is a band to keep you on your mental toes though you suspect so the track certainly succeeds in that aspect.

     Mod Fiction is a band destined and sure to challenge and thrill us ahead on the evidence of Holly Wax Records released Hoax EP. The potential revealed on the release is mouthwatering and already fully enticing meaning this is one more band to add to that ‘To Watch’ list.

https://www.facebook.com/pages/Mod-Fiction/349666908443016

8/10

RingMaster 13/01/2014

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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The new AKB’AL album,’…Of Darkness and Light’, uncaged on 10th February

Akbal Online promo shot
PROGRESSIVE NOISE CHIEFS AKBAL RELEASE EXCITING ALBUM!
With an extensive cluster of intriguing influences spanning from Tool, The Doors and Porcupine tree, to Kyuss, NIN, Alice in Chains and Coheed And Cambria, Akb’al have served up a genuinely exhilarating piece of progressive rock that tips its hat to experimental metal in passing. Akb’al release “…Of Darkness And Light…” on Monday 10th February 2014 through all national outlets.
Akb’al began as a concept back in 2006 when Michael Young-Temple (Vocals, Bass, Tablas, Djembe, Didgeridoo and the Kaossilator!) was coming to the end of a long spell travelling around the world. Initially, his songwriting focussed on the key elements of stoner/prog rock and metal; however due to his experiences from his extensive exploration, he soon introduced world percussion instrumentation into the equation. Michael took these songs to his musical contemporaries, Thoby Davis (Vocals, Guitar, Violins) and Rob Miles (Guitar, Backing Vocals, Synths), and together the trio further sculptured and elaborated on Michael’s early ideas. The band soon recruited long-time friend and current Onslaught tub-thumper Michael Hourihan to play drums, who added extra power and depth to the band’s already established sound.
After further tweaking their sound Akb’al hit the stage in 2010, and since then, the wide-reaching four-piece have extensively played throughout Wales, racking up shows with Ten Cent Toy, Thorun, Chaos Trigger and Fell on Black Days along the way. After firmly establishing themselves regionally, the band headed into the studio to work on their debut album “…Of Darkness and Light…”. The quartet came out of the studio armed with a killer album. Packing seven stunning cuts, the record showcases experimental ambient texturing and engaging soundscapes underpinned by cutting hard rock and thoughtful metal undertones, all bonded together to take you on a progressive journey that will truly inspire and ignite. The album is set loose this February; look for the new video single ‘Equilibrium’ out soon. Also, head on over to the band’s Facebook page for show updates.
- AKB’AL RELEASE ‘OF DARKNESS AND LIGHT’ ON MONDAY 10th FEBRUARY 2014 –
Akbal Cover Artwork