Raketkanon – Florent

 

    Raketkanon

    Raketkanon is most likely a name still relatively or entirely unknown to the wider expanse of British ears and appetites, but a situation unlikely to remain the same after the release of the band’s debut UK single. Florent is sheer noise alchemy, an insatiable and ravenous temptation. It is also the first teaser for the band’s new album, a larger and easy to suspect no less potent proposition with the potential to make the Belgian band a new lustful passion for a great many across the UK.

Hailing from Ghent, Raketkanon (meaning Rocketcannon in Dutch) have a sound which launches itself on the senses with zeal, relish, and devilish invention. It is easy to offer comparisons to the likes of Melvins and Tomahawk upon the band’s music, yet it defies real tagging as equally essences can be found of nosier exploits like Kabul Golf Club, Butthole Surfers, and Coilguns. It is a proposition which more than likely will draw different ideas and references from different sets of ears, and a sound, alongside the band’s presence on stage, which has led to the release of the single on Jazz Life Records, the label of Blood Red Shoes. Laura-Mary Carter of the British band recently commented on Raketkanon, saying “After seeing their first London gig and being pinned to the back of the wall by the sheer force and insanity of them playing live, I knew we had to sign them to our label.

Feedback and sonic enticement make the opening lure, bait swiftly reinforced by a heavy rhythmic stroll and he discord kissed enterprise which springs from the intriguing start. Consisting of Jef Verbeeck, Pieter de Wilde, Lode Vlaeminck, and Pieter-Paul Devos, Raketkanon soon has ears and imagination immersed in their thick, unpredictable experimentation. Sludgy atmospheres collude with quietly psychotic textures whilst just as reserved droning comes to play with the senses. Each though is just a strand in the fascinating and incendiary tapestry of noise conjured by the band, post punk seeded bass and guitars aligning with rapid fire beats for a psyche twisted dance bound in a sultry and equally bedlamic synth cast seduction. Courted by the increasingly deranged delivery of vocalist Pieter-Paul Devos, the track is a bedlamic croon, a distorted and unhinged serenade sending shivers of joy across senses and imagination.

Florent is quite sensational, an insatiably and creatively irrational seduction which is not only frighteningly captivating but an irresistible temptation to the band’s forthcoming album RKTKN2#. Britain and the world is about to be seriously infected and after being tainted by Florent, it cannot come fast enough.

Florent is available on limited 7” white vinyl through Jazz Life Records from March 30th whilst RKTKN2# is released via KKK Records on April 13th.

http://www.raketkanon.com   http://raketkanon.bigcartel.com/   https://www.facebook.com/Raketkanon

RingMaster 23/03/2015

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://reputationradio.yooco.org/

False-Heads – Wear and Tear

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Proving that their impressive introduction in outstanding debut EP Tunnel Vision last year was no fluke, UK alternative/psyche rockers False-Heads now unveil its successor the Wear and Tear EP. In fact such its magnetic manner and devilish invention, the new release makes its predecessor feel like just an opening teaser to its glory, a rather tasty one for sure, but the prelude to the outstanding and masterful adventure now igniting the passions. Consisting of four attitude cored incitements of noise and psyche rock unafraid to weave in just as warped essences of pop, alternative rock and more, Wear and Tear is a confirmation and wake-up call to the creative might and potential of another seriously exciting band within the British music scene.

Hailing from the East London area, False-Heads is a band which needs little time to grab attention with their imagination gripping sound, swift evidence provided by EP opener Wrap Up. Its first breath comes with a spicy and fuzzy wind of persuasion and energy, a raw guitar courting of the ears soon backed as potently by a heavy and predatory bassline and crisply delivered beats. The trio of Luke Griffiths, Jake Elliott, and Daniel Delgaty have within the first seconds of the track, coaxed eager attention which only strengthens as the song relaxes into a cleaner climate of sound still driven by that initial throaty bass temptation and just as magnetic vocals. Now firmly into its stride, the song unveils a confident swagger but also an appetite to explore heavy rock riffery, stoner-esque grooving, and noise rock imagination, all teased with post punk like infectiousness. It is a fluid and unpredictable adventure keeping ears and thoughts on their toes and emotions high.

False-Heads-Wear-Tear-artwork-450x444  The thick flavours and enterprise fuelling the song continue into the grungier Twentynothing, a proposition opening with a Nirvana like enticing but soon evolving into an intimate design of melodic expression and melancholy wrapped rhythms. Any moment is just that in the passage of the song, and it swiftly moves into an embrace of a more Melvins meets Asylums like tenacity and imagination, though still circling that early magnetic grunge bred hook. As all the tracks there is a glint in its creative eye, a devilment which relishes teasing familiar spices and twisting them into fresh and infectious uniqueness.

The following Snatch is the same, a proposition drawing from recognisable flavourings but disfiguring them with ingenious revelry for something new and distinct to False-Heads. Persistently the band seems to be compared to The Pixies, not as obvious a reference for us until you hear this one song. It strolls along with a virulent swing and addictiveness which could easily be Frank Black composed, serenading with minimalistic charm and just the right amount of causticity to the guitars and dour monotony to the rhythms. Around it though, sounds and textures seduce and flare up, creating a web of intrigue and volatile enterprise which swiftly and inescapably inflames ears and the passions.

It is another sensational offering upon Wear and Tear leaving closing track Nothing In There some work to do to end the release on a similar height. It is fair to say it fails, but only just as it mesmerises the senses with its dark drone of sonic incitement. Like a post punk/shoe gaze proposal held in a post rock atmospheric embrace, the song is simultaneously cold and sultry with noise seduction and psyche rock provocation as open and riveting as the other textures mentioned. It is a fascinating and compelling end to an irresistible provocation of body and mind.

False-Heads left a lingering and convincing impression with their first EP a year ago but have more than overshadowed it with Wear and Tear. There are a few bands which trigger the deepest, intensive excitement in the grand landscape of emerging bands right now and of those that do, False-Heads stand to the fore.

The Wear and Tear EP is released March 23rd on Hi4Head Records and available at http://false-heads.bandcamp.com/album/wear-and-tear

https://www.facebook.com/FalseHeads

RingMaster 23/03/2015

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://reputationradio.yooco.org/

 

Treedeon – Lowest Level Reincarnation

Treedeon_Vinyl_test

Surely bred in the depths of hell, Lowest Level Reincarnation is the ultimate seduction. Like a Hieronymus Bosch painting, the new album from German noise abusers Treedeon is a visceral kaleidoscope of vibrant addictive aural colours and inescapable temptations within a landscape of sonic and emotional torment. It is bestial, it is carnally intimidating, and it is an all-consuming swamp of savage confrontation but most of all it is one exhilarating trespass of the senses.

Treedeon emerged in 2012 when vocalist/guitarist Arne Heesch and vocalist/bassist Yvonne Ducksworth linked up after the almost simultaneous demise of their respective bands Ulme and Jingo de Lunch. Initially Treedeon was an acoustic proposition and made its live debut at 2012’s South Of Mainstream festival filling in for the by now disbanded Ulme. At this point Christian “Boomer” Böhm linked up with the duo, pledging himself as “the missing link” as he offered to play drums in the band. As songs were written and created, leading to an early demo, there was no escaping the heavier voracious element fuelling their sound, fury audiences soon heard at events like the infamous Roadburn Festival, where the band played as part of Exile On Mainstream’s 15 year anniversary showcase. The digital unveiling of the demo swiftly brewed up attention and buzz around the Berlin trio though it was a mere taster of more corrosively impressive things to come. Recorded at Studio Wong in Berlin last November, Lowest Level Reincarnation sets a striking marker for not only Treedeon but doom/sludge spawned noise punk in general.

The eight track sonic tsunami begins with Love Turns Liquid and immediately has ears and attention on board as the punch of Böhm’s premeditated slow swings rock the senses. It is not hostile bait he lays down but it is imposing and highly anthemic as each incessant jab awakens a keen appetite which is swiftly fed further by the grouchy voice of Ducksworth’s bass and the abrasing causticity of the guitar. Hooks are already flirting from within the building tempest of noise, leaping out on the subsequent sonic smog as Heesch’s grizzled vocals croon expressively and angrily. The rhythmic persistence of the eight minute plus track creates an inescapable trap for instinctive and primal needs whilst the doom soaked crawl of the song simply ignites ears and imagination; the encounter the perfect blend of erosive persuasion and addictive invention.

The following Blankapitation similarly attacks on two fronts, its rhythmic and grooved taunting a commanding contagion whilst the thick sludginess of the guitar’s enterprise is a suffocating and alluring raw embrace. It is the vocals of Ducksworth, who takes the lead this time, which strikingly ignites the track though, her delivery pure punk with an attitude to match. It is a thrilling contrast to the highly pleasing caustic attack of Heesch in the previous song and in his backing here, a creative aural stabbing of ears at times from the lady and a constant roar of belligerence.

Satan’s Need takes over next and within seconds consumes the senses in a tempest of fiercely heavy riffs and matching intensive rhythms, all bound with inflamed heavy grooves. The two singers share the track, duelling rather than dueting across its ravenous and exhausting turbulence. It has a harsh and acerbic canvas but also reveals an underlying swing to beats and grooves which does not temper the tempestuous nature of the encounter but certainly makes its punishment bewitchingly palatable.

Through the superb Extinction with its a rhythmic tempting, which is almost like a call to arms for body and emotions, and a sinisterly hued grooving, and the snarling Wendigo, band and album only heap on further corruptive influence and pleasure. The first of the two is the kind of flirtation you know will only lead to destruction but with the deepest carnivorous bass growl and tart grooves, not forgetting exceptional vocal endeavour, the track is the master of lustful submission. Its successor again embraces a stronger punk rancor in its erosive sonic squall. Ducksworth vocally is a fiery temptress and with basslines predatory confrontation as Heesch creates a warlike maelstrom of antipathy with voice and riffs, the song is an animus which flows in all ways into the equally venomous and scarring Venus With Teeth. There is no shelter from its sonic and intimate enmity or from the transfixing rhythmic craft and enticing of Böhm. It writhes like a plague ridden scavenger, spilling and spewing sonic spite and magnetic invention with every intensive and exciting twist.

The album’s title track worms into the psyche next, its insidious crawl of sound and malevolent emotion encroaching ears like a tar thick virus, consuming every pore whilst immersing the senses and thoughts into the darkest pit of depressive and oppressive toxicity. The song is spellbinding, an infestation of sound and intent you only want to devour more of, even if it provides the longest and darkest twelve minutes of your life.

Lowest Level Reincarnation is completed by the outstanding Terracide, another imaginative torrent of crippling and gripping rhythms aligned to incendiary grooves and impressive vocals from both Ducksworth and Heesch. That imagery of a Bosch composition again seems to fit the track, its presence and premise a sonic opening of hell’s pits.

Treedeon is that nightmare you can never be rid of but truthfully you look forward to, its challenge and adventure a dark and dangerous endeavour but cathartic and seriously rewarding. The same applies to the magnificent Lowest Level Reincarnation, an album sure to expose one intensively exciting prospect to the fiercest spotlights.

Lowest Level Reincarnation is available now via Exile On Mainstream digitally and on CD/vinyl @ http://www.mainstreamrecords.de/shop with its US release in April.

https://www.facebook.com/Treedeon

RingMaster 12/03/2015

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://reputationradio.yooco.org/

Fawn Spots – From Safer Place

Pic Ben Bentley

Pic Ben Bentley

Though it will not be the fiercest most hostile offering you will come up against this year, there is definitely a visceral rawness to the debut album from UK trio Fawn Spots which has the senses curling up like paint on a wall under extreme heat. From Safer Place is a furious yet creatively magnetic seduction which rages with a belligerent hardcore and punk voracity whilst smouldering with a noise rock and post punk invention. It is also a massive grower, from a strong and captivating first impression becoming one inescapable proposition drawing ears back again and again with growing eagerness.

Hailing from York, Fawn Spots emerged in 2011, originally as a duo with the intent to “push how much noise two people could make.” One or two line-up changes has led to vocalists/guitarist Jonathan Meager and Oliver Grabowski alongside newest member, drummer Paddy Carley, now standing before the world with From Safer Place in their creative hands. Written and recorded in sheds located in an abandoned Georgian garden and lyrically inspired by T. S. Eliot and Jean Paul Sartre amongst others, the album is a stirring foraging of the senses and sparking of the imagination. It retains the intensity which has already fuelled the band’s sounds and sonic assaults but explores even greater twists of invention and twisted enterprise, its songs barbarous but also ingeniously unpredictable.

New Sense stirs the blood first, its opening sonic yawn the prelude to a maelstrom of aggravated rhythms and caustic riffs raged over by bracing and instantly appealing vocals. Hooks are just as swift a lure too, almost taunting from within the smoggy air of the track. It has to be said that initially the closed in, claustrophobic air to songs took a while to acclimatise to. It did not defuse the success and weight of the persuasions but certainly distracted for the first couple of tracks before slipping into place and becoming part of the inventive furniture of From Safer Place.

The strong start is matched by I’m Not a Man; I Never Will Be, its more controlled entrance just a deceit as it too is soon a tempestuous storm of riff and rhythmic confrontation. Barely safer_place_layout_ideapassing a minute in length, the track throws in the irresistible hook or two also, successful bait courted by a great heavy bassline as the temperature and temptation of the album continues to rise through it and find new heights via the spicy causticity of A Certain Pleasure. The band has understandably been compared to the likes of Rites of Spring, Husker Du, and Mission of Burma, but the third track, and not alone in this, sparks thoughts of older bands like The Fire Engines and Wire, if lost in the blistering causticity of At the Drive In. The track sparks new greed in an already contented appetite for the album, its potency emulated and surpassed again by the outstanding Black Water. Sinister in its melodies and vocal harmonies, toxic in its sonic enterprise, the track is post punk at its most addictively inventive and predatory.

Natural Vision returns to the smoky and oppressive texture of the beginning for its persuasion but turns in on itself with minimalist hooks and melodies which vein the intensive rhythmic and abrasing examination of the senses. Though the track leaves a satisfied smile in its wake it lacks the striking spark of the songs around it, as emphasized by the album’s title track. There is a feel of Josef K in some ways to the next song, as well as a brawling punk ferocity which vocally and rhythmically pulls no punches. It is an exciting peach of a bruising on ears and psyche, and almost poppy in its infectiousness.

The heavy rhythmic entrance of Remains sets the scene for an agitated dance of psychotic beats and brawling vocals bound in a tapestry of toxic melodies and piercing hooks next. It is a glorious violation and imagination sparking incitement which has to bow a little to the superb In Front of the Chesnut Tree which follows. Its start is ripe with choppy dark bass pokes whilst the soon joining melodic winery is pure XTC, though it all evolves swiftly into an even more apparent Joy Division blossomed tempting. The instrumental is bewitching, seriously addictive, and given the clarity which the vocals are not across the album, becomes a lusty seduction on ears and the passions.

The album is completed by firstly the hellacious tempest of Recurring Face, a hardcore spawned furnace of vocal and sonic spite infused with cold post punk ingenuity. At its conclusion it is impossible not to draw a deep breath in recovery before the closing Basque Knife consumes ears with its psychotic and predacious, but controlled swamp of sound and enterprise. It is a fine end to a great release if not living up to the previous peaks on the album though to be fair the strength of all songs seems to grow with every single dive into their corrosive beauty, this no exception.

     From Safer Place is a treat of primal and instinctive noise delivered with a similar inbred passion and animosity. It tests, stretches, and excites in equal measure and makes for a very easy recommendation.

From Safer Place is available now via Critical Heights @  https://itunes.apple.com/gb/album/from-safer-place/id943965796

http://fawnspots.tumblr.com/     https://www.facebook.com/Fawn.Spots

RingMaster 10/03/2015

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://reputationradio.yooco.org/

Louis Ramos – Under The Mortar

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It is proudly raw, it is old school DIY, and similarly bullish in nature but most of all though Under The Mortar, the new EP from US musician Louis Ramos is an unapologetically enjoyable and abrasing, not forgetting bracing proposition. In many ways there is no surprise at the potency of the release, as Ramos has frequently lit our and numerous other’s ears and imaginations through his band The Amputees. The New York hailing band he created and drives, has persistently offered magnetic slices of inventive garage punk, whilst his songs more often than not have sculpted a tenacious mix of infectiousness and intrusive voracity, generally coloured by his own guitar enterprise. Now he has done it again, though in a primal offering which is his most intensive challenge on the listener yet but equally one of the most fascinating.

Consisting of eight songs which delve into various strains of punk and fierce rock, Under The Mortar opens with its title track and swiftly has electronic rhythms jabbing ears and attention into action before the sonic coaxing of the guitars catch melodically alight. There is a spiciness to the emerging acidic infectiousness and restrained but magnetic grooving which emerges within the song and vocally Ramos uses a warm texture in his delivery which tempers and works with the more abrasive textures well. Like a noise rock interpretation of The Pixies with an underlying pop punk catchiness, the song provides a strong and enjoyable start to the release.

The following Killing Spree is simply one minute and a handful of seconds of unbridled punk rock, a sound closer to Ramos’ exploits with The Amputees and virulently addictive. It is also a potent lyrical swipe which impacts as potently as the busy fury of sound. Its brief but pungent ferocity pushes the EP up another step which is backed by the outstanding Cruel Lip. Think Melvins and Sonic Youth in an industrial sonic blender and you get a sense of the excellent song. Melodically seductive at certain moments and psychotically warped in other times, the track hits the sweet spot whilst ‘punishing’ agreeable senses with its sonic rabidity.

It is fair to say that Get Off My Dick is not as romantic as it sounds, but is a hostile threat of defiance and guitar sculpted ravishment. The track though never goes for the jugular, its gait even paced yet confronting as the fingers of Ramos lure out some insidiously appealing and scarring hooks and sounds from his guitar. It is also another offering which has ears and thoughts absorbed before handing its hold over to the furious protagonist that is Trepanation Nation. Hardcore seeded in many ways, the song brawls with and bawls at the senses and thoughts, but again has a certain reign on its assault compared to the earlier Killing Spree.

The senses get a real testing with Gods And Devils, a song where Ramos vocally croons with impressive radiance but within a sonically tempestuous smog of sound. The guitar offers a raw misting which smothers ears and psyche yet within its caustic touch the vocals and a melodic expression simply blossom. It is an intriguing and compelling offering, like Frank Black engulfed in a harsh winter of sound. Its striking blend of textures is somewhat emulated in the more hard/classic rock balladry of Trophies. It does not have the same immediate potency as its predecessor but over time grows to become another enthralling part of Under The Mortar.

The closing Little Jimmy is an acoustic serenade with a Bolan-esque lure to the vocals and provocative lyrics looking at amongst things, the social apathy to war. The less intensive track musically on the release, it makes up for it emotionally and makes a great end to an attention grabbing encounter.

Certainly Under The Mortar will not make a comfortable playmate for some but for uncompromising and unashamedly imposing punk/rock ‘n’ roll which makes additional demands, it is easy to recommend checking out. The EP takes us back to the days of unpolished, bedroom recorded punk demos; just one more reason to take a punt on Louis Ramos.

Under The Mortar is available now @ http://louisramos.bandcamp.com/album/under-the-mortar

https://www.facebook.com/louis.ramos.1804   https://www.facebook.com/theamputees

RingMaster 04/03/2015

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://reputationradio.yooco.org/

 

 

 

Fossils – The Meating

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Released a year ago, Flesh Hammer from Danish noise alchemists Fossils has, from fusing the senses and passions on its first touch, continued to reign on our weekly playlist, and more often than not in a daily burst or two. The outstanding release from the instrumental noise rockers as their sound generally, is a primal temptation sculpted by the bass and drums of Simon Tornby and Per Silkjær respectively. In that union though, the band breeds hooks, grooves, and rhythms which are as sinister and predatory as they are contagiously all-consuming. The album was pure addiction in our ears and the band exactly one year later have done it all over again with a new release, this one coming with a thrilling twist.

With their new instrumental exploration scheduled for 2016, Fossils have filled the gap between albums and impressively fed anticipation with new EP The Meating. Where that twist comes in is in the fact that this encounter is awash with tempestuous vocals. At the time of the unleashing of Flesh Hammer, the duo enlisted various singers to interpret tracks vocally from the album at its release show. Originally planned as a one off occurrence, the band subsequently took the performers into the studio to record their additions to the original songs, and now we have the quite scintillating and compelling devilry of The Meating; seven pieces from the last album re-interpreted and ignited again vocally. Renamed and presumably re-mixed or re-tweaked musically, unless the vocals transform tracks even more potently than we thought, the EP is another irresistible and storming onslaught from Fossils.

Opener Deadringer features Jacob Bredahl of The Kandidate and once of HateSphere, and under the torrential bombardment of Silkjær’s addictive beats it instantly has ears and attention submissive. It is of course prime Fossils bait, the snarling lure of the bass and its crunching riffs aligning to voraciously swinging rhythms for immediate manna to the ears. Bredakl is soon roaring with his distinctive tones, challenging and raging with attitude and animosity within the increasingly virulent sounds. Already a pungently confronting encounter, the song is given extra causticity and rancor by the singer, and as all the songs becomes a brand new proposition.

The following Taxon is graced by the blistering industrialised contribution of Ultimate Combat Noise, the track brewed into a corrosively attractive and psyche scorching antagonist whilst next Printup Meat Lover takes on a punk crafted guise thanks to Mads Stobberup of Cola Freaks. He vocally brawls over the spicy infectiousness of the equally agitated sound; the track like his voice is not exactly looking for a fight but given a nudge will lash out with relish. It is not the last track to have an infusion of varying punk revelry and those tracks do emerge as favourites, though everything excites without reserve.

   Marie Højlund of Marybell Katastrophy gives Ridge and the Rock a siren-esque seduction next, her ethereal and seductive tones wrapping like a temptress around the wiry lures of the bass and the ravenous energy of the drums. It is a bewitching infestation of senses and lust, an increasingly rabid and psychotic enchantment matched by the punk ferocity of Speedbacon. Seb Doubinsky provides the voice to the Dead Kennedys like take on the original rasher of noise bestiality. The track is ravenous in nature, though nicely contrasted by the vocal porcine fun in a presence barely lasting a minute of length.

The final two tracks steal the show, even if by a slither. Firstly Ham Reader expels an acidic and venomous bluster over its tempest of noise through Mikko Mansikkala Jensen’s bracing throat bred squalls. It is a ferocious and wholly magnetic assault which sets the emotions up perfectly for the final devilment of Ködhabit. The track is blessed by Kim Kix, one half of psyche rock ‘n’ rollers Powersolo, who thanks to Fossils and this release have just swiftly been added to our lustful favourites list. The song as expected launches a torrent of delicious grouchy bass growls and insatiable rhythms but grows further with the deranged tones and delivery of Kix. The song we would suggest is the most startlingly evolved of the bunch from the original templates set by Flesh Hammer, a hellacious rocker which relentlessly flirts with the passions in a way which only an image of Gene Vincent being twisted inside out by and thrust on stage by Cleve Barker’s Cenobites, who then provide the backing sounds fits. We said that every track is a massive and equally thrill, and they are, but the final song of The Meating is another type of creature and looks down on all with majestic lunacy.

The Meating is and feels like a brand new offering from Fossils as we await their next instrumental escapade. Flesh Hammer graced many a best of list in 2014, and we can find no reason why this new offering will not be doing the same come December.

The Meating is available from March 2nd via Indisciplinarian.

FOSSILS will be performing at the three Danish Indisciplinarian Label Nights in late March with label mates Piss Vortex and Anti Ritual at…

26/3 – Stengade, Copenhagen (DK)

27/3 – Radar, Aarhus (DK)

28/3 – 1000fryd, Aalborg (DK)

http://www.meatrush.com/   https://www.facebook.com/fossilsmusic

RingMaster 03/03/2015

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://reputationradio.yooco.org/

Shitkill – The New Breed EP

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The bigger the expanse of sounds and bands we all hear, the more we go looking for that something extra to get excited about. It might not be a big twist which sparks a fire in personal tastes, but something which certainly ignites the imagination and shows that there is still varying degrees of originality within modern music. American metallers Shitkill is a band which with new EP, The New Breed, has plenty of those little differences and definitely teases a burst of enthused attention to ears and thoughts. Hailing out of New York, the quartet cast a sound which draws on a diverse flavouring of sounds; they more often than not seemingly are tagged as groove metal but as the EP shows it is just one shade of many creative colours ripe in their music.

Formed in 2009, Shitkill has continually nurtured a potent reputation for their live presence and sound, not only locally but into broader attention. Their stage impact has been one reason, the band increasingly strengthening their stock as they played with bands like Twelve Foot Ninja, the Cro-Mags, Eyehategod, and D.R.I., but also through their releases. 2010 saw the Asylum EP released but it is fair to say that their self-titled album a year later made the first real mark. Its well-received success was followed by two live albums in 2012 and 2014 respectively, but The New Breed EP is where it is easy to imagine the band soon luring a more global attention.

The EPs title track is first to persuade ears, and does so with swift success thanks to the opening rhythmic dance cast by drummer Damien Moffitt. It is inescapable bait aided by the sonic glances playing around the beats and taken to new heights by the deliciously carnivorous tones of Karina Rykman’s bass. It is animalistic in voice, every flick of a string bringing a predatory edge which simply grips an already awoken appetite. Things only get more compelling as the opening grooves and riffs cast by guitarists Danny Chpatchev and Josh Musto add to the tantalising proposition. The track swings and leaps round with devilment in its heart and creativity, but also an ever increasing unpredictability and imagination. The vocals of Musto scowl and rage, a a0653763495_2gravelly delivery somewhere in the ball park of Phil Anselmo. The song itself can be best described as a mix of System Of A Down, Bloodsimple and indeed Pantera, yet there is plenty more hinting and teasing within the provocation, and showing stronger glimpses as the release proceeds.

It is a potent and highly enticing start, but in some ways just the appetiser as things get more inventive and flavoursome. The next up Vultures instantly brings a new tempest of intrigue and aggressive flavouring, its hardcore essences a buffeting ire against metallic grooving and tangy melodic enterprise. From its initial stomp, the song slips into a compelling noise rock infused stomp, riffs and hooks shuffling with rhythms in a psychopathic yet fluid tango before returning to the stormy onslaught it began with.

Death Giver pushes the adventure of the EP to further riveting heights straight after, the track making a tenaciously imposing entrance with a torrent of riffs pierced by powerfully swung beats. Bass and subsequently vocals only add to the dark drama and intimidation though it is only the lead to greater irresistible temptation. A rugged proposal at first it suddenly throws off its severe manner and goes on an escapade of creative mania. There might be better ways to describe the sudden burst of ingenuity but with deranged grooves and hooks which feel bedlam bred, there is a delicious insanity to the track. The grooving reminds of The Cardiacs whilst around them the roars of vocals and rhythmic predation is as much punk as it is metal. The track is quite brilliant and those insidious grooves, a lingering serpentine infestation.

An even greater punk ferocity fuels Faceless, the song from its first breath a raging brawl unafraid to bring addictive hooks and spicy grooves into its hostile armoury. Though it cannot quite match the brilliance of its predecessor, the turbulent treat has pleasure full and hunger for more, greedier by the second. Punk metal at its best, the song makes way for the closing excellence of Underworld. It is another almost bestial in presence and tone, riffs and rhythms prowling the listener with persistent hostility whilst adding distractions like sudden agitated beats and vocal causticity. Those demonic grooves make their return again, nestling seductively into the different but no less enthralling landscape of the song. Embracing the metal side of the band’s sound with potent whispers of more classical breeding, the encounter has body and emotions engrossed and complicit in its dark deeds, especially through the closing stretch of heavy footed and superbly lumbering beats from Moffitt courted by the cavernous basslines of Rykman and the equally uncompromising enticements of the guitars.

It is a scintillating end to an impressive and thoroughly thrilling release. Probably like a great many, The New Breed is our introduction to Shitkill, another succumbing to their not majorly original sound but certainly a strikingly inventive and most of all fiercely enjoyable one.

The New Breed EP is available now digitally @ https://shitkill.bandcamp.com/

http://shitkill.com/     https://www.facebook.com/shitkill

RingMaster 03/03/2015

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://reputationradio.yooco.org/