Evil Sex Party – E.S.P.

Listening to E.S.P., the new album from US ambient noise weavers Evil Sex Party is like driving in the thickest uncompromising fog where mere inches of visibility toys with the imagination. Every second is fraught with the unknown; danger and unpredictability hiding along a highway once familiar but now an imposing relentless test on the senses. The exacting scrutiny offered by E.S.P. is the sonic equivalent, an instrumental exploration and examination of ears and imagination which never allows a moment for either to relax or find sanctuary in the safer realms of the psyche.

Submerging the listener in a smog of raw noise, ravenous drone, and dark ambience, Evil Sex Party is the latest project of Otto Kinzel, one half of Skin Drone as well as behind many other projects. If there are others involved in his latest adventure we have not discovered yet, but Kinzel has a pedigree of being involved in attention grabbing adventures and in discovering them as the former head of Bluntface Records and Evil Sex Party is no exception.

Like an aural interpretation of The Ring movie, the Japanese original, in that the sounds and imagination immersing qualities of E.S.P. keep coming at you with a dark and relentless intensity, the album devours the senses from the first touch of opener Commencement. Instantly a thick glaze of shadow bound sound engulfs ears, its mono tone creating a rapaciously textured wall with subtle changes creating ripples in its emotionally suggestive mirror. Swiftly thoughts and emotions are sucked into its devilry, a breeding ground for all imaginations to conjure and weave, as across all tracks, interpretations which are sure to be individual to each listener. Equally though, there is an infectiousness in its droning crawl, an almost meditative hue which rewards the closing of eyes and the removing of distractions from the world around with fresh explorations in each and every listen.

The far briefer and sonically harsher incitement of Tangle Of Flesh follows, its visceral touch and caustic air as seductive as they are corrosive leading to a climax of a handful of seconds which are pure antipathy before Liturgy lays its cosmic charms and darkwave nurtured noises upon thoughts. Spatial yet with a threatening intimacy which is almost occultist, certainly Crowley-esque in its other-worldly air, the track captivates as it infests a by now willing imagination for the release.

The Body And The Blood rises up next with a carnality in tone which scars and grates as magnetically as it entrances. The track’s drone nags the senses but again each subtle wave is an evolution on the last, pressing and flirting with its victim with a ravenous yet threateningly controlled appetite. Like a predator, its patience is unrelenting, its trespass undeterred before making way for the aberrant beauty of Transmogrification. Its melodies are a fusion of elegance and the grotesque, the former to the fore but carrying a sense of dark deceit which again has the imagination running with creativity.

The album concludes with firstly the sonic sacrament of Communion; pain and pleasure, violation and love clad deception at one within the track’s sinful secrecy and enticing hum, and lastly the melancholic temptation and low key but infectious swing of Retreat To Light. As the album overall, both tracks are a spark for thoughts and emotions and a testing enigma for increasingly welcoming ears.

Certainly Evil Sex Party and E.S.P. will be a challenge too far for many but a gateway into rich adventure for just as many with greater understanding of band, album, and one’s own inner shadow stalked psyche blossoming with each subsequent listen.

E.S.P. is out now @ https://evilsexparty.bandcamp.com/releases

https://ottokinzel.com/evil-sex-party

Pete RingMaster 04/07/2017

Copyright RingMaster: MyFreeCopyright

Gravves – Rattle

gravves-promo-shot_RingMasterReview

There is no foreplay involved with Rattle the debut EP of British noise inciters Gravves. It is a release which, certainly for us, careered straight to lustful instincts from its very first roar of breath and sound, thereon in proceeding to entwine us around its little creative finger. Having an already well-established love for The Eighties Matchbox B-Line Disaster, an open inspiration to the North West hailing trio, certainly helped its persuasion but the four tracks making up Rattle soon established the band and its sound as something individual, unique, and quite irresistible.

Since forming, the threesome of bassist/vocalist Adam Hughes, guitarist/vocalist Dave Thomas, and drummer Tom Williams have persistently lured attention and a fine reputation with a stage show seeing Gravves play with bands such as Slaves, Nothing But Thieves, DZ Deathrays, God Damn, Heck, and Misty Miller, as well as impress with festival appearances at the likes of Focus Wales, Tramlines, and Threshold Festival. Radio has also eagerly embraced the band and its striking sound, a success easy to see expanding as Rattle takes the band towards a new broad tide of ears and fans.

gravves-cover-artwork_RingMasterReviewRecorded with Michael Whalley (Mums, Kong, Bipolar Sunshine), Rattle simply explodes on the senses as opener My Pet Rihanna unleashes its sonic tirade. Within the clamour though, a virulent groove is forming, escaping and driving the song from thereon in as vocals clash and collude in noisy emotion while guitars and bass flare up and seductively groan respectively alongside each other. There is an inner calm in the turbulence too, a magnetic lure which breeds monotone vocals alongside the established outcry in a reflection of the dark touch of bass. There is no escaping the air of the previously mention Brighton band and at times there is a touch of fellow Brit up ‘n’ comers like The Droppers Neck and The St Pierre Snake Invasion too, but the track swiftly breeds its own identity.

Heartbeats is just as impressive as it reveals another aspect to the Gravves character. It has a controlled hand on its tempest of noise; still offering a fuzzy infestation of ears but with a dark composed gait echoed in the vocals and rhythms. Thomas’ guitar certainly sears air and flesh, its scorching touch infused with sharp hooks and abrasive grooves which trap the passions with their intrusive infection. There is a slight scent of The Birthday Party to the song and of Mclusky too in some ways while Future of the Left also comes to mind but again as its predecessor what emerges is all Gravves.

From its opening rhythmic enticement aligned to melodic acidity which has a bit of early U2 to it, Tribes storms the barricades next; subsequently sonically and vocally raging around that persistently infectious first hook and another great blend of vocal persuasion. It is a virulent blaze as catchy and imposing as anything around right now, manna for hungry senses and appetites as too the following Hollow Bones.

The closing track also has a more stable energy and storm to its heart, its body prowling almost stalking the listener as melodic vocals and keys entwine with harsher textures. Though it hints at fiercer eruptions, the song retains its control to fine effect, providing a thrilling end to a stunning release.

Rattle is an introduction to stir things up and Gravves one of those propositions which quite simply re-ignites a lust for music.

Rattle is out now across most stores through Loner Noise Records.

http://facebook.com/gravvesgravvesgravves    https://twitter.com/gravvesgravves

Pete RingMaster 21/02/2017

Copyright RingMaster: MyFreeCopyright

Art Of Burning Water – Between Life And Nowhere

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It is fair to say that any proposition from Art Of Burning Water is not for the faint hearted or anyone looking for melodic refuge. The trio’s sound though, and indeed new album Between Life And Nowhere, is something that a passion for ruthless noise with a penchant for violent infectiousness should and will eagerly embrace.

The London based threesome of drummer Mike, guitarist/vocalist Grief, and bassist Kunal create hardcore sandstorms of sonic intolerance and rhythmic barbarity; twisted punk ravages which are as pestilential as any plague but built on grievous grooves and piercing hooks ridden by the rawest of throat ripping vocal squalls. It is a trespass which has fuelled a host of releases from the band since 2003 and provided one half of an impressive split 7” with Nervous Mothers earlier this year. True to say, the band’s sound may have alienated as many as it has befriended but those hooked on their creative hostility come with zeal many bands would pay for.

A fury of ten songs over twenty minutes, Between Life And Nowhere has no times for niceties and flies at the senses from its first breath. A sonic lance and sample triggers Rambo Survival Techniques into life, the guitar an intrusive wave of sound backed by the thumping beats of Mike and Kunal’s grievous bassline. With Grief’s flesh wilting vocal spite soon infesting all, the track grumbles and rumbles like a bear with toothache, searing the senses whilst teasing them with an underlying catchiness which in turn lines the even more hellacious heart of Prime Example Of A Lonely Child. The track ebbs and flows in its intensity, never releasing ears from a sonic abuse but taunting the imagination with its primal instincts and another sampled incursion as spicy grooves and hungry riffs join in cantankerous intent.

The excellent Barbara O’Reilly comes in on the final sonic twine of its predecessor; swiftly uncorking its caustic toxicity with a punishing persuasion before the twenty odd seconds of You simply erupts in primal cancer upon the listener which in turn is followed by the less nasty but just as intrusive adventure of To Be Brave. With swinging beats linking up with a growling brooding bassline, the song makes a calmer entrance, the guitar teasing and inviting before the full tempest of emotion and rage at the track’s heart ruptures into its virulent sound. Twisting from raucous hostility to predacious stalking across its irritable body, the song quickly hits the sweet spot.

The acerbic melodic nature of Voivodian Solutions To Die Kreuzian Problems just as rapidly ignites ear though any kinder essences are lined with their own venom and soon involved with unbridled rancor as shown again within the infectiously woven drama of Alesha and the scathing rapacity of Prone To Bouts Of Hopelessness. The first of the two entices and brutalises with every harsh rhythm and heavy metal infused grooves, its punk ‘n’ roll almost welcoming but only to an awaiting destruction while its successor crawls over the senses with its poison on full show before savaging with full malevolent energy.

A handful of seconds is all that Baby Without Your Love has and needs to share its distorted enmity, leaving the quarrelsome and increasingly violent punk ‘n’ roll of Kindness Is Strength to bring the album to a fine and feverish close.

As suggested earlier, Between Life And Nowhere is not going to find a home in everyone’s ears, something it and the underrated Art Of Burning Water seem to revel in. Both offer punk/hardcore which leaves the kind of scars which sorts the men from the boys and both deserve a portion of your flesh and attention.

Between Life And Nowhere is out now via Bigout (France), Sleeping Giant Glossolalia (USA), and SuperFi (UK) and available @ https://artofburningwater.bandcamp.com/album/between-life-and-nowhere

https://www.facebook.com/aobwmusic   http://www.superfirecords.co.uk/aobw/

Pete RingMaster 21/01/2016

Copyright RingMaster: MyFreeCopyright

Dead Hands – Nobody Exists on Purpose EP

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Just over a year ago, we were taken by and aback by the noise infested fury of British band Sexwolf! and their debut release, the Hangin’ With The Boys EP. Our submission to their senses devouring sound was followed by their demise in the first half of this year. It was a frustration though quickly replaced by intrigue as three quarters of the band, linking up with one half of fellow Midlanders A Werewolf and a second guitarist, emerged as Dead Hands. They have just released debut EP Nobody Exists on Purpose and fair to say any gap left by the loss of one band has been more than filled by a new encounter which sears ears as it excites them.

Creating a maelstrom of fiercely infectious noise from texture reaped from the likes of mathcore, hardcore, grind, and numerous other punk and metal based savagery, Dead Hands have taken little time to stir up attention and it is easy to hear why with Nobody Exists on Purpose. The six track violation is an irritable tempest of abrasive sound and toe curling intensity delivered through an invasion of twisted hooks and demented grooves within a sonic savaging fuelled by some viciously catchy enterprise. It is merciless, at times painfully inhospitable, and constantly a joyously addictive abuse of body and senses.

It all starts with the band’s recent acclaimed single Open Bracket. Straight away guitars are squirting sonic toxicity, tangy riffs soon joined by the heavy insatiable rumble of bass and the scything viciousness of drummer Jenks’ rhythms. It is intensive furious stuff just as infectious as it is barbarous with Richard Phillips spilling his lyrical and vocal venom into the compelling mix. All the flavours mentioned above and more are in open sight within the furious turbulence, all adding to the thick lure of the track.

It is a sign of things to come within the EP, the following Elephants Crush People just as crabby and uncompromising and just as fascinatingly littered with unpredictable trespasses, inventively virulent hooks, and ear catching twists. A mix of The Chariot, Every Time I Die, and Dillinger Escape Plan is an obvious but maybe closest equivalent to the Dead Hands roar with additional Cancer Bats/Brutal Truth hostility.

Diving Board (Jack Christ-Ho) instantly and fractiously devours and punishes while gripping the appetite with more virulently contagious enterprise, it all springing from the Jenk’s initial rolling rhythms. Guitarists Niall Jones and Dabby Gough in turn lay their creative snares, further unavoidable traps as the song overwhelms and sparks body and mind into lustful responses. Of course this is not going to be for everyone but if noise does not annoy but inspires than Dead Hands have the ability to raise the strongest ardour through songs like this and its successor Buck Angel’s Challenging Movies. Arguably the catchiest proposal within the release, the track is a quarrelsome stomp led by the deliciously testy tone and grooves of Daniel San Mogg’s bass, its truculence matched by that of the guitars and vocals. Moments of calmer, post punk lined imagination only adds to the thrilling character of the song, the pinnacle of the EP with ease.

The closing pair of 7 Days (of Craig David) and Close Bracketté finish off Nobody Exists on Purpose, the first a mouth-watering ear plundering wall of heart bled enmity and sonic rancor while the last blasts and tangles ears in a tetchily red-blooded incursion of technical and emotional fury. Both tracks also come equipped with even bolder invention and experimentation and it is no coincidence that as each song gets braver the EP only gets stronger and more irresistible ending on a rousing high.

 Nobody Exists on Purpose is superb, a triumph in many ways with its seeds in the previous exploits of Dead Hand members but blossoming into not only something totally new to them but distinct to pretty much anything else out there. It is a must!

The Nobody Exists on Purpose EP is out now @ https://deadhandsband.bandcamp.com/releases

https://www.facebook.com/deadhandsmusic   https://twitter.com/DEADHANDSBAND   https://www.instagram.com/deadhandsband/

Pete RingMaster 14/10/2016

Copyright RingMaster: MyFreeCopyright

dälek – Asphalt For Eden

Photo credit: Devine Images

Photo credit: Devine Images

Returning from their hiatus a few months back, dälek have confirmed their return with the release of their new album Asphalt For Eden, the successor to 2009 full-length Gutter Tactics. Released via Profound Lore, it also sees a new line-up bringing their imagination to the band’s renowned experimentation.  Revived by mastermind and producer MC Dälek (aka Will Brooks) last year, with the permission of ex-member and co-producer Oktopus, and with DJ rEk on turntables and co-producer Mike Manteca on samplers and effects alongside, dälek reveal the first result of their fresh union with an album which bewitches as it intrigues, provokes as it explores new dramatic adventures in the band’s sound and imagination.

Whether it is a new pinnacle in the band’s creative endeavours we will leave others to decide but certainly Asphalt For Eden ignites the imagination with its raw noise within ambient beauty and dark trip hop meets hip hop experimentation and provocation. It opens with the hypnotic Shattered, a persistent nagging of drone and sonic repetition hugging the lyrical prowess and delivery of MC Dälek. It is a haunting waltz of dissonant shadows and throbbing resonance; reminding a little of British hip hop band Honky, with MC Dälek prowling ears and thoughts with his stirring presence.

The sensational start continues with the also toxically atmospheric Guaranteed Struggle. Again the senses are immersed in inharmonious textures and sonic trespasses, rhythms roaming with a distracted gait as the vocals spread their evocative insight. The cacophonous air is as mesmeric as the swing and vocal enticement, becoming more invasively compelling and corrosive with each passing minute of the song’s droning beauty. It increasingly seeps deeper into the psyche, magnetic in its mystique laced discordance and ravenous in its oppressive envelopment of body and mind.

art_RingMasterReviewMasked Laughter (Nothing’s Left) is a lighter distraction; its elegant fuzzy harmonies blossoming into halos of sonic suggestion around effect cloaked vocals whilst Critical provides an industrial toned intrusion with a carnival-esque revelry and infectiousness to its melodic undercurrent. As with its predecessors, there is a busy creative machine working away within the muggy climate of the track, new revelations emerging with every listen and in turn a fresh wave of virulent contagiousness.

The rockier incitement of 6dB comes next with its haze of sonic instrumentation and raw ambience around a brewing rhythmic stroll. It is a plaything for the imagination before Control simmers and bubbles with its bracing celestial air and harsh romance of noise around MC Dälek’s ever alluring presence. Its spatial qualities are emulated in It Just Is, a closing slice of transfixing sonic and melodic discord aligned to a pulsating trespass of charm. Though it, and the track before, do not quite ignite the same strength of reaction as those before, both leave satisfaction full in their absorbing embrace.

The biggest pleasure comes in the repetitious and enjoyably monotonous drones of sound which shape tracks in a range of differing textures and ways. It provides a mesmeric and imposing romancing of the senses and imagination simultaneously acting as fuel to the creative fire of Asphalt For Eden and spicing to its rousing explorations. It is as if dälek has never been away.

Asphalt For Eden is out now via Profound Lore across most online stores.

https://www.facebook.com/dalekmusic    https://twitter.com/daleknwk

Pete RingMaster 28/04/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Nervous Mothers /Art Of Burning Water – Split 7”

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Creating a union of ferocity sure to see walls tumble and bodies scarred, SuperFire and Vleesklak Records are joint unleashing a Split 7” featuring the raw hardcore animosity of Nervous Mothers and Art Of Burning Water. It is a four track fury taking no prisoners as it rages and abrases the senses. It is also a thoroughly agreeable slab of carnal punk from two bands not too hard to fancy hear plenty more from.

The first three tracks upon the split come from Belgian quartet Nervous Mothers. More about the Antwerp hailing quartet of Bart, Hans, Jim, and Rik we cannot find but opener Op Nul reveals all needed to keenly welcome the band to ears. A sonic wash with intimidating hues opens the track, a vocal sample soon wrapped in steely tendrils of guitar as beats prowl within the brewing animus. There is also a great resonance within the stalking of ears, a dulled yet throbbing essence from the bass which sparks the appetite even more before spiteful voice and song descend with raw animosity on ears.

Following track, Born is similarly set up but swifter into its sludgy punk infestation of the senses with vocals and vicious rhythms to the demanding fore. Though the opener remains the band’s pinnacle, its successor is a rapacious and invigorating trespass as it leads into the thirty second tempest of Waves. The grizzly growl of the bass steals the show but with a frenzy of rapier beats, flesh scorching riffs, and sheer vocal spite, the song is a short, blunt, incitement of punishment and pleasure.

The final song is provided by UK based Art Of Burning Water, a trio described in its bio as “a steroided immigrant noise punk outfit that does not need to be loved to live.” Being musically liked is probably not on the agenda either but as Oppressor soon prompts, embracing their sound is not too hard as Geith, Kunal, and Mike craft it to worm under the skin and venomously blister the senses. Rhythms are hypnotic, the guitars toxic, whilst vocals spill rancor with every syllable; a blend which just hits the spot as it nags, intimidates, and stirs up another twang of hunger in the appetite.

Both bands are new to our ears and now the source of plenty of retrospective attention via their bandcamp profiles. As for their Split, that is another infestation of punk violence to heartily recommend.

The Nervous Mothers /Art Of Burning Water – Split 7” is out now via SuperFi / Vleesklak @ https://superfirecords.bandcamp.com/album/split-7-11

https://www.facebook.com/nervousmothers   http://nervousmothers.bandcamp.com

https://www.facebook.com/aobwmusic   http://artofburningwater.bandcamp.com

Pete RingMaster 08/04/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

British Noisemongers Seep Away Announce Debut EP

Seepy Crew BW_RingMaster Review

Rising British agro mob Seep Away are to stream their brilliant new self-titled EP via Already Heard!

The stunning four track EP can be heard here – http://alreadyheard.com/post/134913945598/already-heard-ep-premiere-seep-away-seep-away

The record is set for release on December 11th, and can be picked up via SA’s Bandcamp page – https://seepaway.bandcamp.com.

The news comes off the back of the York/Manchester-based noise-punks debut single “Trudge”, which was released earlier this month. Sporting a fabulously unpolished sound, rife with angular vocals and coarse guitars; the band’s raw, punkish aura sits somewhere between prime Melvins and the more aggressive moments of Shining (NO) & Bongripper.

Guitarist Max Watt comments: “These songs come from the darkest places in our minds. They are our way of expressing our heaviest thoughts through really, really f***ing noisy tunes. Hopefully some people dig it, but we understand if they don’t because well… it’s all pretty damn abrasive, really.”

SEEP AWAY is: Jay Sillence (lead vocals), Max Watt (guitar, vocals), Dani Barge (bass) and Dom Smith (drums)

The band are set to release a full length album in early 2016.

https://www.facebook.com/twitchyanxiousband/