Tirades – Lifetime of Wars

Tirades _RingMaster Review

It all started in February 2014 when guitarist Munoz was in the Andes. His car broke down along the Los Libertadores and help was far away. Out of nothing came Nauhel, an Indian from the Mapuche tribe in Chile.

Nauhel invited Munoz to his camp and insisted that Munoz stayed overnight. It turned out that Nauhel was a musician in traditional Mapuche music, and Munoz had 20 drafts to what once would become Tirades’ debut album. Munoz and Nauhel exchanged musical ideas throughout that night as the moths danced around the bonfire. Nauhel gave Munoz the name “Pülü”, meaning insect in Mapuche, to commemorate the moths who kept them company through the night. This night caused all other musical projects to be set to side, and Tirades became the main priority from here on out.

That is the background to a band which unleashed one of last year’s unexpected and seriously exciting roars in the shape of Lifetime of Wars. A slow start release wise to a new year always allows for a catch-up of propositions that initially escaped but deserve attention and without doubt the first album from Norwegian hardcore protagonists Tirades qualify. Whatever its origins and seeds, Lifetime of Wars is a glorious and challenging slab of rock ‘n’ roll which rousingly embraces a web of noise and punk fuelled flavours driven by imagination stirring adventure.

Album cover_RingMaster Review     The September of 2014 saw Bergen hailing Tirades enter into the recording of their album with producer Andrew Neufeld (Comeback Kid). Alongside guitarist/vocalist Esteban Munoz, also the drummer of Social Suicide, stood bassist/vocalist Remi Arefjord also of Jeroan Drive and guitarist in Social Suicide, Of Grace and Hatred drummer Mathias Simonsen, and guitarist/vocalist Markus Den Ouden from Blodig Alvor. Together they have created a confrontation as sonically intrusive and emotionally cantankerous as it is anthemically and energetically inspiring. Released in the latter moments of last year through Fight! Records, the punk ‘n’ roll blaze is an immediate contagion drawing, as mentioned, on varied spices of metal and punk driven rock ‘n’ roll to brawl and stomp with the listener.

Fear The Saviour is the first potent incitement, the opener springing from a suggestive guitar spun invitation into a predatory stalking of the senses with beats and bass leading the way. Tribal spicing colours Den Ouden’s bait whilst the bass of Arefjord has a carnivorous tone to its snarl, both tempered by the ethereal vocals and wiry enterprise of guitar. Electro spicing equally adds more drama and texture to the post punk scented introduction, the song playing like a blend of Morkobot and Tones on Tail as it leads ear and an instantly awoken appetite towards the bracing confrontational tempest of Death Bell. Smothering ears in thumping beats and sonic provocation from its first breath as vocals challenge, the track swiftly has body and emotions aflame with its rousing and contagious canter. Subsequent clean vocal chants and the ever primal tone of the bass only add to the lure of the rousing seduction, the song twisting into the infection loaded hardcore and corrosive rock ‘n’ roll which fellow Norwegians Shevils are as equally adept at unleashing, they the closest comparison coming to mind for the uniqueness of Tirades.

The exhilarating stirring of the passions makes way for the more barbarous riot of Ghost, though it too is soon evolving within ears as the band explore fresh hues and resourcefulness employing varied styles. Far too short for personal greed, the track gives way to Sleepless. Featuring Kvelertak guitarist Maciek Ofstad, the track evokes defiant attitudes with its aggressive bawl of sound and voice, only adding to the chest beating potency with catchy moments of clean vocal led incitement. As its predecessor, a major highlight is uncaged, a song which is as imaginatively unpredictable and addictively alluring as it is fiercely exhaustive and more than matched by the exceptional Precious Demon which flows out of its tail blast. Further invigorated by Social Suicide vocalist Marius Jahnsen and Tarjei Strøm, another maelstrom of invention and noise rabidity descends upon and swallows the senses, it too inciting lusty involvement with its caustic collusion of diverse textures and punk rock aggravation.

There is a touch of NVRVD and Bear to the track whilst in its successor Relignorance a spatter of The Great Sabatini teases as it’s more restrained hardcore hostility allows vocal melodies and noise rock tendrils to captivate from within the fierce romancing and subsequent haunting atmospherics unleashed. Volatility is as much a constant in a Tirades song as attitude and ferocity and the track embraces all within its compelling design before Reach Victory batters forcibly on ears and in turn Skin scorches the sense with its sonic toxicity and ravenous intensity. The first of the pair is an abrasive bellow with its own line in dynamic rhythms and agreeably searing hooks matched to the constantly anthemic vocals whilst its successor is an emprise of punk belligerence and feverish imagination drawing on another diverse range of metal, heavy rock, and blissful noise

False Prophets keeps the fires of satisfaction burning forcibly next, its skilled merger of contrasts and addiction forging ingenuity making the appetite greedy whilst immediately after Never Again grumbles and rumbles like a bear with a sore head; one wanting to tear apart the body and dance with the skeletal remains. It is hard to remember in recent times a crushing destructive protagonist as virulently catchy and irresistible as the superb song, though within the album it is just one of a band of demandingly contagious and rabidly inventive trespasses.

The album is completed by the acoustic croon of 1996, an evocative piece of stringed and acoustic expression shaped by voice and emotion which only impresses but still pales against the sheer magnificence of what came before. A bonus remix by Ralph Myerz also adds to the thick enjoyment of Lifetime of Wars, an album which hopefully is the first of many given the other commitments of its creators.

In a recent review we remarked on the pinnacle 2015 ended on in the number of seriously striking releases unveiled. Tirades are another one in the list, maybe the very best of that moment and in the cream thrilling the whole year.

Lifetime of Wars is out now via Fight! Records through most online stores.

https://www.facebook.com/tiradesofficial

Pete RingMaster 08/01/2016

Copyright RingMaster: MyFreeCopyright

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Sibiir – Swallow & Trap Them

sibiir_web_RingMaster Review

Sibiir is a quintet of experienced musicians from Sigh & Explode, Jack Dalton, Do You Love Melena? and Call:Vega who decided to unite in 2014 to get together and craft some heavy and intense tunes that would reflect their mutual love for the heavier and darker side of music.” It is safe to say on the evidence of their two track debut Swallow & Trap Them, intent has been brewed, explored, and rabidly achieved. A fusion of hardcore ferocity and spite, atmospheric black metal trespass, and murky post metal despondence, the band’s sound and release swarms the senses with carnivorous intent and suffocating malevolence. Yet in its depths there is an instinctive contagion which flirts from within the raw tempest, a compelling lure which just pulls you further into the savagery.

sibiir_cover_RingMaster Review    Swallow & Trap Them is one of those proposals which will alienate as forcibly as it enslaves, not easy to imagine the encounter leaving too many in the middle ground undecided on their take on the fury. That intensity just adds something to a release though, an imposing take it or leave it air virtually demanding a reaction of some sort and certainly the two tracks from the Oslo band enforces that question.

The title track comes first, bestial rhythms and just as feral riffs descending on ears in horde like fashion. Already there is hostility which has the senses withering, even more rapidly once the throat shredding tones of Jimmy Nymoen sear air and song. That initial torrent of barbarous bruising continues throughout but to it guitarists Tobias Gausemel Backe and Steffen Grønneberg spin sinuous sonic enterprise and intrusiveness speared by the predatory call of Kent Nordli’s bass and the quite simply lethal swings of drummer Eivind Kjølstad. It is a maelstrom of energy and rancorous emotion but one unafraid to seed infectious hooks and addictive textures that ebb and flow across the volatile and continually evolving canvas of emotional and physical punishment.

You cannot say that second song These Rats We Deny is a lighter affair but from its first breath it has virulence to its character and smog of noise which just grips from the first second and never releases its hold even as the track throws itself through tortuous scenery and malevolent climates. Bands like Nerv and NVRVD come to mind during the fierce incitement, though it is hard to think of many fuelling their corrosive turbulence with the insidious addiction forging seducing that both tracks carry but These Rats We Deny especially exploits. Finally embalming ears and appetite with the juices of allegiance through a glorious chorus of anthemic band roars, the track and release leaves a big grin on the face and spark for lust in the passions.

You might suspect that Sibiir touched the sweet spot in personal tastes for us and will definitely do so for a great plague of others. These are the first two songs written and recorded by the band and let us hope not the last conjured by the get together of talent, for Swallow & Trap Them is nothing short of violently majestic.

Swallow & Trap Them is available from September 4th via Disiplin Media.

Pete Ringmaster 04/09/2015

Copyright RingMaster: MyFreeCopyright

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Shitshifter – Intruders

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Shitshifter’s sound is a blizzard of raw emotion, vicious intensity, and a rage as primal as the dirt at the centre of the earth. It also breeds a bewilderingly contagious energy and incitement aligned to persistently fascinating and unpredictable imagination. It is devastating aural liquor that ensures the German band’s album Intruders is one hellacious and invigorating proposal. This is a release and artist which certainly is not for the faint-hearted or for those needing a safety net with their music. For all who have an appetite to bleed from the ears, delve into toxic emotions, and go places which the Geneva Convention would like to cover if it could, Intruders has the attributes to be a punishing revelation.

It maybe should be no surprise that Intruders is as vicious and compelling as it is with its founders other projects including I Am the Bayonet, Hungry Lungs, Twinesuns, and Nvrvd; bands which have offered plenty of brutally creative treats, the last two in very recent times. The trio of drummer Tobias, bassist/vocalist Stefan, and guitarist Christian, formed Bielefeld based Shitshifter in 2012, fusing the fiercest, most inhospitable strains of death and sludge metal with hardcore viciousness bred on raw crust/d-beat causticity. It is a mix which is unafraid to dip into varied flavours and inventive detours at times, but primarily is cultured to corrupt the soul with pestilential enterprise whilst lyrically tearing into religion.

Worth It and invasive smog of sonic confrontation is the album’s first touch, this soon joined by heavy footed, predatory rhythms alongside the rasping venom of Stefan’s vocals. From here on in, music and voice spew toxicity with every note and throat searing squall, never relenting even as the carnivorous and scarring tones of bass pace sludgy tendrils of guitar, their union creating a barbarously addictive swagger as the senses are scorched by the tempest of intensity and sound. The track’s gripping qualities continue with Kings And Queens, the second song evolving from the final sonic intrusion of its predecessor into just over a minute of even more corrosive and gripping enmity. There is no mercy given or wanted as guitars vein the track like lava and rhythms somehow craft an anthemic nature to the mass onslaught.

Again one scourge of sound and invention slips into another as The Demagogue takes over, the track almost skipping into ears and psyche before unleashing a cancerous cacophony of sound and intent equally as barbaric and skilfully addictive as offered as the last song, though with again no breath allowed between, it gets outgunned and shone by its successor. Far From Eye, Far From Heart stalks air and listener with a rapacious glint in its creative eye and a doom pungent atmosphere which grudgingly drips onto a melancholy soaked canvas. The harrowing but elegant landscape has its own moment to provoke and inspire the imagination too as the hordes of sonic hostility holds back for a passage of haunting calm before they converge on ears again with arguably more restraint but greater threat.

For once there is a break, a couple of seconds of nothing between songs before the outstanding Loyal Dog brings its predation into view with a punk inspired prowl and cold post punk toning to the melodies dripping from the guitar of Christian. Stefan’s bass is simply carnal in tone and touch, tempering the chilling but inviting embrace initially offered though by half way that too is spilling rancor and insatiable ferocity. The track epitomises the Shitshifter sound, its merciless intensity and creative gall but also the always present adventure of invention and styles woven into the excruciating storms if they are at times overwhelmed by the fury.

Igod is another minute plus tirade of sound and ire, and another violation easy to get addicted to whilst Nothing In Common in similar form and barbarity just pummels existing wounds with its metal framed emotional bedlam and bitter hardcore contempt. The pair forcibly light ears and appetite before the closing ShitShepherd ensures the union of band and listener ends with a lingering trespass physically and emotionally, and arguably the album’s pinnacle, though many tracks have a case to claim that.

Song and album just hit and violate the sweet spot, though obviously Intruders or Shitshifter will not be for everyone, with you can imagine many barely lasting a couple of minutes of torment, but if filth infested hardcore/death metal crossovers or indeed the band’s other projects, though openly different, are for you, then bliss could be in the volatile air.

The self-released Intruders is out now.

RingMaster 19/08/2015

Copyright RingMaster: MyFreeCopyright

Twinesuns – The Leaving

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Mesmeric and disturbing, like the sinister soundtrack to an invasive inescapable dream, The Leaving is an encounter to equally fear and embrace. Consisting of five extensive examinations of the psyche, the debut album from Twinesuns explores the darkest haunting textures and depths through a fusion of drone and doom within just as imposing stark and ravenous ambiences. Surreally cinematic and corrosively evocative, the release is an experiment in thought provoking sound and cryptic emotion, a hallucinogenic nightmare devouring senses and imagination.

Twinesuns is the result of a union between C (NVRVD) and Thor Ohe (ex- Kinsai, DNAmplified), the pair coming together to play heavy music with no restrictions and that reflects their creative passion. The band says in the accompanying promo to the album, ‘The idea behind THE LEAVING, or more essentially in the foundation of Twinesuns, was to create music that basically allows it to be everything that both of us – as a band like. We wanted to break free from all these rules that dominate today’s heavy music. Why is there a need of rhythm or drums? Why can ́t there be mistakes on a record (since it’s a very natural habit to make mistakes)? Does heavy music need vocals? Why do there have to be different parts and always the same structures in music? Why can ́t we play the same riff for 10 minutes? We wanted to ignore all these guide lines and create something for us, something that would primarily fit our taste and understanding of music and art.’ The album also sees the addition of Abraham’s Renzo Tornado Especial providing moog designs within the caustic and distortion washed sonic incitement of the band. Mixed by NVRVD ́s bass player and C. ́s brother Stefan Braunschmidt, and mastered by Chris Johnson, The Leaving is the rawest, starkest, and most viscerally honest proposition likely to be heard this year.

Recorded live in an eight hour session, the album opens with Epithome. Its emergence is enchanting as it slowly unveils itself from Twinesuns_Coverwithin a background of sonic whispers. A melancholic guitar caress tenderly strokes senses and thoughts initially, its repetitive sigh as magnetic as the twisting shadows creaking and unfurling their own bait behind it. The textures within the song continue to darken as they evolve sinister noir soaked and increasingly vocal temptations. The rapacious scenery of the track eventually consumes the beauty, sonic torches and distorted courting swamping ears and emotions as danger leers at their submission in every turn of sound and an electronic smothering. The track provides a suffocating and intensive realm for thoughts to interpret and explore though in many ways it is just the taster for the tempestuous torment of To Die, When It ́s Right To Die.

The second track reveals its doom sculpted muscle from the opening seconds, its throaty predation and sonic toxicity invading every synapse and thought. Within a breath the track has the listener in the belly of a cavernous leviathan of sound, its scenery drenched in a primal tenacity aligned to a carnivorous drone. It is a monstrous provocation, an unrelenting erosion of emotions but infectiously hypnotic as it lures in further examinations of ideation and emotions by the mind.

Neither Subsonic Prophets nor Like My Father Before Me, I Choose Eternal Sleep show any respite in the invasive potency of the album, the first casting an exhausting rabidity to its insatiable sonic scarring and ravenous low ended hunger whilst its successor explores the eye of the storm, investigating the creative jowl of the beast to bring another diverse and intriguing expanse to the release. With both though, as with all tracks, the pair of musicians add nuances and understated but open movements to the dragging journey of tracks to flirt and continually inspire re-evaluations of the narrative within the imagination’s canvas emotions.

     Die Drei Gesichter Der Furcht brings The Leaving to a close, its premise and haunting presence arguably the most compelling and distressing of all the tracks. Its ‘peaceful’ entrance is similar to that of the first song, and also like that eventually immerses the elegant if intimidating intrigue of sound with a predatory and intensive menace. It continues to stalk right through to its conclusion, never leaping at the distressed emotions and thoughts, just offering a repetition of emotive intimidation and sonic venom. It is a glorious end to an outstanding album.

Certainly The Leaving takes its pound of flesh as you stand within its at times almost too demanding consumption, but the rewards for mind and soul are constant and increasingly stimulating over each subsequent encounter. Twinesuns is a project breeding fearsome and fearful adventures, long may they continue.

The Leaving is available now from Hummus Records @ http://hummusrecords.bandcamp.com

http://www.facebook.com/Twinesuns

8/10

RingMaster 01/05/2014

Copyright RingMaster: MyFreeCopyright

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Coilguns: Commuters

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    We have always thought and declared Coilguns as one of the most important bands in rock music today, a group of musicians who are evolving a template for future extreme noise bands  to aspire to. Through their varied releases the Swiss trio has grown and evolved from something already special into a force of creativity which is as inspiring as it is destructive.  For all the great things to date it they all pale against the stunning might of their debut album Commuters, a release which makes our current sense of their importance seem inadequate.

Consisting of The Ocean members Louis Jucker (vocals), Jona Nido (guitars, bass, mini-moog), and Luc Hess (drums, bass), Coilguns conjure extensive intrusions which explore a merger of d-beat, grind, black metal, and a technical prowess which strips the senses whilst rewarding them with sheer corrosive pleasure. Though discussed as a project for many years the band found its seeds in the songwriting of Nido whilst alone in the US. Returning he recruited the other members and within weeks they left a studio with three striking tracks which went to make up the excellent split release with Kunz on Pelagic Records in 2011. The EP Stadia Rods followed the next year, a raw and devastating 30 minutes release recorded as a live confrontation in a day. After the following impressive and acclaimed split release with NVRVD also in 2012, Coilguns was at their height of power and invention, or so many thought but Commuters is the band at another incredible aggressively inventive level and just another step in their unstoppable rise.

Released on Pelagic Records on February 22nd, Commuters was again recorded entirely live apart from the vocals, each song in 02_Front_Cover_Webone take and it is this intensive attack which also helps alongside the immense songwriting, to give it the organic power and energy which sets the release and band apart from the rest. It is abrasive and intimidating but layered with textures and primal structures which are violent manna for thought and passion. The album also features invited guests including Keijo Niinima (Rotten Sounds / Nasum) who added  vocals for a track.

The release opens with the two parts of the title track, the first bursting onto the ear with stirring riffs and a towering rumble of rhythms and energy. Into its hungry stance the track expands into a tempest of incendiary sonics, persistent drum jabs, and a breath which scars and gnaws on the senses whilst the clean squalls of vocals lay their declaration with passion and aggressive intent. The track is an exhausting encounter which ignites every primitive and emotional response within and leaves a blissfully sore and breathless listener in its wake though there is no time to sit back and soothe the wounds as such as part two looms into view on military beats and a stroking acidic guitar caress. The spoken vocals engage thoughts and ear with their evocative narrative and there is an unsettled peace soaking the air though also a slowly brewing intensity which grows as the track and vocals conspire to consume and thrill. It is well into the second half of its eleven minute presence that you realise just how much the song has thickened in intensity and a kind of desperation is coating the vocal encounter and as the realisation sinks in the track frees its full corrosive magnificence to devour and burn the senses.

The sensational likes of Hypnograms with its insidious groove and mesmeric persistent seduction and the equally compelling Machines of Sleep bring a diverse yet similarly destructive facet as of the first songs to the continually evolving album. Both tracks are linked in venom and malevolence with the second the brutal merciless doppelganger to the milder mannered but still aggressively intimidating first sonic flame. To be honest there are not enough varied and strong enough superlatives to be found to describe the album at this point alone such the abusive and creative masterclass of perfectly designed contagious noise let loose so take it as read that from here on in Commuters just pushes the boundaries of band and extreme music beyond their limits with skill and startling imagination.

First single from the album Plug-in Citizens is a brawling furnace of intensity which enriches the already spawn rapture further whilst songs like the infectious and ruinous Submarine Warfare Anthem and the ravenous Minkowski Manhattan Distance featuring Keijo Niinima, thrust body and soul into a manic maelstrom of fierce ingenuity. The diversity and blistering quality just continues right through to the end with 21 Almonds a Day and Flippists / Privateers further pinnacles in nothing but powerful highlights.

Commuters is quite brilliant, an album which will be called a classic for decades to come, and right now Coilguns stands even more impressively as one of the most important bands in music today.

https://www.facebook.com/coilguns

http://pelagic-records.com/artists/coilguns/

RingMaster 07/02/2013

Copyright RingMaster: MyFreeCopyright