Sloth – Slow As Shit

sloth-desert_RingMaster Review

Lounge music for the aftermath of the apocalypse; the sound crawling, seeping through Slow As Shit certainly lives up to its title, and indeed the name of its creator Sloth. The predominantly instrumental album is half predation, half raw hypnotic temptation; a mix breed of doom and sludgy invention at times entwined with electronic and stoner mischief, and a very solid and alluring introduction to the solo project of Blake Caverly.

With inspirations probably safe to assume coming from the likes of Pallbearer, Bongripper, and Boris, Sloth and Slow As Shit swiftly entice and intrigue with opener Meditate. Instantly dark and cavernous with a portentous air to its emergence, the brief piece is the sonic yawn of a beast about to arise and slowly lumber across the senses. Its successor Green Sunrise similarly begins on a provocative sonic touch, its radioactive texture soon breeding thick, slowly stretching tendrils of guitar and creeping rhythms. As the atmosphere becomes more caustically blustery, the grooves find a ‘warmer’ voice to their enterprise whilst beats explore even more intrusive intent in contrast, all elements uniting in a predatory crawl as suitable to the ascent of a beast like Mothra as it would be to the demise of life as we know it. The imposingly alluring encounter continues to brew malcontent in its nature and extensive presence though like a couple of the other tracks, it stays a minute or two too long for personal tastes but with strong hooks and smart repetition aligning with the craft and imagination of the song, it ensures a captivating start to the album.

sloth-cover-art_RingMaster Review     Waking Up follows and shares a heavier, more malevolently hued landscape and surrounding air with ears. As in its predecessors, and indeed those to come, electronic essences and temptations bubble and simmer within the dark doomscape of the song, their shards of unpredictability and spatial light increasing the intoxicating melodic endeavour veining the creative mass of shadows and suggestiveness. A post rock breeze similarly brings to light new aspects and depths to the music, each glimpse adding more colour to the sound and the temptation working away on the imagination.

The following Call Of The Sloth is another intensive crawl over the listener; its smog of invasive energy bred in the sonic craft of Caverly, itself a keen persuasion to body and thoughts. Every moment in its nine plus minutes, brings fresh tones and rich slithers of imagination but also, certainly on the surface, a few close similarities to the tracks around it, that element emphasized in the repetitious air which coats the song’s extensive length. Nevertheless, it is little less than compelling as it sets ears and thoughts up for the ravenous experience of Nothing But Leaves. Featuring vocals from Mikey Gascoyne of Valravn, the track is a tantalising mix of melodic melancholy, doom bred suffocation, and scarred blackened textures which twist and evolve whilst luring in other flavours around the raw tones of Gascoyne. It perpetually crackles and burns on the senses, leaving scarred flesh in its corrosive wake whilst equally inciting an eager appetite for more with its melodic enterprise.

Awaken That Which Lies Amongst The Trees cakes the senses in a thick atmospheric trespass and sonic acidity next, the guitar craft of Caverly especially persuasive in tempering more savage vocal squalls whilst Smoke ‘N’ Sleep brings the album to a fine close with its unexpected, electronic stoner-esque waltz. Keys simply entice and dance in ears and imagination, the music’s air drifting as fluidly as the song title suggests as EBM seeded hooks add to the creative revelry. In many ways the track does not fit with what came before it but there is no escaping that it still provides a thoroughly enjoyable and relevant end to the release.

   Slow As Shit is a great first glimpse at the craft and invention of Blake Caverly. It might not be the release to get you over excited but as we have found, it is likely to ignite potent intrigue in the exploits of Sloth ahead.

Slow As Shit is available from September 28th via the Sloth Bandcamp

https://www.facebook.com/Slothuk

Pete RingMaster 28/09/2105

Copyright RingMaster: MyFreeCopyright

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Twingiant – Devil Down

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There is smog like quality to the sound of US band Twingiant which invades every pore and corner of the senses with voracious appetite; within that thick immersion though the band infuses a searing melodic veining and smouldering enterprise to leave the imagination keen and appetite even hungrier. They describe their sound as simply loud and heavy, but as shown by new EP Devil Down, it is also bracingly flavoursome and rigorously compelling.

Devil Down is also uncompromising in its touch and intensity, Twingiant blending fiery stoner and heavy rock with imposing sludge richness for an inflammatory and predatory cauldron of sound. Formed in 2010, the Phoenix, Arizona based quartet drew keen attention with debut album Mass Driver two years later and last year’s Sin Nombre EP. Their success only backed and reinforced the band’s live stature which has seen them persistently impress and inflame audiences whilst sharing stages with the likes of Windhand, Pallbearer, Weedeater, Intronaut, Metal Church, Satan’s Satyrs, Guttermouth, Black Tusk and numerous more. Now with their self-released and produced Devil Down EP, the band look poised to awaken a more momentous spotlight upon themselves. May be it is not a release to ignite a explosive blaze within thunderous rock ‘n’ roll climes but it Devil Down is certainly a fierce proposition to firmly thrust Twingiant upon a broader landscape of attention.

The striking presence of the release begins with the instrumental Old Hag. Starting from a restrained and elegant flame of immediately enthralling enterprise and craft, the track grows within the ears as its melodic acidity and sultry charm creates a spark for the imagination to run with and explore. There is also a sinister edge to the invention and sonic beauty fuelling the track, the guitars of Tony Gallegos and Nikos Mixas providing a highly suggestive soundscape and narrative courted by raw shadows provided by the gripping rhythms of drummer Jeff Ramon and bass predation from Jarrod Le Blanc. It is a transfixing proposition which as it reaches its finale, digs into a new texture of aggressive tenacity and attitude.

The impressive start is followed by Dead To Rights, a track striding forcibly with a combative swagger from its first second. Loaded with just as magnetically swinging grooves it soon adds theDD Front Cover (1) coarse texture of Le Blanc’s vocals to the mix, his tones strong without blowing anyone away but with their generally minimalistic presence in the context of songs, they make the perfect incitement to the blistering tempests of around him. A brawling eruption of skilled endeavour and resourceful voracity, the song makes way for the carnivorously toned Daisy Cutter. From its first breath the bass growl is carnally bestial and soon matched by the thickly gravelled vocals. Heavy metal seeded grooves entwine the intensive weight and prowl of the song, at times taking over with their engaging flames and mouth-watering beauty, though the scuzzy hostility of the bass is a constant prowling intimidation ensuring every twist comes with its share of menace.

Through The Motions is another enslaving instrumental and with no slight on Le Blanc’s vocals, these are the tracks where the listener can really play and immerse into the creative emprise of engagements and release. They are a canvas for the imagination and emotions to dance freely, and this track a virulent persuasion weaving sizzling strands of sonic and melodic temptation with inventively rabid rhythms for a fascinating evocation, a tapestry for thoughts to cast adventures with.

Tiger Lily suffers a little being sandwiched between its predecessor and the next up instrumental, but still provides a feisty and aggressive enterprise of heavy footed riffs and spicy grooves to persistently enjoy. There is something missing though, a spark which evades even the enticing twists and shifting textures within the song, and whilst it is a potent companion it does not linger around as other tracks on the album, and especially like Under A Blood Moon. The third instrumental is the best, a sultry twang to guitars an immediate seduction which only grows as melodies and grooves embrace the flavouring for their own infectious web of wonderfully unpolished and organic temptation. Once more it is a piece which simply ignites ears and imagination into eager life, every diverse flavour and note seemingly a seed to expanding adventures, especially the dark beauty of strings at its conclusion.

Devil Down ends with its title track, a bruising prowl of heavy metal and sludge rapacity aligned to groove and noise rock causticity. It is a predator, an emotionally blackened stalking which lumbers and crawls with the varied creativity of the guitars its light and merciless rhythms its teeth. The song is an immense end to an outstanding release, where even though for personal tastes the instrumentals steal the show, every track is an almost primal incitement to want plenty more from Twingiant, a band whose stock and presence surely from this point will be infesting the world’s full awareness.

The self-released Devil Down is available on vinyl from 2 December @ http://twingiant.bandcamp.com/album/devil-down

A cassette version of Devil Down will be released via Medusa Crush Records on February 7th.

http://twingiant.com/

RingMaster 02/12/2104

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