Tribazik -Tools Of Mass Creation

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Swiftly following the acclaimed success of their recent album Data Warfare, UK band Tribazik unleash their new gripping and contagion fuelled single, Tools Of Mass Creation. The closing track on their outstanding full-length, the song is an emotion and thought provoking tempest of sound and adventure, reinforcing the potential and creative emprise shining within the London based trio.

Formed by Jerry Kandiah (vocals/guitar) and Hedge Seel (drums/samples), Tribazik has grown into one of Britain’s most inventive and formidable prospects, Data Warfare their coming of age and the suspected spark to a world spotlight upon their ingenious mix of sounds. Sculpting an individual presence through the merger of genres such alternative rock, psychedelic metal, industrial, techno and much more, the band grabbed the attention of Killing Joke bassist Paul Raven from the release of the single Yang To Yin alone. The song led to the invitation and supporting of Killing Joke on two European tours as well as Jaz Coleman guesting on a track on Tribazik’s Andy Gill (Gang of Four) mixed debut album All Blood is Red in 2009. From there the pair became a trio with the recruitment of Syan and subsequently the creation and release of the self-produced and Youth (Killing Joke, The Orb, The Verve) mixed Date Warfare earlier this year. It is a fiercely flavoured tempest of imagination drenched sound and inventive force managing to cast a mix of early Killing Joke, Pendulum, Pitchshifter, The Prodigy, and Red Beat, whilst sculpting something new and invigoratingly distinct to Tribazik. Now Tools Of Mass Creation is ready to stir up another incitement for the album and itself, an aim as with its source release hard to imagine failing to achieve success.

The single harasses ears from its first breath, rhythms rapping with thick sinews on the senses whilst guitars blaze with a raw causticity to their riffs and hooks. The gothic harmonies of Syan glance across the turbulent air of the track soon after whilst beneath, the track roars with aggression and antagonistic intensity. It then relaxes into a more merciful embrace, the mellow tones of Syan snuggling closer to the ear as Kandiah unveils the narrative with his captivating voice. It is a smouldering passage prone to forceful eruptions of sonic energy and blazing passion musically and vocally. There is an unavoidable essence to Killing Joke to the track, as well as a tasty tinge of Fear Factory, but as it brawls and seduces body and emotions, the song sets down an individual character and beauty to the fury which belongs solely to its creators.

Tools Of Mass Creation is a riveting and mouth-watering furnace of sound and enterprise, the perfect doorway for those still not infected by the exciting presence of Tribazik, to dive into their glorious depths.

Tools Of Mass Creation is available on September 24th

Tribazik have confirmed a special single release party at London’s Islington Academy 2 on September 24th. To celebrate the single release of Tools Of Mass Creation, the band have promised ‘A storming show with full visual onslaught’

Tickets for the event can be purchased from http://www.o2academyislington.co.uk/event/69196/tribazik-tickets

http://www.tribazik.com

RingMaster 16/09/2014

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Tribazik – Data Warfare

 

TRIBAZIK

    Describing the sound of UK band Tribazik is easy, early Killing Joke meets Pendulum with healthy doses of the raw power of Pitchshifter, the fiery electro snarl of The Prodigy, and the rhythmic swagger of seventies band Red Beat, except as is loudly evident on new album Data Warfare, it is only part of the scintillating recipe. Forging something unique and irrepressibly contagious through the merging and rigorous gene altering of alternative rock, psychedelic metal, industrial, techno and much more, the London based trio rampage through the imagination like a sonic tornado, organic electro and rhythmic teasing entwined with hungry rapacious grooves and psyche igniting invention. It is a glorious pulsating confrontation which has already brought the band eager and potent attention though you suspect that will be nothing in comparison to the acclaim once the album reaches out and out.

     The band is the brainchild of Jerry Kandiah (vocals/guitar) and Hedge Seel (drums/samples), two musicians with a rich experience in metal based bands and having their own sound system on the underground rave scene. Linking up the pair explored styles which lit their own passions with a new and boundary pushing invention, the first results including the track Yang To Yin which caught the attention of Killing Joke bassist Paul Raven. His invitation to support his band led to two European tours alongside Killing Joke and Jaz Coleman guesting on a track from Tribazik’s Andy Gill (Gang of Four) mixed debut album All Blood is Red in 2009. Following its acclaimed release the band was then permanently joined by Syan whose previous band Interlock had released the critically acclaimed album Crisis//reinvention in 2004. The recording of the new album was hit by the death of the band’s manager Gary DS but such the force and energy to the breath-taking tempest you can only feel they used the loss to drive their creativity and passion in tribute to the man. Self-produced and mixed by Youth (Killing Joke, The Orb, The Verve), Data Warfare is a sumptuous kaleidoscope of sound and imagination, an inventive fury which transports the listener into lyrical skirmishes looking at ‘the imminent hostilities facing the human race’, and broiling sonic soundscapes woven with aggressively stirring imagination and voracious creative energy.

     A cyber enticement starts things off as Too Dead To Care emerges from an electronic cocoon to incinerate the air with a a2136431759_2furnace of sound and riffs before settling into a deliciously agitated yet perfectly poised enveloping of the ears. Immediately that Killing Joke and Pitchshifter reference coaxes thoughts as electro driven rhythms and pulsating energy fuses with the ravenous guitars. It is a senses dominating introduction to the album, one bold in its invention and unafraid in its dramatic and persistently evolving provocation.

    The intense and breath-taking start has lips of anticipation being licked and soon satisfied as Atom soon followed by Life Force Energy parade their ingenious contagion. The first of the two flirts with and peels away the surface of the senses with a skittish almost acidic electro irritant whilst behind riffs and rhythms carve out a formidable and incendiary canvas for the vocals of Kandiah to paint the lyrical narrative. His tones are very Jaz Coleman like across the whole release which only accentuates that Killing Joke resemblance, but never to the detriment of the adventure and distinctive Tribazik presence. The second of the pair from another subdued but sinister intro erupts into a blood pumping and exhaustive consumption of the senses, riffs growling with every heavy note and the beats of Seel reinforcing the tantalising damage with sharp and incisive animosity. As now expected it is just one facet of the enterprise escorting the emotions into a near rapture, melodic swarms and thought provoking craft washing and twisting around the uncompromising pulse and heart of the track.

     Without allowing the listener a breath unless they use the pause button, Tribazik keep the riveting creative pressure on with 12th Disclosure and Sonar Sumeria, the first a sonic bred incident filled experiment wailing with aural warning signs, caustic sirens, and perilous intimidation all filtered through a dangerously magnetic swamp of techno radiance and industrial predation. It is a masterful seduction taken to even greater heights by Sonar Sumeria, a celestial journey through rave spawned, psychedelic coloured, sonic romance. Throughout a vociferous energy equally brews up resulting in a sultry and elegant evocation which Pendulum would have loved to have sculpted.

    The album continues to fire up the passions and greed in an already gluttonous hunger as firstly the restrained but predatory Hacktivism with its unrelenting electro bait and metallic rabidity seduces and abrases the senses. Just as keenly a virulently addictive groove brings slavery to the imagination before the rhythmically toxic Spacetime Collapse takes over laying a wonderfully wanton and irresistible hand on the emotions as spirals of unpredictable transfixing ingenuity expand the already dexterous invention. With an additional dub coating to its expanse reminding at times of Ruts DC, the song provides another pinnacle on the lofty range of the album before the dark and menacing presence of Bloodline Crossbreed infects and magnetises an admittedly ready to drool over anything appetite for the album. Arguably not as colourfully imposing as previous tracks but with an evocative melody enriched ambience merging with the intensive atmosphere it is on the frontline of intriguing, sophisticated alchemy.

   That deliberately sculpted and thoughtfully layered turn of the album continues through the final two songs, though no song lacks invigorating intelligence and artful ingenuity in its makeup. The melancholic yet vibrantly rousing Absence Of Proof comes first with female calls lighting the surface of the emotive exploration lyrically and musically whilst the closing Tools Of Mass Creation delivers a world of sonic emprise all of its own, it a resourcefully elegant and vivaciously daring flight of moving imagination. The pair makes a mentally and emotionally mesmeric end to an exceptional encounter; Data Warfare a sensational dawning of Tribazik and their time to take the rock world by storm you suspect and hope.

http://www.tribazik.com

10/10

RingMaster 21/02/2014

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Three heads from a dying monkey: the Headcount Interview

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It was with the release of the Two Heads/Die Monkey Die EP that UK punk/noise provocateurs Headcount ignited a long term passion for their sounds here at the site, a slavery which only bled excitement when the band released their new album Lullabies for Dogs recently. The Oxford trio thirteen years or so on from their first steps as a band with the Malicious Damage Records released album showed they still had the snarl and lyrical provocation not forgetting the mischief which twisted our imagination and emotions into submission a decade ago. Grabbing the opportunity with possibly over eager hands to find out more about the band past and present we fuelled the band with numerous questions. With great thanks to vocalist/guitarist Rob Moss, bassist Rob Jeffrey, and drummer Stef Hale we talked about Lullabies for Dogs, Paul Raven, Marco Pirroni, the dying days of music and much more…

Hi and welcome to The RingMaster Review.

Before we talk about your new album Lullabies For Dogs, can we swiftly go back to fourteen years ago when the band began? What was the spark which brought the band together and what was the main driving force for its intent?

ROB MOSS: We were brought together by a mutual friend who sang in a pre-Headcount band for us. After he went to the states we just carried on! To be honest, we’d been starting to follow a heavier direction anyway but the change in circumstances gave us a chance to do a wholesale change of go for it!

The driving forces? Just general reaction to all that goes on in the world. You will note that I, in particular, seem to have an opinion on everything and , of course , believe that EVERYONE wants to hear it……..

Are those inspirations just as potent and forceful now or have they changed or evolved especially in regard to your songwriting?

ROB MOSS: Absolutely. Probably more so because the world does not seem to be getting any better does it? Look at Syria and Egypt and the whole global economic crisis or the homophobic laws being introduced in Russia. Hardly an improvement – more’s the pity

ROB JEFFREY: Our songs have always been about current issues, which kind of makes us like a loud version of HEAT Magazine. Mossy has something to say on most things, and whilst we don’t always share exactly the same opinion on everything we generally move in the same direction, give or take the odd punch up. If anything, our more recent approach is darker and more subtle then the old days of openly fighting paedophiles, the church & Earl Spencer!

STEF HALE: It’s a strange mix which makes Headcount but with all of our differing tastes in Music, this is what creates the noise, brutality and melody. Headcount are not wannabe pop stars, punks nor metal heads we play what we like and that comes through from Mossy’s punk, Robs thrash metal and my “listen to anything”. The collaboration is catchy and “fucking have it”! rhythm section with the lyrical content and melody from mossy of all the things that “gets on his tits” this is what makes us sound like…well, Headcount

So you still get as creatively angry about the same things or has that canvas widened over the years?

RM: It’s widened as there are more and more ridiculous events happening. Headcount existed pre 9/11. I was amazed that things went that far. I could NEVER have imagined someone crashing a plane into the two towers, call me naive if you like. From then on, anything seems possible and there are ever increasingly ridiculous scenarios being thrown up by the world. Politician’s expenses, banks failing, churches arguing over women bishops and gay marriage. All that nonsense!

As mentioned you have just released your excellent fourth album Lullabies For Dogs; is the anticipation and excitement releasing a new 528281_563301857015153_1671612872_nrecord the same for you as when you began or is there a different stronger emotion surrounding these moments for you now?

RM: Hmmmmm. Hard to say. The first things you release are always exciting but as you go on that excitement tends to give way to a more nervous approach. Will they like it as much as the last one? It’s still a great buzz getting your music out there.

RJ: It’s much more exciting now. Mainly because we know we are a good band with a damn good album, and other people do too, whether it is their kind of thing or not. We were really keen to see how people responded to it, because it is not classic Headcount as such, and the response and reviews so far have been great. The next album will no doubt sound different though.

SH: Just fucking glad it’s finished and we can move on to the next!

The album does have that familiar or rather distinct Headcount sound which for us seems less heavy than your previous albums but has a more developed intensity and even more deliberate snarl to its provocative attack. Would that be a fair assessment and if so did you aim for this direction or one which organically came about?

RJ: It’s Marco’s fault. He’s a dandy highwayman and can’t cope with riffs.

RM: Well, you say it’s less heavy, others have said it is heavier! Actually, I’m with you. I think it’s less brash. More refined but has a brooding malevolence about it because we have refined out songwriting, developed our musical skills (arguably) and got older. I feel better equipped to express myself than before.

How and where specifically has your music and songwriting changed and evolved since your early releases?

RM: We’re 14 years older! I can’t keep that pace up now. I’m an old man. To play like the first album, well, I’d need oxygen after 10 minutes. But seriously, our influences have changed, we have more subtlety in our lives now and I think ideas and methods have been absorbed into our approach in a good way. We have middle eights now and a few key changes that we didn’t have before because we just didn’t know how they worked!

RJ: We are little bit more experimental nowadays, especially in the studio, and songs tend to develop as we tinker rather than being a finished product at the first time of writing. But again, in true Headcount style the next era of Headcount could just as easily consist of 3 minute hardcore thrashers. Who knows? Or cares!

It has been five years between the new release and last album To The Point, time where the band seem to sink quietly into the background. What led to your low profile and did the sad loss of Paul Raven who produced your last two albums and I know was a friend, play a part too?

RJ: We needed a break from what we were doing. For lots of reasons. Not all bad ones, but we definitely all needed to do some other things. We actually rehearsed and wrote and recorded loads of stuff in that time, but that was kind of peripheral meanderings. We collaborated on a hip –hop album (yes Headcount and hip hop!) with Dynamax, recorded some secret punk songs with a secret trance superstar (still secret) and wrote lots of songs, which eventually led to us recording many and choosing a few of them. So, very busy just away from gigging and the whole ‘scene’ for a bit.

RM: Actually Raven only produced Die Monkey Die but his influence was there on To The Point. Raven died just as To The Point was released and that hit us hard and made us very introverted. There were a few things going on that made us think “what’s the fucking point” and we retreated. We wrote some new songs and they got heavier as we played them and we though “yes, this is Headcount” and went for it!

SH: Raven was an inspiration. The Man could extract more energy and playing ability from any of us than we ever thought possible. We all miss him. Outside of his death I think we all got pissed off with the music scenes and having to support the same type of shit wherever we played and what is it with promoters today putting us in with a religious acoustic band! I think this all got to us all so we needed time away.

headcount 2Was there a strong emotional element when recording Lullabies For Dogs, because of Paul’s presence in the previous releases and if so did it add something extra to the album would you say?

RM: In honesty, no. The sessions for Lullabies were different in that we recorded using different technology and had Marco on board who brought a very different dynamic. That’s not to say that we don’t miss Raven. He crops up when you least expect him to

The new album as you mentioned, sees for us the legend and ex-Ant Marco Pirroni bringing his guitar skills back to the band having appeared on your 2002 debut album. Was this in your minds when writing the album and what does Marco bring which accentuates and builds on your core sound and ideas?

 SH: Marco, although a miserable bastard at times, is a genius and transformed a couple of OK songs or album fillers into rip roaring classics with a couple of Killer riffs.

RM: Marco came on board just as we were about to record and I don’t think he had an intention of making an album with us. He was just looking for something to do and we kidnapped him and sent him home a year later! Marco is a great guy to work with. I can go all gushy if you want but seriously he is very inventive in the studio and very generous with his time. He provided some great hooks for the album like the chorus riff on Black Dog Days and forced us to look at the structure of the songs, cutting out the “bollocks” and looking at adding middle eights. He took the seeds of a song and said ”do this, do that, swap this with that, cut that out, play this here”. You can see that the lad has a bit of talent and I’m glad he finally got to work with a band as talented as us after all those years farting about with make-up and No 1 records.

RJ: Marco manages to find melody in the strangest of places, and you just have to let him work out whatever he wants as the track plays. He has definitely brought out the melody makers in us, and the songs where Marco’s playing is most prominent are definitely the most accessible to listed too.

Lyrically you as expected are pulling no punches on the album, as with the track News Corpse. I guess in the world as it is there will never be a shortage of triggers to inspire and vent against.

RM: I’m afraid not. There are plenty of targets out there aren’t there? People are pretty grimy creatures aren’t they?

On the other side do you think the music fan still takes as much notice of lyrical commentary or is led to thinking deeper about things by music nowadays as in previous decades?

RM: I don’t know really. Probably not. There are lot of great lyricists out there but if the tune isn’t kicking then it’s not going to fly is it? Turn it the other way round. How many great tunes have bollocks lyrics but are still hits? Some people love to look at the lyrics. Probably got too much time on their hands…..

SH: For me, music is dying a death. Where is the enjoyment of waiting outside Our Price for the new Iron Maiden album and reading from cover to cover? Maybe music is just too accessible and “clean” today. All being done with loops and synths. Teenagers have their little earphones and digital media, what’s happened to saving up for the expensive stereo with Fuck off speakers? It’s not only the lyrics people don’t listen to. Music has become a disposable commodity.

How much is the lyrical aspect of songs just observation of social and world issues and how much is closer to home, taken from personal headcount3experience?

RM: Probably 50/50. Some of the lyrics are personal, not necessarily me but reflecting issues in and around the band and others are wider socio-political comment. Depends on the mood of the day when writing; if something has irked me, it might become the subject of the song

Can you tell above another song on Lullabies For Dogs, the track Black Dogs Days and its link to the great mental health charity SANE?

RM: Churchill used the phrase Black Dog and it seemed apposite to use it when writing about depression. Then we saw that SANE were running a campaign to de-stigmatize mental health issues and we thought that there was a tie up that was worth mentioning. Their Black Dog campaign has really helped get the message over that mental illness needs to be openly discussed and that it does not mean that you are confined to an institution to chew your elbows! It’s treatable using all types of therapies and there are HUGE numbers of people who suffer but live normal lives. Just like people with high blood pressure, diabetes, or chronic flatulence (drummers mostly)!

Humour has always played a big part in your music in a merger with your directness and uncompromising look at things. This is a reflection of you as people and personalities?

RM: Yeah. We’re pretty easy going people. Like a bit of fun and try to make gigs an interactive thing. We like talking to people, sharing opinions and having a laugh. Our humour is cruel though. Poor old Stef gets it in the neck a lot. Mainly from Rob J who is an evil bastard. We couldn’t live our lives like we write lyrics. That would be just too grim.

What is next for Headcount?

RM: Promoting the album with a couple of releases planned. As many gigs as we can get and then maybe some more songwriting. The next album I want to record quickly. A few days. Bang it out. It might be a heavier album. Not sure yet. Let’s see what comes naturally.

Many thanks for sharing your time with us and revealing some of the depths within Headcount. Anything you would like to add?

RM: Thank YOU for having us. It’s really difficult for unknown bands to get the exposure so folks like you make a MASSIVE change. There are so many barriers to getting good music heard. There is a lot of shit that is bankrolled and gets the exposure. Honestly. So many shit shit shit bands stealing the oxygen of publicity! Lots of them with horrid clothes and wank haircuts and no fucking tunes!

You’ve left it so open ended Pete by asking if there’s anything we want to say that I fear we could be here for days!

So I’ll just say to folks, listen to the album (you can find it on Spotify first) then buy the bastard thing and come to a show for the full, undiluted experience. Live Headcount is something quite different to the recorded version.

See you there???

Read the review of Lullabies For Dogs @ https://ringmasterreviewintroduces.wordpress.com/2013/08/18/headcount-lullabies-for-dogs/

Pete RingMaster

The RingMaster Review 27/09/2013

Copyright RingMaster: MyFreeCopyright

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

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