Impulsive Compulsions – SAMPLER 4

Another compelling issue of the In The Club Magazine from Perfect Pop Co-Op and another treat in word and sound had us basking in some of the very best independent goodness. The autumn 2019 edition of the online magazine from the label, issue 41 to be exact, comes with the fourth edition of their free sampler Impulsive Compulsions featuring artists and sounds from within the embrace of the Perfect Pop Co-Op family. It is fair to say that its three predecessors left us and an increasingly great many basking in a rich array of sounds and flavours but No 4 might be the most eclectic and irresistible mix yet meaning to ignore it would be an act of great stupidity.

Formed in 2011 by members of The Tuesday Club; Dave Worm, The Beautiful Wolf and Andreas Vanderbraindrain for the sole purpose of releasing their own music, Perfect Pop Co-Op has grown and stretched its reach to, as mentioned earlier, bring a great many other artists into the family; they regularly featured on The Andreas and The Wolf Radio Show, the in house monthly podcast, and teasing the imagination within the Impulsive Compulsions samplers.

The latest begins with Andreas and the Wolf and their track All I want is you. Its relatively calm entrance belies its pop punk instincts yet it is the melodic enterprise and drama from guitar and keys which enlists the imagination most firmly. The track is a ridiculously catchy affair, an aural romancing of ears and for us the most captivating offering from the band yet as the Sampler gets off to a potent start which continues with the mystic rock magnetism of Nashville hailing duo Hello Dearies. Like a shadow bound nursery rhyme All The Pretty Boys and Girls simply beguiled, its Wicker Man-esque spiced chant a tenebrific celebration and just delicious upon our musical palate.

Nine Day Decline is a newcomer to these ears but swiftly through their contribution to the sampler had us rushing to their social media profiles to learn more. With the likes of Altered States, Dead Heaven, Complicity, Christian Death, Counting the Mad, F.O.C., Section 3 and more in their histories, the British trio cast a goth clad post punk tempest as atmospheric as it is emotive. Decisions is a haunting slice of sonic dissonance, its raw melodic drone and impassioned breath akin to a mix of Play Dead, Sisters Of Mercy, and London After Midnight but openly unique to the London based outfit.

Inadequacy (day 197) is the track from sampler regular Reverse Family, an electro spattered piece of DIY enticement from the solo project of Dermot Illogical and a piece of soul searching reflection with its own sneaky swing while Dislocated Flowers immediately after wraps its psychedelic seduction around ears and imagination with Orange Roses and Yellow Tulips. Both tracks quickly and easily got under the skin being rapidly joined by The Scratch through their punk nurtured power pop rocker No two castles are the same. Taken from their excellent last album, Great Adventure, the song infested and resonated beyond its stay; always a sign of something rather tasty.

Equally flavoursome and a spark to greed is 50ft Woman and Psychic Hygiene. From its initial sonic squeal a devious swing erupts, the just as guileful tones of Minki riding its infectious pop punk ‘n’ roll sway. The track is another which leaves on-going tendrils of flirtation igniting continual companionship before She Made Me Do It ensured they get their chunk of the passions through their track, Fun and Games. The union of Shaheena Dax (Rachel Stamp) and Will Crewdson (Rachel Stamp, Adam Ant, Scant Regard) is one of our favourite propositions to erupt from speakers and their latest song is pure alt-pop manna, a virulent contagion defeating any ill wished cure.

One of the biggest traits of these samplers is that we have yet to come across anything which merely satisfied, no fillers ever on offer and the fourth is no different as it continues with GLUE from The Dodo, a keenly catchy post punk/punk rock stroll with a definite Swell Maps tinge and heart to it, and straight after Night of the Wild Mind courtesy of Suicide Tapes. A quartet from Ware in the UK, the band similarly has post punk instincts to a goth rock heart and upon a contagion of rhythms weave a magnet of a track which had us hungry for more. Originally formed in 1983, the band reformed a short while back and are raising a stir, no surprise with tracks like this Flesh For Lulu scented incitement.

The Tuesday Club and Venus Overload bring this particular treat to a close. The first gives us a live slice of fan favourite Lady Gargar, a track revelling in all the mischief, imagination, and uniqueness which fuels the band and its rare fusion of punk, indie and the creative devilment which shapes the best rock ‘n’ roll. The latter of the two provides Afghanistan Bananastand, a ravening dance of garage and psych rock intimation which had hips and feet as keenly engaged as ears and imagination.

That is Impulsive Compulsions 4, a release which had us basking in great sounds, fresh adventures, and new explorations of artists which like those before them deserve proper attention. The fun involved was just icing on the cake.

Check out the latest and past editions of In The Club Magazine @ https://perfectpopco-op.co.uk/magazine/  and further releases from within Perfect Pop Co-Op @ https://theperfectpopco-op.bandcamp.com/

Pete RingMaster 31/10/2019

Copyright RingMaster: MyFreeCopyright

Quantum Leap – No Reason

Creating a tantalising yet portentous fusion of post punk and garage rock, Swedish trio Quantum Leap make their major entrance with a debut album which through its dark climes and apocalyptic tones makes for one hungrily infectious and enthralling proposition. No Reason, in the words of its introduction, “invites you to a heavy and dark feast celebrating the very last setting of the sun”, a beckoning as arousing as it is threatening.

Hailing from Uppsala, Quantum Leap consists of vocalist/guitarist/keyboardist Björn Norberg, bassist Andreas Hennius, and drummer Mats Gustavsson. With a diversity of musical backgrounds taking in thrash, death and black metal, electronica and pop, the three came together in 2014. A demo was released in 2016 after the band linked up with producer Tomas Skogsberg of legendary Sunlight Studios (Entomed, Refused, Backyard Babies, Dismember). That led to a contract with Swedish label Viskningar och Vrål (Whisperings and Growls), who now release the fiercely magnetic No Reason, the release again seeing the trio working with Skogsberg and featuring guest musicians in Lea Martinelle (saxophone), Rosa Kristalova (cello), Mattis Fredriksson (accordion), Daniel Söderberg (on modular synthesizer), and Janet Simmonds (backing vocals).

It opens up with That’s The Reason, a swiftly compelling trespass of post punk bringing an initial menace of sound before rumbling through ears on a rhythmically driven stroll wrapped in sonic dissonance. Norberg’s vocals, as strong and magnetic as the web of sounds around them, are soon accentuating the lure. It is a dark, suffocating, and invasively heavy confrontation but inescapably contagious with echoes of eighties bands such as Joy Division, Play Dead, and Leitmotiv to its rasping winds.

It is an outstanding start which swiftly aroused a keen appetite for things to come; one soon reinforced by the following In Between Worlds. It too springs from a raw sonic misting into a virulent attack, its swing eating at instincts and psyche with viral tenacity whilst spreading another exploration of stark, ravenous times. There is more of a noise infested rock ‘n’ roll attack to its post punk, bass and drums a rapacious incitement upon which guitars and keys spread a toxic glaze while escalating the infectious and fractious catchiness of the song.

With an even darker climate Blind comes next, the track a calmer but equally emotionally and atmospherically invasive proposal. It offers a more art/alternative rock spicing with not for the last time within the album a Bowie-esque hue which only adds to its persuasion before Yeah sees the band embrace a metal lined garage rock flavouring with matching success. The diversity within the band’s sound is in full swing at this point, each song revealing a new shade and flavouring to keep things unpredictable and intriguing. Trust quickly backs this variety up with its seventies psych toned dark rock. Though all uniquely different, the quintet of tracks so far all slip perfectly alongside each other, the alluring overall Quantum Leap voice uniting their eclectic characters.

The Fiction In The Daily Life bounds in with a mix of garage punk and heavy rock straight after; the excellent track swiftly stirring up attention and pleasure while Sea repeats that tempting straight after with its again Bowie reminding saunter. There is a definite Heroes like feel to the track which maybe does not lead it to impress as some of its companions within the album but only richly pleases within its fuzzy climate.

Through the bruising and hungrily rousing rock ‘n’ roll of All I Ever Wanted and the Bauhaus meets Wire like gothic/post punk air of I Don’t Know attention and enjoyment only escalated, both tracks unsettling magnetism while Dreaming taps a poppier gait to its darky lit romancing to equally attract. A bit like a blend of Modern English and Modern Eon with once more that hint of Bowie, the song entices from start to finish.

The album concludes with firstly the groove wired heavy punk ‘n’ roll of Mayday and lastly the senses consuming, imagination sparking sonic tides of Like A Memory From A Long Time Ago. With a melodic Skids like current ebbing and flowing in its infectiously sinister but thickly alluring ominous waters, it is a last entrapment for the suggestively impending apocalypse and another sepulchral proposal which is quite irresistible.

Quantum Leap have uncaged a debut which simply demands attention of the band and their dark foreboding layered sound…so stop reading and go explore.

No Reason is out now through Viskningar och vrål.

https://www.facebook.com/quantumleap2/

Pete RingMaster 06/06/2018

Copyright RingMaster: MyFreeCopyright

1919 – Bloodline

This is a moment no one likes to contemplate let alone undertake, reviewing something from an artist and exceptional musician who has sadly just been untimely taken from music and the world. It also though gives fingers and thoughts a chance to pay homage especially when the subject of the piece is such a striking and rousing slice of creativity.

Bloodline is the new album from gothic/post punks 1919, a band formed at the tail of 1980 which proceeded to break the charts with a trio of singles, record one of the genre’s inspirational albums, and make appearances on the John Peel sessions twice before disbanding. Founding guitarist Mark Tighe

Mark Tighe RIP

began bringing the band back to life in 2014, its line-up sealed the following year with original drummer Mick Reed and bassist Karl Donner joining Tighe and vocalist Rio Goldhammer; the quartet subsequently releasing the ‘Madness Continues Sessions’ live album and in turn the self-released Death Note EP.

This past night of January 27^th, Mark passed away; a deep loss for family, band, and fans but equally for music generally. His playing was distinctive, like a single individual colour in a vast palette of hues, able to create haunting melodies and moments as evocative and captivating as the incisive grooves and hooks from him which so freely and uniquely gripped body and imagination. The evidence is no more powerful and true than on Bloodline. He was also a wholly loved man to whom music was his life’s fuel and a true gentleman for all those who knew and met him.

Bloodline is a thrilling way to remember and enjoy Mark’s craft and potent presence; an album which grips physically and imaginatively from its first breath, increasingly winding appetite and lust around its creative fingers track by track. The foursome quite simply cements themselves as still one of the essential post punk incitements with it, almost as if they had never been away as a presence yet pushing themselves into new fresh realms of creative drama and aural adventure.

The album’s title track is first up, chugging riffs swiftly turning into wiry tendrils as percussion teases. Once the brooding bassline enters, things become eagerly catchy with the song blossoming into a PiL meets Leitmotiv like lure with Rio’s tones showing a certain Lydon-esque tinge to them. Feet and hips cannot avoid being involved as sultry melodies weave their temptation and a repetitious Killing Joke scented nagging growls in its belly.

Drama seeps from the electronic coaxing bringing next up This Vanity into view, its raw industrially kissed smoulder continuing to hug the senses as the bass unveils a gorgeous lure. Alongside, Mark’s guitar spins a spiral of melodic suggestion as Mick’s rhythms instinctively roll, a Gene Loves Jezebel like breeze soon floating over the provocative landscape to seep into every emotive crevice as vocals plaintively croon. Quickly absorbing the senses, the track makes way for the outstanding, rhythmically tenacious canter of Inquest. There is no escaping thinking of Jaz Coleman and co as Karl and Mick unite their flirtatiously anthemic designs but as throughout Bloodline, 1919 soon breed their own distinct character of sound and imagination. Magnetic harmonies and intoxicating melodies proceed to vine the ridiculously virulent encounter drawing the listener further into its creative theatre where just as riveting treats lay like its successor Retrograde. Like a puppeteer, it has the body bouncing while its spicy maze of melody is a sunspot of temptation contagiously matched by the snarling bass and hungrily leaping beats; Rio the ringmaster to its rousingly provocative and exhilarating waltz.

Even darker depths are drilled by the bass next in Legacy, its gnarly breath echoed in the caliginous air of the song though it too has a rampant catchiness which tempers and suits its shadowy presence. Imagine Bauhaus in league with Play Dead and the song can be visualised but still only a glimpse of its invasively compelling adventure, success matched by that of the wholly different presence of Zeitgeist. Again the first of the just mentioned pair of references is a prime clue to its tenebrific air and almost vampiric temptation, Rio carrying a Pete Murphy air to some of his persistently highly enjoyable, ever moving delivery. Mark’s imagination spins another labyrinth of melody and haunted sound too, evolving textures as radiant as they are emotively darksome to seduce and ensnare.

Through the galvanic punk rock of Disassociation and the intrigue soaked flirtation of Waiting For God ears are thrilled and the album’s variety stretched with the latter revolving its charms in ears and imagination like a temptress whilst wearing Theatre of Hate/ The Danse Society sourced inspiration as another alluring spice to its own spellbinding and tenacious revelry. Both tracks whip up body and spirit with sublime yet forceful ease, being quickly and as boldly matched in results by the slightly calmer and heavier fascination of Trespass. Maybe the most pop lined song on the album it just as openly shares raw shadows whilst boisterously serenading the listener, and as those before, it only sparks emotional and physical participation.

Bloodline closes with Life Is.., its tribal incitement of rhythms alone enough to incite allegiance, bewitchingly assisted by the fuzzy glow of melodies and variety coated vocals. Something akin to a fusion of Calling All Astronauts and Inca Babies but not, the wonderfully niggling song saunters and swings with increasing infection; an aural epidemic from which there is no escape as it brings one very fine release to a tremendous conclusion.

You cannot evade sadness listening to Bloodline but neither the joy sparked by its simply stunning presence.

Bloodline is out now through Westworld Recordings.

Video Dir. Carl Arnfield / ChalkmanVideo.com

https://www.facebook.com/1919official/

Pete RingMaster 06/03/2017

Copyright RingMaster: MyFreeCopyright

Mayflower Madame – Observed in a Dream

When looking back at the end of the year, we suspect that April will be noted as one of the most fruitful months for stunning albums, with a great many of them striking debuts. To a list running into double figures we can add the outstanding first full-length from Norwegian band Mayflower Madame. The band’s sound is a captivating weave of post punk, shoegaze, and psych rock textures but given its own distinct character by the imagination of the Oslo quartet, and Observed in a Dream a release which commands attention with a presence slightly nostalgic but as fresh as the dew on a spring morning, and as radiant.

Formed in 2011, Mayflower Madame has already drawn potent attention and praise with the Into the Haze EP in 2013 and last year their single Lovesick. Comparisons to bands such as My Bloody Valentine, Bauhaus, Spacemen 3, and The Jesus & Mary Chain have readily been offered, and understandably with the band’s provocative dark and sensuous sound. Live they have earned a strong reputation too, sharing stages with the likes of Crystal Stilts, Night Beats, La Femme, Disappears, Crocodiles, and Moon Duo along the way and making successful appearances at Norway’s largest festivals, Oya and Norwegian Wood. Now released on their own Night Cult Records and Custom Made Music in North America, Observed in a Dream is ready to wake up the biggest and most attentive spotlights upon the band.

As soon as opener Confusion Hill envelops ears it is a success easy to imagine, and then be sure of as each track seduces imagination and appetite. The first song emerges from a haunted atmosphere with already slightly portentous shadows to its air. Its approaching tempest though is quickly turned into a strolling seduction upon arrival, psych and surf rock flavours shining, almost sighing, over the infectious darkly hued prowl of Petter Gudim Marberg’s bass and Ola Jørgen Kyrkjeeide’s crisp beats. The guitars of Rune Øverby and Trond Fagernes swiftly spin a bed of evocative colour and suggestiveness too as the latter’s also quickly impressing vocals lay emotively upon the strands of sound. It is easy to see where those Bauhaus and Jesus & Mary Chain references come from, though the bigger and bolder the song becomes it reminds more of Gene Loves Jezebel, echoes and resonance on voice and melodies a delicious shimmer.

An outstanding start is still eclipsed by its successor Lovesick, a song which plays second fiddle to no one. From its beguiling dark rock ‘n’ roll strum, the song canters along with a devilish swing led by another highly flavoursome throaty bassline and catchy riffery matched by flirtatious beats. Think The Birthday Party meets Helldorado and Tones on Tails as a clue to the track’s virulent alchemy; a song with as much fascinating drama as it has addictive infectiousness.  Its exceptional incitement is as good as matched by that of Self-Seer; another track rolling along on an enslaving rhythmic tenacity and ingenuity. It explores a mellower climate of sound yet still has an energy and sonic clang to physically stir the spirit. If looking for another hint, Echo and The Bunnymen would be a suggestion for the otherwise unique rock ‘n’ roll of the mouth-watering proposal.

A sixties instrumental twang adds to the seduction of Upside Down (The Death Loop), guitars a sultry lure with again a surf rock like tone to their imagination whilst within their searing elegance a cinematic drama infests rhythms and hooks. As much as there is variety to the sound within Observed In A Dream, so too the vocals craft similar diversity, here harmonies glowing with a hazy beauty around the matching delivery of Fagernes.

Latest single Weightless rumbles in next, carrying a far heavier tone and intent in its creative espionage and welcome trespass. A Play Dead/ Sisters Of Mercy like breath soaks the song, its heavy shadows and provocative textures as invasive as they are seductive. Personally, it is not the song we would choose to lead into the release of Observed in a Dream with other more irresistible options, yet the song in its brief moment is a thrilling and rousing protagonist only making the appetite for album and sound greedier.

The calmer landscape and presence of Into The Haze (Redux) hugs ears next, the song a gentle but again lively adventure into noir lit pastures with more cinematic lures whilst the album’s title track, which follows, from a similar template casts its own tantalising and riveting psyche embedding web of sound and emotion which at times is like The Shadows in collusion with House Of Love and Flesh For Lulu.

The album closes with the psychedelically atmospheric Forever//The End Of Everything, a track which equally expresses post punk discord and causticity within its pulsating and bewitching theatre of sound and emotion. It is a powerful end to a tremendous first introduction to most of us to Mayflower Madame. They and Observed In A Dream grab attention, grip tighter with every pleasure giving twist and turn, and emerge as a reason why Mayflower Madame is one of the most exciting bands to make their mark on 2016 so far.

Observed In A Dream is out now via Night Cult Records in Europe and Custom Made Music in North America as an Ltd Ed vinyl, CD, and Download. All options available @ http://mayflowermadame.bandcamp.com/

https://www.facebook.com/mayflowermadame   https://www.instagram.com/mayflowermadame/

Pete RingMaster 29/04/2016

Copyright RingMaster: MyFreeCopyright

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Calling All Astronauts – Anti-Social Network

It is easy to have an on-going appetite for a band but not always as simple to keep the fervour of the enthusiasm for their work burning just as brightly, especially as they evolve and move away from the things which first beguiled ears and imagination. With British electro rockers Calling All Astronauts no such problem has existed to date; with each release as they have grown and experimented, they seem to have sparked even more vivacious praise and greed; a success which will only continue with their new album Anti-Social Network.

The eleven track incitement is the CAA sound at its most rounded and mature yet and equally at its most adventurous and diverse. Recently talking about Anti-Social Network, band vocalist and album producer David Bury revealed, “We wanted to make an album we would buy ourselves, that pays homage to our heroes and many influences whilst still sounding like us. I think we’ve just about got there” Get there they did with tracks with harken back to seventies/eighties gothic and electro pop influences whilst uncaging a modern snarl of rock ‘n’ roll with a political and emotional bite as forceful as the virulence which ensures feet and hips are as eager and voracious as ears.

The successor to heavily acclaimed debut album Post Modern Conspiracy, and in turn the singles and EP which followed it, the band’s eagerly awaited second album is the outcome of “20 months of insane creativity that saw the guys locked in their studio for days on end as they wrote, engineered and produced an album that stretched their creativity like never before.” Straight away it makes a potent impact, Living the Dream bringing the album to ears with a poppy yet shadow kissed invitation. Within it, the dark bass lure cast by Paul McCrudden almost prowls ears as a melodic and infectious swing brightly entices around the distinctive stony vocals of Bury. Feet are tapping within the first round of electronic beats whilst hips soon get involved with J Browning’s spicy grooves, the body seduced by the lively contagion which is slightly reminiscent of bands like Modern English and B-Movie.

It is a great start quickly eclipsed by the even more addictive Empire. Released as a greedily devoured single towards the end of last year, it immediately runs its tempting fingers across the senses with the moody bait of McCrudden bass and the mouth-watering hooks of Browning, all within an equally captivating electronic climate. Punkish with an alluring irritability to its twists and a scent of aggravation to Bury’s expressive vocals, Empire beguiles body and thoughts, inciting thick involvement from each before making way for the spiky electro punk defiance of Time to Fight Back. With the additional agitated tenacity to spark any dance-floor, the song has the body bouncing as emotions raise a middle-finger to surrounding ills, a touch of Sigue Sigue Sputnik meets Pop Will Eat Itself doing its successful persuasion no harm.

The already familiar Hands Up Who Wants To Die? is the provider of more energetic and contagious exploits, ripe hooks and flaming guitar enterprise lighting ears as rhythms back the punch of vocals and words with skittish boisterousness. It too has an imposing charm and vivacious resourcefulness hard to resist, as too Life as We Know It which follows with a mellower but no less fascinating and arresting romancing of hips and ears. CAA might take swipes at establishments and worldly corruptions but barely a song goes by without the trio leading the listener into physical collusion with its inescapable dance-ability.

Through the heavier air and rock ‘n’ roll of The American Dream, a track which gives a hint to what Iggy Pop would sound like it he went down the electro/industrial route, and the fiery God Is Dead with its bubbly scathing, attention and thick enjoyment is again firmly taken care of, even if neither quite live up to those before them, whilst Always Be True hugs ears with a synth pop laced reflection. It too might miss the last spark of other tracks for our ears but with Bury adding a great Tom Waits like texture to his enticing tones as the electronic atmospherics of the song come loaded with their own suggestiveness, the Fad Gadget tinged track is a compelling and increasingly potent proposal.

The outstanding Look in Your Eye has ardour blazing again with its conspicuous gothic punk and post punk imagination. Touches of bands like Play Dead and March Violets emerge across the thrilling encounter, but as everywhere, familiar essences and textures are mere strands in something unmistakably Calling All Astronauts. As mentioned earlier, the band wanted to pay homage to their inspirations without losing their own individuality, this track on its own proving their success.

Anti-Social Network is completed by firstly the predacious and again insatiably alluring Black World where a Sister Of Mercy/The Mission like courtship of ears and imagination instantly beguiles and only becomes more intoxicating over time. Finally the band unleashes Divisive upon the passions; its attitude loaded presence spawned from electro punk/metal irritability and infested with devious and rebellious strains of funk and electronic devilment.

It is a mighty close to another powerful and galvanic release from Calling all Astronauts, and the sign that the band is ready to step out of the underground scene and stir up the biggest attention.

Anti-Social Network is released March 11^th via Supersonic Media across most online stores.

http://www.callingallastronauts.com   https://www.facebook.com/CallingAllAstronauts/    https://twitter.com/CAA_Official

Pete RingMaster 11/03/2016

Copyright RingMaster: MyFreeCopyright

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Conjuro Nuclear – Self Titled

It has to be said that the band name alone sparked intrigue and anticipation in thoughts but once the first strains of sonic conspiracy from Conjuro Nuclear’s self-titled album wrapped its charms around ears and senses, that interest soon bred a hunger. The predominantly instrumental release is a blistering and caustically charming fusion of post punk and black metal which manages to simultaneously sound strikingly unique yet recognisable in its creative drama. It is a masterfully compelling proposition which maybe does not consistently enough set a blaze in the passions but certainly owns the imagination from start to finish for a just as potent success.

Formed in 2012 and hailing from Barcelona, Conjuro Nuclear is the solo project of Emesis. Originally a duo, the project released Luna llena y radiación (Full moon and radiation) last year to strong responses. Now Emesis alone, the band has unleashed its sophomore encounter, a release easy to suspect and expect to have the potency to push Conjuro Nuclear into the spotlight of a much wider attention. Consisting of eleven tracks which are like individual episodes in a united series of events yet not necessarily within a continuous soundscape, the album is a riveting and bewitching antagonist for senses and thoughts.

The title track is the first adventure to embrace the listener and immediately its dark noir breath is an irresistible lure for ears and imagination. Keys and beats link to build a shady atmosphere which the sonic suggestiveness of the guitar lights up with acidic coaxing. The track takes little time in building scenery of danger and unpredictable drama, its creative invention and sounds the rich colour to its eventful canvas. The track has the dark tones of an intrusive mystery and the exotic hues of a sci-fi emprise, and easily lures thought and emotions to its expressive and inescapable bosom. Production, as it is across the whole album, has a muggy/ sultry come oppressive feel which only adds to the intensive weight and texture of the sounds, which in turn thickens the thoroughly absorbing incitement.

The following Oscura lisergia is of similar breeding, a repetitive lone groove stealing the passions as a tempest brews and squalls around its infectious bait. Initially thoughts of eighties bands like Crispy Ambulance and Leitmotiv come to the fore, the prime sonic hook reminiscent of that era but the track is soon flushing a black metal causticity across the senses which smothers but does not extinguish that ever virulent enticement. It is a brilliant slice of hostile beauty which like its predecessor sets the album on the highest plateau immediately. Its lofty success is then matched by the elegant beauty of Atomización. Keys float across and call emotions from its first spatial breath, courting their instincts with a haunted but crystalline grace which again urges the imagination to cast its own designs.

The next up Divinorum is borne of a more malicious intent, its blackened storm of sonic abrasing and severe ambience a searing black metal animosity. Through it though, a spine of sonic tempting casts a contagious line, its sharp twang and citric flavour carrying reminiscent of a The Jesus and Mary Chain like lure. Raw insidiously spawned vocals make their most forceful appearance on the album too though they are submerged within the corrosive wash of the song to lack real clarity. The track broils ears with its ravenous presence and erosive breath, leaving them smarting intensively, though the psych rock/darkwave tenacity of Intoxicación brings an initial soothing before unveiling its own irrepressible and infectious toxicity of sound and energy. Though neither track matches the heights of the first few songs, each leaves an exhausted pleasure and appetite in their wake which the gripping Visiones tóxicas exploits further through its darkly lit melodies and even more damaging sonic rabidity. From the somewhat clearer atmospheres of the first few songs, the album definitely takes a blacker and voraciously shadowed turn across this stretch of tracks; severe corrosive storms the core violation though they always come littered with hooks and post punk grooves which flirt continuously.

     Coros radiactivos crafts a respite to the tempestuous flow of the album at this point, its crystal honed melodies and reflectively colourful keys simply tantalising. Its magnetic beauty is taken and laid into a more fiery rock embracing setting in Bosque de cráneos, the combination a constantly expanding and growing crescendo of passion and vigorous intensity. Elements of Sisters Of Mercy and The Mission seep into the persistently bubbling mixture, spicing up an increasingly darkening and imposing landscape of sound and imagination. It is a thrilling encounter but soon left short by the outstanding punk driven abrasion of Desechos tóxicos. Binding hardcore and old school punk inhospitality with black metal rancor and sonic venom, the track simply ignites ears and passions, especially when not for the first time on the album, a surf rock enticing shows its seduction.

The album is completed by the melodic poetry of Ecos de la noche, keys and emotional hues again painting a piece of music which immerses senses and emotions with beauty and invention, and lastly the nocturnal maliciousness of Sólo para locos. Using lyrics from The Steppenwolf, the track is a deathly black metal driven scavenging of senses and feelings, which again crawls over the psyche with a sonic toxin of post metal which has the raw causticity of sound and emotion of a band like Artery.

Conjuro Nuclear has created a release which is ridiculously compelling and scintillating. Certainly there are moments where tracks without an intensive attention merge into each other’s arms and the rhythmic side of the album does not impose anywhere as much as you would like and expect, but they cannot stop it being one riveting proposition. Conjuro Nuclear is a project to only get excited about.

Conjuro Nuclear is available as a name your price download @ http://conjuronuclear.bandcamp.com/album/conjuro-nuclear-2014

https://www.facebook.com/pages/Conjuro-Nuclear/145499728948249?fref=ts

8.5/10

RingMaster 05/08/20134

Copyright RingMaster: MyFreeCopyright

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Calling All Astronauts – Red Flag EP

Following on from their impressive debut album Post Modern Conspiracy, UK electro goth punks Calling All Astronauts confirm their potent presence within British electro rock with the invigorating Red Flag EP. A track which shone upon their full length release as one of the year’s best electro punk anthems, the London based trio revamp and re-ignite its already mighty presence with a full blaze of inventive explorations. Consisting of five full-bodied investigations for the cost of a single track, the Red Flag EP is a magnetic persuasion to inspire all musical appetites.

Since emerging in 2011 the band has sculpted a rich position in the goth/electro punk scene with a lyrical attack and sound which crosses and merges those elements and more skilfully and distinctly, whilst their live performances has pulled in equal acclaim with the band sharing stages with the likes of Echo & The Bunnymen, PWEI, Sigue Sigue Sputnik, and A Place To Bury Strangers whilst also headlining and selling out Alan Magee’s Death2Disco at Notting Hill Arts Club. As shown with previous singles such as Someone Like You and What’s So Good About?, and across the impressively confronting Post Modern Conspiracy, the threesome of David B (vocals, keys, programming), J Browning (guitar), and Kristi Bury (bass) take no prisoners lyrically and musically and Red Flag is no exception. Following the progress of the band has bred the thought that it is time for the band to make the next step up and this EP alongside their recent album might just be the spark needed.

The release opens with the In Your Bass Mix of the title track, a thumping brew of rhythmic provocation and scarring guitar driven by the caustic delivery of David B. There is a schizophrenic breath to the mix, a St. Vitus’ Dance rabidity to the sonic squall and a rhythm casting enslavement to the heavily boned goth rock bruising. It is an excellent start, a version which easily challenges and matches the original cut of the track which follows in its Single Edit form straight after. A more restrained presence is uncaged by the band with a Sisters Of Mercy/Play Dead like throat to the vocals and a deep pulsating bass shadow wrapping the fiery guitar play. Red Flag is a song easily accessible but one taking the listener through almost cavernous resonating realms, whichever version you frequent, whilst a lyrical incitement hits home without over playing its touch. It is a compelling blend, one impossible to resist.

Next up comes the Gothstep Mix and the E39 NYC Club Edit of the track, the first an industrial stalked version which brings a Gary Numan like breath alongside almost bedlamic electro surges and squeals, and the second an incendiary dancefloor stomp which has feet in league with its sonic fascination. Both tracks add something different to the song but neither manages to match the heights of the first two or the following album version of the track. Expanded to its full glory, the final track is ultimately the best version of Red Flag though it is easy to take either of the main versions of the track and give them equal lustful responses.

If the Red Flag is your introduction to Calling All Astronauts there is no finer a way to walk through their creative door and if already a fan, the release makes a stirring and impressive companion to their must have album.

http://www.callingallastronauts.com/

http://callingallastronauts1.bandcamp.com/releases

8/10

RingMaster 04/11/2013

Copyright RingMaster: MyFreeCopyright

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Calling All Astronauts – Post Modern Conspiracy

There are times when a band fills a gap in a genre or sound with something distinctly unique and impressive but is still wrapped in a mystery as to why it has not been delivered wider awareness and recognition. One such proposition is UK electro goth punks Calling All Astronauts, a band which from its first release has lit up ears and passions with their stirring and incendiary blend of guitar carved alternative rock, gothic soaked shadows, and electro/industrial bred toxicity. It is a stunning fusion which ignites the passions and incites thought led rebellion. So as to why still the Fulham based trio even after a clutch of outstanding singles are still relatively undiscovered just defies understanding but with the release of their exceptional debut album Post Modern Conspiracy, the hopes and feeling that things will surely change are at a peak.

The fourteen track release is a blaze of imaginative and snarling sounds, the band’s potent lyrical attack on society given an imposing and riveting platform of caustic and invigorating rock in which to shell its restraints. Consisting of David B (vocals, keys, programming), J Browning (guitar), and Kristi Bury (bass), Calling All Astronauts has left a searing mark with their tracks since releasing their first two track single Living In The Shadow Of The Red Flag/ Someone Like You. The seeds of the band go back further though with J Browning and the band Caffeine, who he played in, being managed by David (ex-US:UK) whilst Kristi and David were also previously married to each other. Since emerging in 2011 the band has earned strong acclaim for their live performances which has seen them play alongside the likes of Echo & The Bunnymen, PWEI, Sigue Sigue Sputnik, and A Place To Bury Strangers whilst also headlining and selling out Alan Magee’s Death2Disco at Notting Hill Arts Club. A quartet of singles has also fired up greedy anticipation for this debut album within fans and the blogging media alone, an appetite which will be soon breathing heavily and intensely over the impacting triumph the album it shows itself to be. Two of those singles took the band to the No. 1 slot in the Twitter Music Chart to breed further excitement and dare one say impatience to the wait for the long time in the making Post Modern Conspiracy, but there will be no complaints, only feverishly devouring musical jaws upon its exhilarating body now it is here.

The album opens with that previous single track Someone Like You, a song which rips the attention from everything else but its own pulsating invitation. From the first second the bass and guitar snarl at the ear, Kristi offering an intimidating seduction with her dark conjured tones and the guitar of J producing an acidic groove which triggers instant rapture. With heavy dark shadows offering their own vibrant compulsion before the senses there is a distinct eighties wash at work with the likes of Play Dead and Leitmotiv coming to mind as the song prowls and stomps with irresistible potency from first note to last. Virulently contagious and equally magnetic creatively, the track is the perfect and strongest start to the album, an immense beginning soon matched and continued by Freaks and What’s So Good About?

The second track drapes itself in even darker intensive shadows, the beats and electronic invention caustic and magnetic whilst the guitar and bass bring their own individual abrasion to the brooding encounter. More reserved than the starter and with an even harsher lyrical bite, the song places down a gnarly canvas for melodic flames and senses plucking electro scorches to lay their heat and colour. It is a mighty lure driven by the dour yet vibrant vocals of David, the extremes perfectly expelled in a delivery which walks the same shadowed sun as the sounds.

The tracks Scenesters Vs. The World and Politicized – Ignorance Is Not An Excuse attack and evoke attitudes and thoughts with composed and cutting invention in word and sound, the first drenched in a dramatic noir atmosphere around its sinewy exploration and the second locked in an tempest of sonic grazing, coarse riffs, and rapacious energy which provokes and riles up the passions in similar strength to the opener. Through the song and album there is always a loud hint of Sisters Of Mercy spicing things up, essences which are seeded in the early days of that band and filtrated into something which lingers and imprints with thrilling enterprise from the creative ingenuity of  Calling All Astronauts as shown in these songs alone. The mistake to avoid though is to think with these references that band and album are re-treading old sounds and times, but as the likes of the industrial punk fuelled It Could Have Been Lust and the sinister, haunting gothic and bruising ebm embrace of Eye Of God show, that is far from the truth, both songs stunning and riveting unique journeys.

The highlights keep coming track after track, such as in the immense shapes of Simple Man, a song which provokes the senses with thick ambience within which a melodic kaleidoscope sends shards of light and electro seduction into dark corners and the excellent Winter Of Discontent, a confrontation which unleashes another epidemic of infectious and evocative persuasion. The second of the two stands full and bold with an anthemic calling within its premise of dark times, a resonating drone cured atmosphere enveloping the senses and thoughts whilst the emotive vocals and fierce flames of guitar alongside thick bass caresses ensure a forceful and fully inciting treat.

Each subsequent track upon Post Modern Conspiracy cannot resist also capturing and firing up the imagination and passions, Faith In Your Cause and Feel The Pain (Again) especially adding intoxicating fuel to the fire raging within for the release whilst closing track Red Flag confirms again that this is a band of incalculable craft and promise, its invitation of Skids like guitar borne sonic tempting and passion sodden emotion a final irresistible thrill.

Calling All Astronauts as proven by their outstanding album stands before UK rock as one of its most inventive and provocative sparks, and this is just the beginning.

http://callingallastronauts1.bandcamp.com/releases

http://www.callingallastronauts.com/

10/10

RingMaster 15/05/2013

 

Copyright RingMaster: MyFreeCopyright

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Sinezamia: La Fuga

Foto di P.Rubini

Despite one frustration arising from it, La Fuga (The Escape) the debut album from Italian gothic rock band Sinezamia is a rather tasty shadowed delight. Fusing dark rock with new wave and post punk, the Mantova quintet has created an album which is perpetually enthralling with its often nostalgia inspiring sounds and emotive breath. From an initially absorbing first impression it also grows into a presence which is hard to tear oneself from though once you do it is arguably not as memorable in hindsight as you expect. In its company though it is a thoroughly pleasing and exciting release.

That frustration mentioned at the start is actually surprising. Usually there is never an issue with bands singing in their native tongue, in fact very often it adds something extra emotively, but on La Fuga it left one feeling out in the cold a little, like missing out on the secret you are meant to support without knowing its content. Despite that the album leaves only satisfaction and welcomed intrigue amongst thoughts and emotions.

Formed in 2004, Sinezamia began finding a shape and stronger response to their well-received dark wave/rock sounds from 2006 which elevated with the release of their debut EP Fronde the following year. Media and fans took to the release with eagerness and the band began pulling in more to their fan base through touring. With a new line-up in 2009 the band recorded their second EP Sacralità which was released to strong success and interest from the print media and radio not forgetting an ever increasing legion of fans. As a foretaste of what was to come from La Fuga, the single off of it Ombra came out in 2011 to fire up anticipation for what has emerged as a very impressive debut full length.

The album has a grip on the passions immediately with opener Ghiaccio Nero (translated as Black Ice), the breath of synths and the pulsating velvet clad bassline an instant infectious lure. Within seconds one is reminded of The Cure around their second and third albums with the contagious melodic hooks of Leitmotiv. The bass of Marco Beccari is irresistible within the weaves of sonic elegance from the keys of Charles Henry Scaietta and the teasing guitar play of Federico Bonazzoli. Into its stride with the great vocals of Marco Grazzi at their expressive might the track shifts into the darker aural shadows of Bauhaus to leave one even more magnetically drawn to the track. It is an excellent start instigating memories and pleasures from a few decades ago with a fresh touch.

The title track is a harder straight forward encounter of rock n roll with the rhythms of drummer Stephen Morbini leading the muscular passage with skill and tight control. The song still leads the ear into beckoning dark corners but lacks the mesmeric charm of the first though instead offers a bite which not only shows a good diversity to the music of the band but entraps a willing attention with ease.

     Nella Distanza opens on a slow haunting bass resonance before expanding into a sultry presence with a tight irresistible serpentine hook. The track took time to get to terms with, musically it is a smouldering wash of elegance and energetic passion but accosted by the initial distraction of the vocals of Grazzi. It is obviously down to personal taste but his slow almost spoken delivery send the song slightly awry and startlingly out of place compared to what came before. Thankfully it is only until he surges into his full singing range where you can only be impressed, his heart driven tones as powerful and thrilling as the constant musical imagination. Being selfish one only hopes he avoids this slow walking delivery in the future, but that is just one lone view of course.

The album continues to excite but when the aforementioned single arrives it just sends shards of rapture through the senses.  Ombra (Shadow) is sensational, a song which is like a beacon for the heart, especially if the likes of Leitmotiv and Play Dead hold a place in the emotions from times past. With a persistent sonic tease and boisterous energy around the ever inciting caresses of the keys, the track commands body, thoughts, and emotions like a sonic temptress. It is the best track on the album though matched by the closing triumph Nebbia di Guerra (Fog of War). It too is an insatiable wash of melodic elegance and almost raptorial energy from guitars and rhythms section speared by contagious carnivalesque teasing and sultry wantonness. Like a cross between Sex Gang Children and the poppier touches of The Danse Society it is a final act of magnificence from a simply stunning release.

If the heady times of the older bands mentioned do things to your little blood pumping organ than Sinezamia and La Fuga are a must.

https://www.facebook.com/sinezamia

RingMaster 19/12/2012

Copyright RingMaster: MyFreeCopyright

Beastmilk – Use Your Deluge EP

As the four songs making up the Use Your Deluge EP from Finnish post punk band Beastmilk  consume  and  permeate every pore it is impossible not to be taken back to the time when their sound first was seeded and spread its icy fingers and stark shadows. Comparisons placed upon the band include the likes of early Misfits, Dead Kennedys, and Danzig but as the far too brief a release took over the ear the trip back to the sounds of bands like Joy Division and even more so Leitmotiv and Crispy Ambulance was unmissable. Whether mere coincidence or actual flavours that influenced the quartet the EP ignited distinct passions assumed lost to time, feelings resurrected with freshness of the now. Simply Use Your Deluge is outstanding.

Beastmilk was formed in 2010 by British vocalist/songwriter Mathew McNerney, better known as Kvohst. Already renowned from his work with and in bands such as Code, Void, and Dødheimsgard, he pulled in friends guitarist Goatspeed, bassist Paile, and Arino on drums for the band. According to their press release they were to bring forth music that was a mixture of various acts like The Cure, Misfits, and Dead Kennedys. This they have achieved though there are many more and maybe more prominent flavours that stands out in their sound.

Released through Svart Records and following on from acclaimed self released two song demo White Stains on Black Tape, the band and the EP unleash their self proclaimed apocalyptic post punk upon the world with a deeply intrusive and satisfying contagion. The release swamps the ear and senses with an unrelenting intensity, a shadowed energetic breath and doom coloured melodic mesmerism. From the first compulsive consuming note to the last Use Your Deluge leaves one breathless and blackened, the need to immerse even longer in the thick smog of aural mass an addiction.

The EP opens with Void Mother, the track instantly swamping the ear with a dirty atmosphere and scuzzed guitars. As the dust settles the hypnotic bass and leading rhythms seize control of the ear allowing the guitar to roughen up the senses whilst the vocals of Kvohst sway and draw attention like a cobra, smooth and magnetic but full of power and intent. The track is very Danzig like with splashes of Play Dead and drips of Type O Negative added for taste. Aggressive and attentive the track is a stunning opener soon to be eclipsed by the following glorious track.

Children of the Atom Bomb picks up the already elevated reins of the release like a possessed entity. It rampages with a sure and controlled pace whilst delving into every pore with its consumption of black melodies and exhausting atmosphere. Reminding deeply of Leitmotive and their Caress + Curse EP, the track and its successor are overwhelmingly infectious. There is simplicity in the construct of lyrics and music that makes it so easy to be part of and impossible to resist being so. Repetition when used right and with thought is irresistible, a word that perfectly covers the Use Your Deluge EP as a whole.

The equally brilliant Forever Animal stalks and paces incessantly, another song that denies escape from its devouring rhythms and cold sirenesque pull. The bass conjures up riffs which are definitely as inspirational as those the Dead Kennedys excelled in and the comparison is understandable.

The mountainous closing Red Majesty is a prowling less eager track though no less impressive. When it raises its temperature it rages like a fire to then sit back and assess the damage with melodic glee and acidic smirking hooks. It is a venomous track and the one where you feel its aggressive energy blistering every vein the most. The droned resonance of the vocals of Kvohst is immense throughout the release and especially here bring a stunning companion and contrast to the coarse and caustic sounds around him.

Use Your Deluge is a classic with the fact it is only a foursome of great songs running barely fourteen minutes the negative. The need for and exasperation at not having more is overwhelming by the end, something hopefully that will be remedied in the near future. Released as a 7” vinyl only Beastmilk has given a true must have release, arguably the first of the year and sure to be just the first of many from them.

www.facebook.com/Beastmilk

RingMaster 22/05/2012

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