Plastique – Quake

By Loïc Martenot

By Loïc Martenot

Bringing fresh aggressive incitement to the dance-floor along with the virulent contagion of sound they are renowned for, alternative-electro trio Plastique unveil new single Quake. It comes after a quiet period for the band, a time which saw them take time away to reassess their direction and next step. Vocalist Anelise Kunz spoke about that period and the new single recently, saying “After two albums we kind of wanted to add something new to our sound, but we started pressuring ourselves for new song ideas…and because of that nothing was really happening, the new single [‘Quake’] came out as a sign of hope…there was no pressure, the vocal jam just happened, and soon we were all involved in getting this one ready to go!

11035313_812517938830346_8230624647920208335_n     It is fair to say if only with one song to assess it by so far, that it was a reflection and exploration spawning potent results. Kunz, guitarist Fabio Couto, and DJ/producer Gabriel Ralls have returned with a feistier and more voracious attitude in sound and intent. Coming together as Plastique, Brazilians Kunz and Fabio Couto with British bred Ralls quickly gripped keen attention with their self-titled debut album late 2011. It was a release backing up their growing stature on London’s alternative scene, a presence pushed and ignited further by its successor #SocialScar two years later. Now after that time away, the threesome are back with a more industrial rock fuelled incitement, one sure to spark frantic activity on the dance-floor again but this time with darker predatory inclinations.

From its first creative mechanism of sonic and rhythmic provocation, Quake displays a psyche challenging imagination and turbulence to it. Beats thump with resonating toxicity whilst guitars blaze with their own raw aggravation, yet there is that expected virulent catchiness and techno energy which sends addiction spawning urges through ears and body. The vocals of Kunz bring their own challenging posture to the song, her tones and delivery reminding a lot of Lesley Woods of eighties post punks Au Pairs, and indeed there are elements of that genre within the increasingly magnetic encounter. Equally essences of PJ Harvey and Cauldronated come to mind as the song continues to cantankerously ripple and contagiously seduce the senses.

If Quake is the sign of things to come, the wait since the last album was well worth the frustration for fans and band alike. It also suggests that Plastique’s next full-length will be their finest most intoxicating offering yet, something you can apply right now to their single.

Quake is available now @ https://itunes.apple.com/gb/album/quake-single/id980105266

http://www.plastiqueband.com/   https://www.facebook.com/PlastiqueBand

RingMaster 05/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Chick Quest – Vs. Galore

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Their sound is self-tagged as spaghetti western post-punk and their name, as that of their debut album, is pure B-movie manna for the imagination. Chick Quest is a band from Austria who in already a wealth of exceptional releases in 2015, may have just stolen the whole show to date with Vs. Galore. Every essence of it from song title to sultry blazes of brass provides cinematic adventures equipped with rhythms to command feet and sonic temptations to get lustful over. It is a puppeteer for body and soul, an unpredictable and slightly deranged dance of sound and invention providing one of the most intoxicating and exciting debut incitements heard in recent years.

Vienna hailing Chick Quest, began in 2014 with two friends who decided to form a band to play feistily danceable songs based on Spaghetti Western chord progressions and called Lee Van Cleef. With fresh songs under their belt the pair pulled in a bassist and trumpet player, renamed the whole adventure Chick Quest and set about recording their first album. And here we are with the outcome and quite simply it is one of, if not the, best things in indie rock and dark pop you are going to hear this year.

Consisting of vocalist/guitarist/keyboardist Ryan White, drummer Iris Rauh, bassist Magdalena Kraev with the additional talent of trumpeter Christian Sonderegger, Chick Quest instantly get down to startling seduction with album opener Somebody Call a Doctor. A swipe of sultry guitar ignites ears and imagination right away, rubbing away with teasing effect before being joined by punchy beats and a swiftly following more caustic sonic wind. Vocals offer a punk nature to the constantly evolving song whilst the lure of the trumpet and understated melodies within the infectious stomp, have s smouldering western tang seeded in Ennio Morricone compositions. There is also a deranged element to the encounter which simply adds further bait for the appetite to hungrily devour, the whole thing playing like a Swell Maps meets Helldorado revelry.

10306227_1564340900473132_6071600067425424794_n     The following Girl on Fire is even quicker in stealing attention and the passions, the gnarly grouchiness of the bass which brings the song in, alone enslaving ears and emotions. It also has a swagger to its Gang Of Four like lure which aligns with a seductive caress of guitar which appears not long into the magnetic song. The crisp beats of Rauh take their fair share of the brewing lust too, whilst the trumpet…well that just oozes sonic seduction. Once the vocals come in, the whole blend has a feel of The Clash to it, White’s voice alone having a Strummer-esque quality. Basically tangy rock ‘n’ roll with that cinematic quality mentioned in word and musical enterprise, the track is the first pinnacle of the album, but not the last.

Vengeance is Fun bounces in next, an agitated slab of post punk pop with a feel of Baddies and Futureheads to its energetic psychosis of sound. Addictiveness was made for songs like this, its raw rock ‘n’ roll merging with virulently warped pop punk for yet another stonecast favourite and triumph. The flames of brass only adds another twist in the character and psyche of the encounter, an unpredictability which is as potent as the sounds it toys with and again potent fuel for the wonderful exploits of Sounds Like Bruce! which follows. A warmer but no less compelling bass welcome starts the song off with surf bred melodies entwining their dark lure around it with equally virulent temptation. The instrumental sends the imagination into overload, scenes of hot sandy shores with sex and sinister danger across their expanses brewing in thoughts, the song the sizzling soundtrack to untold mischief and espionage.

As exceptional as it is, the track is soon a passing memory as I’m Tired of Pretty Girls prowls into view with attitude and creative devilment in tow. Rauh pounds out an almost predatory shuffle of beats, luring in the listener with tribal incitement before Kraev’s bass unveils its own climatic and dramatic enticement alongside similarly throaty and colourful strokes of guitar. There is a psychotic edge to the song and that is before White opens up the agitated narrative with an equally twisted and unsettling delivery. Fuzzy, dirty, and irresistible, the song virtually stalks the senses with its discord kissed rant for yet another important moment in the health of the album and modern music.

Through the mellower sway of Schatzi and the militant stomp of Explain Yourself to a Bat, band and album has body leaping and pleasure elevated all over again. The first, sung in German, is a more even tempered spot of rock pop with an air of Yello meets Violent Femmes to it under an intensely simmering sun of trumpet enterprise whilst its successor strides purposefully through ears on a single minded stamp of thumping beats. Around this thick spine a dark bass shuffle ebbs and flows with tantalising menace whilst the guitars unveil a vivacious jangle. Both leave the listener short of breath and hungry for more, as does the humid tempting of Fashion Fascist. The heat of the trumpet is an early hot kiss on the senses but it is the again a snarling bass tone which especially sets things off in the passions, its raucous contagion courted by resonating beats for an inescapable persuasion. Whether the rest of the song lives up to the tremendous start is debatable but with that rhythmic baiting never relinquishing its hold as vocals and guitars create a tempestuous weave of arousing incitement, it all occasionally coloured by the sizzling trumpet, the song is raucous punk ‘n’ roll to put the world on hold for.

Surf rock resourcefulness and sixties garage rock collide with modern psych pop for a fiery adventure in Monkey No Dance For No One next, another instrumental stretching limbs and thoughts with its unrelenting rhythmic nagging and exotic melodies. Far too short and pure musical alchemy, the track is one you have to play twice before moving on and falling into the scuzzy arms of the also tremendous You Have a Future in Television. With old school punk breeding and unhinged energy, let alone nature, the song manages to be nostalgic and new whilst providing yet another shade to the presence and invention of the album.

Vs. Galore is brought to an end by Go Back to ze Dezert, an instrumental escapade through drifting ambiences and steamy surroundings with romance and adventure in its voice and melodic theatre in its brass and guitar crafted embrace. It is a thrilling end to a sensational release, an introduction to Chick Quest which has instantly installed a deep rooted affair with emotions. Of course individual tastes in each of us will decide if Vs. Galore goes down as the album of the year come December but it will be there in the handful of most enjoyable treats given the chance.

Vs. Galore is available now via most online stores and at https://chickquest.bandcamp.com/album/vs-galore

http://www.chickquest.com/     https://www.facebook.com/chickquest

RingMaster 22/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

The Cathode Ray – Infinite Variety

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The energy around the arrival of and anticipation for Infinite Variety, the second album from Scottish band The Cathode Ray, ensured that intrigue and enthusiasm of a great many was high going into the release. It is fair to say that the proposition not only lives up to hopes and expectations placed upon it but leaves them lightweight against its kaleidoscope of fun, sound, and adventure. What was not predicted here was the nostalgic impact it had on ears and thoughts, as well as memory, for our first time with the band. Musically it weaves in essences from the seventies and eighties into an invigorating modern tenacity but it was finding out the background to the members which inspired us to first trawl through cases of vinyl on a nostalgia trip to relive old favourites ashamedly neglected over time.

Formed in 2006, The Cathode Ray was initially a song-writing collaboration between Jeremy Thoms and ex-Josef K frontman and solo artist Paul Haig, a band and solo project straight away dug out for a reprise in the ears. A couple of well-received singles followed before Haig left the project in 2009. Taking it over Thom enlisted guitarist Steve Fraser once of Edinburgh post punk band the Scars, another enslaving proposition for our passions way back, and alongside him drummer David Mack and bassist Neil Baldwin to complete a new line-up, the latter bringing another search through boxes to relive the glories of the disgracefully under-rated Bluebells and post-punk group TV21. Once that was out of the system it was full-steam ahead with Infinite Variety, an album swiftly living up and more to anything its creators may have helped craft before.

The album’s landscape uses various decades of sound as its palette, twisting and shaping them into unique and colourful proposals with a lyrical exploration to match. Said to loosely be a concept album, Infinite Variety visually and aurally references the natural world whilst looking at emotions involved with the human condition. The songs are kind of bundled into three areas; ‘fear, paranoia, lust and betrayal’ spicing the first few songs before looks at ‘transformation, honesty and realisation’ and subsequently love in various light and dark forms flavour the tracks. Like in a kaleidoscope though, it all seems to disarrange and evolve with every twist of a track to provide an on-going and increasingly fascinating adventure.

10425081_1014104828616219_3923383927065033299_n   That diversity to songs is one of many potent aspects to the album and it all starts with the outstanding Backed Up. A simple rub of guitar and accompanying cowbell prods make first contact, soon joined by crisp beats and an expanding coaxing of melodic enticing. The expressive tones of Thoms join the widening incitement next, his entrance awakening bolder enterprise in the guitars, whilst riffs and hooks come with a great post-punk spicing. The reserved but lively melodic invention provides a sultry colouring which the dark bass tones wonderfully temper whilst vocally Thom drives it all with a voice which is like a mix of Pete Shelley and Ste McCabe to offer another rich texture within the potent album starter.

It is a strong beginning straight away eclipsed by the outstanding Resist, one of the most addictive slices of warped pop you will come across this year. Its hooks instantly get under the skin and into the psyche, swiftly followed by the vocals and the thick bass bait. The song’s infectiousness is simply virulent bringing a whiff of The Revillos to its power pop stomp, a passing scent not as strong as the Buzzcocks like catchiness which oozes from the following Nowhere At All. Again it is merely a spicing though, this time to a captivating stroll of imaginative percussion, imposing rhythms, and addictive enterprise, all soaked in inescapable contagion.

Don’t Waste Your Words strides in next to bring an addictive lure of hip swinging rock ‘n’ roll. Feet and ears are an early submission, whilst the capture of the imagination is barely a drum stick swing away in the riveting temptation of the song. It is not alone in offering hooks and a presence which are indelible in thoughts and emotions even after the album’s departure, but it is probably the most intoxicating though matched straight away by the excellent Buck The Trend, a song with a healthy breath of Tom Verlaine and Television to it. Keys and guitar spin a gorgeous eighties web for the rhythmic and vocal prowess of the song to pull this way and that, a combination sculpting another major highlight in the album. There are times across Infinite Variety, like here, where thoughts wonder if the band may have missed the boat with their sound in the fact that The Cathode Ray would have surely been a big inspirational player in the eighties. Every time that suggestion raises its head though band and album almost in anticipation provides evidence to differ, like No Holds Barred which comes next, proving that they are definitely a perfect fit for the now. The song is a slower but similarly infectious offering with a held in check energy which still has body and emotions swaying feistily with its low key and thoroughly addictive swagger. Once more riffs and melodies combine to create a fresh twist and distinct romp of sound and invention in the album.

The brilliant Eureka Moment! is simply a montage of eighties goodness crafted into a transfixing and exotic jungle of imagination fuelled rhythms, Scars like sonic sweeps, and Bluebells bred melodies. It feels like a song dipping into its creators past exploits and those of others whilst equally drawing on new ingenuity. The John Foxx led version of Ultravox comes to mind as does The Creatures as the track seduces and incites but again they are just particular hues in an new enthralling and thrilling aural conjuring by the band.

This Force Of Nature brings its flowing melodic breeze next, female vocals seducing alongside the tones of Thoms, whilst Torn Apart explores an immersive and haunting cavern of sonic reflection which in many ways has seeds to the likes of House of Love and My Bloody Valentine. The absorbing and mesmeric encounter, as so many songs, keeps the album turning over in imagination and invention, as well as variety, before making way for the post punk croon of The Eyes Are The Window To The Soul. With a bassline which recalls early Cure and an Orange Juice like jangle to its chords, the song is bewitching and engagingly dramatic like a modern day Associates.

The album is closed by the elegant reflection of Saving Grace, a semi-acoustic ballad which simply whisks ears and thoughts off into hope soaked clouds under a smouldering exotic sun of melodic temptation. The song is spellbinding but also only telling half the story at this point. Around mid-way the calm is suddenly infused with ominous rhythms and sinister keys, nothing over imposing but certainly a brewing provocation which is soon ripe with surf rock tendrils of guitar and a tempestuous air. As if warning that good times still offer a stormy adventure, the track is irresistible manna for ears and imagination with seven minutes of sonic alchemy.

Infinite Variety is quite breath-taking, leaving thoughts basking and appetite hungry for much more. There have been many releases and bands recently creating real triumphs of nostalgia and new invention, but The Cathode Ray tops the lot.

Infinite Variety is available through Stereogram Recordings now on CD and download via http://www.stereogramrecordings.co.uk/audio/infinite-variety-the-cathode-ray-cddl/

https://www.facebook.com/thecathoderay

RingMaster 21/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

False-Heads – Wear and Tear

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Proving that their impressive introduction in outstanding debut EP Tunnel Vision last year was no fluke, UK alternative/psyche rockers False-Heads now unveil its successor the Wear and Tear EP. In fact such its magnetic manner and devilish invention, the new release makes its predecessor feel like just an opening teaser to its glory, a rather tasty one for sure, but the prelude to the outstanding and masterful adventure now igniting the passions. Consisting of four attitude cored incitements of noise and psyche rock unafraid to weave in just as warped essences of pop, alternative rock and more, Wear and Tear is a confirmation and wake-up call to the creative might and potential of another seriously exciting band within the British music scene.

Hailing from the East London area, False-Heads is a band which needs little time to grab attention with their imagination gripping sound, swift evidence provided by EP opener Wrap Up. Its first breath comes with a spicy and fuzzy wind of persuasion and energy, a raw guitar courting of the ears soon backed as potently by a heavy and predatory bassline and crisply delivered beats. The trio of Luke Griffiths, Jake Elliott, and Daniel Delgaty have within the first seconds of the track, coaxed eager attention which only strengthens as the song relaxes into a cleaner climate of sound still driven by that initial throaty bass temptation and just as magnetic vocals. Now firmly into its stride, the song unveils a confident swagger but also an appetite to explore heavy rock riffery, stoner-esque grooving, and noise rock imagination, all teased with post punk like infectiousness. It is a fluid and unpredictable adventure keeping ears and thoughts on their toes and emotions high.

False-Heads-Wear-Tear-artwork-450x444  The thick flavours and enterprise fuelling the song continue into the grungier Twentynothing, a proposition opening with a Nirvana like enticing but soon evolving into an intimate design of melodic expression and melancholy wrapped rhythms. Any moment is just that in the passage of the song, and it swiftly moves into an embrace of a more Melvins meets Asylums like tenacity and imagination, though still circling that early magnetic grunge bred hook. As all the tracks there is a glint in its creative eye, a devilment which relishes teasing familiar spices and twisting them into fresh and infectious uniqueness.

The following Snatch is the same, a proposition drawing from recognisable flavourings but disfiguring them with ingenious revelry for something new and distinct to False-Heads. Persistently the band seems to be compared to The Pixies, not as obvious a reference for us until you hear this one song. It strolls along with a virulent swing and addictiveness which could easily be Frank Black composed, serenading with minimalistic charm and just the right amount of causticity to the guitars and dour monotony to the rhythms. Around it though, sounds and textures seduce and flare up, creating a web of intrigue and volatile enterprise which swiftly and inescapably inflames ears and the passions.

It is another sensational offering upon Wear and Tear leaving closing track Nothing In There some work to do to end the release on a similar height. It is fair to say it fails, but only just as it mesmerises the senses with its dark drone of sonic incitement. Like a post punk/shoe gaze proposal held in a post rock atmospheric embrace, the song is simultaneously cold and sultry with noise seduction and psyche rock provocation as open and riveting as the other textures mentioned. It is a fascinating and compelling end to an irresistible provocation of body and mind.

False-Heads left a lingering and convincing impression with their first EP a year ago but have more than overshadowed it with Wear and Tear. There are a few bands which trigger the deepest, intensive excitement in the grand landscape of emerging bands right now and of those that do, False-Heads stand to the fore.

The Wear and Tear EP is released March 23rd on Hi4Head Records and available at http://false-heads.bandcamp.com/album/wear-and-tear

https://www.facebook.com/FalseHeads

RingMaster 23/03/2015

Copyright RingMaster: MyFreeCopyright

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Zoner – Euharmonic Elevation

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Here we have an album which if in the mind to, you could pick at and suggest a few deficiencies but there is no escaping it is also one compelling and enjoyable proposition. The release in question is Euharmonic Elevation, the second album from rock/metal band Zoner. That is a simple description for a proposition with a sound which draws on a myriad of styles and flavours in its almost deranged invention. Release and band are a one of a kind, though each also draws on open inspirations which we will come to shortly. It all results in a collection of songs which hold few major surprises yet are one big and riveting surprise.

Zoner is the solo project of Antonis Demetriou, a musician and songwriter hailing from Nicosia, Cyprus. His music as mentioned is bred from a vast array of spices across numerous decades, and his band as described by Demetriou himself, “a rock/metal band with influences ranging from ‘ABBA to Zappa’ via all the VERY best in pop, rock, prog, punk, funk, disco, hard, heavy and thrash!” 2012 saw the release of debut album Spectraphonic Deviation, and now the artist returns with its successor, again a self-released, recorded, and produced offering, deserving of intrigued attention.

As opening track In the Name of Creativity establishes itself in ears, the first thing with captivates about the sound is its strange similarity to Bill Nelson, well his Red Noise guise certainly. Zoner is a more voracious and heavier proposition but from vocals to the sonic invention, there is a definite if coincidental feel of the ex-Be Bop Deluxe man to proceedings. The first track strides with muscular rhythms and stirring riffs from its initial sonic invitation, swiftly settling into a heavy rock and classic metal fusion. Vocally Demetriou is engaging and though he is arguably not a natural vocalist, any weaker moments are more than compensated by his inventive expression. The song itself continues on to explore new progressive and melodic textures, its technical intricacies as potent as the simplicity in which everything successfully fits together.

The enjoyable start is swiftly continued by the stronger lures of Hail Rock ‘n’ Roll, a rock ‘n’ pop romp living up to its title with hook laden riffs and an equally addictive bassline. Thumping beats only add to the contagious drama whilst the swing of the song forms the lead into a catchy chorus as flirtatious as the intrigue wrapped guitar work. Its finale of persistent title chants is irresistible and sets ears and imagination up nicely for the melodic elegance and croon of Patience of a Saint. A smouldering landscape of sonic enterprise, the song is an easily endearing encounter. The vocals are similarly mellow and it all makes for a partly mesmeric offering until it unlocks its heart of classic rock tenacity. It loses some of its grip from this point but still holds attention with unpredictable twists and keys sculpted tempting.

Politics of Modern Love steps in next and soon steals top honours on the album. The song makes a low key start, coaxing the listener gently before revealing a predatory prowl of riffs and dark toned vocals. It is a transfixing and thrilling turn, a post punk/ experimental adventure with a minimalistic air leading to a full blaze of striking imagination and creative exploration.

Both A Wasted Life and Are You the One keep ears and appetite satisfied, the first again bringing an eighties new wave/ post punk tempting to its theatrical hard rock canvas. As its predecessor, the track is riveting scenery of pungent sonic interplay and tenacious enterprise, an enthralling dance with recognisable flavours and expectations defeating invention. Its successor is equally unpredictable but does not have the same success with personal tastes. At times it is a stirring and invigorating exploit but in other moments, especially its start, leaves emotions flat. When it does hit the mark though, primarily when it unleashes its aggression, the song is a feisty enjoyment ending on a much loftier peak then where it started.

Early thoughts and expectations of The Sabbath Waltz arising from its name alone are soon confirmed by its muscular riffs and heavily landed rhythms. It is heavy metal with a sinister tang and melodic flaming, but again reaping spices from previous decade in its colourful web of sound and creative thought. Imposingly magnetic, the track crawls over senses and psyche, leaving another lingering lure easy to want to hear more of.

The closing Turning Point of No Return is an acoustic crafted ballad with Latin bred drama and character, another which misses our appetite but easy to see being a rich pleasure for others. It is a decent end to a release which keeps luring attention back its way. It has shortcomings; the production in certain areas shallow and not helping vocals at times but Demetriou himself has admitted that he is not really an engineer/producer but handles these tasks out of necessity. It cannot defuse the core quality, passion, and invention of the music and songs though. There are also other elements which at times you might wish for something different or for them to be tweaked but it is all relative to taste and again only increases the weight of the potential of the artist and sound, suggesting that given the chance to record with the right people and circumstances, Zoner might just have something very special lurking inside.

Euharmonic Elevation is available now on CD and across most digital stores.

http://www.zonermusic.com/   https://www.facebook.com/zonermusic

RingMaster 17/03/2015

Copyright RingMaster: MyFreeCopyright

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Treedeon – Lowest Level Reincarnation

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Surely bred in the depths of hell, Lowest Level Reincarnation is the ultimate seduction. Like a Hieronymus Bosch painting, the new album from German noise abusers Treedeon is a visceral kaleidoscope of vibrant addictive aural colours and inescapable temptations within a landscape of sonic and emotional torment. It is bestial, it is carnally intimidating, and it is an all-consuming swamp of savage confrontation but most of all it is one exhilarating trespass of the senses.

Treedeon emerged in 2012 when vocalist/guitarist Arne Heesch and vocalist/bassist Yvonne Ducksworth linked up after the almost simultaneous demise of their respective bands Ulme and Jingo de Lunch. Initially Treedeon was an acoustic proposition and made its live debut at 2012’s South Of Mainstream festival filling in for the by now disbanded Ulme. At this point Christian “Boomer” Böhm linked up with the duo, pledging himself as “the missing link” as he offered to play drums in the band. As songs were written and created, leading to an early demo, there was no escaping the heavier voracious element fuelling their sound, fury audiences soon heard at events like the infamous Roadburn Festival, where the band played as part of Exile On Mainstream’s 15 year anniversary showcase. The digital unveiling of the demo swiftly brewed up attention and buzz around the Berlin trio though it was a mere taster of more corrosively impressive things to come. Recorded at Studio Wong in Berlin last November, Lowest Level Reincarnation sets a striking marker for not only Treedeon but doom/sludge spawned noise punk in general.

The eight track sonic tsunami begins with Love Turns Liquid and immediately has ears and attention on board as the punch of Böhm’s premeditated slow swings rock the senses. It is not hostile bait he lays down but it is imposing and highly anthemic as each incessant jab awakens a keen appetite which is swiftly fed further by the grouchy voice of Ducksworth’s bass and the abrasing causticity of the guitar. Hooks are already flirting from within the building tempest of noise, leaping out on the subsequent sonic smog as Heesch’s grizzled vocals croon expressively and angrily. The rhythmic persistence of the eight minute plus track creates an inescapable trap for instinctive and primal needs whilst the doom soaked crawl of the song simply ignites ears and imagination; the encounter the perfect blend of erosive persuasion and addictive invention.

The following Blankapitation similarly attacks on two fronts, its rhythmic and grooved taunting a commanding contagion whilst the thick sludginess of the guitar’s enterprise is a suffocating and alluring raw embrace. It is the vocals of Ducksworth, who takes the lead this time, which strikingly ignites the track though, her delivery pure punk with an attitude to match. It is a thrilling contrast to the highly pleasing caustic attack of Heesch in the previous song and in his backing here, a creative aural stabbing of ears at times from the lady and a constant roar of belligerence.

Satan’s Need takes over next and within seconds consumes the senses in a tempest of fiercely heavy riffs and matching intensive rhythms, all bound with inflamed heavy grooves. The two singers share the track, duelling rather than dueting across its ravenous and exhausting turbulence. It has a harsh and acerbic canvas but also reveals an underlying swing to beats and grooves which does not temper the tempestuous nature of the encounter but certainly makes its punishment bewitchingly palatable.

Through the superb Extinction with its a rhythmic tempting, which is almost like a call to arms for body and emotions, and a sinisterly hued grooving, and the snarling Wendigo, band and album only heap on further corruptive influence and pleasure. The first of the two is the kind of flirtation you know will only lead to destruction but with the deepest carnivorous bass growl and tart grooves, not forgetting exceptional vocal endeavour, the track is the master of lustful submission. Its successor again embraces a stronger punk rancor in its erosive sonic squall. Ducksworth vocally is a fiery temptress and with basslines predatory confrontation as Heesch creates a warlike maelstrom of antipathy with voice and riffs, the song is an animus which flows in all ways into the equally venomous and scarring Venus With Teeth. There is no shelter from its sonic and intimate enmity or from the transfixing rhythmic craft and enticing of Böhm. It writhes like a plague ridden scavenger, spilling and spewing sonic spite and magnetic invention with every intensive and exciting twist.

The album’s title track worms into the psyche next, its insidious crawl of sound and malevolent emotion encroaching ears like a tar thick virus, consuming every pore whilst immersing the senses and thoughts into the darkest pit of depressive and oppressive toxicity. The song is spellbinding, an infestation of sound and intent you only want to devour more of, even if it provides the longest and darkest twelve minutes of your life.

Lowest Level Reincarnation is completed by the outstanding Terracide, another imaginative torrent of crippling and gripping rhythms aligned to incendiary grooves and impressive vocals from both Ducksworth and Heesch. That imagery of a Bosch composition again seems to fit the track, its presence and premise a sonic opening of hell’s pits.

Treedeon is that nightmare you can never be rid of but truthfully you look forward to, its challenge and adventure a dark and dangerous endeavour but cathartic and seriously rewarding. The same applies to the magnificent Lowest Level Reincarnation, an album sure to expose one intensively exciting prospect to the fiercest spotlights.

Lowest Level Reincarnation is available now via Exile On Mainstream digitally and on CD/vinyl @ http://www.mainstreamrecords.de/shop with its US release in April.

https://www.facebook.com/Treedeon

RingMaster 12/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Inca Babies – The Stereo Plan

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From the days when the devil thrust his evil designs into music, dark rock ‘n’ roll has been a persistent and endearing temptation. From the leather clad hip and vocal lures of Sweet Gene Vincent to the modern psychotic seductions of Dedwardians, it is a delicious trespass of ears and imagination that continues to evolve rich adventurous psyche twisting pastures. The likes of The Doors, The Cramps, The Birthday Party, Bone Orchard, The 69 Eyes, Eighties Matchbox B-Line Disaster, The Dropper’s Neck to name a few, have continued to expose the senses to new ravenous depths of sinister sonic exploration over the decades. One band which from their emergence in 1982 has also sculpted a perpetual warped seduction is Inca Babies. Their almost serpentine invention and dark musical incitements have continued to inspire and invigorate, even during the near on twenty years they were absent from the music scene, but since returning in 2007 you can only suggest that the UK trio must have shaken hands on a new deal with Lucifer as they have risen to truly become one of the leading lights and template setting protagonists of British rock ‘n’ roll.

The evidence is already boldly apparent in their two albums since reforming, the acclaimed Death Message Blues and Deep Dark Blue of 2010 and 2012 respectively. Both releases ignited an already ravenous gothic rock scene and duly deserved all ardour given but each in many ways was just an immense but leading appetiser for the glory of The Stereo Plan. Released towards the end of 2014, the band’s seventh studio album is a masterpiece of the dark aural arts. The third instalment of their death blues trilogy, its fourteen-track proposal twists and turns through the primal essences of post punk, surf, garage punk, trash blues, and every other dark flavour available, but bred in the imagination of Inca Babies transforms into a recipe of ingenious alchemy. It is a transfixing and slightly menacing proposition which has everything from feet to the passions ablaze.

Listening to The Stereo Plan is almost like immersing in a greatest hits collection of songs, every encounter of such irresistible and impressive invention and contagion that there is no time to take a breath and reflect until the final note of the release drifts away. It all starts with the album’s title track and its opening tangy lure of surf bred toxicity. It is an instant inescapable invitation for ears and imagination, the percussive shuffle which soon adds its bait only increasing an enticement which deepens again with the thick bass prowls of Vince Hunt. Continuing to bind ears in his guitar’s delicious spicery too, Harry Stafford pounces with his vocal and lyrical dance, as everything in the song colludes to create satanic rock ‘n’ roll majesty, especially as rhythms grow in intensity and devilment with the vocals to arouse an even lustier persuasion.

How to follow such a magnificent start would have many bands in a cold sweat but not Inca Babies as they match its majesty with a just as compelling incitement going by the name of Scatter. Stereo Plan Front 1The swinging beats of drummer Rob Haynes recruits eager attention right away, swiftly adding appetite as riffs and bass grooves unite with his anthemic beats and the incoming catchy vocal delivery. Into its stride the song expels a punk causticity around its driving rhythmic spine, the fingers of Stafford continuing to dance over the strings of his guitar to create a web of sonic addiction. The aforementioned Dewardians comes to mind as the song bounces with venomous mischief and also Eighteen Nightmares At the Lux with its scuzzy textures.

The salty smoulder of Damnation comes next, an Orson Family like countrified shimmer fuelling the temptation of guitar and rolling beats. As the opening pair of songs, psychobilly bred rapacity coats the song but also here a more garage punk tenacity emerges and grows to an even more potent persuasion in the following River To the Centre of the World. A haunting slice of upbeat balladry with a chorus which simply infests the senses, the track is dark poetic manna for ears and imagination. It also continues the mouth-watering diverse landscape of the album, each song a blossoming of individual and unique gothic theatre bred in sinistrous ideation.

The Cajun cast spell of Stand Down Lucifer keeps listener and album in lustful realms next, its sinuous shimmer and invention a creeping and inescapable seduction whilst Feast With Panthers strolls in with stalking rhythms and demonic hooks within again a fine and alluring vocal proposal. Like Th’ Legendary Shack Shakers meets The Screaming Blue Messiahs, the latter a band easy to offer varying degrees of comparison to across the album, the track swings it frame and flirtation with mischief in its eyes and a wicked lick on its melodic lips. The Stereo Plan began on a lofty pinnacle and this pair again sublimely ensures that there is no slip from such heady heights.

   Last Flight Out of Saigon with its pulsating bassline and acidic sonic veining croons suggestively in ears next, its minimalistic yet cavernous presence a mesmeric hex before the garage pop feistiness of Absolute Leader of the World leaps at the senses. Holding a great raw seventies/eighties punk essence to its contagion, the song is a sweetly caustic roar of blues rock which re-ignites body and energies after the resourceful ‘rest’ found in its predecessor.

Returning to the insidious charms which festered wonderfully in the early songs, Devilfish Anarchy stalks and romps with that gothic blues meets psychobilly predation and devilry. Beats and basslines are the instigator to lust fuelled whiplash as vocals and melodic toxins work away on thoughts and emotion. It is an exhausting pleasure whose rigorous nature is swiftly tempered and contrasted by the funereal stance and classical elegance of Still Mountain, a bewitching ballad wrapped in imposing and provocative shadows.

A dirtier yet restrained heavy rock pushes the walls of Damn Our Hides next, its persuasion not as instant as elsewhere, though swiftly a captivating companion for ears, but slowly burning away behind the scenes and repeatedly nudging thoughts after the event, as so many other songs on the album. Its enduring temptation is another striking aspect of The Stereo Plan, each twist of its design able to return at leisure and with potency, just as the heated jazziness of Ghost Ship. The track is ablaze with sultry trumpet flames, filthy basslines, and delirious sonic enterprise combining for a fiery musical sunset on an apocalyptic landscape.

The album is finished off by the excellent psyche/ surf rock stomp of Blacktop Speedway and finally the garage rock serenade of Late Night Frankie Brittle, a croon which simply grows in weight, intensity, and sonic rabidity with volcanic imagination. The pair makes a thrilling end to one irresistible encounter.

Admittedly having a soft spot for the type of sounds Inca Babies revel in went in their favour, but also it brings more demands but once again the Manchester trio stand tall over them as they again help lead British rock ‘n’ roll into new and exciting explorations.

The Stereo Plan is available now via Black Lagoon Records

http://www.incababies.co.uk/   https://www.facebook.com/incababies/

RingMaster 11/03/2015

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