High Tiny Hairs – Self Titled EP

cover_RingMaster Review

Take a pinch of sixties garage rock, a whiff of seventies/ eighties psychedelic pop, and a scent of the punk rawness which has spiced any decade you care to mention in some form or other, and you have something akin to the sound of High Tiny Hairs. The new project from former Fuck Knights guitarist and Nightingales front man Ben Bachman, the band is a raw and magnetic tantalising of ears in sound and invention with a potent self-titled debut EP to introduce themselves by. Receiving its UK unveiling this month, the six track encounter almost licks at the imagination with its stirring flavours and mesmeric sonic colours, each song flirting with bright hues around darker lyrical shadows.

Formed by the Minneapolis based Bachman with inspirations of artists like Alex Chilton, Brian Eno, and Syd Barrett spicing his creativity, High Tiny Hairs almost instantly captivates body and thoughts from the EP’s first breath. With Ioana Cristina Mirica, Sergio Hernandez, GD Mills, and Eric Levy alongside Bachman, the band instantly tempts with a web of inviting guitar as opener Chaos Ensues begins to blossom in ears. That alone seems to merge sixties lures with new wave enticement before glowing vocals caress a broadening and increasingly catchy landscape being laid by the song. Its prime hook is like a familiar friend yet defines pinning down whilst the fiery vocals and rosy yet chilled melodies within a sturdy rhythmic and sonic frame, suggests something akin to The Raincoats meets Melody’s Echo Chamber meets Horse Party.

The potent start continues in the rawer brilliance of Ghost Shadow, a song best described as The Electric Prunes in a mesmeric romance with The Sonics and indeed Syd Barrett. With the increasingly tempting charm and flirtation of a Farfisa organ coating and seducing respectively the jagged bones of the song and a swiftly greedy appetite for it, the track is a wonderful unruly smoulder of raw garage bred dream pop and swiftly matched in persuasion by the sultry pop rock of First World Problems. Keys and vocals again tantalise as the jangle of guitars and the ever darkly toned bass both skip over and prowl their companion’s warmly enticing adventures, the result another pleasing escapade for the listener.

Redd Room slips into its sixties seeding with relish from the first second, keys again embracing the pop of that era whilst adding a seventies psych rock smile. Around and within this though, starting with a great opening hook out of the De Staat songbook, the band infuses a weave of matching magnetic styles and sonic resourcefulness. The song does not quite match up to its predecessor but nevertheless has feet and hips swaying with as much contentment as that growing in ears.

The haunting stroll of Night Time Wander steps forward next, again catchy and lively exploits of rhythms and guitar, as well as the fascinating lure of the vocals, embracing and infusing the “sombre and sardonic musings” of Bachman. Feet have no resistance to the song, nor healthy enjoyment before the closing Girl Like U completes the EP. The last song, as Redd Room earlier, is missing that certain something for personal tastes which lit the EP’s other tracks so potently, yet it provides a slice of sixties honed pleasure to broadly smile about whilst finishing off a great introduction to High Tiny Hairs, an EP which in many ways brings the sound of summer across numerous decades into one sultry adventure.

The High Tiny Hairs EP is available on limited edition cassette and digital download via Sir Gregory Records now.

RingMaster 24/08/2015

Copyright RingMaster: MyFreeCopyright

Closet Disco Queen – Self Titled

photograph by Monni

photograph by Monni

There must be very few musicians who have bewitched and ignited our ears and senses more than Jona Nido and Luc Hess, and across as many projects. Seeing their names with a band or release stirs up an instant appetite to learn more, all thanks to previous triumphs and dramatic incitements from the likes of Coilguns, KUNZ, The Ocean, The Fawn, Schwarz and…well the list gets longer by the month it seems. Now the Swiss pair has unveiled another fascinating and virulent tempting under the guise of Closet Disco Queen and with a self-titled debut album. Consisting of seven instrumental progressive/psych explorations bred from a fusion of seventies blues rock, stoner and psychedelic rock, kraut and groove rock, to suggest some of the rich hues woven together, the album is an adventure which at times plays like a bedlamic dance party and in others a journey into the darkest, most haunted corners of the soul. Predominantly though it is rock ‘n’ roll to lose yourself within and another inspiring proposal from the sonic and rhythmic imagination of Nido and Hess.

The La Chaux-de-Fonds based pair open up their album with Hey Sunshine! and immediately have ears entangled in a web of melodic and sonic enterprise pierced by sinew swung rhythms. Grooves just spring from the fingers of Nido, instantly pushing away any inhibitions in the listener’s body left from trying to resist the anthemic and intensive shuffle cast by Hess. The music’s unbridled contagion is matched in impact by its smouldering seduction, both ignited further by the spatial warmth and mystery soaking the enthralling start.

The piece flows straight into the dark, haunted embrace of What’s Your 20? next, where compelling yet intimidating shadows ride a raw sonic mist. It immerses ears in a stark yet strangely alluring ambience for a flight into the hidden; a spellbinding slip into the darkest corners of the imagination preying on emotions and the psyche with every provocative breath. It is also the gateway into the instantly dramatic and rousing Caposhi, another heavy duty incitement to send the body squirming and writhing to its virulent drone and hypnotic tapestry of sultrily persuasive noise. The track is pure addiction, a consummate violation and puppeteer of flesh and greed through searing temptations around a robust spine.

    A brief sigh of frustration in its leaving escapes as the track twists into the warped rock ‘n’ roll feast Catch You On The Flip Sid, but that is soon forgotten as the new proposition reveals its own rhythmic jungle and sonic trespass sculpted by the psychotic invention of either geniuses or mad men; you will surely choose as the song creates its own asylum of sound and creative mayhem. It is jazzy and funky, avant-garde and psychedelic, all on another seriously enslaving rhythmic tango from Hess, and at nine minutes there is no complaint it has not given the fullest thrilling work-out for ears and soul.

Closet Queen Disco_RingMaster Review     The Shag Wag is soon brewing up its rich and ravenous blues rock blaze, from gentle flames bursting into a furnace of old school and modern rock ‘n’ roll. It is just as potent when slipping into gentler sighs of sound and energy too but at its best when sizzling on the senses and sparking the listener to get fully involved physically and emotionally. Rock music does not get much more incendiary and gripping than this, or frenzies as mouth-watering.

The duo stay with a blues bloomed tone and texture with next up IYD (In Your Dreams), the melancholic caress of the track spun on a sonic breeze of blistering sound and emotive theatre. Though the piece does not ignite the same intensive reactions and endeavour as other encounters within the release, it is an absorbing sea of invention to wallow in and set up the similarly but more imposing soundscape of Black Saber. The closing song expands and blossoms to greater intensity and emotion the essence of its predecessor, and fair to say that blues kiss is another highly emotive shimmer on the surf and psychedelic coloured investigation employed by the track. Across over eleven minutes, the constantly hinting and generally restrained volatile heart of the track does eventually erupt and steer the track into fresh and exhilarating tempests. Every moment sparks a new hunger in ears and appetite, and making its long length a swift passing of dramatic time.

It is probably fair to say that the first half of the Closet Disco Queen album had the biggest and fiercely lasting impact but even its latter trio of creative alchemy and dark fiery emotion alone only ensures the parting thought with every listen is give me more please. Together all tracks just confirm Nido and Hess an adventure which never stops evolving or getting bolder and more impressive.

Closet Disco Queen is available now on ltd 12” clear orange vinyl through This Charming Man Records, Division Records, and Hummus Records and as a name your price download @ https://hummusrecords.bandcamp.com/album/s-t-5

https://www.facebook.com/closetdiscoqueen

RingMaster 18/07/2015

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

 

Goldsmack – Wild Season

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To be honest it is proving hard to describe the Goldsmack sound; certainly it is a blaze of sultry pop equipped with a potent glaze of psychedelia. But equally it delves into dark rock ‘n’ roll and blues bred exploits whilst casting a theatre of intimate drama amidst an evolving landscape of aural roars and smouldering emotions. Maybe the closest hint is to say that the Italian trio create something akin to Nick Cave and the Velvet Underground uniting in the seduction of My Baby and MGMT, but then again maybe not. There is also a familiarity to their music which makes accessibility very easy but as revealed by the diverse collection of adventures within their new debut EP Wild Season, it is once caught by that invitation that the real adventure and thrill actually begins.

Goldsmack consists of vocalist Georgia Minelli, guitarist Davide Tebaldi, and bassist/keyboardist Luca Bagatti, three childhood friends brought up “in the single most beautiful and boring place on earth”. It was a small village in the gentle hills of northern Italy where the trio nurtured their musical prowess and imagination, amongst many things to while away the hours. Their sound plays like the home of dreams and isolation bred from a similar source of inspiration in their remote upbringing whilst the band name, again to quote from the press release, “…refers not as much to real gold, but rather to an alchemical sort of gold, a chimera, a potent drug…a prismatic, paradoxical thought that becomes circular and obsessive.

Good Morning Star tantalises first, a monotone sonic lure the thread to a web of electronic beats and guitar cast spirals of melodic enticing. A thick bass tempting swiftly adds to the potent bait, the mix carrying a post punk air reinforced by the also singularly expressive tones of Minelli, an essence of the Au Pairs coming to mind at this early point. At the heart of the persuasion a brewing infectiousness grows, wrapping the increasing celestial pop and vivacious radiance of the encounter. Contrasting it though are prowling shadows courtesy of the bass aligned to a sonic predation, extremes colluding to offer their part in the exploration within the EP of “the impossible triangle between Love, Money and Spiritual Enlightenment”.

The captivating start is swiftly surpassed by A Wild Wild Season, a fascinating dark rock stroll seeing Bagatti bring his full vocal participation to the narrative alongside Minelli. A spicy melody winds itself around another darkly lit bass coaxing, beats resonating in the background as Bagatti’s equally shadowed Cave-esque tones cast the beginning of the evocative narrative. The song continues to saunter, merging lighter scenery into the sinisterly aired landscape, whilst both Bagatti and Minelli duet and entwine their compelling deliveries to enthralling success. The seduction gains even greater momentum as a croon of orchestral like coaxing reveals their provocative textures in another riveting and mouth-watering triumph to the release.

A feisty ambience of blues and psyche rock smothers ears next as Rites Of Spring takes over, that My Baby reference a perfect clue to the sultry and fiery shuffle of the encounter. Minelli is as much ablaze as the guitars, their individual tempestuous energies and impassioned creativity uniting in a fire of persuasion though one kept in check a touch by the great wandering tenacity of the sobering bass. Once more ears are glued and imagination ignited; their appetites hungry for more and straight away fed by the similarly caustic delta blues pop/funk of Kids with Guns. Feet and emotions are quickly recruited to the swagger of the song, ears seduced by the impressive and sizzling enterprise of Tebaldi’s guitar resulting in one more increasingly enjoyable and incendiary escapade.

The closing Of Human Bondage is an enthralling oddity, a turbulent experience of dark drama and emotional torment coloured by insightful references and samples. These alone reinforce the imposing theatre and power of the track but are matched just as potently by the menacing shadow coursing its sound. Within it all a dark beauty is at work too, a calm and hope which only accentuates the track’s absorbing provocative heart.

It is a gripping end to a thrilling introduction to Goldsmack. Wild Season is an infestation of the psyche which continues to work away even after its sound has left the body; a golden slice of psychedelic darkness and shadowed pop whose recommendation comes as a roar.

Wild Season is available now @ https://itunes.apple.com/us/album/wild-season-ep/id988821494

http://goldsmackmusic.com/   https://www.facebook.com/pages/Goldsmack/804817556212518

RingMaster 20/05/2015

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

 

Two Skies – Feel

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As mesmeric as it is provocatively shadowed, Feel the new single from UK rock band Two Skies, explores a soundscape which as immersive as it is, also shows a haunting almost sinister essence to its body. It is a mix which captures ears and imagination with consummate and intriguing ease, taking both on a flight of dark adventure soaked in melodic temptation. Certainly there is nothing overly aggressive and menacing about the song’s character but its emotions and climate are compellingly shadow bred.

Hailing from Sheffield, the trio of vocalist/guitarist Dan Cutts, bassist Jamie Cheetham, and drummer Oliver Harrap create a blend of alternative and psyche rock entangled in numerous other potent flavours. It is a sound which has been luring attention since the release of the track Quiet Stones in the final weeks of 2011. A couple of releases in 2012/2013 has similarly gained good responses whilst last year saw the band release the Red EP and a two track 7” vinyl encounter in the shape of Stay / Ocean. Each basked in the fusion of warm and light tones to rawer dark textures, some revealing a fresh predatory element entering the band’s already potent sound and songwriting.

a2232955837_16     Feel has a more seductive baiting to its tempestuous side this time around, its tenebrific breath a floating shadow within the sultry air of the song. A lure of keys makes the first welcome, opening the door for flames of guitar to enter and entice against the melancholic yet vibrant lure of bass, its lines and hooks reminiscent of Michael Dempsey in the early days of The Cure. The late seventies/eighties feel does not end there, the melodic enterprise captivating ears and thoughts offers a scent of Julian Cope to further spice up a swiftly impressing and bewitching song.

The psychedelic fuzziness and swarthier tone of rhythms and accompanying textures continue to merge and entwine across the song, its livelier essences an expansive flirtation for feet and ears whilst slower, more blues hued emotions firmly hold and work on thoughts. The song is a fascinating and thrilling affair, Two Skies’ finest evocative sculpting of sound and emotion yet, and easy to imagine being the wake-up call to much larger attention.

Feel is available from May 11th on download @ https://twoskies.bandcamp.com/album/feel-broken-hearts and on Ltd cassette via https://blakhandrecords.bandcamp.com/

http://www.twoskies.co.uk/   https://www.facebook.com/pages/Two-Skies/20306313311?fref=ts

UPCOMING LIVE DATES:

May 21 – Carsons, Middleton

May 30 – Opium 10, Barnsley supporting Blossoms

July 3 – Kraak, Manchester supporting The Cult of Dom Kellar

July 24 – Tramlines Festival, Sheffield

July 25 – Karma, Leeds

RingMaster 11/05/2015

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

 

Horse Party – Out Of Sight/Receiver

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The exciting thing about UK band Horse Party is as much as they have openly grown in songwriting and sound, they have lost none of the instinctively raw and organic essences which made them strikingly leap out with debut single Back To Mono almost two years ago. Their new single is bound in majestic raunchy charms as both Out Of Sight and Receiver show new striking steps in craft, sound, and sheer creative adventure, but each still seduces with that primal spice which brought the trio to life.

Hailing from Bury St Edmunds, the threesome of vocalist/guitarists Ellie Langley and Seymour Quigley, alongside drummer Shannon Hope, have persistently garnered acclaim and an increasingly growing and devoted fan base with their gripping and at times sinisterly devilish sounds. From the Scarlet & Blue EP to last year’s debut album Cover Your Eyes, released through Integrity Records, Horse Party has gripped attention and increasingly greedier appetites, including those of 6music’s Lauren Laverne and Steve Lamacq, Shell Zenner at Absolute Radio and XFM’s John Kennedy. Live too the band is no stranger to eager responses, last year seeing the band successfully playing Latitude Festival’s Lake Stage at the invitation of Radio One’s Huw Stephens and BBC Suffolk Introducing. Now Out Of Sight/Receiver is poised to push the band on again, and as it is without doubt their finest hour to date, it is hard to see it failing to tempt the broadest spotlights upon the band.

Out Of Sight starts things off and is instantly prowling ears with thoughtful yet predatory riffs from the guitars matched by crisp beats. The darkly seducing tones of Langley queens over the 10847766_768484469911623_4136520996259037093_nentrance, her delivery sure and intense yet wholly seductive from the first breath. Widening its expression without leaving its shadowed scenery, the track proceeds to tease with small burst of melodic light and anthemic vocal unity whilst steely hooks only add to the addictive bait of the song. Fizzing up further into its presence with psychedelic lit sultriness and smouldering emotion, the adventure continues to be unpredictable and inescapably addictive with a chorus which similarly becomes more virulent and entrancing over the length of the outstanding song.

It is a glorious temptation but even with its might cannot help being surpassed by the delicious alchemy of Receiver. More energetic from the first second, the track is also an even darker and more sinister provocation, riding in on an irresistible post punk rhythmic baiting of ears and imagination. It is wonderfully repetitive from hereon in, riffs and hooks recycled with compelling effect as the dual tones of Langley and Quigley croon with sobering yet magnetic persuasion. That post punk essence is a constant treat within the song too, essences of bands like Au Pairs and Joy Division merging with the darker side of a Morningwood or Yeah Yeah Yeahs, but coming out as something ingeniously unique to Horse Party.

The song as the single is outstanding, both songs easily the best things to emerge from the imagination of the trio and they have some treats already under their creative belts. Horse Party is a band ready to join the frontline of the UK garage rock/rock scene and with releases like this drive it to new heights.

Out Of Sight/Receiver is available from February 23rd on limited edition 7” black vinyl as a co-release by R*E*P*E*A*T Records and the band’s own Pure Deadly imprint @ https://horsepartyparty.bandcamp.com/album/out-of-sight-receiver-7-single

Horse Party are also on tour right now with upcoming dates at…

Friday 27th February – Ipswich Steamboat Tavern

Friday 27th March – London The Garage

Saturday 2nd May – Bury St Edmunds Fringe Festival

Friday 15th May – Cambridge Junction

Saturday 13th June – Norwich Open

https://www.facebook.com/horsepartyparty

RingMaster 22/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

 

Lifecycle – Lino Cosmos

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Listening to Lino Cosmos is like being locked in a creative frenzy brought with the most sublime resourcefulness and intricate control. The new album from UK rockers Lifecycle is a delicious weave of styles and imagination which defies description yet nestles perfectly in the appetite of any melodic and alternative rock fan. Strolling with bold exploration through rhythmic jungles, melodic dramas, and electronic emprises, Lino Cosmos is an insatiably adventurous flight driven by sultry tribal tenacity across diverse soundscapes beneath hazily psychedelic skies.

The London band consists of guitarist/vocalist Geoffrey Dent, bassist Letitia Austin, and drummer Nick Holder. The history of Dent and Austin goes back a fair way having met in the nineties. It was another fifteen years though before the pair met again and merged their skills in Lifecycle with Holder, having come across Dent in 2009, linking up a year later. With the album Luxury Condominium under its belt and a renowned live presence which is as much a trigger to mass bodily involvement in dance fans as rock, the trio release their most gripping and incendiary incitement yet. Lino Cosmos is a voracious flirtation and agitated seduction which just cannot be ignored, a tapestry of flavours and genres which converge into one inescapable psyche swamping sensation.

As soon as the opening rhythmic shuffle of Dissolve tantalises ears, band and album has attention and imagination in their palms. It is a teasing invitation which swiftly grows in stature as beats gain weight and Austin’s bass begins its primal flirtation. The instinctive dance only increases in temptation as Dents sandy tones courted by melodic intrigue add their colour to the creative revelry. There is a swagger and energy to the song which recalls the core of Happy Mondays whilst rhythmically the band brings thoughts of eighties band King Trigger to the fore. Never exploding into an outright rampage but wonderfully nagging away with anthemic potency across a net of magnetic beats wrapped in a warm electro ambience the track is insatiably hypnotic and warmly fascinating.

The powerful start is swiftly matched by the gorgeous beauty and infectiousness of Not Enough. Entering on another eighties seeded melodic and rhythmic dance, thoughts of Electric Guitars and Hey! Elastica swiftly in place, the song is soon breaking out its sinews with heavy bass courting and funk bred enterprise. Again it is all bound in an electro festivity and vocal excellence with radiant harmonies, the mix a full captivation to feet and imagination. Virulent in its energy, exhausting in its voracious persuasion, and incessant in its almost exotic charm, the song is scintillating and easily one of the best incitements heard this year.Lino Cosmos art SUPSYM004_4000

The rhythmic and melodic seducing shows no signs of relinquishing their addictive holds as both Patterns and Burst Your Bubble swarm over ears and emotions. The first has a slightly more restrained vivacity compared to the previous songs but with bewitching and increasingly feisty agitation to the rhythms and a Police like mellowness to vocals and melodies, it moves and flirts like a Caribbean temptress as radiance spills from every caress of keys and stroke of guitar. Its successor prowls with a shadowed smile to its presence and intriguing colour, the song as others carrying a melodic grin within a web of alluring rhythms, yet there is a bordering on sinister lilt to the heart and atmosphere of the emerging exploration too. At times the track has a whisper of Pop Will Eat Itself to it and in others an enticing of Vampire Weekend meets Silhouettes, and though it is more a smouldering tempting than the instantly enslaving stomps of its predecessors, the track evolves into an equally compelling treat.

Every song upon Line Cosmos has its own individual drama, the meaty scenery and scorched rock walls of The Big Picture next a riveting example. It spreads cunningly over the imagination, sparking new adventures with every climb of its broody and continually expanding narrative. Listening to the album is like being bound and held in the throes of sonic alchemy, the next up Rush Into This immersing senses and thoughts in a haunting melodic experiment as rock, pop, dub, and electronic majesty entwine in an extraordinary cinematic descent into dark realms and emotional shadows.

Change Tact also explores a haunted realm, melodies emotionally reflective whilst shards of guitars and breezes of keys paint the song’s canvas with crystaline and celestial hues respectively. The track is engrossing though it lacks something to spark the passions as the previous songs, similarly final song Greed. Nevertheless both leave ears satisfied and appetite full, the closing track springing a fiery stroll of rock pop with electronic spotting.

Lino Cosmos is an encounter which lingers longer than most and incites complete involvement of body and soul in its company. Lifecycle are sonic alchemists, centuries ago they would be burnt as witches but today we can only hungrily indulge and devour their creative majesty.

Lino Cosmos is available now digitally and on CD via Supersymmetry and at http://thelifecycle.bandcamp.com/album/lino-cosmos

http://www.thelifecycl.es/

RingMaster 28/10/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

Doomster Reich – The League For Mental Distillation

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The League For Mental Distillation is a warts and all proposition which offers a compelling and unpredictable collision of seventies heavy metal with psychedelic and doom bred metal. The debut album from Polish metallers Doomster Reich, it is raw, passionate, and unafraid to show its flaws alongside the band’s dramatic enterprise. Equally it unveils an organic freedom to its invention, more than once suggesting that the Łódź quartet strapped themselves into their instruments, plugged in, and unleashed whatever was in their heart at the time rather than having a predetermined journey for a track. It is an encounter which ebbs and flows in its success it is fair to say, but one leaving ears and imagination riveted and happy to learn and hear more.

Doomster Reich was formed to the rear of 2011, with the foursome of guitarists Voytek and Markiz, drummer/vocalist Rasz, and bassist Radek settling down to write and record the songs making up The League For Mental Distillation the following year. Its recent release via The End Of Time Records gives the album a broader landscape to persuade, and whilst it may cause raised eyebrows at times, the album is a captivating and skilled blaze of heavy psychedelic doom which becomes more convincing with every listen.

Ears are wide awake and anticipation lit as soon as the opening strains of John Woe sets the album in potent motion. The guitars wind around the senses with a fiery and magnetic touch matched by the throaty tones of the bass and even heavier swipes of beats. It is a transfixing start teasing like a mix of Black Sabbath and Electric Wizard. The striking and also unpredictable vocals add another enthralling element to the mix, the tones and notes of Rasz at times wayward in delivery yet never harming the dramatic adventure around him, mostly adding to that theatre even in his less convincing vocal moments. The song itself continues to stalk and sway seductively before ears, guitars expelling flames of ingenuity and absorbing melodies as rhythms add rich shadows and intimidating weight to its proposal.

The following I Ate Some Desert Diamonds flirts with an expressive blues seeding in its introduction before stretching muscles for a lumbering gait, within which dramatic urges break free to ignite feistier passages of energy and vocal cddoomster_reichexpression. Also equipped with a thoroughly contagious web of hooks and acidic grooves, the track takes all the strong essences of the first to another engrossing level; strong vocals painting guitar sculpted walls of sonic intrigue against a heavy rhythmic canvas colourfully. It is a richly satisfying and evocative creative emprise swiftly matched by the maelstrom that is Comfort of Conscious Demise. Driven by an early thrash seeded charge, the track releases atmospheric smog of sonic oppression before opening up trails of urgent riffery and infectious grooving within the suffocating air. It is a glorious rampage, as savage as it is bewitching, and the best track on the album.

     Pornosopher’s Dream emerges under sultry skies coloured by sonic turbulence but it is a tempest restrained in its voracity and tempered by smouldering flames of coarse melodies and provocative sonic hues. With portentous spoken vocals and the bass pushing heavy shadows into the radiance, the track is as fascinating and gripping as the last with again thrash bred riffery aligning itself to the heavy metal ferocity hanging around the senses scorching designs of the guitars. Its lingering success is followed by the potent if less successful presence of I’ll Shoot You Down, a more sinew driven slab of sonic aggression. Vocals again vary in success but only add to the unique character of the song. The track proceeds to bine ears in excellent guitar play amidst strong rhythmic bait but does lack the spark and ingenuity of previous songs to certainly please but not make an imposing impression.

Closing track In Storms epitomises the album across its thirteen plus minutes. At times it leaves senses basking in scintillating craft and individual enterprise and at other times flirts too much with predictability and expectations feeding ideas, which stand out more because of the shining invention of other parts. Nevertheless despite it’s over long presence, another slight issue, the track is a rich end to a thoroughly enjoyable release. Certainly at times The League For Mental Distillation makes some wrong moves but it is easily compensated by the attention grabbing skills and inventive sounds within the release. It is not the most impressive release you will hear this year but an enjoyable one announcing Doomster Reich as a band more than worthy of close attention.

The League For Mental Distillation is available now via The End of Time Records.

https://www.facebook.com/doomsterreich

8/10

RingMaster 12/09/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/