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/

Brimstone Coven – Self-Titled

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Psychedelically distilled, the dark occult rock fusion of retro-hard rock and doom which is cast by US band Brimstone Coven is a flight of nostalgia and modern enterprise rolled into one fiery proposition. As openly evidenced by their new self-titled album, it is a sound and incitement which roars and seduces with its sounds but also ebb and flows in strength and persuasion at times, especially if there is no dormant passion and appetite for the genre they explore within their recipient. Yet it is only fair to say even with that obstacle before it, the release makes for a compelling and often rigorously captivating offering which awakens the imagination and flirts with the passions.

The album sees the uniting of second release II and a preceding self-titled EP/album from the West Virginian band which began in 2011 with guitarist Corey Roth, who subsequently brought vocalist “Big John” Williams, bassist Andrew D’Cagna, and drummer Justin Wood into the project; the latter replaced by Dan Hercules until his more recent return. The success of the band’s live presence and their first two releases, led to them signing with Metal Blade Records at the tail of last year going into this. The new unleashing gives their previous encounters a combined and wider canvas to enthral from and it is fair to say that the album does that with consummate ease.

The thumping beats opening up first track Cosmic Communion instantly ensures attention and appetite is rigorously awoken, its instinctive raps swiftly joined by flames of guitar and the potent melodic voice of Williams. It is a strong coaxing which finds a potent vein of magnetism with swinging grooves and sonic weaves of flavoursome enterprise over which group harmonies also impress. The song is soon casting a revelry which is as potent urgently shifting its feet or making a more sultry seduction, each leaving ears and emotions fully engaged. Thoughts of Pentagram and Orange Goblin come to mind in varying degrees as the track makes an invigorating start to the release. Its success is not quite matched by the moodier Behold, the Anunnaki, its air and attitude a darker presence to the more celebratory essence of its predecessor. The bass instantly catches the ear, its heavy shadowed tones even more pronounced and intrigue ridden than in the first song, whilst the excellent vocals again smoulder and soar enjoyably singularly and as a group, bringing an Alice In Chains essence to the narrative and feel of the song. A repetitive prowl of bass and aligning riffs equally makes a rich lure to the track which though definitely lacking the spark of the first, still leaves a contented feeling behind.

The Black Door pushes emotions and pleasure back up to that early plateau with its sinister yet absorbing beauty. Grooves and melodic hooks litter the mesmeric landscape of the song, its paths of again throaty basslines and more monotone kissed vocal enticing just as irresistible as those more openly grabbing lures. It is the best track on the album by far, everything about its invention and body dangerously seductive and hypnotically imposing, like an occult themed episode of seventies TV show Hammer House of Horror. The album never quite repeats the song’s glory again though the likes of the sultry Blood On The Wall and The Grave with its ravenous enticement as well as the slowly crawling Lord & Master give plenty to contemplate and striking rewards in. The second of the trio especially ignites a fresh hunger, its rawer and vivacious stoner lit textures a healthily appetising provocation to which blazes of guitar imagination and sonic rapacity flirt evocatively, whilst its successor is a slow burning tempting which grows and enslaves emotions over time with raw elegance and dramatic sonic poetry leading to a blaze of a finale.

The addictive almost predatory riffing which is soon in place through Vying makes for another inescapable baiting, though the song never manages to quite breed the same depth of potency through the rest of its accomplished ideation and craft. Again though it is a song which leaves a lingering thread of allurement which draws you back into its resourceful grasp, something The Séance is less successful in creating despite its presence making for a pleasing if quite quickly forgotten encounter, especially with the intensive weight and atmosphere of The Folly of Faust coming soon after, its thick smothering air a tempestuous spark to the imagination.

The remainder of the album is made up by Brimstone Coven’s first release, a heavier and darker toned collection of songs thanks to their raw recordings and production, but also tracks which just do not have the same spark and life as those before them. It is easy to see why that first EP drew strong attention though with tracks like We Are Forever with its smoky blues atmosphere and the more classic metal hued The Ancients showing all the potential exploited better in the following album. With Son of the Morning making the most potent impression of the remaining songs, the whole album is a fascinating proposition, a journey back to previous eras but finding plenty to awaken a modern palate, even those with a less keen appetite for those older times.

Brimstone Coven has the potential to make a major statement ahead taking their album as suggestive evidence, its persistently convincing presence increasingly persuasive as it immerses ears and thoughts.

Brimstone Coven is available now via Metal Blade Records @ http://www.metalblade.com/brimstonecoven/

http://www.brimstonecoven.com/

8/10

RingMaster 06/08/2014

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/

Monolith – Dystopia

MONOLITH2 Photo by Fabian Sauer

It is very easy to have mixed feelings about Dystopia, the debut album from German doom rockers Monolith. On one hand it is so close to Black Sabbath in its sounding, with even vocalist/bassist Ralf Brummerloh offering a clone like Ozzy delivery as he unveils the individual narratives, that you struggle to pick out too much which makes a distinct and unique impact. Against that though, the release and songs are so magnetic and superbly presented that it is hard not to be compelled to indulge in its seventies seeded and sounding flight time and time again. It is an encounter which is sure to divide opinions but you suspect will persuade more than it disappoints.

Based in Bremen and formed in 2010, Monolith creates an atmospheric and sultry old school doom rock atmosphere which wears its heart and origins on every note and syllable expelled by the trio of guitarist Ron Osenbrück and drummer/backing vocalist Andre Dittmann alongside Brummerloh. Inspirations it is easy to assume include the likes of Electric Wizard and Pentagram but it is that Sabbath well where the heart and breath of the band’s first offering seems to be spawned from overall. With lumbering intensity and imposing predatory rhythms aligned to tightly binding grooves and searing psychedelic temptation, the predominantly live recorded Dystopia is a thick oppressive charm to easily enjoy, if probably not to be inspired by.

The album immediately engulfs ears with deep pulsating riffs, gripping rhythms, and a growling almost carnivorous bass sound, the latter persistently pleasing bait across the whole of the release. Won’t Come Down is an immediate Cover Artwork by Rocket & Winkand sizeable tempting to start things off, not a particularly dramatic offering against subsequent tracks but a clear hint of what is in store. The song strolls with a heavy yet eager gait, grooves and caustic sonic flames holding a creative grin as they smart against the senses and imagination. The vocals of Brummerloh as mentioned also show their influence boldly, whether by choice or coincidence, but still make an enjoyable colour in the sultry scenery of the song and its swagger fuelled, contagious chorus.

The strong start is matched and pushed a tad further by the following Cosmic Fairy. From a delicious throaty bass coaxing and a swiftly joining blaze of seventies washed acidic guitar, the track holds a steady and even stride framed by similarly gaited rhythms. Though the song does not have the infectious lure of its predecessor, it burns and sizzles with striking designs of sonic venture from Osenbrück to certainly grip attention and awaken a keen appetite for the unfurling proposition.

The next up Hole roughly caresses ears with an initial hot scrub of fuzz filtered guitar and a dark bass tone with an almost demonic tremolo resonance to its malevolence. Smouldering in breath and citric in flavour, the track winds around thoughts and emotions with potent melodic and hazy hues, easily recruiting intrigue and enjoyment. Again though there is no escaping the comparison to the Birmingham legends which dilutes any chance of passions raging before its undeniable skilled and appetising incitement, something applying across the whole of Dystopia to be honest.

The dark uncompromising title track slowly wraps its heated climate around senses next, it’s slowly imposing doom sourced evocation a thick engaging swamp of ebbing and flowing enticement which pleases without sparking real fire in the belly. Its successor Acid Rain employs similar intrusive textures amidst entwining spirals of sonic tempting and a great incendiary flame of funk infused adventure, to explore a successful but barely lingering path.

The album concludes with two highly satisfying encounters, firstly the infectious hip swinging Sleepless Eye. With its transfixing addictive lures and expressively charismatic melodic web of invention, it is the best track on the album; a richly enterprising treat of a song which is unafraid to glide through energetic festivity to suffocating doom crafted shadows, every twist lit by scorching guitar play. The closing Rainbow provides an epic journey of seismic intensity and rhythms within virulent psychedelic smog of imposing weight and heavy metal structures. It is a predator of a track, stalking and preying on the psyche whilst unleashing a contagion packed net of rapacious endeavour. Monolith saved the best encounters to the rear of the album, a closing packed with potential and more originality than shown before but still within well-trodden avenues.

There is no getting away from the core recognisable sound of Dystopia and its inspiration but even with that Monolith provides a strongly enjoyable and easy to return to release which has to be classed as a success.

Dystopia is available now via Finalgate Records @ http://finalgaterecords.bandcamp.com/

https://www.facebook.com/Monolith.doomrock

7.5/10

RingMaster 09/07/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com