Kilonova – Omnicide

As the year continues to unfold, it is easy to see 2019 being a marker moment for emerging UK metallers, Kilonova. Formed last year, the band has already supported Finnish outfit Lost Society in the opening moments of this one and now to continue a potent few months are set to unleash their debut EP, Omnicide.

Newcastle Upon Tyne hailing, Kilonova breed their sound in thrash metal but as their new EP reveals, there is plenty more to its voracious proposition including a definite punk snarl. Indeed there are certain moments within Omnicide where we had the thought that if Siouxsie and The Banshees had turned to thrash, it would have not been a million miles away from the threat and rousing incitement heard within the EP.

Descent opens up the release, its portentous breath looming in with increasing menace as riffs gather and emerge from within its brief but potent threat. Eventually they trigger the rise of Straight to Hell, the second track stalking ears before launching a primal yet resourceful attack led by the predacious riffs of guitarist Jonny Sloan and the equally voracious tones of vocalist Ellen Hill. The barbarously swinging rhythms of drummer Steve Rouse and the heavily prowling bassline of Joe Bambrick simply add to the compelling trespass, the track becoming more predatory and rousing by each anthemic thrash fuelled second.

The EP’s first single, it makes for a great full start to Omnicide, one hungrily matched by Hang the Hangman. A mere breath separates ears and its ravening insurgency; guitars and rhythms again a furious accosting of the senses as Hill uncages her eventful caustic attack. Feral and virulent, the track rabidly hit the spot as band and release continued to arouse attention and appetite though it is swiftly outdone by the outstanding Own Enemy. Threat and drama clouds its presence from the first creative gasp, its predacious prowl soon inspiring those earlier mentioned punk suggestions, the song only escalating its fearsome intent and aggression by the inventive circle of enterprise. Easily our favourite moment within the EP, the song also provides an exciting glimpse of uniqueness the band could and should continue to explore.

The equally compelling Blood in the Water similarly breeds stirring freshness in imagination and endeavour to elevate its thrash instincts, the treat of unpredictability and imagination challenging and chasing the senses with the punk/gothic rock hues which had already captivated in its predecessor; both tracks together forging the striking pinnacle of the release before Ivory Tower brings Omnicide to a fine conclusion. The final track is unbridled fury from its first roar but another embracing the growing invention within the release even if its thrash heart still drives its enterprise.

Fiercely enjoyable on the first listen and only more striking and thrilling thereon in, Omnicide is a major declaration of presence and intent by Kilonova; a band which as they ignite the uniqueness teasing within their first EP have what it takes to be a potent protagonist in UK metal.

Omnicide is released July 12th across most stores.

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Pete RingMaster 11/07/2019

Copyright RingMaster: MyFreeCopyright

Les Bof! – Voila!

Everything about Les Bof! is a surprise and real pleasure; great rewards found in our introduction to them courtesy of the guys at the ever welcome Dirty Water Records. The reason for it all is new album, Voila!; a collection of songs which got under the skin like a mischievously voracious itch.

Les Bof! revels in the heart of French 60s garage rock but a band hailing from the rousing highlands of Scotland. Featuring members of The Thanes, The No-Things, The Sensation Seekers, and Preston Pfanz & the Seaton Sands, the quartet consists of guitarist Angus McPake, bassist Colin Morris, drummer Ross Fairbairn, and French chanteur Laurent Monbel. 2011 saw the release of debut album, Nous Sommes les Bof!, something easy to feel we really missed out on such the addictive and rousing exploits now of Voila! and its fourteen enthralling romps.

From the moment opener Jezebel melodically rumbled into view it is fair to say we were hooked, especially once it set down its swinging gait and nagging stroll. Monbel’s vocals as swiftly enticed even though in a language we have never had a handle on, his tempting more than matched by guitar and rhythmic enterprise. There is a whiff of Mano Negra to the track’s garage rock revelry, a favouring which repeats enjoyably across the album from time to time.

With its drama and captivation increasing by the chord, the song makes way for the just as alluring Fin De Monde, a song with definite Stones-esque flaming to its hooks and energy. Rock ‘n’ roll of the most magnetic order it is still soon eclipsed by the thrilling Vie De Chien. Already in three songs Les Bof! have proven adept at the most merciless of hooks and melodic devilry, the third song casting its own irresistible types led by the delicious groove of the bass wrapped in the spidery snare of guitar; alone one of the most seductive moments of the album.

The sing-a-long canter of Ma Claque just commands participation next up while Je Suis Le Boss owns ears with its sepia shaded sixties shuffle blessed with the intoxicating jangle of keys and the harmonic flaming of Monbel; another great pair which is still outshone by another as Drogue ‘N’ Roll swaggers in with unapologetically flirtatious grooves leading devilish power pop tainted moves and garage pop sprung temptation.

The surf seduction of Souviens Toi nestles perfectly in the arms of the song’s intimate chanson to simply bewitch with Un Deux Trois Quatre bringing the body back to full involvement with its eager animation and virulent quiver; physical excitement further escalated by the rawer but no less melodically enticing rock ‘n’ roll of Soixante-Huitard.

As Liberes Moi with its fiery sixties breath inflames and the similarly era nurtured prowl of C’est La Vie taunts, Voila! only enriched its fascination, grip, and variety of sound with La Fievre Du R’n’R adding to all with its garage rock fever and inescapable holler.

The album goes out as masterfully as it came in; Port St Louis teasing and transfixing with its smouldering instrumental writhing with threads of sonic fire before Formidable provides arguably the most addictive moment of the album with its niggling hooks and flirtation loaded swing. It is a glorious end to quite simply one of the real pleasures of the year so far so as Les Bof! declares…Voila!

Voila! is out now via Dirty Water Records: available @ https://lesbof.bandcamp.com/album/voila

 

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Pete RingMaster 25/06/2019

Copyright RingMaster: MyFreeCopyright

Microcosms – Forget Us

Undoubtedly the Chicago music scene is and has perpetually been the source of some of music’s most striking and individual artists. Microcosms is the latest proposition from within its creative bunker to grip our attention, our introduction coming through their new single, Forget Us. It is one of those tracks which lay predacious eggs under the skin and in the brain from its first breath, growing and festering as an addictive we for one have no wish to dispense with.

Microcosms is the creation of guitarist/vocalist Andrew Tschiltsch, an initial solo project which after a few years saw the addiction of bassist Bryan Emer and drummer Jered Pipenbrink. Musically its alternative rock nurtured sound welcomes the inspirations of artists such as Arctic Monkeys, Bully, Cage the Elephant, Courtney Barnett, Portugal. The Man, and Wolf Alice and emerges as “music to question your beliefs to”. Debut release, the Know My Body EP, enticed well-receiving attention in 2017, its impact soon eclipsed by that of the Fairytale EP a year later. They are successes we expect to be once more surpassed by, given the chance, that surrounding Forget Us.

The song just romps from the speakers, funnelling through ears with one delicious and inescapable hook. The flirtatious antics of the guitar continues to wind salaciously around ears and imagination with the subsequent vociferous rhythmic shuffle within ear gripping noise smog only adding to the tracks infestation of the senses.

Continuing to tease and taunt through each cycle, the song is a mix of threat and seduction seeing the band unleash its more punk bred instincts in comparison to previous encounters. Even so post punk, new wave, and noise pop imagination is just as vocal and rousing within the track with its eventual departure the only moment disappointment escapes.

We cannot say we have heard everything from the Microcosms imagination and enterprise but of what we have and undoubtedly enjoyed, the irresistible proving Forget Us simply eclipses the lot.

Forget Us is available now @ https://microcosms.bandcamp.com/

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Pete RingMaster 04/06/2019

Copyright RingMaster: MyFreeCopyright

Wake Up Hate – Deep Sleep EP

 

Photo Cred: Roxy Faith Alexandria

Some encounters immediately strike home others need time and attention to complete their full persuasion. The debut EP from Florida hailing alternative rockers Wake Up Hate sat somewhere in between. Certainly it made an enjoyable ear grabbing proposition from the off but with subsequent plays it unveiled its extensive tempting as the adventure and potential of its creators fully emerged.

Stepping forward late last year, the Orlando based outfit consists of vocalist Jake Adkins, guitarist Matt Browning, and drummer Triston Blaize. Quickly the trio released their first single, a song amassing over 60,000 streams since its release in late December. It declared their music a tapestry of textures employing heavy snarling riffs through to provocative ambiences, a blend which provokes thoughts of the atmospheric prowess of Linkin Park, the melodic intensity of Papa Roach, and the steely rapacity of Spineshank across their new seven track rich Deep Sleep EP.

The release begins with that previously mentioned single, The Cycle bubbling up from an industrial hued distance to surge through ears with voracious dexterity. Its deliberate stroll stalks as it invigorates; keys and guitars spinning a dark yet rousing web punctuated by uncompromising rhythms. Adkins vocals are just as magnetic with the track a mix of the familiar and individually fresh with unpredictability its companion.

Easy to hear why it has made such a potent impression since its release, the single makes way for next up A New Way to Hate. It too erupts with force and threat in its initial coaxing, a tempting only blossoming as its melodic and atmospheric intimation brews in keys and the fiercer throes of guitar. As its predecessor, it is a track which commands attention and like the first, sets a lingering impression and pleasure easy to embrace.

Over the Edge follows, the song a swift melodic smog of suggestion and emotion prowled by a great gnarly bassline. The band’s pop instincts flourish within its fire, catchiness as vocal as its tempestuousness and though the track did not quite rival those before it, there was no escaping being firmly held by its craft and enterprise as moments of real imagination and ferocity struck.

The EP’s title track equally captivated with a mix of rock pop engagement and creative as well as physical severity. Haunting melodies and intimation soaked keys collude with tides of metallic antagonism and angst across its landscape, the song another which needed further time to fully seduce but only teased ears and appetite towards thick pleasure from its first trespass.

Similarly Love Me Like a Hurricane took longer to enslave but with its inflamed and rousing chorus and kaleidoscope of enterprise never left thoughts looking forward or; a challenge that Not Worth Saving quelled with individual if not complete success. Even so both songs only added to and built upon the potency of the release leaving Blind Apologies to conclude the impressive offering.

The fascinating final song is an emotive haze of sound and passion, its cosmopolitan hues rich spice in its dramatic balladry as it brought the EP to a strong and alluring close. It is early days for Wake Up Hate but the song and its inventive confederates more than hint that we might just have something special emerging in our ears. Certainly the potential is there and the enjoyment.

Deep Sleep is out now.

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Pete RingMaster 01/06/2019

Copyright RingMaster: MyFreeCopyright

Suspects – Recovery EP

Press Shot Kana Waiwaiku

It has not taken us long to find a firm and eager appetite for the releases and sounds coming out of UK label Cool Thing Records; a hunger borne from ear grabbing releases courtesy of its owners, the outstanding Asylums, as well as those of The Horse Heads, BAIT, and Indian Queens. Now we can add Suspects to the list and a debut EP which just sizzled on the senses.

Southend-on-Sea hailing, the duo has certainly earned keen praise and support from their singles to date but now together with a fourth imagination gripping song will surely make a greater impression and impact as part of the Recovery EP. Their fervent roar is punk bred but with a garage rock inspired ferocity and grunge nurtured scuzz which simply adds to one hungry lure. Equally there is inherent catchiness to its feral rock ‘n’ roll, a mix which hints at bands such as The Sea and In The Whale but springs its own attention grabbing flaming holler.

Recorded with producer Thomas Mitchener (Frank Carter & The Rattlesnakes, Gallows, The Futureheads, Asylums), Recovery opens up with its title track. Swiftly an instinct luring melody teases from the guitar of Thomas Prescott, its elegant yet slightly raw coaxing proving irresistible as too its creator’s potent vocals which are soon in league with its temptation. It is a relatively calm but emotively alive beginning hinting of an underlying volatility that soon explodes in a tempestuous stroll driven by the bold and magnetic rhythms of James May. In full rampancy, the track is dirty yet radiant, corrosive but rousing, familiarities aligning to uniqueness as it sets inescapable persuasion on ears.

The thrilling start to the release is richly backed by next up Anaphylactic Shock, a swift and rapacious slice of sonic incitement offering one minute fourteen seconds of the most rabid and virulent punk rock likely to be heard this year. Enslavement was swift, a hunger for more just as rapid and quickly fed by Innocence. With a more controlled but no less wild gait, the track stalks ears with its senses scything beats and scuzz bearing grooves. Prescott’s vocals are just as intense and voracious let alone adventurous amongst them with Hammond toned keys adding to the song’s broad yet acute character. As the tracks around it, the song crackled on the senses and lingered in the imagination, pleasure fired up with every twist and turn.

Armageddon And Me completes the quartet of tracks, and immediately owns its moment of domination. Carnal riffs and swiping rhythms are instantly unleashed, Green Day shaded contagion just as eager as the sludge/grunge natured tonic which fired up song and spirit alike. It provides a seriously rousing and thrilling end to an EP just as tenacious and dynamic in its every breath.

In its relatively short life Cool Thing Records has already been the gateway to some rather special adventures and encounters, the Recovery EP just continues that riveting trend.

The Recovery EP is released May 31st via Cool Thing Records.

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https://coolthingrecords.bandcamp.com

Pete RingMaster 29/05/2019

Copyright RingMaster: MyFreeCopyright

Come Out Fighting – Soundtrack To A Shipwreck

With creative lungs bellowing out ear grabbing hardcore fired punk rock, US outfit Come Out Fighting has just unleashed a new single which simply insists on, no demands attention. Soundtrack To A Shipwreck is a two track offering which equally makes a compelling raucous excuse to check out the band’s forthcoming new album, a release which if this teaser is a potent sign could very well thrust the Detroit quintet towards far broader recognition.

Containing ex-members of Tommy Gunn and current members of The Purps, Aggro Or Die and Saint Ridley, Come Out Fighting are not exactly new to keen praise and support across a trio of rousing albums and a powerful live presence. With a sound inspired by the likes of The Purps, Aggro Or Die and Saint Ridley, they have become a vital proposition within their local scene and further afield adventures. As suggested by their latest release, their music is not commandingly unique yet the two tracks making up Soundtrack To A Shipwreck, both taken from the impending Any Port In A Storm, are drenched in a fresh and voracious character which leaves a vast many other similarly cast encounters pale in comparison.

Soundtrack To A Shipwreck is a song which immediately gripped ears with an urgent but controlled trespass, classic rock hues lining its insistence before the band’s punk instincts drive the track’s rapacious incitement. Raw throated and melodically spun vocals unite in its irritable declaration, the scowling exasperation of vocalist Nick Rudowyj nicely contrasted by clean tones as the guitar of Brian Stewart spins its own broadly emoted sonic web. Underpinned by the bold senses harassing exploits of bassist Dan Bruce and drummer Casey Husted, the track easily got under the skin as it inspired mutual discontent on the world.

As striking and enjoyable as it is, the song was quickly eclipsed by its companion, Blackout. Taunting more pop punk essences into its own individual tempest, the song surged from the speakers with physical and emotional voracity. Hooks and grooves are quickly embroiled in its ravenous attack, their virulent catchiness eagerly lining the antagonistic leanings of the excellent encounter; a blend just as potent and infectious within the vocal incursion of the song. With an appetite firing bassline and eager punk rock ferocity to its infection, it was a quick submission sought and found by the track as equally a need to check out the soon to descend album.

As suggested there is plenty familiar in flavouring to the two songs but for the main just recognisable invitations into the individual escapades of Come Out Fighting; exploits we can only recommend.

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Pete RingMaster 17/05/2019

Copyright RingMaster: MyFreeCopyright

Duckeye – PUCE

Three years after uncaging their most roguish, fiendishly dishonourable album yet, and their most irresistible in Songs From The Gunt, Australian reprobates I Am Duckeye have just unleashed an equally diabolical successor in Puce. Looking back across their previous three albums, EPs and singles, it is no secret that the band’s unpredictable fusion of punk, virulent metal, voracious rock, and unapologetically questionable humour has grown thicker and heavier in enterprise and weight. Now though the Melbourne outfit has dived headlong into the charnel house of noise and sludge flooded animosity whilst still embracing that initial breeding of sound and emerged with one challenging, raveningly feral, and compelling beast of a release.

Whether to mark this twist of direction in sound, though it is still very recognisable I Am Duckeye, the band has slimmed the band name down to simply Duckeye though they still use their full name everywhere else it seems. Being lazy we will use the shortened version as on Puce, a release also seeing another reduction, in the bands line-up. Duckeye has slimmed to the irrepressible trio of vocalist/guitarist Sam Haycroft, bassist Jules Medor, and drummer/producer Sean Bailey, a threesome unplugging the floodgates of sonic voracity whilst humour wise too, they have bred a fresh trespass. Certainly Puce does not hold back with a tongue hungrily pushing the cheek but it aligns to a deliberately caustic and social scowl on the world and people fuelling the chaos today; maybe some will say it is mischief which has grown up a tad but yes it still brings a ready childish grin to the face with regularity.

It is probably fair to say that Puce does not have songs which virally leapt from the speakers into our particular devilment as many of the band’s previous infestations yet all make for a fiercely memorable moment and all have attributes which just got under the skin and into our lustful appetites. Across the album riffs mercilessly trespass, grooves wickedly entangle, and hooks ensnare with nefarious ease and throughout the band’s punk metal instincts erupted to inflame ours.

Puce first erupts with Docks, Haycroft’s lone guitar casting steely strokes at ears with his just as untamed tones quickly stepping forward to its side. Then as swiftly the track stretches its muscles and strides forth, rhythms almost gleefully and definitely venomously dancing on the senses that grooves keenly infest. As suggested earlier, the contagious sound is as individual Duckeye as fans would hope but it is a new monster with no qualms about parading seductive enterprise within its voracious incitement.

In contrast to the excited gait of its predecessor, the following Stab Flats crawls over the listener; doom and gloom soaking its prowl as noise and sludge coated aspects collect in its magnetic bowels. Eventually it escapes its chains to angrily cavort through ears, with it a new wave of ravenous flavours and styles carnivorously clawing at the listener. Reverting back to its predacious drag of its irresistible Birthday Party hued sonic body it makes way for the equally examining exploits of Headlights, the senses caught on its sonic glare whilst the body is bouncing to its barbarous manipulation. Again at times there is an echo of eighties post punk to its corrosive toxicity but once more it just spices up that Duckeye uniqueness channelling through song to the pleasure it sparked.

It is often enjoyment loaded with punishment as witnessed in Dead End, the track just short of two and a half minutes of bestial incitement churning up the senses and every esurient lust you have inside through punk and dense extreme metal fired savagery. Addiction to it was inevitable with our appetites here, the song bordering cannibalistic as it devours its own virulence with just as captivating barbarity.

The lengthy trespass of the following Tree Puncher is more familiar Duckeye, initially luring attention with their established creative mischief but it too its soon flexing its grievous dexterity, the song a kind of bridge between Puce and the band’s last outstanding full-length. By its departure though, the track is all predator and simply corroding the senses, indeed disintegrating them with sonic scorching though they are soon brought back to life by the animated dissonance of Defeated. It is a song with post metal winds which absorbed if not aroused initially but then it goes and throws wicked grooved interruptions of lusty ire to raise the temptation and pleasure by multiple degrees

Both Sense and Finger deviously got under the skin, the first with its delicious initial gothic Bauhaus-esque hues and more so with its metal forged punk ‘n’ roll carousing and the second through its classic metal wired, stoner sludge stroll; again virulence flowing through netting of infectious veins.

The final pair of tracks on the album proves themselves just as unscrupulously tempting; Dead Eyes with its cold stare and predacious prowl masterfully wily and persuasive, villainous rock ‘n’ roll at its notorious best, while Blue Hand leaps on another wealth of fresh flavours to ignite its enterprise woven web.

Together they provide a richly gripping conclusion to an album which assaults and invigorates second by second, thrilling with every passing trespass. Puce only gets better and more addictive by the listen too so maybe this is the moment the world catches a dose of the I Am Duckeye virus; it would be a better place for doing so.

Puce is available now @ https://iamduckeye.bandcamp.com/album/puce

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 Pete RingMaster 09/05/2019

Copyright RingMaster: MyFreeCopyright