Bait – Self Titled

art_RingMasterReview

If there is a sound which lives up to its creator’s name more than that of UK post punk project Bait, we have yet to have the pleasure. As in irresistible evidence in a self-titled debut album, it is a snare for ears and imagination; a lure body and instincts alike cannot ignore and as primal and creatively visceral as it is intricately woven.

There is very little we can tell you about Bait, next to nothing to be honest except that it is the solo project of a musician/visual artist which made a seriously impressive introduction to attention within the Alternative Occupations EP released by the Southend based and the outstanding Asylum’s label Cool Thing Records which now lets the band’s first full-length off the leash. Sound wise, Bait conjure a proposition which cannot escape inspiring eager references to Killing Joke in their early days and also of bands like Red Beat, the Malicious Damage label mates of Jaz Coleman and co at the time. Just as quickly though, the band’s own unique character and imagination is infesting album and psyche in what is simply one of the most exciting things heard here in a long time.

Must Meditate opens up the album, its initial coaxing of increasingly excited electronic pulses and vocal endeavour united under musty sonic atmospherics. It is an intriguing introduction boiling up with every second into a tempestuous challenge of metal, industrial, and post punk espionage. Attitude fuels the potent mix, vocal prowess adding to the agitated nature of the song whilst synths and rhythms swiftly bring Killing Joke’s debut EP, Turn to Red to mind.

It is an outstanding start quickly backed up and shadowed by new single Push The Elephant. It is a predacious proposition, stalking the listener even with its boisterous gait while drawing their physical and vocal involvement with an infection spreading alchemy of sound and invention. Wiry hook lined melodies and a brooding bassline only add to the virulence hungrily at play, a united wall of temptation stirring a lustful appetite and participation in no time.

Hate One Another, Love Your Selfie brings a dark funk infused proposal next, its minimalistic yet broadly contagious enterprise woven with the nagging potency of Pop Will Eat Itself. Like a seductress, the track weaves its body calmly around tears, deviously underlying wantonness adding to its lure before Waspy consumes the listener with its punk spawn dance. Beats swat the senses with belligerent keenness whilst guitars caustically bubble on their surface with the melodic tempering offered by keys only seeming to add to the cantankerous air of the track.

The track which provided Bait’s offering on the aforementioned EP is next, I’m Still Here a glorious prowl of hypnotic rhythmic trespass and vocal captivation within a swarming tide of riffs and bass predation. Like a sinister blood lusting yet mischievously devilish mix of Shock-Headed Peters and Brian Brain, the song is pure addiction sure to repeat in many ears and nightmares at its own whim.

Humour is as potent an asset of the album and sound as its invention, Greatest Of The Teeth and the inspirational attributes of Janet Street Porter breeding another attitude driven confrontation to get greedy over. Again thoughts find seventies flavouring to refer to, Rema Rema and to a lesser extent Swell Maps sparked in thought by the compelling incitement but as usual all hues in a tapestry of sound and imagination distinct to and acting as irresistible Bait.

The album concludes with the pair of MZ 4416 and As Far As the Rope Goes. The first is a hungry muscular rock ‘n’ roll assault loaded with more piercing hooks than an abattoir and just as meaty whilst its successor haunts ears and thoughts with angular grooves and deceptively toxic melodies amongst respectful rhythms as vocals snarl with defiance. Both provide a ridiculously enjoyable and striking album with the close it deserves, each adding to the net of lingering temptation quickly drawing back lustful attention.

Bait is a thrilling proposal, band and release as suggested something which gets the juices flowing and you get the feeling they have only scratched the creative surface. Happy Days!!

The Bait album is released March 17th through Cool Thing Records @ https://bait.tmstor.es/cart/product.php?id=31492 with the single Push The Elephant out now.

https://twitter.com/hate_bait

Pete RingMaster 28/02/2017

Copyright RingMaster: MyFreeCopyright

Tribazik -Tools Of Mass Creation

535453_10151331998037613_172851658_n

Swiftly following the acclaimed success of their recent album Data Warfare, UK band Tribazik unleash their new gripping and contagion fuelled single, Tools Of Mass Creation. The closing track on their outstanding full-length, the song is an emotion and thought provoking tempest of sound and adventure, reinforcing the potential and creative emprise shining within the London based trio.

Formed by Jerry Kandiah (vocals/guitar) and Hedge Seel (drums/samples), Tribazik has grown into one of Britain’s most inventive and formidable prospects, Data Warfare their coming of age and the suspected spark to a world spotlight upon their ingenious mix of sounds. Sculpting an individual presence through the merger of genres such alternative rock, psychedelic metal, industrial, techno and much more, the band grabbed the attention of Killing Joke bassist Paul Raven from the release of the single Yang To Yin alone. The song led to the invitation and supporting of Killing Joke on two European tours as well as Jaz Coleman guesting on a track on Tribazik’s Andy Gill (Gang of Four) mixed debut album All Blood is Red in 2009. From there the pair became a trio with the recruitment of Syan and subsequently the creation and release of the self-produced and Youth (Killing Joke, The Orb, The Verve) mixed Date Warfare earlier this year. It is a fiercely flavoured tempest of imagination drenched sound and inventive force managing to cast a mix of early Killing Joke, Pendulum, Pitchshifter, The Prodigy, and Red Beat, whilst sculpting something new and invigoratingly distinct to Tribazik. Now Tools Of Mass Creation is ready to stir up another incitement for the album and itself, an aim as with its source release hard to imagine failing to achieve success.

The single harasses ears from its first breath, rhythms rapping with thick sinews on the senses whilst guitars blaze with a raw causticity to their riffs and hooks. The gothic harmonies of Syan glance across the turbulent air of the track soon after whilst beneath, the track roars with aggression and antagonistic intensity. It then relaxes into a more merciful embrace, the mellow tones of Syan snuggling closer to the ear as Kandiah unveils the narrative with his captivating voice. It is a smouldering passage prone to forceful eruptions of sonic energy and blazing passion musically and vocally. There is an unavoidable essence to Killing Joke to the track, as well as a tasty tinge of Fear Factory, but as it brawls and seduces body and emotions, the song sets down an individual character and beauty to the fury which belongs solely to its creators.

Tools Of Mass Creation is a riveting and mouth-watering furnace of sound and enterprise, the perfect doorway for those still not infected by the exciting presence of Tribazik, to dive into their glorious depths.

Tools Of Mass Creation is available on September 24th

Tribazik have confirmed a special single release party at London’s Islington Academy 2 on September 24th. To celebrate the single release of Tools Of Mass Creation, the band have promised ‘A storming show with full visual onslaught’

Tickets for the event can be purchased from http://www.o2academyislington.co.uk/event/69196/tribazik-tickets

http://www.tribazik.com

RingMaster 16/09/2014

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/

 

Tribazik – Data Warfare

 

TRIBAZIK

    Describing the sound of UK band Tribazik is easy, early Killing Joke meets Pendulum with healthy doses of the raw power of Pitchshifter, the fiery electro snarl of The Prodigy, and the rhythmic swagger of seventies band Red Beat, except as is loudly evident on new album Data Warfare, it is only part of the scintillating recipe. Forging something unique and irrepressibly contagious through the merging and rigorous gene altering of alternative rock, psychedelic metal, industrial, techno and much more, the London based trio rampage through the imagination like a sonic tornado, organic electro and rhythmic teasing entwined with hungry rapacious grooves and psyche igniting invention. It is a glorious pulsating confrontation which has already brought the band eager and potent attention though you suspect that will be nothing in comparison to the acclaim once the album reaches out and out.

     The band is the brainchild of Jerry Kandiah (vocals/guitar) and Hedge Seel (drums/samples), two musicians with a rich experience in metal based bands and having their own sound system on the underground rave scene. Linking up the pair explored styles which lit their own passions with a new and boundary pushing invention, the first results including the track Yang To Yin which caught the attention of Killing Joke bassist Paul Raven. His invitation to support his band led to two European tours alongside Killing Joke and Jaz Coleman guesting on a track from Tribazik’s Andy Gill (Gang of Four) mixed debut album All Blood is Red in 2009. Following its acclaimed release the band was then permanently joined by Syan whose previous band Interlock had released the critically acclaimed album Crisis//reinvention in 2004. The recording of the new album was hit by the death of the band’s manager Gary DS but such the force and energy to the breath-taking tempest you can only feel they used the loss to drive their creativity and passion in tribute to the man. Self-produced and mixed by Youth (Killing Joke, The Orb, The Verve), Data Warfare is a sumptuous kaleidoscope of sound and imagination, an inventive fury which transports the listener into lyrical skirmishes looking at ‘the imminent hostilities facing the human race’, and broiling sonic soundscapes woven with aggressively stirring imagination and voracious creative energy.

     A cyber enticement starts things off as Too Dead To Care emerges from an electronic cocoon to incinerate the air with a a2136431759_2furnace of sound and riffs before settling into a deliciously agitated yet perfectly poised enveloping of the ears. Immediately that Killing Joke and Pitchshifter reference coaxes thoughts as electro driven rhythms and pulsating energy fuses with the ravenous guitars. It is a senses dominating introduction to the album, one bold in its invention and unafraid in its dramatic and persistently evolving provocation.

    The intense and breath-taking start has lips of anticipation being licked and soon satisfied as Atom soon followed by Life Force Energy parade their ingenious contagion. The first of the two flirts with and peels away the surface of the senses with a skittish almost acidic electro irritant whilst behind riffs and rhythms carve out a formidable and incendiary canvas for the vocals of Kandiah to paint the lyrical narrative. His tones are very Jaz Coleman like across the whole release which only accentuates that Killing Joke resemblance, but never to the detriment of the adventure and distinctive Tribazik presence. The second of the pair from another subdued but sinister intro erupts into a blood pumping and exhaustive consumption of the senses, riffs growling with every heavy note and the beats of Seel reinforcing the tantalising damage with sharp and incisive animosity. As now expected it is just one facet of the enterprise escorting the emotions into a near rapture, melodic swarms and thought provoking craft washing and twisting around the uncompromising pulse and heart of the track.

     Without allowing the listener a breath unless they use the pause button, Tribazik keep the riveting creative pressure on with 12th Disclosure and Sonar Sumeria, the first a sonic bred incident filled experiment wailing with aural warning signs, caustic sirens, and perilous intimidation all filtered through a dangerously magnetic swamp of techno radiance and industrial predation. It is a masterful seduction taken to even greater heights by Sonar Sumeria, a celestial journey through rave spawned, psychedelic coloured, sonic romance. Throughout a vociferous energy equally brews up resulting in a sultry and elegant evocation which Pendulum would have loved to have sculpted.

    The album continues to fire up the passions and greed in an already gluttonous hunger as firstly the restrained but predatory Hacktivism with its unrelenting electro bait and metallic rabidity seduces and abrases the senses. Just as keenly a virulently addictive groove brings slavery to the imagination before the rhythmically toxic Spacetime Collapse takes over laying a wonderfully wanton and irresistible hand on the emotions as spirals of unpredictable transfixing ingenuity expand the already dexterous invention. With an additional dub coating to its expanse reminding at times of Ruts DC, the song provides another pinnacle on the lofty range of the album before the dark and menacing presence of Bloodline Crossbreed infects and magnetises an admittedly ready to drool over anything appetite for the album. Arguably not as colourfully imposing as previous tracks but with an evocative melody enriched ambience merging with the intensive atmosphere it is on the frontline of intriguing, sophisticated alchemy.

   That deliberately sculpted and thoughtfully layered turn of the album continues through the final two songs, though no song lacks invigorating intelligence and artful ingenuity in its makeup. The melancholic yet vibrantly rousing Absence Of Proof comes first with female calls lighting the surface of the emotive exploration lyrically and musically whilst the closing Tools Of Mass Creation delivers a world of sonic emprise all of its own, it a resourcefully elegant and vivaciously daring flight of moving imagination. The pair makes a mentally and emotionally mesmeric end to an exceptional encounter; Data Warfare a sensational dawning of Tribazik and their time to take the rock world by storm you suspect and hope.

http://www.tribazik.com

10/10

RingMaster 21/02/2014

 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