Her Despair – Mournography

Mournography is an exploration into the mysteries of tragedy, blasphemy, death, and love; both literally and figuratively…The mourning of some, the lust of others. These songs praise and pervert the Word of God simultaneously: providing a deeply unsettling spiritual experience set to a bleak backdrop of melancholia.”

The words accompanying the new EP from UK goth/dark metallers Her Despair perfectly encapsulate its tone, heart, and seduction. It is a journey into dark places as broad as they are intimate through a sound as melancholic, thickly shadowed, and mesmeric as the emotion laden words within.

Formed in 2015, Berkshire hailing Her Despair began as the solo project of J; the album Hymns For the Hopeless its introduction that April. It set down the seeds and template for the rich fusion of atmospheric and emotive gothic and dark rock with the trespass of punk and metal. It was a captivating raw mix within that first encounter but now with Her Despair a fully-fledged band makes for one richly compelling proposition within the new encounter.

With guitarists Dan and Jord, bassist Vikki, and drummer Lee alongside vocalist J, and recorded with Matt Bew at Whitehouse Studios in Reading, Mournography immediately strikes the imagination as it opens up with Blaspheme With Me. Straight away there is a tenacity and controlled urgency in rhythms as the guitars entangle their lures; an energy which fuels every aspect of the emerging song until it hits a boisterous stroll behind the enticing tones of J. Hues of bands such as Sisters of Mercy and Fields of the Nephilim collude with the uniqueness of Her Despair as the track grows, each essence adding to its captivation and seamlessly changeable gait. The outstanding song epitomises the band’s sound; it’s embracing of sturdier metal traits with its gothic instincts.

The following Valentine’s Mourning similarly has a raw energy and swing to its attack driven by the senses nagging boisterousness of rhythms with this time harsher punk essences infesting its character. Keys add to the melodic seduction and flames tempting within whilst as with the first track, an organic catchiness brings something akin to bands like Dommin to the imagination.

A darker calm caresses ears next with Within Tragedy; it’s almost funereal march an imposing yet rousing incitement matched in tone and intimation by the air and words escaping J’s vocals. The track is pure seduction with heavy drama in its tone and an immersive lure to its rich web of almost threatening romance.

Charming keys and harmonic calm opens up Damnation Tonight next, their coaxing soon immersed in the song’s thick theatre of sound and intimation. Though missing the final spark of imagination of its predecessors, the track simply tempted and embroiled ears and thoughts in its creative and emotive melodrama as the body instinctively swung to its virulent inclination.

In the Arms of a Sadist brings the EP to a close, it too making a calm entrance with reflection colouring word and sound. It is a dark brooding though which escalates throughout, sometimes ebbing as the track and J’s vocals reach deeper into the heart but always giving a magnetic shadow and trespass to the dark intoxication.

It is a fine conclusion to a release which fascinates from start to finish. Possibly there is a lack of individual surface uniqueness between the five tracks making up Mournography yet each enthrals in their own ways, more so with attention and time, and united ensures from start to finish the EP transfixes and impresses; increasingly so by the listen.

Mournography is released July 20th; available @ https://herdespair.bandcamp.com/

https://www.facebook.com/herdespair/   https://twitter.com/herdespairband

Pete RingMaster 17/07/2018

Copyright RingMaster: MyFreeCopyright

 

Coburg -The Enchantress

If a title ever fitted an album and its lead protagonist then it is The Enchantress. The debut album from UK hailing symphonic rock outfit Coburg, the release is a riveting cauldron of adventure fuelled sound and melodic seduction; a fascination of imagination with a bite in its jaws and theatre in its flirtatious trespass.

Coburg is the creation of and led by singer songwriter/guitarist/actress/model Anastasia Coburg, an artist who has previously gripped attention through previous guise Jet Noir and as part of Naked Lunch. The London based band is completed by synth player Dean Baker and bassist Mark Spencer both of Galahad and Twelfth Night, rhythm guitarist Sarah Sanford, and drummer Pietro Coburg. Musically, Coburg embraces the gothic rock tones of Jet Noir into its grander and bolder symphonic rock soundscapes; a blending which simultaneously feels intimate and worldly around the emotively woven heart and expressively delivered lyrics of each individual adventure.

Straight away The Enchantress beguiles ears and thoughts, a tempting which only escalates track by track for a seriously potent lure starting from the first breaths of opener A Cold Day In Hell. As soon as the resonating touch of bass and keys fingers the senses the song, which was born in Anastasia’s Jet Noir exploits, has submission in its grasp. Swiftly, you can hear the growth and maturity which has blossomed in the song since its first impressive days a couple of years back, a new sense of drama and intensity fuelling stalking riffs and rhythms as Anastasia’s striking tones step forward. Erupting throughout with melodic flames, the song continues to prowl as that drama intensifies note by note. Apocalyptic in air, darkly romancing in character, the song is immense and unafraid to twist through unpredictable discord lined detours.

Its Middle Eastern spices are even richer within the following and equally exceptional Echoes In The Night. They emerge from the initial shadows of the song, dark corners and provocative ecclesiastical chants enticing as they are soon in union with the wiry tendrils of guitar. With Blancmange like qualities, those cosmopolitan essences dance seductively on the ear, keys and guitar weaving an entrancing beckon before the grittier tones of Anastasia walk the eager stroll. Her lead guitar prowess teases around and alongside too while rhythms share their excitable shuffle in a proposal which has the body as lustfully involved as the imagination.

Dark essences are never far from a Coburg song and coat the senses straight away as The Hall Of Ghosts steps forward next; its fiery and lively balladry a lithe saunter draped in flavourings hinting on the likes of Sisters Of Mercy, The Mission, and Vajra. Its melodies have a childlike innocence but encased in a dark tide of further melodic suggestion and raw power. With bewitching harmonies sealing the deal, the great track is matched in success by the tenebrous atmosphere of Into The Darkness. Gothic rock again flows openly through the symphonic nurtured tapestry of sound, bringing a noir lit intrigue and in turn virulent infectiousness to infest ear and imagination. As with every track, each listen reveals a new twist and layer, the song evolving and growing from its stirring introduction into another major moment within The Enchantress.

Each song also feels like an individual tale and fresh chapter in the album’s journey, Requiem no different as it romances ears next. Though not quite having the sparks of those before it, the track is a heated flame of melodic and lyrical invention which captivates with creative ease before the album’s title track spins its own crepuscular web woven with the fingering enterprise of synths and guitar around smouldering but direct vocals. With electro and progressive rock invention joining its drama, the song is an increasingly compelling proposition, an essence which applies to all songs to be honest as proven by next up Thy Dagger. Its union of intimidating scythes of guitar and electronic revelry instantly grabs full attention, a focus rewarded with vocal and melodic dexterity as the track blossoms note by note into a magnetic slice of cultured rock ‘n’ roll

A haunting realm of suggestion and sound brings Till The Bitter End into view, its shadowed melodic lighting and veiled threats encapsulating the intimate yet broad depths of song and words. Personal tastes did not take to the track as easily as with its companions within The Enchantress but instantly it nurtured a want to go deeper whilst embracing the siren like harmonies and undisguised imagination bringing it to life.

The album is completed by firstly Warrior’s Blood, a song with steel in its skeleton and rousing invention in its evolving character. There are moments which mix the bite of Otep with the melodic fire of Within Temptation but just flavoursome strains in the individual emprise of song and Coburg before Rise closes things with its inflamed hope graced ballad. As if further proof was needed, the song is an emotive declaration of Anastasia’s quality as a singer and songwriter as well as the band’s craft and individual imagination.

Song by song The Enchantress captivates and stirs, growing as mentioned with every listen into something even more impressive whilst announcing Coburg a striking addition to the European symphonic rock scene.

The Enchantress is released October 24th via Evolve Or Die Records and available @ https://coburg.bandcamp.com/album/the-enchantress

http://coburgband.com/    https://www.facebook.com/COBURGtheband/    https://twitter.com/COBURGband    http://www.anastasiacoburg.com/

Pete RingMaster 24/10/2017

Copyright RingMaster: MyFreeCopyright

Black Space Riders – Beyond Refugeeum

Pressefoto BEYOND REFUGEEUM EP_RingMasterReview

It is hard to say whether Beyond Refugeeum, the new EP from space rockers Black Space Riders, is an epilogue, continuation, or parallel entity to the band’s acclaimed fourth album, Refugeeum of 2015. In varying ways it is all of those identities whilst providing a mouth-watering and spirit rousing proposal from the ever captivating imagination of the German outfit offering four new tracks to tempt with a couple of remixes.

The quartet of original recordings making their first appearance upon Beyond Refugeeum, are songs which the band deliberately kept back from Refugeeum to release separately; tracks which according to vocalist/guitarist/keyboardist JE, are “unlike what you might expect from this band. But you can still tell that it comes logically and quite unmistakably from the Black Space Riders. The songs are exalted, sometimes overwrought, vivid, and yet accessible. Much has happened in Europe and in the world since these songs were written at the end of 2014 and recorded in early 2015, but they seem to be even more contemporary and necessary than ever.

As soon as first track Willkommen engages and embraces ears, it is easy to understand his suggestion. The EP is straight away recognisably Black Space Riders invention but moving in different circles of ideas and fresh directions, and increasingly so across the release. The opener is an instrumental which starts with a gentle intent and touch, guitars coming in one by one with bass and percussion close behind. Each element has a melodic and rhythmic restraint but a provocative essence which brews and grows across the six minute encounter. Spatial yet increasingly aggressive and intimate, the track is like a psychedelic nebula, drawing in denser sounds and energy until creating its own dramatic world, or in this case an intensity fuelled sonic climax.

16_01_04 ep_beyond_refugeeum_cd-digisleeve_RingMasterReviewThe following Freedom At First Sight sees the band venture into a more nostalgic field of inspiration, post and gothic punk with new wave hues enthrallingly flavouring its magnetic presence. The vocals have a dour tone and melodies a colder air to match the ambience of the otherwise rousing roar of the song. In many ways like a mix of Sisters Of Mercy, Killing Joke, and Joy Division, it is glorious with a closing crescendo of voice and sound to get lustful for. Across their releases, Black Space Riders have created some memorable and irresistible proposals but this track might just eclipse them all.

Droneland grumbles into view next, its sonic breath a grouchy nagging which is soon accompanied and overwhelmed by the magnetic light of synths, though an underlying shadow still lingers as the track blossoms a mesmeric flight over shamanic rhythms.  The attitude loaded lure of bass adds another irresistible hue, as too the grainy vocals which soon breed great spirit-raising harmonies. Once hitting its full height, weight, and stride, the track is a forcibly rousing incitement again revealing new shades of colour and imagination to the creative palette of the band.

Just as fascinating and thrilling is Starglue Sniffer, a pulsating slice of funk rock with spatters of excitable melodic and sonic temptation across a flirtatious bass lure and exotic rhythms. The falsetto hue of the vocals catch ears by surprise whilst only pleasing though it is the thumping dynamics and almost rebellious textures of the song, as well as sultry grooves, which steal the passions most. Becoming more irritable and volatile with every passing breath, the track snarls and flirts with sublime effect, to join its predecessors in leaving ears and appetite greedy for more.

Completed by VRTX RMX, an atmospherically invasive yet alluringly droning remix of their last album’s opener Vortex Sun, and finally Gravitation, the electro club remix of the band’s Give Gravitation to the People, a song on D:REI the band’s debut album, Beyond Refugeeum is an unmissable treat for fans and newcomers. The final two tracks make great listening but it is the new songs which grab all the eager plaudits whilst revealing an array of new pastures we can only hope the band explore further. We loved the previous Black Space Riders releases, but Beyond Refugeeum might just be our favourite moment yet.

The Beyond Refugeeum EP is out now via Black Space Records on 12” vinyl, CD, and digitally@ https://blackspaceriders.bandcamp.com/

http://www.blackspaceriders.com   https://www.facebook.com/BlackSpaceRiders

Pete RingMaster 16/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Mayflower Madame – Observed in a Dream

MayflowerMadame_RingMasterReview

When looking back at the end of the year, we suspect that April will be noted as one of the most fruitful months for stunning albums, with a great many of them striking debuts. To a list running into double figures we can add the outstanding first full-length from Norwegian band Mayflower Madame. The band’s sound is a captivating weave of post punk, shoegaze, and psych rock textures but given its own distinct character by the imagination of the Oslo quartet, and Observed in a Dream a release which commands attention with a presence slightly nostalgic but as fresh as the dew on a spring morning, and as radiant.

Formed in 2011, Mayflower Madame has already drawn potent attention and praise with the Into the Haze EP in 2013 and last year their single Lovesick. Comparisons to bands such as My Bloody Valentine, Bauhaus, Spacemen 3, and The Jesus & Mary Chain have readily been offered, and understandably with the band’s provocative dark and sensuous sound. Live they have earned a strong reputation too, sharing stages with the likes of Crystal Stilts, Night Beats, La Femme, Disappears, Crocodiles, and Moon Duo along the way and making successful appearances at Norway’s largest festivals, Oya and Norwegian Wood. Now released on their own Night Cult Records and Custom Made Music in North America, Observed in a Dream is ready to wake up the biggest and most attentive spotlights upon the band.

As soon as opener Confusion Hill envelops ears it is a success easy to imagine, and then be sure of as each track seduces imagination and appetite. The first song emerges from a haunted atmosphere with already slightly portentous shadows to its air. Its approaching tempest though is quickly turned into a strolling seduction upon arrival, psych and surf rock flavours shining, almost sighing, over the infectious darkly hued prowl of Petter Gudim Marberg’s bass and Ola Jørgen Kyrkjeeide’s crisp beats. The guitars of Rune Øverby and Trond Fagernes swiftly spin a bed of evocative colour and suggestiveness too as the latter’s also quickly impressing vocals lay emotively upon the strands of sound. It is easy to see where those Bauhaus and Jesus & Mary Chain references come from, though the bigger and bolder the song becomes it reminds more of Gene Loves Jezebel, echoes and resonance on voice and melodies a delicious shimmer.

art_RingMasterReviewAn outstanding start is still eclipsed by its successor Lovesick, a song which plays second fiddle to no one. From its beguiling dark rock ‘n’ roll strum, the song canters along with a devilish swing led by another highly flavoursome throaty bassline and catchy riffery matched by flirtatious beats. Think The Birthday Party meets Helldorado and Tones on Tails as a clue to the track’s virulent alchemy; a song with as much fascinating drama as it has addictive infectiousness.  Its exceptional incitement is as good as matched by that of Self-Seer; another track rolling along on an enslaving rhythmic tenacity and ingenuity. It explores a mellower climate of sound yet still has an energy and sonic clang to physically stir the spirit. If looking for another hint, Echo and The Bunnymen would be a suggestion for the otherwise unique rock ‘n’ roll of the mouth-watering proposal.

A sixties instrumental twang adds to the seduction of Upside Down (The Death Loop), guitars a sultry lure with again a surf rock like tone to their imagination whilst within their searing elegance a cinematic drama infests rhythms and hooks. As much as there is variety to the sound within Observed In A Dream, so too the vocals craft similar diversity, here harmonies glowing with a hazy beauty around the matching delivery of Fagernes.

Latest single Weightless rumbles in next, carrying a far heavier tone and intent in its creative espionage and welcome trespass. A Play Dead/ Sisters Of Mercy like breath soaks the song, its heavy shadows and provocative textures as invasive as they are seductive. Personally, it is not the song we would choose to lead into the release of Observed in a Dream with other more irresistible options, yet the song in its brief moment is a thrilling and rousing protagonist only making the appetite for album and sound greedier.

The calmer landscape and presence of Into The Haze (Redux) hugs ears next, the song a gentle but again lively adventure into noir lit pastures with more cinematic lures whilst the album’s title track, which follows, from a similar template casts its own tantalising and riveting psyche embedding web of sound and emotion which at times is like The Shadows in collusion with House Of Love and Flesh For Lulu.

The album closes with the psychedelically atmospheric Forever//The End Of Everything, a track which equally expresses post punk discord and causticity within its pulsating and bewitching theatre of sound and emotion. It is a powerful end to a tremendous first introduction to most of us to Mayflower Madame. They and Observed In A Dream grab attention, grip tighter with every pleasure giving twist and turn, and emerge as a reason why Mayflower Madame is one of the most exciting bands to make their mark on 2016 so far.

Observed In A Dream is out now via Night Cult Records in Europe and Custom Made Music in North America as an Ltd Ed vinyl, CD, and Download. All options available @ http://mayflowermadame.bandcamp.com/

https://www.facebook.com/mayflowermadame   https://www.instagram.com/mayflowermadame/

Pete RingMaster 29/04/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Megascavenger – As Dystopia Beckons

art_RingMasterReview

With good words heard about but sounds not yet an acquaintance, we had definite intrigue in our anticipation of the new album from Swedish death metal project Megascavenger. What we found within new album As Dystopia Beckons was one mouth-watering and unpredictable kaleidoscope of ferociously imaginative, ravenously confrontational, and venomously contagious extreme metal incitement.

The third album from the Rogga Johansson created project, descends on the senses with a creative animus of discontented sound, ruinous vocals, and an industrial seeded dissonance providing something which really is out of the ordinary. As with previous albums from guitarist/bassist/vocalist Johansson with drummer Brynjar Helgetun often alongside, As Dystopia Beckons sees the guest involvement of a host of members from major bands; Hail of Bullets, Entrails, and Bolt Thrower amongst many sharing their musicians. In many ways though, the stars of the proposition are the bold songwriting and spread of virulently invasive and varied flavours which merge with a tempest of corrosive death metal.

It all begins with Rotting Domain, a predatory stalking of the senses featuring Sven Gross of Fleshcrawl. Initially the track skirts around and prowls ears, shadowing the atmospheric visage of a dystopian landscape which emerges from within the sonic coaxing. Swiftly though, the listener is the target of hungry riffs and tenacious rhythms as an imposing portentous intent is shared by gutturally spewed vocals. It is a highly magnetic affair, especially with the stabbing beats and searing grooves which lay their claim to the imagination.

An industrial intrusiveness opens up the following assault of The Machine That Turns Humans Into Slop. From the carnal tones of bass to the swinging melodic grooves and voracious trespass of the rhythmic web, the song demands and receives eager attention. David Ingram (Hail of Bullets, Echelon, ex-Benediction, ex-Bolt Thrower) adds to the erosive persistence and infectious nagging of the song before Dead City with Jocke Svensson of Entrails involved, takes over. Straight away, the track stalks the senses with a cauldron of onerous sonic intrusiveness and thrash lined riffery. It is a drama which has the imagination swiftly locked in, physical attraction quickly lured by the industrial lined rapacity in sound and emotion that consumes ears. Though it does not quite find the same heights as the first pair of songs, it leaves enjoyment at a similarly feisty level before being eclipsed by As The Last Day Has Passed.

Already there has been a varied addition of textures and spices to songs, but the fourth is far bolder and subsequently even more attention grabbing. Teddy Möller (Loch Vostok, The Experiment No.Q, The Hidden) joins the pair in the lively catchiness and rampancy of the classic/ thrash metal fuelled track, his grizzled vocals a great union with Johansson’s throat shredding prowess. Like a mix of Fear Factory and Soilwork yet not, surprise is instantly replaced by pleasure for not only the gripping sounds but the bold ideation involved.

Things only seem to get braver and more hectic from hereon in; starting with The Hell That Is This World and its early-Pitchshifter/ Entombed like seductive massacre. The track is glorious, an uncompromising anthemic assault of brutal, groove entangled rock ‘n’ roll which again is built on numerous strains of addictive noise and tempestuous textures for one unique infestation of the passions. Kam Lee (ex-Massacre, ex-Mantas, Bone Gnawer, The Grotesquery) adds his prowess to the song and appears again in The Harrowing Of Hell, though before it, the death ‘n’ roll of Dead Rotting And Exposed scars and corrodes the senses whilst stirring up another industrial soaked stomp followed by the even more hellacious Steel Through Flesh Extravaganza with Adrie Kloosterwaard of Sinister in the mix, which uncages a contagion soaked storm of sonic cancer on the senses. Once more the best description for the thrilling violation is grievous rock ‘n’ roll, and again unbridled satisfaction is the reward.

The Harrowing Of Hell entwines gothic and extreme metal in an encounter which hints at bands like Sisters Of Mercy and Gene Love Jezebel as much as an Asphyx or a Godflesh. From a strong start, the album is at a new level around its middle with this transfixing encounter up there as its finest moment alongside The Hell That Is This World.

Completed by the prophetic sonic instrumental smog of its title track, As Dystopia Beckons leaves the senses wasted and imagination alive with emotions in total agreement. The album easily feeds a want for something individual and refreshing whilst stirring up the instincts for a barbarously invasive time, so can only be heartily recommended.

As Dystopia Beckons is out now via Selfmadegod Records @ http://selfmadegod.com/en/shop/item/12022

https://www.facebook.com/megascavenger

Pete RingMaster 02/03/2016.

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

In Fall – Delete

In Fall_RingMaster Review

From Ekaterinburg, Russia, In Fall is a gothic rock duo consisting of Shade (vocals, bass, programming) and Eric (guitar). Recently they released third album Delete, a collection of dark yet hope filled, melancholy soaked tracks that simply capture the imagination. Aligning contrasts within a blend of creative intricacies which themselves are paired with simplicity of tone and emotional openness, the release is a fascinating and increasingly enjoyable offering suggesting the band are ready to prompt broad attention.

The background to the band and its members are not openly offered in profiles and press release, but 2012 saw the first In Fall release in the shape of the Coffin shores EP whilst a year later debut album Charm appeared with its successor How can you fall in love? coming in 2014. Recently linking up with GlobMetal Promotions, In Fall now has Delete to entice and inspire the imagination, a success in motion from its first touch.

Delete cover_RingMaster Review   Sometimes starts things off, a lone piano casting a classical air as thicker sounds brew around it, guitars and rhythms a shadowy tempting courted by an even darker bass lure. The voice of Shade has a mellow but emotive intensity which lies separate to the melodic beauty and metallic intimidation around it, but links all with its potent plainer hue. For ears, the song and subsequent album provokes thoughts of bands like Sisters Of Mercy, The Mission, and Gene Loves Jezebel, though equally as the likes of the album’s title track takes over, thoughts of Type O Negative and more so an emotionally detached version of Black are also nurtured. For the main though as keys seduce and shadows encroach, vocal croon and melodies caressing within a muscular climate, In Fall create something specific to themselves becoming more impressive and enticing with every listen.

Through tracks like the climatically smouldering You say and the more tenacious rock ‘n’ roll of Wednesday ears are pulled deeper into the release and its romantic lure around ironic and openly reflective lyrics. Both songs offer individual proposals in sound and design which again only increase in persuasion as their theatre of emotion and rich textures is increasingly revealed before the post punk shaped Brainbox bewitches an already happy appetite with niggly riffs and a bestial bassline around elegant keys and subsequently seducing strings. Vocally Shade deviates little from his prime emotionally cold delivery, which at times is a temper to the flames of beauty aside him, but always he stretches it to rise and fall with the heart and intensity of a track, and as here always to great effect.

Could be similarly weaves a fusion of post punk and gothic/melodic metal resourcefulness into a haunting embrace whilst from a warm dance becoming emotively darker and physically irritable, Beautiful day crawls into the psyche and passions to take best song honours. It is a relentless prowl of ears, a magnetic spark for the imagination, and lingering sinister hug for the senses, and quite superb.

That great post punk breeding lines the melodic call of synths across More, the song a transfixing siren of sound reminding of eighties band Leitmotiv. The feel of that era is a recurring and welcome spice across certainly the post punk and gothic colouring within Delete, its provocative melancholic scent again flowing through Dust even as a carnivorous bassline seeds a volatile atmosphere which, though it never quite erupts, is a constant intensity to the enthralling drama.

The album concludes with firstly From above, a lighter and catchier affair on ears, and finally the raw emotive intensity and sonic fire of Over. Each song leaves ears and pleasure full and the impressiveness of Delete enhanced even if not quite matching up to the potency of tracks before them. They certainly add to an album which just gets stronger and more engrossing though, not forgetting one more enjoyable with every encounter.

In Fall, as previously for us, is likely to be an unknown outside of their homeland for most but that deserves to change from Delete alone, a release you seriously should be checking out.

Delete is out now.

https://www.facebook.com/in.fall.gothic

Pete RingMaster 04/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Secret Sight – Day.Night.Life

10649073_700735913333974_2082795953082435285_o

Seemingly bred from the heyday of the genres it embraces with its spellbinding sound and presence, Italian band Secret Sight has brought 2014 one of its unexpected and compelling triumphs in the dramatic lure of Day.Night.Life. Brewing up a starkly haunting and rigorously riveting blend of post punk and gothic rock, band and album is one of those finds which you hope for but rarely get over the course of a year, an encounter which connects with primal instincts and personal passion with a recognisable sound explored and twisted into a new distinct adventure. There is plenty to intrigue and ignites ears of those without a post punk/gothic bent to their preferences though, incendiary melodies and rhythmic tenacity as prevalent as the core sound driving the release. It is a tremendous proposition and one to put the band in a firmly attentive spotlight.

Emerging from the ‘ashes’ of the members previous band which released a self-produced EP and played several gigs around Italy, Secret Sight was formed earlier this year and took little time to start working on their first release and debut Day.Night.Life. Consisting of vocalist Matt Schipsi, guitarist Cristiano Poli, bassist Lucio Cristino, and drummer Enrico Bartolini, the Ancona quartet linked up with Paolo Rossi to record the album at Studio Waves in Pesaro. Released on Red Cat Records it is fair to say that as young as Secret Sight is as a band, there is an experience and maturity which shines from obviously the member’s previous endeavours within what is a quite striking introduction to the band.

The release opens with Conquest and instantly has ears and appetite tight in its grasp as the bass of Cristino sets a dark and flavoursome coaxing in motion from within a subdued sonic squall around thumping rhythms from Bartolini. It is a4203391273_2an irresistible lure reminiscent of Leitmotiv and Joy Division, especially once the drama of the guitars and throaty tones of Schipsi join the infectious aural narrative. With a voice somewhere between Ian Curtis and Nick Cave, the frontman is a captivating shadow to the feisty but dark beauty coating the virulent energy and hook littered grooves of the song. It is a tremendous start to the album, and early pinnacle swiftly matched by Earth Overflows. With new wave seeded melodies flirting with the cold steely glare of bass amidst the song’s chilled atmosphere, it is a captivating and eagerly striding encounter. Every element of band and song casts a contagious hex without defusing the haunting resonance and cavernous emotion of the mouth-watering proposition. It many ways the track is like Interpol meets Bauhaus or maybe more so Tones on Tail, a web of scintillating sonic grooves and virulent rhythms entwined with a cold post punk voracity.

The pair of Under This Truth and Life keeps the exceptional charge and majesty of the album going, the first another melodic flirtation with a She Wants Revenge like vivacity and catchiness but exploring a heavier and imposing landscape than its predecessors. Again it is hard to ignore the pleasing Joy Division whispers but also there is a Play Dead and Public Image Ltd spicery, though it should be reinforced that despite the references Secret Sight weaves a sound which is familiar yet openly fresh and uniquely gripping. The second of the two takes a slower gait to its entrance, punchy rhythms from Bartolini leading the imagination into the waiting web of bass and guitar temptation. Though beats make a forceful energetic stride, sonically the track is a more reserved wash but no less inciting in the intriguing melodic and caustic designs of Poli and the pungent ensnaring lures spawned by Cristino.

The bassist again springs the first seduction of Indelible, an enticing swiftly enhanced and fuelled by the grooves and hooks spicing up the exceptional track. Schipsi stands powerfully over the brewing contagion of the song with his raw and starkly emotive tones but it is the bass bait and acidic strands of guitar ingenuity which sets the biggest fire. As in all the songs there is a cinematic drama which is as equally persuasive and engrossing, the following Need an instant example at this point, its noir cloaked almost sinister breath and intrigue a delicious spark for ears, feet, and imagination.

The album is completed by the similarly visually suggestive Long Line and the slightly Sister of Mercy-esque If You Turn, both songs resourcefully provocative and elegantly structured within their roaming lyrical and sonic shadows. The first has a sultry twang to its climatic presence and voice whilst the closing song ebbs and flows with intensity and energy as its masterful soundscape explores the corners and depths of dark emotions and melodic intimacy. It is arguably the most involved and exploratory track on the album and just as irresistible and explosive as those before it.

Day.Night.Life is a must for all post punk/gothic rock fans, and for us a definite favourite of 2014. There is little more to say than just go treat yourselves.

Day.Night.Life is available now from Red Cat Records @ http://www.amazon.co.uk/Day-Night-Life-Secret-Sight/dp/B00NODLP1I/ref=sr_1_1?ie=UTF8&qid=1412691294&sr=8-1&keywords=Day.Night.Life+Secret+Sight

https://www.facebook.com/secretsight

RingMaster 07/10/2104

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/