Defeat – You Know What You Are EP

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And so it continues, the emotion twisting sounds of Defeat have returned to voraciously crawl through ears and into the psyche. The UK duo have already increasingly trespassed into and seduced the senses through their previous encounters, each bringing evolution to their music and breaching new creative plateaus whilst suggesting there is more to come. The band’s new EP, You Know What You Are, is the realisation of much of this promise yet in turn it gives the feeling that they have still come nowhere to exhausting their potential, even though it sets the loftiest marker yet for the band in sound and invention.

Hertfordshire hailing union consists of vocalist Anthony Matthews and the master of synthetics Gary Walker, two school friends who have continually played together through previous guises from those days onwards. Each exploit has been a stepping stone to Defeat, and the breeding of a sound inspired by the likes of Nitzer Ebb, Depeche Mode, NIN, Front 242, Front Line Assembly, and Skinny Puppy. As Defeat, the pair swiftly lit attention with the release of their Outbursts! EP in 2012. Its emergence around a year after Matthews and Walker were truly able to concentrate on Defeat, lured an increasingly number of eager ears and appetites, backed by a subsequent remix EP entitled simply Defeat Remixed. It was debut album [Seek Help] in 2013 that pushed the band most forcibly onto the European EBM/ electro-industrial map though with its raw and magnetic atmospheres around angst soaked explorations. It was challenging and infectious, a fusion of dark climates and virulent electro pop digging now taken to even more experimental and striking depths with You Know What You Are. There is still that expected and inescapable catchiness, each track whipping up vivacious energies and anthemic temptation but equally they devour the most imposing and darkest corners of emotion and life.

YKWYA_cover     The EP opens with Want and instantly has ears intrigued and hungry as pulsating bassy electronics rap on the senses before being joined by a fiery melodic coaxing, It is a restrained but pungent start, rhythms quickly building up a head of intent and steam leading to a purposeful stride where the always expressive tones of Matthews invite and provoke. His delivery is part monotone, part dour, and all thick persuasion, the perfect temper and compliment to the bubbling electronic tenacity and haunting shadows respectively. As with previous encounters, the band’s sound stirs up welcome thoughts of Fad Gadget, the fusion of light and dark, invasive tempting and compelling contagion similar as Defeat sculpt their own unique incitement of dark pop.

The following Twist is just as dynamically gripping and texture entwining. Theatrical, gothic kissed keys spark the imagination first, the lure never relinquishing attention as a more caustic electro breeze joins the play. In no time the song is sauntering along with thickly jabbing beats, fizzy electronic tempting, and the narrative shaping delivery of Matthews. Things only blossom further as Walker infuses a great blistering of guitar, its presence adding to the sinister ambience evoked and fuelling the encounter. As its predecessor, there are moments of clear pop within the hazy almost portentous embrace of the track, those enticements boldly seeded in the eighties electro/synth pop which has also been a ripe influence on the band’s sound and songwriting.

Resist comes next and dares you to comply with its title, but to no avail as a Numan-esque smog wraps ears first before volatile electro sounds and rhythms rigorously simmer in an expanding provocative landscape of sour melodic tension and vocal prowling. There is always drama to the sound and narratives of Defeat, but possibly this song is their most incendiary on ears and imagination yet, thoughts especially running with its rich persuasion to create their own dark exploits alongside that of the song. It is a transfixing proposition matched by the outstanding Attention Seeker. This is a predator of a track, every beat carrying menace and each syllable a spiteful leer whilst synths cast a web of diverse colour and enterprise; even its addictive swing and spicy melodies seem to have a carnivorous grin to their tenacity.

The song is an invigorating and intoxicating anthem contrasted impressively by the next up Care For Me, a track uniquely individual but a match in magnetism and invention. Whereas Attention Seeker was open in its antagonistic charm, its successor embroils itself in another intriguing imposing caress of sound and reflective exploration. Spatial melodies seep from keys whilst guitars bring a raw fiery texture to the immersive croon, and within it all Matthews slowly releases deep rooted angst and emotional torment in the dark intimate tale.

The industrial air of Goodbye is an early hook which only thickens its bait as the song and vocals create an aural dystopia within an increasingly more rugged and inflammatory infection soaked stomp. It forces its dance upon feet and emotions, chaining their submissive enlistment into its ferocious staging of riveting sound and menacing intent. The track is a pulsating gem, at its heart pure slice of rock ‘n’ roll and in its increasingly psychotic character, pure inventive, belligerent devilry.

You Know What You Are is completed by a quartet of mixes, Ruinizer bringing the Bye Motherfucker Bye Mix of Goodbye, Paresis offering the Blackened Mix of Want, and Cease2Xist casting their Self Loathing Mix of How Pathetic, a track from the band’s Outbursts! EP. The cream of an enjoyable quartet though is the Shaken Not Stirred Mix by X-KiN of Twist, which features the exceptional vocals of Veronick. It is a gloriously fresh slant on the song with the lady’s voice enthralling as it takes centre stage.

Defeat have returned with yet another impressive step in their songwriting and sound whilst, as suggested earlier, implying that there is plenty more still to be unearthed in their imaginations and creativity. So whilst enjoyment boils over with You Know What You Are, anticipation is already on the rise again.

The You Know What You Are EP is available now digitally and on CD @ https://defeatmusic.bandcamp.com/album/you-know-what-you-are

https://www.facebook.com/Defeatmusic     http://www.defeatmusic.com/

RingMaster 23/05/2015

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Tactical Module – Before Crisis

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You can never tire of being impressed by the growth and almost visual evolution of certain artists and one who seems to inspire increasingly potent acclaim is Tactical Module, the one man project of Michael Davis. Across his last trio of incitements alone, the British musician/composer has magnetically enthralled and excited with his fusion of industrial metal, digital hardcore, and EBM. Each encounter has shown new and often dramatic steps in the growth of the band’s sound and songwriting and new EP Before Crisis is no exception. Arguably it is not a big step forward from the last album Into Exile but certainly there is an even greater balance and fluidity between the raw and confrontational side of the vocal and sonic ferocity and the melodic and infectiously vivacious elements which so contagiously mark out songs. Increasing maturity and experience comes with every release of an artist and certainly Before Crisis is embracing an impressing wave of it through Davis.

Forming Tactical Module in 2010 to unleash a creative freedom restrained by being in bands and to explore darker and more aggressive electronic music, the Poole hailing Davis was soon sculpting a handful of digital EPs and remixes to increasing attention. Inspired by bands such as Nine Inch Nails, Ministry, KMFDM, Godflesh, Gary Numan, Skinny Puppy, Killing Joke, and Depeche Mode, Davis made a potent breakthrough with the Dead Zone EP in 2012. It swiftly gripped appetites and a more serious spotlight upon release, marking out Tactical Module as an emerging force and talent. Both the feverishly grasped single Where Angels Rise and first album World Through My Sight in 2013 reinforced his growing reputation whilst the Resurrection EP that same year and its successor Into Exile early 2014, found Davis breaching new plateaus with striking experimentation and emotional voracity. Released as 2014 closed its eyes and evolved into the New Year, Before Crisis cements the stature of Tactical Module in Britain’s electronic underground scene whilst as mentioning earlier showing an even more honed and masterful resourcefulness to Davis’ creativity.

The instrumental Awaken sparks the imagination first, its slow dawning of rhythmic enticement an intrigue loaded lure before synths spin their emotive sonic web. There is a portentous air to10261995_786876598003130_5830102883858603546_n the opener and a prowl of dark shadows which bring a stark and threatening edge to the melodic charm of the piece. It is a magnetic lead into the EP and the following equally intimidating presence of Poison Within. Growing within a synth woven cage of gentler persuasion, the song eventually steps forward as an electro punk provocateur but an antagonist unafraid to employ the flavoursome melodies and sonic expression which coaxed in ears and appetite initially. As stormy in its disturbing quieter moments as in its open musical and vocal rages, the track ebbs and flows masterfully, waves of hostility feeding the appetite again and again within the equally imposing charm of the song.

Next the EP’s title track steps forward offering an immediate infectious shuffle of agitated rhythms under another brooding electronic sky. Davis as expected unleashes a cutting narrative with pleasing abrasing tones soon after whilst around him guitars add a caustic spice to the brighter revelry of the keys. It is a light to the song which as across all tracks, is held in check by the thick smog of angst and heavy shadows which fuel vocals and sounds alike. Here though it is given a longer leash which allows a diversity and tempting aural colour to have their just as potent say on the imagination, as repeated in the excellent To the Skies of Oblivion straight after. A song first found on the Resurrection EP, its bounds through ears and into the passions with a devilish tenacity and energy. It has an inescapable infectiousness which even aligned to the almost rabid furies in voice and menacing rewarding lulls which stalk the song never misses a step in its thrilling march.

The raw atmospheric opening of Assemble is an immediate temper to the previous devilry, its great stark and cold opening spreading an oppressive ambience which in turn courts an abrasion of hip hop spiced electro rock. Vocally too Davis briefly toys with a slither of rap enterprise to match the eventful adventure flirting within the invasive climate of the track’s electronic landscape. It is a slow burner in comparison to other tracks upon Before Crisis but emerges just as striking and enjoyable.

The final new song on the release is What Lies Beneath, another coming in from a distant pasture to embrace ears in drama and a blend of creative antagonism and melodic grandeur. Also a slower persuasion, the song is a compelling narrative of sound and emotion but just lacks the indefinable spark of earlier tracks and misses igniting the passions as successfully.

The EP is completed by a trio of remixes, the song Before Crisis being redefined by Ruinizer and Assemble receiving creative treatments from Cease2Xist and Dali, the latter of the three working the psyche with particular deftness and all offering captivating dimensions to the originals.

Tactical Module has again shown itself to be a bright and imposing spark in the UK electronic scene through Before Crisis. It is a release little to find an issue with, though just as an experiment we would like to see Davis being more adventure into his vocals ahead, and a tempest of invention fans will devour greedily.

Before Crisis is available now @ http://tacticalmodule.bandcamp.com/album/before-crisis

https://www.facebook.com/TacticalModule

RingMaster 07/01/2015

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Concrete Lung – Tolerance & Dependency

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If fans of Concrete Lung thought their uncompromising sound could not get any more corrosive and emotionally destructive then new EP Tolerance & Dependency is going to leave them shell-shocked and blissful. The six track provocation is a scourge of sonic voracity and imaginative violation, the duo of Ed Oxime (vocals/guitars) and William Riever (bass) finding new imagination and despair in their creativity and music to explore. As ever a Concrete Lung encounter is not for the faint hearted but for a tempest of industrial grindcore and death metal veined hardcore, it is pure ruinous manna.

Since signing with independent label Armalyte Records in 2010, a year also seeing the Manchester, UK hailing band’s debut EP Waste Of Flesh, Concrete Lung swiftly garnered critical and fan acclaim with their Ministry, Skinny Puppy, and early Pitchshifter inspired provocation. Live too the band only impressed and ignited the passions, the sharing of stages with the likes of The Young Gods, Funker Vogt, Leæther Strip, Grendel, Agonoize, and Front Line Assembly gracing their first few years. First album Versions Of Hell in 2011 reinforced and accelerated the band’s emerging presence whilst the Die Dreaming single the following year, and the Subtract Nerve in 2013 put the band under a fiercer spotlight and into the nightmares of an increasing fan base. As suggested, Tolerance & Dependency is the band corrupting another level in their sound and extreme aural hostilities generally, a continuation of its predecessor in theme and intent but reaching into the darkest corners of their rage, animosity, and merciless creativity.

Though both its members are now located wide apart, Australia and Sweden to be exact, Concrete Lung feel even more bonded and vindictive in sound and emotional rancor, opener Engine CL_TD_Cover_ArtVein swiftly stirring up ears and attention with its initial sonic lure and lead into a heavy handed prowl of ravenous yet seductive enterprise amidst predatory rhythms. The first impacting move in evidence is the live drums on the song and release which replace their until now ever present drum machine. It gives the track a spite and intensity, which was never lacking in the band’s sound previously, more bite and bad blooded ferocity. Soon the prowl slips into a just as menacing stroll, beats and riffs as imposing as ever and Oxime’s vocals raw and compelling venom. As it plays with its assault and expels a horde of inescapable hooks, the track has ears ringing and psyche cowering, its black heart exuding pained expression and emotion.

It is a pungent and striking start but just the appetiser for the dual brilliance of Die Dreaming Pt. II and Chemical Muzzle. The first crawls over the senses with an opening guitar snarl and a scuzzy bassline which has a flavour of early Wire to its very dirty temptation, the first of a torrent of baits band and track ensnare the passions with. The death seeded scourge of the Concrete Lung sound has the main voice as the song smothers and oppresses thoughts and senses, yet a nagging groove and barbarous baiting equally ignites lustful hunger for the infestation of sonic and impassioned malevolence. It is a brute of a proposition, primal and insatiable, as well as simple addiction, whilst its successor from a similar canvas of intent and maliciousness casts its own distinctive violation. It is arguably the track with the thickest toxin of punk to it, vocals and bass bruising the senses with a wall of intimidation from its first breath but with a contagiousness which only has the listener embracing it with willing submission, the track is a rabid seducing of jaundiced tempting.

   Self-Shriek (Self Murder) with its sonic and emotional detestation keep thoughts and feelings ruffled and engrossed. The crawling demonic tone of the vocals play with post punk shadows and doom soaked ambience within a unrelenting suffocation of sound and intensity. It is a riveting, hypnotic drama and trespass of the senses as well as further thick evidence of the band’s bold exploration of themselves and sound. Its erosive smog seeps into the portentous and cavernous depths of the following Plastic Mind too, but rapidly immersed into an industrial swamp of abrasing enterprise. As the last, the exceptional track is a slow smother of ears and beyond, its serpentine breath and sonic acidity a hope swallowing animus creeping note by note, syllable by syllable.

     Tolerance & Dependency is brought to a close by Closed Mouth, a track with the kind of infectious simplicity which historically has bred nursery rhythms at the heart of another unstoppable oncoming of an emotionally loathing and aurally consumptive wave. The track is quite simply an unavoidable intrusive seduction for those with a penchant for cruel invention.

Concrete Lung leaves every emotion ransacked and sound twisted upon their new violation, their most potent and violently compelling triumph yet. They just get better and nastier with each release, which after this makes the next equally as appetising and fearsome.

Tolerance & Dependency is released via Armalyte Industries @ 12am UK time Sunday 30th November and will be exclusive at http://concretelung.bandcamp.com/

https://www.facebook.com/concrete.lung

RingMaster 28/11/2104

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Spookshow Inc. – Visions of the blinded world (pt.1)

 

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A furiously agitated entrapment of industrial, metal, and electro rock, Visions of the blinded world (pt.1) is a fiery embrace to colour the way to an impending apocalypse. Its contagion is bred from the darkest corners of arcane themes taking in elements such as ‘time travel, dreams, out of body experiences and death’, but also there is a rich expression of human failings and frailties, all sculpted with striking imagination and clad in virulently varied sounds cast by Norwegian band Spookshow Inc. Imagine the world cast in imposing ravenous shadows feeding on the psyche and emotional turmoil to a soundtrack bred from a merger of Nine Inch Nails, Apollo 440, The Prodigy, and Skinny Puppy, though this is still a slim-line representation of the adventure abounding the release, and you have the rigorously compelling Visions of the blinded world (pt.1).

Just as enthrallingly veined with middle-eastern sounds too, the album is the result of a journey taking around seven years. The origins of Spookshow Inc. though go back to 2003 when Lucky Spook (guitar, programming, songwriting, producer) and Soltex (vocals) united and began honing a sound described as a mixture of Pink Floyd, Prodigy and Paradise Lost and increasingly influenced by bands such as Rob Zombie, KMFDM, Die Krupps, Skinny Puppy, NIN, Chemical Brothers, and those middle east sounds. Initially a duo hiring in additional musicians for their live shows, the band garnered strong praise as they played numerous festivals and supported The Legendary Pink Dots in 2005 on a leg of their European tour. The pair began working on Visions Of The Blinded World (pt.1) in 2006, being joined by instrumentalist Sharaz on bass and synth for the last songs recorded. Released on the bands own label Thunder Of The Distant World, the album makes a riveting introduction with a gripping invention and originality which is simply an inescapable temptation. Having grown in size with the inclusion of Seba to the line-up, Spookshow Inc. is poised to make a striking mark on electro/industrial rock; that is if anyone is brave enough to share their aural dystopian visions.

A simple resonating clang of twanging guitar is the potent coaxing bringing the imagination and album together, opener Games Of Delusion (art and religion) setting the exploration in motion. Its tone is soon swallowed by portentous caresses of haunting synths and percussive stalking, everything under a heavy air and slowly invasive atmosphere. This in turn is permeated with vocal samples and a warm and patiently waiting blaze of techno revelry. Its fire is given further freedom though still with a rein on its energy as jazz sparks flirt with ears and raw dance rapacity entwines the sturdy spine and enticingly rumbling belly of the song. It is a potent and gripping start, not one which ever explodes as it constantly hints it might but a track setting up a hungry appetite for more, a greed soon fed by New World Crash.

The second song instantly has a darker and more aggressive countenance, sinews driving beats whilst Soltex’s vocals carry a menacing snarl to his melodic persuasion. The sounds conjured by Lucky equally growl and sizzle with hostile coverpredation and electro static, yet as the first track they never quite escape their binds to go for the jugular. It is a hold which works a treat, especially with the Trent Reznor like exploration which searches the darkest corners and elegance of the track. Provocative Middle Eastern spicery adds to the drama and invention of the outstanding proposition before it makes way for the even greater temptation of Scary Dream. Like a collision between KMFDM, Ghost In the Static, and The Prodigy, yet discovering its own identity ultimately, the track is an exhausting and ravenous tempest of energy and imagination, its electro rock tenacity and enslaving infectiousness the making of addictions.

Female hailing whispers and harmonious wails within another Eastern flavoured breeze opens up Falling Down pt.2, darker tones from Soltex swiftly adding encroaching shadows to the mesmeric tempting. It is not long before he turns them into passionate roars to compliment the increasingly evolving and portentous yet radiant landscape of the song. It is a fascinating track, one which has you fully involved and immersed in its spicy energy and adventure but then drifts away to make you feel there is unfinished business. Again it is a twist which actually elevates the song rather than defuses its potency, it seemingly revelling in the adage of ‘leave them wanting more’.

Things taking a chilling turn with Requiem For a Vision, where sinister air colludes with menacing vocal variety for another creative twist to the album. A progressively fuelled slice of intrigue and sonic unpredictability, the song is a slow burning prowl, a thick and sultry seduction which takes longer to get a grip on than other songs but emerges as a web of imagination and sonic trespass before the muscular stomp of Dead Shot Baby unveils its rugged charm and intensive rock ‘n’ roll. As much industrial as it is funky, equally as electronically powered as it is ferociously antagonistic, the track is a swift grudge of a treat before the psychedelically seeded beauty of My Secret Plan. Featuring Matangi Shakti, the song is a feisty shuffle of melodic elegance, Middle Eastern magnetism, and shadowed noir kissed enterprise. It is an imagination firing adventure where drama and bracing emotional espionage flirts relentlessly from every second of the album’s best moment.

The similarly thought exploring Cyberage keeps the creative theatre and engrossing bait of the album at its most incendiary, the song a caustically abrasing and infectiously binding suasion, whilst the next up Map Of The World glides through dank caverns and stark climates in its provocative crawl across the senses. The track is a croon from the darkest nightmares, reminding strongly of Fad Gadget with the gothic predation of Paradise Lost.

The album closes with the evocatively and sonically picturesque Other Side Of Time (Vision Of The Blinded World), flavours and sounds from a global tapestry merging for a tantalising sinister waltz. It is a menacing and thrilling conclusion to an album which gets better and reveals more with every listen. Visions of the blinded world (pt.1) is a labour of love from the band and an increasingly rewarding adventure for the listener, whilst Spookshow Inc. is a potential clad protagonist ready to help see out the end of the world with the embrace of their inimitable invention, an apocalypse sure to get only more colourful with the band’s second instalment of their journey due next year.

Visions of the blinded world (pt.1) is available now digitally and as a Limited edition cd digipak via http://www.spookshowinc.com/music and http://spookshowinc.bandcamp.com/releases

http://www.spookshowinc.com/

RingMaster 07/11/2014

Copyright RingMaster: MyFreeCopyright

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Tactical Module – Into Exile

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Having been seduced by previous album World Through My Sight from UK industrial band Tactical Module, there was a definite anticipation and expectation upon its successor Into Exile. The new release’s predecessor was a slow burner of a persuasion but one which made the securest potent convert of the passions for its aggressive symphony of electro enterprise, punk attitude, and industrial intensity. Into Exile is no different except that it makes a more immediate impact and its core ingredients and invention comes with a greater intensive snarl and uncompromising confrontation. It is an enthralling and challenging release which has reaped the impressive seeds of earlier releases and sounds to hungrily explore their sonic blossoming with greater craft and imagination.

Hailing from Poole, Tactical Module is the solo project of Michael Davis, a musician who since creating the band to unleash his creative imagination within has earned and garnered strong constantly deepening praise and acclaim through his releases. Using inspirations from the likes of Nine Inch Nails, Ministry, KMFDM, Godflesh, Gary Numan, Skinny Puppy, Killing Joke, and Depeche Mode in his invention, Davis after numerous EPs and remixes made his first strong wide mark with the Dead Zone EP of 2012. The release triggered greater awareness and appetite for his sounds which were soon feasting greedily upon the single Where Angels Rise and earlier this year the impressive expanse of World Through My Sight and the Resurrection EP. Receiving its first CD release with Into Exile, Tactical Module has sculpted an album which is more diverse and adventurous than the previous releases, and they were no slouches in experimentation, and an encounter which employs decades of industrial/electronic whispers into one invigorating magnetic incitement.

Released via Juggernaut Media, Into Exile takes little time in bringing attention and imagination to bear on opener Awaken, its emergence through a sizzling sonic haze chilling yet thoroughly tempting. Brewing up a greater menace to its climate, the song has complete control of thoughts and senses, especially when the predacious guitar tone unveils its metal spawned restrained yet voracious causticity, matched by the confronting vocals of Davis. A definite Gary Numan spice glazes the invention whilst organic beats cage the fired up passions further, herding them into the fierce electro embrace. It is an excellent gripping start not quite matched by the following title track. The song is certainly alluring; its ebm breath stalked by a great electro twang which spears the evocative ambience but there is a spark missing compared to the first which debatably might be down to the track evading the metal bred antagonism. Nevertheless it is a pleasing continuation of the strong start and evidence of the variety of ideas and sound upon the release.

Outer City Limits soon picks up the earlier baton of strength with its instrumentally stalking flight of coarse textures and electro beauty, both combining for a voracious journey through dramatic and suggestive climes. From providing the imagination with a sinew clad impacting plaything, Into Exile then reveals more of its emotive heart with Breathless. The song is a fizzing electro plaintive with angst drawn vocals cursing agony over the acidic sounds. Like the second song it takes a firm hand on ear and thoughts without challenging other tracks on the album for the passions but all the time deceptively it is working away and though face to face impact is less startling it is a moment which returns at will even away from the release.

Both Cypher 2.0 and Downpour urge limbs and emotions to take part in their electro waltz, the first with a pulsating veining of jabbing rhythms. A real plus for the song and album is the use of live drums which brings an organic pulse and frame to the album setting it apart from most others instantly, and with the crystalline fire spawned electronic pulses and stabs from around the ever satisfying and shifting vocal delivery here an irresistible instigator. Its companion is a rhythmic raptor, beats prowling and stomping with ever switching rabidity whilst the electronic teases and kisses come with their own sense of menace and salaciousness. There is a punk essence too which is a mere hint, as on other songs, but there waiting and probing vocally and musically alongside a Pitchshifter like primal suasion. The thrilling duo are backed up by the more than decent Hellfire, a cantankerous fire which merges moments of slightly underwhelming electronic bait with addictively thrilling aggressive almost corrosive metal and guitar voracity. That punk element is back here, a Spizzenergi nag pleasing thoughts whilst, and not for the first time, the electro calls bring Fad Gadget into the mind, and in even greater potency upon Unbreakable. With a post punk/metal esurience and attitude to its presence, the song is another pinnacle upon what ultimately is one exciting and inventive release.

    Into Exile comes in digital and CD format, both with unique remixes. The former format finds the Back to Hell, Back to Reality Mix of the title track by D.E.P, which gives the track the flame arguably missing in the original, the Destructed mix of Downpour by Detuned Destruction, and Corroded Master’s Harlot Mix of Breathless, both inventive takes without matching the originals. The CD offers the G-Mix look at the title track which certainly takes it into a new adventure, the Knife Fight remix of Breathless, and another by Defeat, with both formats seeing the Ruinizer Remix of Awaken, the track becoming a nastier predation and antagonist to the album version.

     Into Exile is an exciting and richly rewarding provocateur, a release showing the ever evolving and increasing strength of Davis’ songwriting and its striking realisation through Tactical Module.

https://www.facebook.com/TacticalModule

8.5/10

RingMaster 05/10/2013

 

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Biomechanimal – Renegade 2.0

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The creative project of Matt L. Simpson, Biomechanimal and its debut EP Renegade 2.0, is a seriously dangerous infection for feet and passions. Consisting of five tracks which steal away contact with the ground from the feet to send them into an eager dance of urgency whilst simultaneously igniting thoughts and emotions through sonic passion and lyrical narrative, the EP is a potent confirmation of all the strong responses and impressions flying around the band since its conception.

A classically trained musician, Simpson not wishing to become one of and lost in the crowd turned to creating his own distinctive style of industrial rapaciousness, merging strains of hard dance, hardcore, and EBM into his incendiary ideas and conjurations. Taking inspirations from the likes of The Prodigy, KMFDM, Skinny Puppy, Uberbyte, The Sisters of Mercy, The Cruxshadows, Dope Stars Inc., Eisenfunk, Grendel,  Menschdefekt and many more into his insatiable musical hunger, Simpson immediately drew attention and acclaim to his emerging creations. Live too with Danny Panic and Liam Peel alongside, Biomechanimal has drawn successful appearances at festivals this year to further enhance the growing stature of the band, whilst at its appearance at Resistanz the band almost sold out of its debut EP less than a week after release, down purely from a couple of promo tracks.

As the title track emerges from a building pulse, a melodic tease rising alongside the breath of the track, intrigue is instantly engaged andBiomec-R2cover fed by the thumping rhythmic persuasion and bass heavy throb of the song’s core. With the confronting rasping vocals of Simpson adding their serpentine call to the now contagious electro boogie, shadows merge with sizzling radiance wrapping a near riotous hug around the ear and senses. There is a metallic taste to the track which suggests influences also step from the world of metal though ultimately the track is a riveting industrial stomp of electronic flames and melodic temptation.

The following Broken Wings also steps out from within a distant and pending ambience but once in full control of its recipient there is an unveiling of a darker sturdier presence and intent, the bone shaking beats and persistent sonic rub an unmoveable niggle and provocation laying out a compelling canvas for the caustic vocals and acidic melodic weaves to explore and design their calls upon. There is a feel of Pittersplatter and Project Rotten feel to the insidious air bred and the reserved but anthemic bait offered but it only help brings a fresh and unique raw invention to the fore which sets band and release apart.

    The Stars Are Wrong is undoubtedly the best track on the EP, a full on electro waltz to worry the dance floor into a fevered passion littered with cascades of virulently addictive grooves, toxic hooks, and a primal bass led stalking that only elevates the ridiculously easy and merciless predacious suasion. Within the hands of the song it is like being trapped in a sinew clad cage, predatory shadows nipping and clawing at the psyche whilst their beauteous counterparts divert attention from the deepening thrilling wounds. It is a scintillating song and alongside its companions only increases greed towards the project.

Completed by two remixes of the title track, the first by Italian cyberpunk duo Wormz whose take on the song leads it into slower and darker climates whilst opening an almost folk metal like vein alongside the towering rhythmic skeleton being exposed, and the Trashed by Telemark remix an encounter which rips greater metal essences out of the original version to bring a new face and antagonism to the song. They both enjoyably conclude a great debut which easily places Biomechanimal on the UK industrial map with a muscular swipe. This is only the beginning of big and exciting things one suspects as the Renegade 2.0 takes the ear on another rampant venture.

https://www.facebook.com/BiomechanimalMain

8/10

RingMaster 14/08/2013

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Coursing struggles: an interview with Mike Haggerty of Krebs

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    Industrial/ebm is about to feel a new fresh breath of imaginative and caustic creativity with the debut release from Philadelphia band Krebs. The Cellophane EP is a potent and evocative treat with a metal apocalyptic breath riding the captivating industrial and electro snarls. The solo project of Mike Haggerty, Krebs is set to make an instant mark with its first release via Bluntface Records so we took the opportunity to find out more about the release, band, and Mike himself.

Hi Mike and welcome to The Ringmaster Review, thanks for taking time to talk with us.

First thing we have to ask you is to tell us about Mike Haggerty, as well as your background and musical history before Krebs.

Thanks for having me! Well I’d say I’m just an average guy who loves music, videogames and junk food. Music is really my passion, it relates to everything I do. Genres like punk and metal really captured my attention at an early age and got me into making music myself. I was in a band before Krebs with a few friends, we played grunge inspired hard rock. Then I discovered industrial/electronic music and that all brought me to where I am now.

Was there a specific intent when creating the project Krebs?

My intent was really just to try my best to make something fresh and hopefully capture the attention of old school and modern industrial fans alike and maybe even draw some new fans into the genre.

What are the inspirations which have most impacted on your ideas and sound?

To start, I always loved Front Line Assembly and the unique sound they have, so they are a big influence on my sound. Skinny Puppy’s ability to experiment and still sound like themselves is another thing that had an impact on me. Videogames and books also influence my ideas and song writing strangely enough. I love apocalyptic themes as well as futuristic themes that are explored, and if the two are brought together then I’m in heaven!

You are about to release your debut EP Cellophane, a release which captures the imagination with its varied and inventive mix of flavours. You can only assume your personal tastes incorporate a wide expanse of genres and styles.

I always try to find ways to make each song really stand out on its own and separate itself from the others. I always say that each Krebs song is its own animal and I do my best to give them all their own identity, if that makes sense.

Tell us about the EP, its creation and the songs within.krebs-cover-600 (1)

The EP was formed simply because I happened to have five songs that I considered finished and at that point Otto (Kinzel) mastered them for me. They were the product of several weeks’ worth of writing and recording. The songs themselves are mostly the product of what emotions I had at the time I wrote them. Other times I would have ideas that I thought were interesting, so I literally started writing thoughts down in my notebook and lyrics formed out of that. It’s basically poetry set to music. The album art was the last piece of the EP that was needed. My friend Jake Skalish created it at my request and I think it came out very well.

Everything comes from your ideas and craft on the release, but did you bring anyone else in for any aspect of the release or is it truly the complete solo release?

For this release I wrote and recorded everything myself, so it is a complete solo release; I did get insight from my friends Chris Pasquarelli and Chris Bollinger from Varicella. They really encouraged me and continue to help me get Krebs out there and I can’t thank them enough.

How do you write your songs and expand your ideas musically?

I usually have a melody or a rhythm in my head that I record right away, and then I figure out the structure. That’s when I create an atmosphere and layer more sounds. I compare it to starting with framework for a house, then gradually adding on to it, then decorating it and adding the finishing touches. Lyrically, as I’ve said, it’s usually the result of a strong emotion that I feel at the time or anything that I’ve read about that catches my attention.

Musically, I try to incorporate various sounds and instrumentation to expand the sound further. Things may sound strange upon the first listen, but strange is what I do!

Listening to the EP there is the sense that songs have an organic and continual growth to them. Do your songs evolve right up to the final mastering?

My songs do tend to go through multiple changes; it feels like my work is never done. The songs have all undergone change from the time I made the first synth line to right before I had them mastered. It varies between how drastically they change. I like to layer sounds and create hidden parts that people can catch. I also hope to invoke introspection in the listeners with each song.

Is there a theme or intent behind the songs on Cellophane and their lyrical paintings?

A theme that carries through most of Cellophane is the idea that people are always suppressed and restricted in some way or another, be it by government or by their own conscience. The themes oscillate between external and internal struggles and the goal of songs with internal struggles is to make something that people can relate to. It’s almost like letting the listener get to know who I am as a person.

As mentioned the EP is your debut release, is there any part, moment , or aspect of it which gives you the strongest thrill or tingle?

What really excites me is the fact that my songs will be out there and open to a broader audience, maybe not huge but it is something I always wanted. Just having an official release is something I always dreamed about and the fact that it’s actually happening gives me a euphoric feeling, it’s crazy!

krebs-2And any elements you wish you could have explored further or since have developed the appetite to investigate in future songs?

There are aspects of ambient music I hope to delve into for future releases. I also hope to bring in more elements of punk, like the speed and raw feelings associated with it. I feel it will be a very interesting mix.

Cellophane is released through Bluntface Records. How has linking up with Otto Kinzel and his label helped the realisation of the EP apart from the obvious of course.

Otto really helped this take off. He helped me realize that there is nothing wrong with self-promotion and that really helps gain confidence (and fans haha). As a side note I also started to realize that people have a different view of a band or artist when they see that they are on a label. Sadly, it’s almost like a lot of people have a bias towards bands on labels.

You have Chris Mattioni join you for live shows, how did you meet and is there a chance the band could expand further for your live performances in the future?

Chris and I have been buds for a few years. He expressed interest in doing vocals with me a while ago and he eventually decided to come on stage with me and do backup.  I do hope to get more friends to contribute to live shows in the future, a drummer hopefully *cough* Ryan Skalish *cough*.

How about in the studio ahead?

I have songs in the works already for a full length album. This one will be a concept album inspired by a certain game, but I won’t reveal anything else. I’d like to keep it a surprise. ;)

You are also releasing Peace Injection as the single from Cellophane. Can you tell us about the track and the single package it will come in?

Peace Injection is a song that was sparked by my thoughts on America. The fact that our country feels the need to intervene in affairs in the name of “Peace” and “democracy” is something that has bothered me and this song is a response to that. The single contains the original version from the EP and three remixes, by Virus Cycle, Otto Kinzel, and Varicella. They are all talented guys and it was really awesome to hear their takes on my song. It’s also free and is available for download now.

What is next for Krebs once the EP is out there?

Krebs will hopefully get to perform some live shows in the near future and work on the concept album for a not too distant release date! Stay tuned.

Once more thank you for chatting with us, anything you would like to add?

First, thank you so much for having me and for the review. I’d just like to thank Otto for arranging everything as well. It was a pleasure and I hope to talk to you again soon!

Cellophane is A FREE download available in the Bluntface Records online store at midnight, June 29th!

www.bluntfacerecords.com

Read the review of Cellophane @ https://ringmasterreviewintroduces.wordpress.com/2013/05/27/krebs-cellophane/

Pete RingMaster

The RingMaster Review 31/05/2013

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