Tirades – Lifetime of Wars

Tirades _RingMaster Review

It all started in February 2014 when guitarist Munoz was in the Andes. His car broke down along the Los Libertadores and help was far away. Out of nothing came Nauhel, an Indian from the Mapuche tribe in Chile.

Nauhel invited Munoz to his camp and insisted that Munoz stayed overnight. It turned out that Nauhel was a musician in traditional Mapuche music, and Munoz had 20 drafts to what once would become Tirades’ debut album. Munoz and Nauhel exchanged musical ideas throughout that night as the moths danced around the bonfire. Nauhel gave Munoz the name “Pülü”, meaning insect in Mapuche, to commemorate the moths who kept them company through the night. This night caused all other musical projects to be set to side, and Tirades became the main priority from here on out.

That is the background to a band which unleashed one of last year’s unexpected and seriously exciting roars in the shape of Lifetime of Wars. A slow start release wise to a new year always allows for a catch-up of propositions that initially escaped but deserve attention and without doubt the first album from Norwegian hardcore protagonists Tirades qualify. Whatever its origins and seeds, Lifetime of Wars is a glorious and challenging slab of rock ‘n’ roll which rousingly embraces a web of noise and punk fuelled flavours driven by imagination stirring adventure.

Album cover_RingMaster Review     The September of 2014 saw Bergen hailing Tirades enter into the recording of their album with producer Andrew Neufeld (Comeback Kid). Alongside guitarist/vocalist Esteban Munoz, also the drummer of Social Suicide, stood bassist/vocalist Remi Arefjord also of Jeroan Drive and guitarist in Social Suicide, Of Grace and Hatred drummer Mathias Simonsen, and guitarist/vocalist Markus Den Ouden from Blodig Alvor. Together they have created a confrontation as sonically intrusive and emotionally cantankerous as it is anthemically and energetically inspiring. Released in the latter moments of last year through Fight! Records, the punk ‘n’ roll blaze is an immediate contagion drawing, as mentioned, on varied spices of metal and punk driven rock ‘n’ roll to brawl and stomp with the listener.

Fear The Saviour is the first potent incitement, the opener springing from a suggestive guitar spun invitation into a predatory stalking of the senses with beats and bass leading the way. Tribal spicing colours Den Ouden’s bait whilst the bass of Arefjord has a carnivorous tone to its snarl, both tempered by the ethereal vocals and wiry enterprise of guitar. Electro spicing equally adds more drama and texture to the post punk scented introduction, the song playing like a blend of Morkobot and Tones on Tail as it leads ear and an instantly awoken appetite towards the bracing confrontational tempest of Death Bell. Smothering ears in thumping beats and sonic provocation from its first breath as vocals challenge, the track swiftly has body and emotions aflame with its rousing and contagious canter. Subsequent clean vocal chants and the ever primal tone of the bass only add to the lure of the rousing seduction, the song twisting into the infection loaded hardcore and corrosive rock ‘n’ roll which fellow Norwegians Shevils are as equally adept at unleashing, they the closest comparison coming to mind for the uniqueness of Tirades.

The exhilarating stirring of the passions makes way for the more barbarous riot of Ghost, though it too is soon evolving within ears as the band explore fresh hues and resourcefulness employing varied styles. Far too short for personal greed, the track gives way to Sleepless. Featuring Kvelertak guitarist Maciek Ofstad, the track evokes defiant attitudes with its aggressive bawl of sound and voice, only adding to the chest beating potency with catchy moments of clean vocal led incitement. As its predecessor, a major highlight is uncaged, a song which is as imaginatively unpredictable and addictively alluring as it is fiercely exhaustive and more than matched by the exceptional Precious Demon which flows out of its tail blast. Further invigorated by Social Suicide vocalist Marius Jahnsen and Tarjei Strøm, another maelstrom of invention and noise rabidity descends upon and swallows the senses, it too inciting lusty involvement with its caustic collusion of diverse textures and punk rock aggravation.

There is a touch of NVRVD and Bear to the track whilst in its successor Relignorance a spatter of The Great Sabatini teases as it’s more restrained hardcore hostility allows vocal melodies and noise rock tendrils to captivate from within the fierce romancing and subsequent haunting atmospherics unleashed. Volatility is as much a constant in a Tirades song as attitude and ferocity and the track embraces all within its compelling design before Reach Victory batters forcibly on ears and in turn Skin scorches the sense with its sonic toxicity and ravenous intensity. The first of the pair is an abrasive bellow with its own line in dynamic rhythms and agreeably searing hooks matched to the constantly anthemic vocals whilst its successor is an emprise of punk belligerence and feverish imagination drawing on another diverse range of metal, heavy rock, and blissful noise

False Prophets keeps the fires of satisfaction burning forcibly next, its skilled merger of contrasts and addiction forging ingenuity making the appetite greedy whilst immediately after Never Again grumbles and rumbles like a bear with a sore head; one wanting to tear apart the body and dance with the skeletal remains. It is hard to remember in recent times a crushing destructive protagonist as virulently catchy and irresistible as the superb song, though within the album it is just one of a band of demandingly contagious and rabidly inventive trespasses.

The album is completed by the acoustic croon of 1996, an evocative piece of stringed and acoustic expression shaped by voice and emotion which only impresses but still pales against the sheer magnificence of what came before. A bonus remix by Ralph Myerz also adds to the thick enjoyment of Lifetime of Wars, an album which hopefully is the first of many given the other commitments of its creators.

In a recent review we remarked on the pinnacle 2015 ended on in the number of seriously striking releases unveiled. Tirades are another one in the list, maybe the very best of that moment and in the cream thrilling the whole year.

Lifetime of Wars is out now via Fight! Records through most online stores.

https://www.facebook.com/tiradesofficial

Pete RingMaster 08/01/2016

Copyright RingMaster: MyFreeCopyright

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Shevils – Lost In Tartarus

Photo - Kamilla Kvamme

Anticipation for the new album from Norwegian hardcore band Shevils has been eager even bordering on rabid for us, especially after the temptation and hinting of impending glory which came with the already released singles from it, We Walk On Shattered Glass and Black Eyes. The songs showed perfectly why the band has bred a fervour clad following for their distinctive and adventurous sound and why Lost In Tartarus could be the trigger to the widest deserved recognition for the Oslo quartet. The ten track fury of invention and passion is a monster of a release, a brutal yet ingeniously sculpted confrontation which equals the heights suggested by the singles and surpasses the promise set by previous releases. The band has an adventure and exploration to their sound which not only sets them apart from most hardcore bands but puts them on the frontline of the genre, the evidence being rife and rampant within Lost In Tartarus.

Shevils first made a richly promising and attention luring entrance with their debut album The Year Of The Fly of 2011, the release coming a year after the band’s formation. It made a strong impression, receiving enthusiastic responses and acclaim, as did the following single Is This To be (Our Lives)? the same year. The foursome of vocalist Anders Voldrønning, guitarists Andreas Myrvold and Christoffer Gaarder, and drummer Anders Emil Rønning (expanding to a sextet live), continued to build their stature and sound through live performances, which has seen them to date play with the likes of Man The Machetes, Social Suicide, Overthrow, Barren Womb and many more, and the excellent Necropolis EP of 2012, that release receiving its uncaging in Indonesia early this year to incredible acclaim and greedy attention. As mentioned the two singles released in 2013 has triggered a hungry appetite for the band’s second album in a great many, all rewarded and more by the sonic riotous alchemy of Lost In Tartarus.

Opener Is This Where We Are At?, as maybe expected barges through the ear from its first breath, riffs and rhythms striking 1424384_730606523620529_1143928494_nhard whilst squalling vocals from Voldrønning and band bring a causticity which Shevils is so good at making distinct to themselves. The band brings multiple flavours and ideas to their songs, styles which flirt and run amok within the hardcore heart of their songs, and the first easily shows how effective and inventive it is. Grooves and hooks conspire to seduce whilst the energy of the band bruises with unrestrained intensity as an unleashed melodic acidity colours the fury. It is an invigorating and incendiary mix which with a want, maybe need within the band to experiment is irresistible.

Black Eyes is a trap quickly sprung by the passions, its rhythmic swagger and challenge an addictive enslavement  and the frame for the antagonistic vocals to launch their tirade upon. The guitars equally lure with virulent scythes of sonic temptation from the off which ignite into a burning fire as the throaty bass prowl and ferocious energy of the band explodes in hot crescendos of attack. The track is an intrusive and unbridled contagion, creating a stunning maelstrom of adventure best described as Coilguns, Kunz, Man The Machetes on a rampage with a lighter punkish feel of Baddies. That description applies to numerous exploits within the album but all tracks are pure Shevils in their potency and ultimate sound.

The heavy bass stroll provided by Marcus Forsgren brings Timelines purposely and pleasingly into focus  next, another rich enticement laid as the band combines to stomp and lurch around the ears with another epidemically riveting punk brawl. Offering a persistent stalking, the song ripples with attitude and antagonistic intent musically and vocally whilst the constant growl to the guitar riffs bring a primal intimidation which only reinforces the confident prowl.

Both Sorely Fucking Provoked and These Walls Are Coming Down exploit lustful passions for the album further, the first a rapacious tempest of rhythmic combativeness and sonic pestilence honed into a tantalising yet menacing aggressor, group shouts and energy driving it forcibly home whilst its companion led by a crawling bass examination expands into a ridiculously captivating fascination of spellbinding melodically touched grooves and scathing sonic imagination.

We Walk On Shattered Glass soars to the highest pinnacles of the album next, the song still as scintillating as its first appearance as a single a few months back. Intensive rhythms barrack and massage the ears first, a bass growl their delicious companion to be soon joined by the sonic web of noise from the guitars and the ever impressive vocals. Incredibly hungry in its reserved yet ravaging voraciousness and unstoppably infectious in its maelstrom of ingenuity, the track is a titanic persuasion, easily one of the songs of the year and soon rivalled by State Of Regret. Once again bass and drums ignite the senses and passions to set up the frame for a canvas of vocal scowling and skilfully grooved sonic teasing to play out their intentions, the result another quite hypnotic creative frenzy.

The relatively straight forward hardcore attack of Blizzard Beach, which reminds a little of Irish band Gacys Threads, adds another brief but powerful element to the album whilst the excellent perpetually evolving Destroy All Villains and the closing storm of Young And Restless impressively concludes a quite exhilarating slab of breath-taking invention and adventure. Shevils offers hardcore something new and different and in Lost In Tartarus, an album which just sounds and gets better with each listen, one of the genre’s pinnacles of the year, of hardcore, punk, and extreme rock of any description to be honest.

http://shevils.com/

10/10

RingMaster 08/11/2013

Copyright RingMaster: MyFreeCopyright

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