Iron Jawed Guru – Mata Hari

iron jawed guru_RingMaster Review

With all the curvaceous moves and intrigue fuelled exploits its title suggests, Mata Hari is an encounter which simply and irresistibly entices ears as it infests the psyche. The new album from West Virginian instrumental groove rockers Iron Jawed Guru, it is creative espionage of the most rewarding order offering seven songs bursting with grooves that writhe like seductive snakes and a rhythmic intimidation as imposing as it is dynamically compelling. Without reserve, Mata Hari is a delicious incitement that the more you struggle to resist and move on, the deeper you get entangled up in it.

Iron Jawed Guru is the pairing of multi-instrumentalist Mike Lorenzen and drummer Roy Brewer; a Morgantown hailing project which emerged in 2013, though both members first met nine years earlier. Originally a trio with Eric Clutter, who later went on to join Karma To Burn, Lorenzen and Brewer continued as a duo from his departure evolving their fiery and rapacious psych/stoner rock sound. It is a proposition which singes the senses as it flirts with the body, its heavy yet salaciously inviting weave of grooves and riffs aligning with rousing rhythms to create the fiercely captivating and anthemic blaze that is Mata Hari.

cover_RingMaster ReviewFirst up on the album is Quake and straight away its impacting rhythms and dusty grooves echo the ferocity and agitation suggested by the name. As a sonic, almost smog like, embrace is cast, Brewer not for the last time swiftly has the senses on edge and energies ignited with his dynamic presence whilst Lorenzen only expands the flame of sultry grooves and intrusive hooks to increase the virulence of the song. An explosive yet controlled incitement, the song is more than matched by the heated aftermath of Aftershock. Toxic and flirtatious, the track is a maelstrom of contrasting and supporting textures again built on the commanding beats of Brewer and shaped by the tenaciously creative fire of Lorenzen. Bands such as Clutch and Kyuss have often been mentioned as a reference for Iron Jawed Guru, and it is easy to see why from this alone.

The deceptively wiry and full-bodied intoxication of the album’s title track is next, it expelling a sinister and tempestuous air around the undisguised salaciousness that ignites every swinging groove and deeply rooting hook. The song is a devious temptress, a predatory romance stealing breath and soul before Gemini and its mercurial saunter lays bold hands on the imagination. With sinews again flexed in every rhythmic swipe and jab as dark volatility lines the sultry climate of sonic suggestiveness, the track has thoughts leaning towards serial killer like imagery rather than astrological based tales such its rich spiral of dark and intensive adventure.

Navajo brings the hues of the dust hugged West next with its smouldering heatwave of melody inflamed enterprise amidst a web of senses scorching grooves whilst Tremors rumbles and grumbles as it descends ravenously on ears with a horde of robustly explosive rhythms matched with equally abrasive riffs. Both tracks in their individual ways are increasingly veined and bound in the ever forceful invention and irresponsible grooves of Lorenzen; they reckless because there is no doubt that hips will never be the same after indulging in the thick devilry of Mata Hari.

Unsurprisingly Vesuvius is a volcanic prowl of sound with lava-esque drama from the guitars and the expected and enterprising bone shuddering swings from Brewer. Its sizzles upon and burns the senses whilst igniting the passions from start to finish; its gripping and increasingly rabid rock ‘n’ roll the perfect exhausting finale to one increasingly thrilling release.

Mata Hari is pure manna for anyone with a groove fetish; for anyone who loves to be flirted with by swinging strains of guitar and rebellious rhythms whilst Iron Jawed Guru is a band surely on the way to recruiting a rampage of hungry appetites and spotlights.

Mata Hari is available now digitally and on CD via Grimoire Records @ https://grimoirerecords.bandcamp.com/album/mata-hari

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Pete RingMaster 09/02/2016

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Dog Days – Heat

Pic_Christophe Dutoit

Pic_Christophe Dutoit

From its first inflamed note, the debut album from Swiss stoners Dog Days is a sonic mutt in season; a furiously rocking body of insatiable intent sculpted with sexily invasive grooves and a collusion of heavy boned riffs and rhythms. Consisting of eight instrumentally fertile slices of rock ‘n’ roll, Heat is also loaded with severely addictive hooks and immersive textures ensuring, in our experience, that a mating between release and the passions is inevitable.

Heat swiftly stirs up body and emotions from the off, quickly showing why the Fribourg trio of bassist Marie Riley, guitarist Vincent Yerly, and drummer Julien Vonlanthen are kicking up a potent buzz around themselves. Recorded with Sacha Ruffieux over two sessions of 5 days each at the Studio de la Fonderie, the band’s first album comes fuelled by the band’s intent “…to create an instrumental stoner album that shows our love for the sound we can generate with our instrument.

It begins with Saluki which instantly soaks ears in the thick fuzz of guitar and bass whilst a spicy groove nags and rhythms punch. As a sign of things to come, the air is seriously muggy which just adds to the swift drama lacing the virulence of dirty riffs and splintered grooves sculpted with repetitious persuasion. In no time though, the song is really swinging with fully fledged, intoxicating grooves escaping the stomping rock ‘n’ roll incitement. Fair to say, the imagination and appetite are hastily involved and as greedy as ears as the song from start to finish unloads a rich catchy tempest with a hungry swagger.

Heat Cover_RingMaster ReviewThe excellent start is superbly continued by Shiba and its heavily bruising and similarly contagious intensive boogie. There are no escaping essences of bands like Kyuss and Queens Of The Stone Age as a flirtatiously salty scything of guitar streaks through the brooding invasion of cantankerous bass and swiping beats, but with its gripping atmospheric theatre and ravenous intensity the track is uniquely a Dog Days beast.

Malamute wraps ears in sultry and evocatively sonic tendrils next, that persistently dramatic lure soon joined by the dark rumble of beats and a gorgeously carnivorous bass tone; it all springing a punk infused splatter of temptation as much post punk and noise rock as it is heavy punk ‘n’ roll upon ears. The track is instant slavery, a magnetic fusion of gnarly and sweltering contrast with one thing in mine, to seduce the senses whilst twisting them inside out. The pinnacle of the album, it is closely matched by the dark tempestuous trespass of Broholmer. Straight away, its invasive challenge prowls with leaden grooves and abrasing riffs tempered by the stirring up of a thickly and imaginatively layered lava-esque swamp like temptation leaving the body breathless and enamoured before Hovawart sonically shudders into view with pungent beats for company. There is tribal scented enterprise to the new track’s rhythms which continues to blossom and grip as the guitar caustically resonates and the bass links its own slightly bestial bait to the brewing storm of raw and mercurial suggestiveness.

Throughout new breeds of sound and invention are explored within the volcanic stoner genus of the album, Lancashire Heeler an incendiary groove train with creative rabidity to its infectious fire and thunderous trespass whilst Kyi Apso raps keen attention with its opening rally from Vonlanthen before Yerly and Riley nets that perpetually incitement in their webs of roasting and feral prowess respectively. As all songs within Heat, it is pure rock ‘n’ roll caked in tar like energy, set afire with sonic acidity, and given an off the meter voltage of raw aural electricity.

The album is concluded by the almost eight minute flirtation of Komondor featuring guest guitarist Sacha Love. The song is an uncontrollably bewitching proposal merging mesmeric surf rock with rich intoxicating melodic smoulders and sultry grooves; an exhilarating end to a release destined to be one of the year’s big highlights. Heat is one of those jaw dropping treats which are unexpected but quickly rapaciously devoured. The Dog Days bio calls the band’s sound “Stoner with a boner”; that tells you all you need to know.

Heat is released January 15th on vinyl and as a name your price download @ https://dogdaysband.bandcamp.com/releases

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Pete RingMaster 15/01/2016

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King Witch – Shoulders Of Giants EP

KingWitch_RingMaster Review

It looks like there is new sorcery in town and it comes in the shape of King Witch and their rich and thickly captivating sound. An Edinburgh quartet which only formed last year, they have provided one tasty introduction to themselves with debut EP Shoulders Of Giants, a three track roar of seventies heavy metal and classic rock with a more than flavoursome lining of stoner/doom lit rock ‘n’ roll to its body. Since emerging, the band has lured comparisons to the varied likes of Black Sabbath, Candlemass, Mastodon, and High On Fire, to which we would suggest Mount Salem and Blood Ceremony in varying degrees, but whoever is offered as a clue King Witch and their EP provide one exciting prospect and success respectively.

Consisting of vocalist Laura Donnelly and guitarist Jamie Gilchrist, both formerly of Firebrand Super Rock, alongside bassist Simon Anger and drummer Tam Dickson, King Witch has taken little time to awaken keen appetites and support for their fiery music. It is no surprise with Shoulders Of Giants, aside a well-received single, as their opening bait for ears. It has a creatively accomplished body and thick imagination which only sparks the thought that if things are this good at the start what a thrilling horizon is surely before us with them.

KingWitch-EP-Front_RingMaster Review   The powder keg of sonic fire and heavy brew of classic intoxication opens with its title track, Shoulders of Giants an initial shimmer with instant intensity and drama that only grabs attention and imagination. Gilchrist is soon spinning a web of melodic intrigue as the swiftly impressive voice of Donnelly blossoms in sound and narrative. Straight away she is a focal point but through the strength of the flavours and craft surrounding her soon the song as a whole is in command again, the rhythms springing a mix of anthemic intimidation over which the guitar casts a tonic of grooves which at times finds a Skids like tang. The track is a mighty start to the EP, full of striking textures and enterprise that alone needs numerous plays to fully explore with increasing rewards.

Full Moon King comes next, immediately seducing with its warm melodies and exotic air. The heat is raised in no time as grooves and bass resonance collude in tenacious revelry within the crisply landing frame of Dickson’s beats. The temperature and roar of the song is equally lit by the soaring tones of Donnelly but tempered skilfully by the melodic calms and elegant breezes which drift across the track’s enticing landscape between its skilfully stretched out dynamic crescendos. As much as the opener had attention eager, its successor has the appetite drooling before departing for the final track to make its claim on the passions.

As the others, the epic adventure of Lucid needs little time to entangle ears and emotional involvement in its heavy romance and sultry seduction. Vocals and spicy swathes of guitar simply caress the passions as the climate warms and boils with every passing second. Donnelly again shows her striking prowess with every syllable and musically the band theirs across very pluck of a string and swing of a stick. The finale is breath-taking, a hex all on its own bringing a thrilling release to a mighty conclusion.

There is no doubt you will be hearing a lot more of and about King Witch over coming months and with increasing acclaim and ardour if the Shoulders Of Giants EP is a sign of things to come.

Shoulders Of Giants EP is out now @ https://kingwitchband.bandcamp.com/releases

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Pete RingMaster 07/01/2016

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Arcade Messiah – II

John Bassett _RingMaster Review

Though time wise it has been around a year between releases, it feels like a mere breath in sound and relationship between the self-titled debut Arcade Messiah album and its successor II. Continuing in adventure where its acclaimed progressive rock predecessor left off, the new encounter is an emprise of instrumental majesty and incitement reconfirming John Bassett as one of Europe’s finest songwriters, composers, and musicians.

An artist no stranger to garnering thick attention and praise through his band KingBathmat and acoustic offerings under own his name, Bassett’s solo instrumental project Arcade Messiah is another unique proposition from him. Weaving strands of highly varied styles from metal to math rock, stoner to post rock with further diverse and progressive flavours soaked in stirring ambience, the first Arcade Messiah album was a riveting exploration of sound and emotion through individual incitements. Each song worked on the listener’s senses and imagination and as mentioned, II carries on in the same vein but further experiments with textures whilst stretching the fusion of styles and essences to richer and deeper extent. Basset himself neatly sums up II, saying “after the surprise success of last year’s original Arcade Messiah album and after receiving feedback from fans of that album I decided to make a sequel, a continuation of that album, that is hopefully bigger, better, more refined and more dramatic, but which didn’t lose the vibe and atmosphere that was created on the original album“.

Arcade-Messiah-II-Cover_RingMaster Review   II opens with Moon Signal and straight away thoughts drift on the breeze of melodic and atmospheric coaxing. Keys whisper suggestively with their calm caress whilst a guitar emotively entices before sparking a broadening into a thicker and more volatile landscape. The celestial air which painted the start continues to ebb and flow within the spatial yet tightly woven invitation of the track, its journey hinting at vastness and intimacy simultaneously whilst twisting through varied realms as the song explores new avenues of calm, tempestuousness, and imagination.

As expected, Bassett bewitches and provokes ears and emotions with his writing and craft, each piece of music a tapestry of clues and persuasion for the imagination to run with greedily, Red Widow another swift example and success. The second track has a more sinister air to its tone and presence which starting from a sonic mist is soon opening up layers of equally intimidating and seductive expression. The arousal of ear and thought also evolves through many guises within the full umbrella of sonic temptation, a creative travelogue shaping all tracks with the compelling Black Dice Maze a prime example as it glides through sonic intrigue and emotive calm as well as tenacious rock ‘n’ roll and ravenous volatility within its gripping theatre of sound and invention.

The next up Gallows Way seduces from its first touch. Initially it is a surf rock infused ambient hug on the senses, soon spreading out with evocative melodies and reflective sonic shimmers as guitars and keys align with shadowy but restrained rhythms. The skills and invention of Bassett across the instrumentation is a perpetual doorway into the heart of the music, guitars especially descriptive and suggestive across the album but just as potent are the rhythmic contrasts and darker hues that can either ripple or erupt in more forceful intent to temper or enhance the adventure around them. In the fourth song beauty dominates though whereas Fourth Quarter involves rugged scenery of riffs and dynamics within a sonic radiance which immerses the listener with a climate of invitational sultriness and tempting danger. The track is a gripping fascination and rich aural temptation matched in might by the sultry mystique of Via Occulta. The short piece is a maze of shadows, a lure into secrets and hidden depths, and a spellbinding flight even with its brevity.

Across both Read The Sky and Start Missing Everybody, artist and album continue to be a kaleidoscope of aural ingenuity and temptation; each of them evocations which transfix and incite the senses and imagination into unique interpretation of the sonic palette on offer. The closing pair of the two is a melancholic kiss but just as potently fuelled by hope and energy to create something emotionally anthemic.

The CD version also includes the bonus track The Four Horsemen, a striking cover of the Aphrodite’s Child song which was also Arcade Messiah’s contribution to the recently vinyl released compilation album by Fruit De Mer Records called Side Effects. Alone it is worth the purchase of a CD, Bassett giving the track fresh life and suggestiveness, though the cream of II is undoubtedly his original and thrilling tracks.

John Bassett as mentioned is for us one of the UK’s most potent and stirring songwriters, let alone musicians, and II another thick slice of pleasure.

Arcade Messiah II is out now digitally as a name your price download @ https://arcademessiah.bandcamp.com via Stereohead Records and on CD from November 27th.

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Pete RingMaster 23/11/2015

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Slumlord Radio – Too Pretty For Tijuana

SR_RingMaster Review

After releasing the excellent $3 Dollars, A Half Pack of Smokes and Some Other Jive S​*​*​t album earlier this year, it a compilation of tracks from their earlier EPs with a couple of fresh treats for good measure, Slumlord Radio now uncage some brand new punk ‘n’ roll incitements to contemplate in the fiery shape of Too Pretty For Tijuana. It is an encounter which seems to have looked back at previous releases and taken the prime and prize elements from them, reseeded and honed them with new imagination, and then immersed the results in a new maturity and enterprise. Slumlord Radio is still as violently funky as before and as aggressively dirty, but now its sound is wrapped in a contagiously imaginative swagger and unpredictable adventure that has produced with ease the band’s finest moment yet.

Apparently bred in the slums of Grand Rapids and emerging in 2010, Slumlord Radio was soon stoking a reputation for the live shows and fusion of punk, sludge, metal, and unbridled power. Release wise, The Cats Pajamas in 2012 nudged attention though it was more the infectious raw rock ‘n roll of Tokyo Roadhouse Sonic Sex Castle the following year that found a new and wide range of appetites focusing in on the band; us included at this point. The potential fuelling the encounter was confirmed and stretched by the excellent No Trick Pony in 2014, a raw and grouchily aggressive offering which was as irritable as it was magnetic. As suggested earlier, with Too Pretty For Tijuana, the trio of vocalist/guitarist Tommy Erickson, bassist Mike Todd, and drummer Matt Claucherty seem to have reassessed past triumphs, taken all the richness from them and aligned all with new invention for a whole new escapade creatively fresh yet still distinctly Slumlord Radio.

album_Cover_1_RingMaster ReviewCarrying a Tarantino like southern theme in air and word, Slumlord Radio the good, the bad, and the ugly; Too Pretty For Tijuana leaps from its cinematic spoken Intro into Bullwhip and a bar-room good time for all. With heavy beats stirring up caustic riffs as the recognisable growling roars of Erickson prowl the emerging cage of confrontation, the track is soon swinging its infectious sinews with belligerent and addictive prowess. The bass growl brewed is as gripping and predatory as the chunky riffs and tendrils of inflamed toxicity, a mix alone which ignites ears and imagination but once given an almost glam rock like host of hooks and grooves it becomes slavery in a speaker.

The following Debonair Dolomite strolls in on a magnetic rumble of beats from Claucherty, his thick bait wrapped in stoner sown lures of guitar aligning with seductive attitude soaked bass. From its perpetual rhythmic incitement, the song bounds along with hook driven infection and ripe grooving until mid-way when it suddenly drift into a slow smoulder of evocative melodies and vocal reflection. In no time at all though, things are brewing up again, intensity and energy rising until band and song are once more preying on the listener with their addictive and thrilling fierce shuffle.

A tangy resourcefulness soaks Southpaw next, its entrance laying a sultry and exotic Latin hued soundscape which simply lures the imagination in deep before the guitars begin to weave their scorched temptation and rhythms start showing their muscle. In the flow of a hanging man’s breath, rapaciously heavy grooves are stalking ears, their descriptive winy texture southern rock toned and thick as tar but equally adventurous as alongside flames of hard and classic rock escape with agreeably raw tones and textures in chase.

Intermission adds more of the underlying narrative before Tycoon gets dirty with the listener, again grooves, hooks, and beats colluding to infest ears with infectious endeavours and addiction forging enterprise. Anthemic roars from across the band only add to the insatiable persuasion of the song whilst backing up Erickson punk aggression perfectly. One of the shorter moments on the EP, the outstanding incitement sees blood rushing through veins and neck muscles stretched, leaving the listener exhausted yet energised ready for another almost insidious horde of grooves and intoxicating hooks to be enslaved by. Managing to unite old school punk, seventies hard rock, and garage spawned rock ‘n’ roll, Choke 66 spews imagination and inescapable bait across its incendiary trap, only losing a little steam when it too dips for a relatively brief moment of emotive calm.

With just an Outro piece to follow, the album is closed up by a new or certainly updated version of Fort Knox, a fan favourite which first appeared on the Tokyo Roadhouse Sonic Sex Castle EP. With greater definition to its grooves, clarity to its busy body and simply new energy in its heart, the track seems to relish its make-over, growing in its skin and emerging even more impressive than first time around. Simply the ‘teenager has become a man’, something which kind of applies to the Slumlord Radio sound generally, as Too Pretty For Tijuana ends on a lofty high.

Uncompromising, bruising, and incessantly dynamic, that is Slumlord Radio rock ‘n’ roll and fair to say we have become even more enamoured with through their new incitement.

Too Pretty For Tijuana is out now via Honyock/Silver Maple Kill Records @ the Slumlord Radio Bandcamp.

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Pete RingMaster 01/10/2015

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Archi Deep and the Monkeyshakers – #3

Archie Deep_RingMaster Review

With two releases under their belts, French rockers Archi Deep and the Monkeyshakers might still be lurking in the shadows of recognition with a great many but that could be changing with the release of their new mini album which is simply called #3. Bursting with attitude loaded, fiery rock ‘n’ roll, the band’s third offering is a blaze of impassioned sound and inventive tenacity which makes a very good impression first time around but just gets more creatively impressive and boldly persuasive with every taking of its rousing stomp.

Hailing from Oléron, an island off the Atlantic coast of France and due west of Rochefort, Archi Deep and the Monkeyshakers consists of Archi Deep, Camille Sullet, and Martin Leroy. Formed around two years ago, the band quickly sparked attention with debut EP #1 in the November of 2013. Shows and tours around France followed with hunger, the band more recently spreading their sounds in French tours and into the UK after the successful release last year of their second EP, #2. Now their energy fuelled blues spiced, and slightly warped rock ‘n’ roll has an increasingly thrilling outing with the latest proposal from the band. With this also our introduction to Archi Deep and the Monkeyshakers, we cannot say how it compares to their previous encounters, or describe the growth of their sound, but looking ahead with #3 as evidence, this is a band going places and more than worthy of a hefty moment of your time.

cover_RingMaster Review   Their sound is a kind of a mix between two UK bands past and present, a kind of coincidental hybrid of My Red Cell and Medusa, and as suggested more irresistibly tempting with every excursion. The EP starts with Nowhere Man and a great scraping of guitar which in turn triggers a groaning bass groove aligned to equally cantankerous and thickly enticing scythes of melodic tonic. The voice of Archi carries similar attitude and expression, his tones also crawling seductively through ears but with an intimidating glint of devilish intent in tow. The song continues to prowl until the blues rock enterprise within the strings and fingers on the guitar cannot restrain their resourceful and smiling endeavour any longer, throwing off any wrap to further light ears and imagination. The band’s current single, it is stirring stuff with the heavy swiping beats only ensuring further that its impact just gets bigger and more tempestuous over time.

The excellent start continues with I’m On The Run, a song opening with a far mellower and gentle coaxing for ears. The enjoyable and already slightly off-kilter vocal delivery is an immediate tempting which is hugged by a hazy melodic web of guitar. Attention is tempted instantly and firmly hooked once a mighty rally of beats sparks the track to burst out with an infectious swing to its body and gait. A wonderful gnarly tone from the bass quickly adds to the theatre and addictiveness of the song, its raw snarl matched in fuzzy kind by riffs, the intensity of the beats, and the salacious glamour lining the enthralling tendrils of blues skinned craft spinning from guitars. It also carries a great stoner-esque feel to its almost bruising rock ‘n roll, another additive to leave thoughts and appetite grinning greedily.

High Minds engages ears next, its acoustic kaleidoscope a tapestry of flavours and seemingly inspirations, merging everything from rock to rap to indie to Lennon and McCartney with imagination. The song is an instant friend which again, as is the theme of the release, just gets more compelling and involving with every escapade with it, a quality once more reflected in the southern kissed, desert rock of I Can See. Whether, moving on a relaxed and spicy canter or uncaging a bracing tempest of energy, veined by molten guitar and spiky rhythmic adventure, the song is aural virulence and quite irresistible.

Taking a little longer than others to tap into the same kind of reactions found elsewhere, Real is a smouldering incitement which just seems to get more determined to have its way with every play, that an inevitable success with its great emotive and melodic turbulence, though with personal tastes it still has to settle for the shade of its companions, especially against the closing mercurial roar of If Only It Was Sunny. The song is glorious, an unpredictable and explosive blues croon of dirty and heart felt rock ‘n’ roll, and the perfect way to conclude one riveting release.

If you like your rock ‘n’ roll on fire than take it from us, Archi Deep and the Monkeyshakers and #3 is a must check out. Simple as that!

#3 is released October 2nd and available digitally at the band’s Bandcamp.

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Pete RingMaster 01/10/2015

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Sloth – Slow As Shit

sloth-desert_RingMaster Review

Lounge music for the aftermath of the apocalypse; the sound crawling, seeping through Slow As Shit certainly lives up to its title, and indeed the name of its creator Sloth. The predominantly instrumental album is half predation, half raw hypnotic temptation; a mix breed of doom and sludgy invention at times entwined with electronic and stoner mischief, and a very solid and alluring introduction to the solo project of Blake Caverly.

With inspirations probably safe to assume coming from the likes of Pallbearer, Bongripper, and Boris, Sloth and Slow As Shit swiftly entice and intrigue with opener Meditate. Instantly dark and cavernous with a portentous air to its emergence, the brief piece is the sonic yawn of a beast about to arise and slowly lumber across the senses. Its successor Green Sunrise similarly begins on a provocative sonic touch, its radioactive texture soon breeding thick, slowly stretching tendrils of guitar and creeping rhythms. As the atmosphere becomes more caustically blustery, the grooves find a ‘warmer’ voice to their enterprise whilst beats explore even more intrusive intent in contrast, all elements uniting in a predatory crawl as suitable to the ascent of a beast like Mothra as it would be to the demise of life as we know it. The imposingly alluring encounter continues to brew malcontent in its nature and extensive presence though like a couple of the other tracks, it stays a minute or two too long for personal tastes but with strong hooks and smart repetition aligning with the craft and imagination of the song, it ensures a captivating start to the album.

sloth-cover-art_RingMaster Review     Waking Up follows and shares a heavier, more malevolently hued landscape and surrounding air with ears. As in its predecessors, and indeed those to come, electronic essences and temptations bubble and simmer within the dark doomscape of the song, their shards of unpredictability and spatial light increasing the intoxicating melodic endeavour veining the creative mass of shadows and suggestiveness. A post rock breeze similarly brings to light new aspects and depths to the music, each glimpse adding more colour to the sound and the temptation working away on the imagination.

The following Call Of The Sloth is another intensive crawl over the listener; its smog of invasive energy bred in the sonic craft of Caverly, itself a keen persuasion to body and thoughts. Every moment in its nine plus minutes, brings fresh tones and rich slithers of imagination but also, certainly on the surface, a few close similarities to the tracks around it, that element emphasized in the repetitious air which coats the song’s extensive length. Nevertheless, it is little less than compelling as it sets ears and thoughts up for the ravenous experience of Nothing But Leaves. Featuring vocals from Mikey Gascoyne of Valravn, the track is a tantalising mix of melodic melancholy, doom bred suffocation, and scarred blackened textures which twist and evolve whilst luring in other flavours around the raw tones of Gascoyne. It perpetually crackles and burns on the senses, leaving scarred flesh in its corrosive wake whilst equally inciting an eager appetite for more with its melodic enterprise.

Awaken That Which Lies Amongst The Trees cakes the senses in a thick atmospheric trespass and sonic acidity next, the guitar craft of Caverly especially persuasive in tempering more savage vocal squalls whilst Smoke ‘N’ Sleep brings the album to a fine close with its unexpected, electronic stoner-esque waltz. Keys simply entice and dance in ears and imagination, the music’s air drifting as fluidly as the song title suggests as EBM seeded hooks add to the creative revelry. In many ways the track does not fit with what came before it but there is no escaping that it still provides a thoroughly enjoyable and relevant end to the release.

   Slow As Shit is a great first glimpse at the craft and invention of Blake Caverly. It might not be the release to get you over excited but as we have found, it is likely to ignite potent intrigue in the exploits of Sloth ahead.

Slow As Shit is available from September 28th via the Sloth Bandcamp

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Pete RingMaster 28/09/2105

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