Lupen Tooth – Strawberries & Cream

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Whether escaping a dank graveyard or bred within the toxic touch of a silvery full moon, Lupen Tooth is a proposition which once bitten by their horrorpunk ferocity, swiftly becomes a ravenous and lingering incitement. Certainly that is the case with the UK trio’s new EP Strawberries & Cream, five tales of corrupted flesh and demonic seductions making up a devilish and magnetic assault of punk fuelled rock ‘n’ roll.

Hailing from Bristol, Lupen Tooth consists of bassist/vocalist Tommy Creep (also owner of indie label Graveyard Calling), guitarist Klum, and drummer Nick Naylor. Their sound seemingly draws on inspirations from the likes of Misfits, Crimson Ghosts, and Blitzkid but also recalls essences of older schooled punk rock which is in many ways where the band stands out from the horrorpunk crowd. Essences of bands like The Ramones and The Damned hint throughout their songs, never an over powering suggestiveness but colluding with the band’s own raw sound and horror fuelled invention to create something organically compelling. It starts from the opening track of Strawberries & Cream, increasing in potency and enticement with each passing song until ears, imagination, and psyche are infested and consumed.

a0506917967_2    Opener Coffin Pallor instantly leaps at ears with a muscular bassline, concussive beats, and abrasing riffs. It is an imposing entrance only given greater force by the dual vocal assault of Creep. Their tones are vibrant yet solemnly monotone, a great mix as cold as the air circulating the track’s narrative and as addictive as the anthemic drive of the song. The bestial bassline from Creep prowls and flirts deliciously with the sonic flames coming out of the strings of Klum’s guitar, whilst everything combined brings small thoughts of US punks The Panic Beats.

The harsher heavy metal breeding of Moonlight Fury erupts next. Driven by the wolf inside, the song is soon a volatile punk stomp creating a dirty and magnetic stalking of ears. It does not quite have the spark of its predecessor for personal tastes, but still tears through the senses with a pleasing abrasiveness which triggers greater passion once it dips into a primal passage of bass sculpted and sonically infused preying of the senses. The track keeps the earlier installed appetite for the release fully engaged before Zombie Doll crowds and preys on the listener with its earthy riffs and brooding rhythms. It also just misses the final factor compared to the first and following songs in majorly igniting emotions but with a great caustic lure of vocals amidst stabbing beats it has satisfaction full.

The EP kicks up another gear with Bury You Deep, a psychotic romance engaging the imagination with a torrent of ear scrubbing riffery and an intimidatingly predatory bassline. Its chorus is simplicity but inescapably addictive, Misfits again coming to mind, whilst the rhythmic and sonic threat of the encounter worries and bruises the senses with horrorpunk rabidity.

The release ends as it started with another gripping peak and a track centred round a death inviting casket. The Coffin Is My Home which from its initial minimalistic vocal and guitar coaxing becomes a snarling and fiercely simmering rage of hostility and creative predation. It is a thoroughly thrilling enticement, with a prime hook within the verses which reminds of a well known classic punk offering but so far has irritatingly defied recognition. Maybe it is our imagination but nevertheless it only adds to the bewitching bait on offer from the best track on the EP.

There is no sweetness with Strawberries & Cream it is fair to say but plenty of mouth-watering and highly enjoyable horrorpunk bloodlust. Lupen Tooth is not a band to provide seducing flights of melodic beauty or thought involving technical intrigues, but for raw and honest, not forgetting instinctively exciting hell bred rock ‘n’ roll, they are a great soundtrack to your nightmares and horrific deeds.

The Strawberries & Cream EP is available now digitally and in various CD packs @ http://lupentooth.bandcamp.com/

https://www.facebook.com/lupentooth

RingMaster 23/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

dragSTER – Dead Punk

Photo by Uglypunk —

Photo by Uglypunk

 

Not sure about you but the quality of British punk rock right now is inspiring tingles not that far removed from those felt when its first generation of sounds and bands were in their heyday. This is all down to bands like Coventry quintet dragSTER and ridiculously exhilarating releases like Dead Punk. Rampaging with thirteen riots of hostile punk ‘n’ roll, the band’s third album is a tempest of feet inflaming, passions rousing ferocity with a strength of invention and virulence to match. There has been some extraordinary rock ‘n’ roll storms in recent times but few can be said to have come close to the fire and flare of Dead Punk.

Formed in 2006, the Coventry hailing dragSTER built, on a love of 50’s iconography, sci-fi and B movie horror, and ‘dirty, fast and energetic music’, their own punk turbulence which was soon stirring up a nest of attention with its voracious energy and aggressively forceful sounds as pungently evidenced on the Rat Scabies produced Trailer Trash EP. Extremely well and greedily received by fans and media alike, the band reinforced their emergence with first album Step Into The Deathray in 2007. It was swiftly devoured upon release whilst subsequent shows with the likes of The Damned, The Buzzcocks, Sham 69, Eighties Matchbox and Electric Frankenstein only enhanced and increased their reputation before second album Here Come The Meat Robots in 2010 had its impressive say. Released as Dead Punk on STP Records, the release marked out the band as one of the most exciting prospects in UK and European rock ‘n’ roll. Featuring ex and current members of bands like UK Subs, Texas Terri Bomb, Criminal Class, and Pigface, dragSTER has pushed on again in both songwriting and sound to now uncage one of the modern punk classics.

A slither of an intro leads ears into the opening fury of Gatecrasher Hostage as Dead Punk begins consuming ears. The song is an instant roar, expelling abrasing riffs and thumping rhythms around the fiery confrontational tones of vocalist Fi Dragster. Ears and appetite are immediately seduced by the onslaught, especially as potent hooks and spicy grooves add their bait to the straight forward but already juicy sound. The machine gun bursts of beats from drummer Ryan Murphy only inflame the intensity and addictiveness of the encounter, leading the listener into a predacious web of dark temptation from guitarists Diesel and Ben Kelly, the latter following up with a short toxic solo of magnetic enterprise. It is a delicious bellow of a song and entrance by the album, a triumph straight away surpassed by its title track.

Dead Punk is, as all tracks to be honest, an addiction forging anthem of belligerence and cantankerous endeavour bound in grooves and hooks to lose inhibitions over. With nostrils flared and dragdradramuscles giving ears a thorough going over, the track compounds its might with a chorus even the deaf and deceased would be drawn to engage in. There is no escaping the slavery of the song, a potency grabbed by Drink You Pretty next and twisted into a new furnace of tangy grooves and chorus placed vocal roars. The song growls and rages with a raw infectiousness and diversely flavoured enterprise, squalling like a mix of X-Ray Spex and Midnight Mob with a healthy dose of  Distillers added. Also repeating and increasing its prowess and bait is the bass of Tom AK, the throaty and at times grizzled tones conjured bringing a perpetual primal lure to this and surrounding tracks, bait again is impossible to resist.

Through the broader dirt clad hard rock spicing of Cattle Prod, band and album keep the variety and thick attraction of the album blazing before Evil Craze provides another massive thrill with its balls to the wall punk rock savagery quipped with another seriously habitual roar of a chorus. The protagonist bursts from the speakers with an almost physical and certainly visceral presence, Fi raging over it like a Queen of attitude and defiance whilst vocally and musically the band beside her unleashes their individual and creative furies to equal intensity and glory.

Such its magnificence, there is an instant fear or feeling that maybe the next track has a mountain to climb to impress but that is soon dismissed by the rampant fifties seeded rock ‘n’ roll of The Dead Are Out In Droves. Garage and old school punk meets horror punk with metal bred venom for company; the track casts its own unique anthem of quarrelsome and addict making sounds, passing on the same challenge to compete to Terminal Loser. Opening with a Generation X like lure of guitar courted by a demonic bass temptation, the song is soon rumbling and grumbled with every note and swiping beat. That antagonistic intent is matched by the fearsome and ever captivating Fi as she opens up the pop tainted heart of the song. A Spinnerette whisper adds to the rigorously seduction at work whilst the guitars scowl and tempt with a canvas of vicious and riveting endeavour which ensures that the track easily matches the potency of the previous storms.

The furiously caustic sounds of Just Wanna Fuck provides one minute of unbridled punk lust next before Liar Like That stamps its raucous authority on ears and emotions with a volatile union of vocals for the chorus the final key in the corrosive passions chaining encounter. Both leaves ears exhausted and spark a serious greed for more, a want and need fed copiously by firstly the Misfits stroked raging of Death By A Thousand Cuts and straight after by the stalking temperament of Indonesian Buzz Cut. The first of the two seizes ears with a raw wind of riffs and bass grievances splintered by the crippling swings of Murphy whilst the second, from a prowling gait of an entrance is soon a viper’s nest of incendiary rhythms, stabbing riffs, and vocal incitement. The pair also come with their own breed of contagion posing as choruses and a lack of thought of using their toxic hooks and inflammatory grooves sparingly.

The refreshing melodic and mellower tones of Fight Fire With Gasoline infuse more new spicery to the album, though that is not to suggest it lacks the same unforgiving attitude in sound and voice as any other proposition with Dead Punk. Thoughts of Penetration come to the fore as the fascinating encounter croons and blazes within its inventive presence before leaving final track Skull Ring to bring it all to a highly satisfying end. The closer is a dark protagonist openly sculpted from the gene pool of seventies punk, The Adverts a suggested spicing, and a bracing and ravenous bruising of unfriendly and irresistible rock ‘n’ roll impressively completing an outstanding provocateur of a release.

Dead Punk is not only one of the finest if not best punk release of recent times but stands on the front line of any emotionally and energetically charged slab of rock ‘n’ roll heard over the past twelve months or so.

Dead Punk is available via STP Records now on CD @ http://www.stprecords.co.uk/page4.htmn and digitally @

www.dragsteruk.com

RingMaster 16/01/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Convent Guilt – Guns for Hire

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Described as ‘Heavy Metal Warriors’ yet with a sound at times as punkish as it is metal, Australian band Convent Guilt unleash their debut album on Shadow Kingdom Records this month. Consisting of eight tracks of highly agreeable persuasion, Guns For Hire is a potent introduction to the Sydney quartet; not an encounter to cause major ripples but a promise ridden proposition providing an enjoyable stomp to get the teeth into.

   Guns for Hire makes a solid start though the first two tracks only warm the appetite and emotions with their decent if underwhelming presence. Opener Angels in Black Leather initially lures attention through a great dark bassline within a strain of juicy riffs. The track is soon expanding its persuasion with heavy metal enterprise and a punchy rhythmic enticement but it also lacks the spark its start hints at, especially when the vocals of bassist Iron Belshaw enter the mix. Technically the track is potent and a solo impressively flavours the offering, but from voice to sound it avoids truly exciting ears and thoughts. The following Don’t Close Your Eyes is similar, the healthy web of enterprise cast by guitarists Dario Lastro and Matty making an accomplished and colourful temptation against the firm swings of drummer Brent. Yet there is an unsurprising and unadventurous feel to the Maiden-esque song which prevents it finding the power you sense is lying at its heart. Both songs we know are favourites amongst a great many so it is more a personal taste thing but it is when third track Perverse Altar steps forward that for us band and album comes alive.

The track opens on a firm ridge of alluring riffs which makes an edgy canvas for the swiftly joining and fiery solo. It is a captivating start which finds another edge and intensity once the much a0046099024_2more impressing vocals of Belshaw stamp their authority on the song. He is never a threatening presence, but with the punk tone which lends its temptation to his delivery and the music itself coming through, the track whilst still firmly seeded in a classic metal spawning, reveals a compelling punk ‘n’ roll character.

That new adventurous tenacity continues its appearance across the rest of Guns For Hire, Convent Guilt aligning a Celtic folk whisper to the intrigue soaked They Took Her Away. Its initial balladry is soon encased in a muscular cage of heavy rhythmic jabs and a similarly forceful bassline whilst the guitars snarl with riffs and seduce through spicy melodic expression almost simultaneously. The song is outstanding, a strong glimpse at the variety in songwriting and sound certainly within the band and an imagination not as forceful on other tracks.

Both the aggressive roars of the album’s title track and Desert Brat keep ears and appetite eagerly keen, the first another punk urged slice of raw heavy metal blessed with a tasty bass tone from Belshaw. His vocals also find a punk breeding, excelling within the causticity of the sounds around him. By now the album’s songs are as much punk as heavy metal and certainly the better for it; the latter style providing strong and tempting colour to the rawer attitude of the songs as evidenced by its excellent successor. That bass of Belshaw persistently prowls with compelling tempting, his riff again irresistible and the spring board for antagonistic riffs and magnetic enterprise from the guitars. Like The Damned meets Motorhead, and Judas Priest, the track provides a strong and resourceful mark in the persuasion of the album.

Convict at Arms does not quite match up to the strength of the previous pair of songs but is soon an anthemic slab of pleasing metal catching feet and neck muscles up in its enticement before making way for the closing sonic carnage of Stockade. Once more metal and punk collide in a bust up of sonic dust and rhythmic confrontation, and again a thoroughly enjoyable encounter is bred. It is a riotous and infectious end to an album deserving keen attention.

As suggested Guns For Hire will not send shockwaves across the metal world but it will breed, as for us, a strong interest and anticipation for the band’s next move. Something coming with a rich dose of punk to its metal we hope.

Guns for Hire is available now via Shadow Kingdom Records @ http://shadowkingdomrecords.bandcamp.com/album/guns-for-hire

https://www.facebook.com/ConventGuilt/

RingMaster 13/01/2015

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Thirteen Shots – White Noise EP

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Ever since the release of the single Danzig in 2011, UK rockers Thirteen Shots have been evolving a sound which seemingly chooses its own direction through each release. It is an organic journey which constantly surprises fans and at times maybe even the band itself. The predecessor to the band’s new EP hinted at one potent and striking shift which the White Noise EP now confirms whilst also suggesting more and that it too is just a sign post towards a yet to be reached destination. Early tracks and debut album Vaudeville offered rock ‘n’ roll with a voracious psychobilly/ punk ‘n’ roll devilment but the unleashing of last year’s Tales That Start With A Whisper seven-track brawl explored rich strains of horror and garage punk in its varied adventures. Now White Noise has stepped forward to push those essences further, the result a diversely flavoured slab of rock which is as at ease employing blues and classic rock as it is garage punk and rock, the result a mouth-watering blaze of raw and dirty rock ‘n roll.

Formed in 2011, the Johnny Rose led Thirteen Shots was swiftly firing up attention, especially after the release of the acclaimed Danzig which was backed up by a live presence which had also garnered equally potent recognition, the band sharing stages with bands such as Demented are Go, The Peacocks, Rezurex, Howling Wolfmen, Graveyard Johnnys and many more these past few years. Their following releases only reinforced their emerging presence whilst relishing the movement in the band’s sound, a journey continued with captivating ferocity through White Noise. The beginnings of the Birmingham quartet when Rose linked up with co-founder guitarist Joe Public, saw the pair move away from a hard rock breeding but with the new release it almost feels as if Rose is drawing on the best essences of that earlier time and flavour to add another flame and spice to the next twist in the ascent of Thirteen Shots.

The new release also sees the introduction of drummer Tom Fenn, who replaced the departing and also band original Chelsea McCammon, and opens with the imposing turbulence and attitude Thirteen Shots- White Noise- Coverof Doom. From its first breath, intense and corrosive riffs graze the senses whilst a bulky bassline joins crisp rhythmic punches in accosting ears. It is a formidable wall of sound, almost Sabbath-esque in tone and predation as fiery grooves wind around the distinctive tones of vocalist Rose. Lyrically the band is still spinning great tales from b-movie and horror inspirations but in sound the track instantly reveals a fiercer and more intimidating air, though it is just one aspect in the varied character of the release.

Next up is the first of two recorded tracks taken from last encounter Tales That Start With A Whisper, and in some ways reveals the most about the shift in sound as you compare versions. Nekrosexual whips up an immediate rich garage blues fuelling to the southern kissed garage punk encounter. There is admittedly not a major change in the song’s textures and sonic winery but everything has a new flood of intensity and incendiary colour to it, a rawer rock ‘n’ roll clarity which just gets the juices dribbling.

The following Blue Lagoon features Silpha, the vocalist from German horror punks Silpha & The Corpseboners and label mates on Rose’s own label Undead artists. The track roars from its first second, a bracing horror punk causticity scarring the air around the expressive and magnetic tones of Rose and Silpha. The track is a contagious stomp, the guitar of Lewis Manchip an uncompromising squall and the pulsating throaty bass lures uncaged by George Chick inescapable bait as they collude with the wicked swings of Fenn. The track is punk rock at its finest at its core and a lingering treat even after making way Psycho Jukebox, the other song re-recorded from the EP’s predecessor. A firm favourite of ours from Tales That Start With A Whisper, the new version is a little less convincing yet with its new roar and bluster turning the swagger loaded rocker into a ferociously compelling provocation, the track only adds bruising drama and incendiary enterprise to the release.

Inspired by the romance of the silent film star and film icon Mary Pickford, First American Sweetheart is the EP’s pinnacle, its infectious gait and rockabilly temptation wrapped in hard rock grooves and garage punk contagion. The song is outstanding; another in a line of underground classics sculpted by the band and the deserving of a wider spotlight. It plays with a Turbonegro and The Damned meets Rezurex type stomp and alone does enough to confirm that the new generation of their sound’s evolution is a step in the right and thrilling direction for the band.

Final song Padded Cell Blues is exactly as it says on the tin, a feisty blues drenched slice of deranged rock ‘n’ roll which shuffles and rampages across its sultry confinement with captivating tenacity and invention. Adding another open colour to the canvas of the EP, the song is a thickly satisfying close to another fascinating and exciting release from Thirteen Shots. Playing as a taster of the band’s continuing journey and an anticipation triggering teaser to a new album out next year, White Noise is a treat for all Thirteen Shots’ fans but also a rigorously enticing invitation for all appetites of unpolished, unclean, and masterfully invigorating rock ‘n’ roll.

The White Noise EP is available now via Undead Artists digitally and as a limited CD @ http://thirteenshots.bandcamp.com/album/white-noise

http://thirteenshots.com

http://undeadartistsbooki.wix.com

RingMaster 03/12/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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The BossHoss – Cowboys From Hell

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The first full week of November sees German rockers The BossHoss stomping with their inimitable presence and sound as support to Motorhead in a UK tour. To accompany the three date rampage and to commemorate ten years raising rock ‘n’ roll revelry, the Berlin septet has released a UK only compilation album. Cowboys From Hell is a sixteen track rabble-rouser consisting of The BossHoss classics and live staples, a selection of tracks unleashing the full uniqueness, depth, and diversity of the band’s country rock/rock ‘n’ roll voracity.

Listening to the album you are soon stirred up by the thick weave of flavours which make up the band’s propositions. Infused in the styles just mentioned, there are just as rich and healthy blazes of punk, funk, metal, and rock pop involved, and that is still only scratching the first few layers of their contagious enterprise. The band creates rock ‘n’ roll to have fun with, sounds to lose inhibitions to, and insatiable devilry to wreak mischievous havoc to. Like a mix of Volbeat, Gene Vincent, Johnny Cash, and ZZ Top in league with The Damned, Helldorado, James Brown and Faith No More, The BossHoss is an instant provocateur and best friend with songs as evidenced on Cowboys From Hell, which are somehow instantly familiar yet a brand new incitement for ears and body to romp with.

Opening with the bluesy twang and hard rock feistiness of Bullpower, the album swiftly has feet and imagination, not forgetting ears wrapped up in its impending revelling. The multiple and varied vocals of the track, as proven across the album, is a potent lure to match the sounds around them, whilst its straight forward and highly persuasive blaze of old school and modern rock ‘n’ roll united, is one infectious and muscular stomp.

It is a powerful start which never dips below full satisfaction across the release; the following Volbeat seeded contagion of new single Whatever an immediate and richer temptation for ears and passions. Brass flames heat up the busy sonic underbelly of the song whilst heavy rhythmic baiting grips ears with predatory intent. Ultimately though, the song is a party in the ears, its electro swagger and striding urgency an addictive canvassing of thoughts and passions.

Through the hypnotic and lively anthemic prowling of Liberty Of Action, with its sizzling guitars scythes and metronomic beats, and the country spiced rap breeding of the album’s title track, God Loves Cowboys continues to recruit greater submission of body and emotions, the second of the pair an irresistible calling which shares plenty with bands like Hollywood Undead. It is fair to say that The BossHoss is still a relative secret across the UK but already four tracks in they make a potent doorway into their rigorously eventful presence and sound for newcomers and vague acquaintances.

A western twang coaxes in the start of Do It next, but is only the initial spice and lead into the funk fuelled diablerie of the song, keys and brass especially saucy in the sultry Electric Six like seduction before the psychobilly teased Stallion The-BossHoss-God-Loves-CowboysBattalion charges into ears and imagination. Hooks and grooves play with a Queens Of The Stone Age colouring whilst the weighty striding of the track is part Turbonegro and part Tiger Army, and all The BossHoss. Both keep the blood racing through veins and feet locked in an inescapable carousing, the pair straight away backed up in might and infection by the R&B/fifties flavoured rocking that is Shake & Shout. As most tracks it feels as if it is already an old friend on the first play but it does not diminish any of its enticement and unpredictable hues.

As you would expect there are particular pinnacles in any collection of songs and one comes in the mighty presence of Backdoor Man. Smouldering in tone and temptation from the first breath, the song with brass sighs and low key vocals swiftly enthralling, is an instant trap from where rockabilly and heavy rock tenacity with jazzy mischief seals the deal. A heavy and fleet footed shuffle, the track is pure rock alchemy, every twist a primal temptress clad in salacious shadow and aural deviltry. Normally any following song would struggle to live up to such triumph but both the punchy funk loaded Don’t Gimme That and the energetically simmering My Personal Song make an irresistible continuation of great times and lingering seduction. There is no way anyone can avoid swinging their body and voice to the contagion of the first of the two whilst its successor is simply what would emerge if Johnny Cash did funk pop, again the blend of different voices as thrilling as the adventurous yet unfussy sounds themselves.

It is fair to say that certainly in recent times no album involves the listener’s body and voice as mercilessly and relentlessly as Cowboys From Hell, the jumpy enterprise and energy of Keep On Dancing being no different especially as the band craft another chorus which is as incendiary on the listener as it is explosive on the air. There is a spellbinding ingenuity in how the band sculpts such virulent eruptions to enslave their recipients yet never goes for the easy route into and out of what is pure creative toxicity.

Through the hard rock powered My Way with its country rascality and the punkabilly Last Day (Do Or Die) things only continue to inflame the passions whilst Break Free with its mellower fifties pop and melodic rock crooning wrapped in soothing harmonies, incites the imagination again whilst revealing yet another texture in the band’s invention. Each track leaves a licking of appetite’s lips and emotion’s lust before the release closes up with a couple of exhilarating cover songs. First the band takes on Motorhead’s Killers, a twisting of rockabilly/blues rock drama into pure infectiousness and mouth-watering temptation, before they rip up the Cameo classic Word Up, and give it the best make-over heard anywhere. It is rockabilly funk with the blood of cowpunk running through its veins, an addiction which would be topping lists in illegality if a drug.

God Loves Cowboys is The BossHoss’ first official UK album I believe and about time after ten years of tearing up Europe and the world. If the band is new to you then the album is a must, you will never hear a more delicious and devilish slab of epidemic rock ‘n’ roll anywhere.

God Loves Cowboys is available now @ http://www.recordstore.co.uk/recordstore/recordstore/God-Loves-Cowboys/3IJC0000000

http://thebosshoss.com

RingMaster 06/11/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Imicus -The Libertine

Imicus Online Promo Shot

They may have left us all hanging after their impressive first chapter and debut album, but after a two year hiatus UK melodic metallers Imicus return with a new line-up and single soaked in the same invigorating qualities and invention as before. The Libertine is a striking comeback, two tracks reminding us of how the Luton hailing band gripped attention and emotions first time around whilst providing a new expanse and depth to their fascinating and provocative sound.

Before the original line-up disbanded in 2012, Imicus was stirring up keen praise and eager support straight away from their first single Visceral, which was released on Transcend Records in 2009. Eagerly swooped on by radio and its video by the likes of Kerrang! and Scuzz TV, the song’s success was surpassed by debut album Animal Factory the following year. Alongside this success, Imicus equally drew strong responses with their live performances which across the years has seen them share stages with the likes of AC/DC, Bullet For My Valentine, 30 Seconds to Mars, Rage against The Machine, The Stone Temple Pilots, and Aerosmith as well as make successful appearances at festivals like Download, Hellfire, Hammerfest, and The Bulldog Bash where they played with such bands as Breed 77, Sepultura, Opeth, Skindred, Saxon , Motorhead, Status Quo, The Damned, and many more.

Last year saw the end to the break which followed for the band, when co-founder and vocalist Miller decided to take the band out of storage with a new line-up and intent in sound and invention. The Libertine is the first offering from the PromoImageband’s second chapter, and recorded with Russ Russell the single is a gripping incitement swiftly revealing evolution in songwriting and imagination of the band.

The Libertine swiftly encloses ears in thick layers of rugged riffs and sonic enterprise punctuated by punchy beats. It is a captivating web given further strength by the vocals of Miller and the hazy atmosphere sculpted by the skilled melodic designs cast by guitarists Matt Turnbull and Al Hutton. Expulsions of muscular attitude and intensity equally add to the compelling encounter whilst Miller sets brawling roars alongside his flowing melodic delivery and the rhythms of bassist Bradley Beech and drummer Antony Cardinal bring a predatory breath through their attack. Technically as enthralling as it is creatively melodic, the song is a rich blend of explosive textures and bracing atmospheric tension, and a mighty return from the band.

Its companion track is Medusa, a song bred from the same melodic and inventively tenacious template as its predecessor whilst uncovering even stronger evocative potency to its depths against sinews seemingly finding seeds in the likes of Stone Sour and Killswitch Engage. There is a definite feel of Johnny Wore Black to the track’s emotive hues and insightful expression whilst elegant melodies and direct passion feverishly drive its imaginative persuasion.

Both tracks combine for an imposingly pleasing and impressive comeback for Imicus, and the breeding of real anticipation for the band’s new album scheduled for next year. The band may have been away but it did not stop its potency and potential growing, as well as expanding with the influx of new creative blood.

The Libertine is released worldwide on CD and digitally September 26th from all major digital outlets as well as @ http://imicus.bigcartel.com/

http://imicusband.com

RingMaster 21/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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New Jacobin Club – Soldiers of The Mark

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Photo credit: Kathryn Trembach

It has been four long years since the release of the attention gripping and highly enjoyable shock rock opera This Treason but at last Canadian gothic rockers New Jacobin Club return with its successor, the equally thrilling Soldiers of The Mark. A leaner and more creatively aggressive encounter which leans arguably more to the horror punk side of the band than the band’s previous releases, it still voraciously embraces the theatrical drama and gothic elegance which is the trademark of the band and what sets them apart from the crowd. Soldiers of The Mark is overall though rock ‘n’ roll at its best, the band employing a wide range of flavours and styles in the body and musical narrative of a concept album which is sure to leave fans and newcomers even hungrier for the band’s inventive contagion.

The brainchild of vocalist/guitarist Xerxes Praetorius Horde (aka The Horde), the Saskatoon band emerged in 1995 as a trio but had expanded in sound and size to a ten-legged tempest of unique incitement and expression by the time of their self-titled debut album in 2001. Fourth full-length, This Treason saw the band as a seven-piece unit pushing their sounds to new depths and heights whilst live, and often accompanied by the performance artists known as the Angry Teeth Freakshow, New Jacobin Club became renowned as not only one of Canada’s but metal’s most startling and exhilarating live acts. Across the years their reputation has continued to grow as the band shared stages with the likes of KMFDM, Voltaire, The Groovie Ghoulies, Nashville Pussy, and The Nekromantix amongst many. As mentioned it has been a fair gap between albums but Soldiers of The Mark shows the band has lost none of its potent visual and musical temptation but with a new line-up honed it into a more diverse and seductively predatory proposition.

Themed by the riveting premise that “a Turn-of-the-Century Gentleman’s Hellfire Club holds meetings and conducts depraved rituals to help bring about the end of the world as described in the Book of Revelations”, the album opens with The Mark. Instantly intrigue drapes over firm beats and a hazy glaze of guitar and keys which themselves hang over the imagination, coaxing thoughts to swiftly play with their tempting. It is a slow and strangely intimidating atmosphere initially but soon stirred up and twisted into a hungry charge of raw riffs and thumping rhythms led by the distinctive snarling vocal charm of The Horde. There is no escaping the tracks infectious primal bait or the emotive elegance of cello from The Luminous which strokes thoughts from within the striding persuasion of the song. Not for the last time on the album, a Misfits like breath flirts with ears but as a passing whisper immersed in the exotic imagination of the band, its hints pale against the bewitching theremin skills of Poison Candi and the dark emotive shadows cast by the cello. Driven by the stomping beats of drummer Rat King and further coloured by a punk tenacity bred by the guitar, the track is a compelling start to the album and immediate declaration that New Jacobin Club are back better than ever.

A classical stroke of guitar strings brings the following Parade of Innocents potently into ears and imagination, it’s slightly Latin hue evolving into a magnetic mesh of sinew sculpted beats and reflective melodies which are soon PromoImageabsorbed in the drama laid by the keys of Mistress Nagini and the throaty bass lures of The Ruin. It is an enthralling start which expands into a mix of Type O Negative and The Damned to give some idea of the delicious presence of the song. As with any NJC track though every moment is just an individual turn in its journey and narrative, a fresh twist coming here through the vocal temptation of Poison Candi which seizes the centre stage. Musically the song turns and swings with sonic ingenuity and invention from all sides yet that slimmer feel and texture to the song talked of earlier is evident showing that the band’s songwriting has again remarkably matured between releases.

Champagne Ivy brings fifties seeds to its gothic punk presence, its bass and cello croon casting shadows which are simultaneously lit by the swagger of the guitar and the band’s vocals. Again it is just one aspect as heavy metal riffing teases ears within a theremin swoon and darkly stringed seduction, producing a Volbeat meets Mötley Crüe incitement but different again. Its masterful enticement is soon left in the shade by Angel MMXIV and even more so A Grey Day to Die. The first of the pair is led vocally by Poison Candi and also parades heavy metal flames this time on a short but pungent gothic horror punk canvas. It is raw and unfussy, pure rock ‘n’ roll to greedily devour before the bigger meal of its successor. The second of the two roars and threatens in one breath and then unleashes some of the catchiest gothic pop enticing you could wish for. King Rat punishes the senses with his venomous swings whilst riffs growl with every note as the bass prowls the senses but it is only matched and enhanced by the virulent chorus and its anthemic contagion musically and vocally. Imagine Calabrese and March Violets in league with The Creepshow and you get an idea of the addictive majesty.

From one pinnacle to another as Into the Fire steps up next, a gentle provocative caress of chords and the melancholic beauty of the cello warming thoughts straight away. It is a transfixing entrance which only grows as romantic melodies and expressive shadows grip the song and ears. Like a bridge to This Treason, the song of all upon Soldiers of The Mark draws on the resourceful gothic rock invention of previous albums whilst exploring a fascinating rock pop and progressive ideation.

The fiery sonic mystery of Garthim makes for the next compelling endeavour. Bringing a texture rather than narrative, vocals talk from a distance, submerged in the gripping and haunting instrumentation which spills menace and apocalyptic beauty. It is a track for the imagination to run with for varied exploits, every swerve of its almost hostile causticity and its persistent melodic intrigue setting up the appetite for the outstanding romp of My Smile. Folkish in its infectious charm and rockabilly like in its tenacious enterprise, the track bounces around like an offspring of The Horrorpops but tempers its revelry with the mesmeric emotional drama of the strings and gothic keys alongside the sheer inescapable seduction of the theremin.

The album ends as strikingly as it starts with firstly the exceptional Seal of Metatron igniting the passions. With sonic washes lapping senses from time to time, the song is an aggressive yet controlled storm of heavy rock and gothic passion which takes every opportunity to wrong foot and surprise ears and thoughts with its innovative exploration. Its scintillating proposition is backed up by the irresistible rock ‘n’ pop of Return to Eden. With the cello melodically sighing around the pop vocal delivery of Poison Candi, the song instantly seduces before firing up feet and emotions with its unstoppable contagion. The track is gloriously mischievous in tone and vivacity, reminding easily of The Rezillos, yet has a psychobilly edge which only pushes its drama to richer success.

Soldiers of The Mark is New Jacobin Club at a whole new level. The band is still one of gothic rock’s finest protagonists but the band has now set down firm marks in rock ‘n’ roll a whole with rewarding recognition surely set to follow.

Soldiers of The Mark is available now digitally, on CD, and as on 12″ Vinyl with a hardcover companion book @ http://www.newjacobinclub.com/webstore

http://www.newjacobinclub.com

9/10

RingMaster 03/09/2014

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