Tvivler – Negativ Psykologi #1

photo by Mads Ogstrup Nielsen

photo by Mads Ogstrup Nielsen

A rousing of the passions like no other; that is probably the best description of the effect the debut EP from Danish noise punks Tvivler had on our tender ears. Bristling with four tracks of something between post hardcore, noise rock, and sonic ferocity, Negativ Psykologi #1 is a blistering trespass of rabid virulence, an addiction in the making for fans of anyone from At The Drive-In and KEN mode to Kabul Golf Club and Coilguns. Band and release has a sound and presence though which is equally unique from those suggestions, a personality and freshness of its own which translates as one of the most exciting debuts in recent times.

Formed last year, Tvivler (Danish for doubter) hails from Copenhagen and comprises the united talent from numerous other Scandinavian bands. Vocalist Thomas Burø is a member of Lack whilst bassist Morten Ogstrup Nielsen is part of instrumental progressive metallers Town Portal. Completing the line is guitarist Thomas Feltheim from Obstacles and drummer Morten Clausen, the pair also part of hardcore band Children Of Fall. The quartet bring an eclectic mix of styles from their other projects into Tvivler but yet again the band emerges with something wholly distinct from those spices and other propositions breeding a similar assault of sound.

front coverReputation Radio/RingMaster Review   The first instalment in a 7″ trilogy, Negativ Psykologi #1 simply explodes in ears with the first breath of opener Almanak, guitars spreading a sonic rub quickly joined by raw and catchy riffs amidst scything rhythms as well as the scorching tones of Burø. There is an immediate contagion to the encounter, hooks and grooves uniting in a web of irresistible sonic flirtation whilst vocals squall with a just as gripping persuasion. UK band The Gaa Gaas spring to mind at times as the tones of Burø climb over the wiry strands of guitar, his magnetic pull the perfect temper to the carnivorous enticing from the throat of the bass and the emerging dance of surf and post punk imagination.

At two minutes it is far too short but in its brief presence an inescapable slavery of ears and emotions making it easy for the following Tænder to turn up the heat and passions. It too has no interest in offering a gentle entrance, bundling itself through ears in a ball of antagonistic bass and jangly guitar temptation courted by Clausen’s concussive beats. It is a thick assault of busy sound but with a clear centre from which Burø unveils the narrative with acidic prowess. Living up to its title, the song switches around with striking invention and rhythmic agitation, guitars and drum sticks a maelstrom of unpredictability to which the bass provides its own twisted grudge. With a whiff of bands like The Mai Shi to it, the tempest is an anthem to the primal and disorientated amongst us and quite scintillating.

Træfælder opens on a portentous ambience wrapping church bells, but an atmosphere taking less than a second to become a cauldron of unsettling suggestiveness leading to a furnace of guitar causticity and raw vocal bewitchment. As imposing and abrasive as the delivery of Burø and in turn the backing of the band are, they expel a ringing harmonious lure which is as seductive and disturbing as the kaleidoscope of psyche sucking adventure around them. The song’s title means traps and there is indeed no escaping the addictive hold of the song, another living up to its name and keeping ears with a greedy appetite chained.

The EP finishes with Tyndhudet, the harshest, most disorientating fury on the release. Each track within Negativ Psykologi #1 gets progressively rawer and violent, the closer bringing the release to a hellacious and abrasing finale. It is not all raw confrontation though, Tvivler again spinning a weave of infectious hooks and addictive grooves which just light body and imagination. Drums and bass are bestial it is fair to say against that alluring tempting but even they have moments where lust gets the best of them and they ease off a whisper to add fresh flirtation.

The track is a glorious end to a stunning encounter. Tvivler and their sound is not going to be for everyone of course but if those hints earlier get the juices bubbling and indeed post and neat hardcore as well as noise and punk rock too, then Negativ Psykologi #1 is going to bring some ecstasy to your lives.

Negativ Psykologi #1 is out now @ http://tvivler.bandcamp.com/releases

https://www.facebook.com/tvivler

RingMaster 23/06/2015

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://www.reputationradio.net

 

The Black Black – Boogie Nights

BandPhoto-1-WalterWlodarczyk

There is no denying that the One Blunt Death Party / You’re A Danger 7” single from The Black Black towards the end of last year, scored a deep rooted place on the soundtrack of our and a great many other’s passions with its three tracks of psyche flirting post punk. The release was not only confirmation of an already impressing emergence from the Brooklyn band but a sign post of greater exploits being brewed. It is a recipe which has come to a scintillating and seriously compelling boil on the trio’s debut album Boogie Nights, a salaciously contagious and schizophrenically toned incitement of post punk devilry. Inspired by the 1997 movie of the same name, the album is dirtily seductive and sonically swarthy, though no fakery in colour or overblown additives can be found on the lean and creatively rapacious groove machine. If you thought The Black Black was already the tang to your ears and day, be prepared for melt down once the rhythmically voracious and sonically irresistible Boogie Nights takes hold.

Formed in the latter months of 2011, The Black Black were soon luring attention with the self- release of a pair of EPs in 2012 and a split 7” with fellow Brooklyn band Low Fat Getting High. The early weeks of 2013 saw the band entering the studio with drummer Stephen Chopek (The Everymen) to record the double-A single One Blunt Death Party / You’re A Danger, the first for Money Fire Records and released in the September of that year. It was the spark to a far broader awareness and attention upon the band, the acclaimed release also in the words of the band, the first which “truly captures the bass-driven, groove-heavy sound and energy of the band.” With drummer Tomo Ikuta joining the founding pair of guitarist/vocalist Jonathan Daily and bassist/vocalist Chris Schnaars also that year, the band has obviously continued to hone their sound and invention resulting in an album which stalks new plateaus of imagination igniting alchemy.

From the first stubby rhythmic swipes and acidic strikes of guitar, opener the plan is, there is no plan has thoughts and appetite on their feet and throwing moves. The angular spicy sparks and grooves of guitar are instant flirtation which the wonderfully throaty bassline and crispy rhythms match in imposing kind. Teasing with a bluesy scent to those grooves and its air, the song continues to rumble and shuffle vivaciously as expressive vocals behave as mischievous and predatory as the sounds around them whilst sudden dips into restraint and melodic seducing add extra bewitchment.

The tremendous starts is straight away emulated by black black snow, the second song again throwing out wiry and tasty grooves as its body swings beats and riffs like an Ian Curtis dance. AlbumCover-MichaelSincavageThoughts of Wire come to the fore quite swiftly, as too of The Gaa Gaas whilst the raw and rhythmically addictive side of the track is bred from the same primal instincts as The Fall. The track is a scuzzy turbulence of pure addictiveness and sonic sexiness, but it and its predecessor soon have to bow before the brilliance of until death do us party. The lead single from the album, it is a temptress from start to finish with a compelling acidic groove, coldly exotic hooks, and anthemic vocals as its biggest weapons out of many. Discord as ever is a vibrant colour to the band’s sound whilst a toxic melodic hue only excites the already vivacious adventure, but with grizzled bass tones and agitated rhythms courted by Mekons like sonic tenacity, the track breaches an ingenuity which is breath-taking.

The following what the world needs now strides purposefully in next with a beat carrying bulging biceps and a grizzly bass enticement which soon has the appetite licking its lips. A low tone to the vocals adds to the addictive drama before the song expels a caustic breath and garage rock ferocity. It slips through both elements again before twisting into a psychotic swing and vocal bedlam which again has body and thoughts dribbling in pleasure. The glorious tempting takes a different avenue with the darkly shadowed machine, who me?, cold almost sinister essences draping over the vocal agitation and Joy Division seeded revelry. As in all encounters though, numerous side steps and unpredictable turns bring greater fascination and ardour the way of the eventual Baddies flavoured evocation.

The previously exalted you’re a danger soon has ears and feet engaged with its slightly unruly but seriously infectious sonic emprise. Wrapped in richly spiced tendrils of melodic fire and intimidating bass menace, the song simultaneously smoulders and stomps on the way to hypnotising the senses with its unrelenting and feverish tapestry of alluring discord and searing guitar toxicity. The track as so many from the band, just seems to grow and worm deeper under the skin over time, a persistence which flows through the album and especially in songs like this drink’s familiar. Shimmering loudly with every shudder of guitar strings and grouchily tempting with every bass slap, the song slowly swarms over the senses, flirting with ears on the way through with bright flickering moves and raunchy beats.

Things get dirty and greedily energetic again with the silence is deafening, a grooved beast of riotous and infection fuelled escapades, and restrained with the sultrily tempting phillip gets divorced. The second of the pair is unafraid to occasionally fire up its bedlam though and bursts into occasional fierce blazes of sound and vocal fury, whilst both songs treat the imagination and passions to exhilarating doses of bracing and abrasing rock ‘n’ roll.

With the similarly irresistible creative psych-out of this land is not your land bringing the album to a close, Boogie Nights has little difficulty inflaming old passions and triggering new lustful responses. It is a certain challenge to all best of lists due to be offered around now and for newcomers to The Black Black an inescapable and thrilling doorway into post punk anarchy whilst for fans it is simply the best thing since…well the band’s last sonic plaything.

Boogie Nights is out now via on Money Fire Records digitally and on 12″ white vinyl @ http://moneyfirerecords.com/boogie-nights-by-the-black-black/ and http://theblackblack.bandcamp.com/album/boogie-nights

https://www.facebook.com/theblackblack.nyc

RingMaster 12/12/2014

Copyright RingMaster: MyFreeCopyright

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Tense Men – Where Dull Care Is Forgotten

Tense Men promo

    Bringing a primitively lustful tingle inside with its post punk bred fusion of noise and psyche rock, the Where Dull Care Is Forgotten EP from UK band Tense Men, is one of those delicious treats which flicks all the right switches. Band and release is a ripe proposition for those with a strong appetite for post punk, repetitious discord, and minimalistic adventures of noise and maybe less tasty not for those with different appetites, but we would suggest still a rewarding encounter leaving a lingering mark whatever your penchant.

    Tense Men was formed in 2011 by Cold Pumas guitarist/vocalist Oliver Fisher and singer/drummer Richard Phoenix of Sauna Youth. Combining drums, guitar and a loop pedal the duo made people stand up and notice with a clutch of live performances before recording the six track Where Dull Care Is Forgotten. Since its recording the Brighton band has expanded with the addition of Omi Palone bassist Liam O’Neill. Now with its release via Faux Discx on 12” vinyl and digital download, the debut EP from Tense Men is poised to push this union of craft and noise sculpting into an eager awareness, its success on the strength of the release something hard to doubt.

    As soon as opener Stages Of Boredom scars the ears, imagination and an already assumptive hunger are lit as guitars lash the Layout 1air with sonic persistence matched by a rhythmic enticement. The first piece of insidiously addictive weaponry is unleashed within seconds, a repetition driven groove entwining the senses with seductive potency as the vocals of Fisher offer a mutually monotone seeded suasion. Into its full drone bred swagger, the track baits the emotions with a mix of The Gaa Gaas like psyche temptation and the post punk causticity and repeating moroseness of Joy Division. It is a magnetising provocation which worms itself under the skin with an insatiable toxicity and an intensively powerful lure into release and band.

    The following RNRFON resonates through bone as its rawer body presses on the senses with a bass cast coaxing rapidly joined by equally unrelenting rhythms. Across their flanks shards of caustic guitar sear the air before the vocals join the affair with a sombre wishful tone to their delivery. The track reminds of another English band; The St Pierre Snake Invasion with its rawer punk lent persistence, again restrained torrents of repetition veined by squirreling guitar leading the passions into another ardour clad response. With a coat of discord to the jangling swipes of Fisher’s strings in dramatic contrast to his vocals and the low hum of the track, Tense Men has imagination, theirs and ours, tightly clasped in their hands.

     Lie Heavy (Desperate Times) has a thicker rapacious throat and presence to its sound, Mary & Jesus Chain with a touch of Birdland coming to mind whilst the enticing jagged guitar melodies add a touch of The Fire Engines to the abrasive incitement. Though the song does not spark the same depth of greed as its predecessors it still leaves satisfaction basking in a resourceful web of noise which the title track tries to exploit further with its slow and patient consumptive breath. The dark wash of the track almost swarms as it offers its doomy pressure, the drone preying on body and thoughts and in a different guise repeated through the equally potent Nonentities. The track has a slightly lighter atmosphere which also ventures into a Reid brothers inspired premise as its predecessor, but still allows no respite from the intensity and mesmeric call that unbridled reduplication brings.

    The EP ends on a riot to match the incredible start of the release, Opiate Glow the dramatic treat. The rawest punk spawned track on the album with post punk voracity, the tempest emerges from a two barrelled incitement into a ridiculously contagious stroll, rhythms and vocals simultaneously beckoning and taunting before expulsions of furious guitars and energy savage the air. It is an outstanding trap which has more than a whisper of Wire to its devilment, in fact the song like a close relation to the legend’s track 12XU, just a few generations on in the family time line.

     Where Dull Care Is Forgotten is a fabulous release, a scourge of nostalgic and modern smothering which ignites the passions from start to finish. Whether Tense Men will have to bide its times as its members return to their day jobs we will see but already the anticipation for their next offering is impatient.

http://tensemen.tumblr.com/

http://fauxdiscx.bandcamp.com/album/where-dull-care-is-forgotten

9/10

RingMaster 10/03/2014

Copyright RingMaster: MyFreeCopyright

 

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The Black Black – One Blunt Death Party / You’re A Danger

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Creating a sound with a schizophrenic edge to its virulently contagious imagination, The Black Black has instantly thrust themselves to the heart of the fullest attention with their new double7″ single, One Blunt Death Party / You’re A Danger. It is a compelling, ridiculously infectious three track excuse for the passions to show some lust and a release which makes the Brooklyn trio a band to keep a close eager eye upon.

Formed in 2011, The Black Black brew up a distressed dance of sound bred from a mix of post punk, psyche rock, and punk. Latched to grooves which are epidemically riveting, it all combines for a presence which leaves a hungry appetite in the ear and passions.  Released via Money Fire Records, the single takes little time in stealing the fullest focus and appetite for their offering, the opening bass growl and similarly voiced guitar of first song You’re A Danger an immediate rich temptation which gnaws at and snatches the listener’s focus from anything else in the vicinity. Once settled in an invitingly repetitive but irresistible swagger a melodic guitar starts to entangle its sonic tendrils gently around the core of the song, its enticement matched by great harmonious vocals. The track is like a mix of Baddies and The Passions with a spice of The Gaa Gaas and Scars added for extra invention and as it continues in its romp with restraint but open energy and fevered passion, the song sculpts a highly potent declaration veined with discord kissed enterprise and melodic bewitchment, hypnotic persistence and sonic causticity also as equally ripe and convincing.

One Blunt Death Party continues the scintillating start; again a raw gnarly opening softening up the ears before sonic scythes of guitar and vocal intimidation parade their welcome barracking. As with its predecessor the rhythmic probing is inevitably thrilling, predation soaked beats and bass riffs alone caging and enslaving thoughts and hunger whilst making the perfect canvas for the guitar to unveil its mouthwatering narrative. The song has a garage punk like glaze to its sound at times, a raw and scuzzy surface which is pierced and punctuated by the imagination of the songwriting, a complete lure which offers thoughts of the likes of Wire and The Strokes a place to make suggestions. Like the first the track it is impossibly infectious, totally commanding in its presence, and simply an ingenious suasion.

Closing up the release is Cleptogina, a track which steals the show even against the brilliance of the first two slices of sonic alchemy. Taking that previously mentioned schizophrenic air into full on aural bedlam, the song is a spiteful but wholly enthralling web of rhythmic lashing and sonic acidity, again discord and uncompromising adventure raging within a honed vitriolic blaze of fury that mutually seduces and withers the senses. There are whispers of Alien Sex Fiend and early The Horrors spiking throughout the ferocious engagement but also from within the tempest a corrupted melodic acerbity which toys with the ears and brings excited hues to the aural rabidity. The closer shows the depth of the songwriting and along with the other two songs stretches the promise and further possibilities within The Black Black to highly anticipated climes.

The One Blunt Death Party / You’re A Danger single is an exceptional base for one exciting band and an introduction which you suspect will make for a great many The Black Black a new plaything for their passions.

http://theblackblack.bandnada.com/

https://www.facebook.com/theblackblack.nyc

10/10

RingMaster 01/11/2013

Copyright RingMaster: MyFreeCopyright

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Bête Noire – Shut Your Mouth

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Of course everyone has spent a moment to wonder what a merger between Joy Division, The Pixies, and Eighties Matchbox B-Line Disaster would sound like right? But ponder no longer as UK band Bête Noire brings you the answer with their debut release Shut Your Mouth. Unveiling much more than that trio of essences suggests, the two track single is a thrilling and potent introduction to a band which is almost as new itself as the release is to the world.

Hailing from London and consisting of vocalist David M Hargreaves, guitarists Danny Defalco and Billy Bloom, bassist Andrew G, and drummer James Whitfield, Bête Noire has been existence for around six months though listening to the songs you hear a maturity which leads one to believe their musical exploits could stretch back further. Taking influences from the likes of Chameleons, Magazine, Pixies, Stereo Lab, and Serge Gainsbourg, the quintet create a post punk stemmed sound soaked in dark shadows and chilled ambience but equally littered with hooks and deceptive melodies which only captivate in their worst moments and seduce at their heights. The single is a stirring marker for the band which though you could suggest right now their sound lacks a little originality you feel time and evolution will solve that minor ‘issue’.

Shut Your Mouth is the lead track and needs only the brief moment that it takes for the opening beats to be joined by the wonderful coversnarl bitten bass to secure full attention and draw a lick across the lips of the passions. As the steely jangle of the guitars coax in the excellent expressive vocals of Hargreaves the Joy Division vibe is instantaneous but only a strong flavour in a vibrant mix. Whilst the song wraps its cold engaging charms around the senses with flushes of warmth contradicting and elevating the core of the song through the hooks and sonic caresses, there is a feel of early Devoto led Buzzcocks peeping through and a noise rock shimmer bringing remote comparisons to bands like The Gaa Gaas and Engerica. It is an outstanding brew that issues distrust and persuasion with open hands whilst rising the temperature of the psyche and hunger into a greedy recipient.

Its companion Out and Proud is a similarly bred song but with more restraint in its deliberate prowl of the ear, the guitars crafting a sonic narrative to spark upon ear and thoughts whilst the bass kindly stalks their colour within a firm rhythmic frame. Once more the vocals tantalise with the great expressive delivery of Hargreaves coated in a hollow effect and pointing to Ian Curtis in likeness. With the bass offering throatier bait as the song progresses and the chorus providing the road to addictiveness, the song is like its predecessor a potently appealing and compelling encounter.

The single simply impresses from start to finish. It flows with such promise and enterprise that expectations of major things ahead from Bête Noire are already flourishing. Possibly it is too early to make such assumptions but as Shut Your Mouth holds the ear in its creative palms again, there is no betting against it.

http://betenoiremusic.bandcamp.com

https://www.facebook.com/betenoiremusic

9/10

RingMaster 22/08/2013

 

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Shevils – Necropolis EP

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Earlier this year, Norwegian hardcore band Shevils blew us and a great many others away with their single We Walk On Shattered Glass, a song which is deviously addictive with its flame of abrasive enthralling noise. The recent release of the band’s previous EP Necropolis in Indonesia, and it has to be said to a full flood of hunger and acclaim, gave us the excuse to take a look back at the four track confrontation and a wise move it turned out to be.

The Oslo quartet consists of vocalist Anders Voldrønning, guitarists Christoffer Gaarder and Andreas Myrvold also bass, and drummer Anders Emil Rønning, a group of musicians who seem to have an instinctive touch when making noise and abrasion seduce and invigorate whilst it scars and bleeds dry the senses.  Formed in 2010 the band has entrenched their unique brand of sound in the psyche of their homeland through debut album The Year Of The Fly, the singles Is This To be (Our Lives)?, which also opens up Necropolis, and the aforementioned We Walk On Shattered Glass, the last we suggest the trigger to the widest recognition as the band works on their second full length release.

The EP tumbles onto the ear with a clutch of beats before unleashing the full burn of sonic enterprise within Is This To be (Our a3674181538_2Lives)?  The guitars scorch the flesh of the ear to raise the temperature and impact upon the senses with vocals equally abrasive with their intensive squalls. The band is tagged as hardcore but there is much more to their presence and invention, the song alone a tempest of punk, noise, and sonic discord weaved into a hardcore ferocity making bodies stagger back and thoughts grip to any sanity as they search for the eye of the battering storm which never comes.

It is a tremendous start immediately surpassed by the title track. Again the drums of Rønning open up the initial provocation but are soon joined and wrapped by the blaze of guitar fire and bass intimidation, as well as of course the vocal maelstrom of passion and energy from Voldrønning. The sinews of the track have a twisting flexibility to their intrusive incitement which entraps and cuts off any sign of escape, not that you will want to, whilst Myrvold and Gaarder rub and graze the psyche with their exhausting and rapacious riffs and sonic invention. The only thing wrong with the track is the too brief a presence it offers though that is soon forgotten once the rabid destructive breath of Sleep-Waking careers over the senses. As its consumes and aggressively launches it sonic tirade, the track provokes an emotive if violent narrative for thoughts to fall before though to be honest such the intensity of the vicious torrent of sonic spite they barely have time to spark into life before being numbed by the exhilarating assault.

Closing track is a remix of Necropolis by Tiikeri, a version which flirts intriguingly and impressively with noise and psyche rock, the result a mix which sounds like a cross between Pitchshifter, early Killing Joke, and The Gaa Gaas and almost rivals the stature of the original.

The Necropolis EP is sonic manna, which though their last single still holds the passions the tightest follows a mere breath away in its wake. Roll on the Shevils album is all we can impatiently say, it promises to be epic.

www.shevils.com

9/10

RingMaster 11/06/2013

Copyright RingMaster: MyFreeCopyright

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Velcro Hooks: Gymnophoria

Photo by Nat Bevinshttp://natbevins.com/

Photo by Nat Bevins
http://natbevins.com/

With a history almost as intriguing as the tempest of innovative and startling sounds they create, UK indie noise manipulators Velcro Hooks have released one of the best and thrilling albums this year in their debut Gymnophoria. It is a seven track sensation, a release embroiled in sonic teasing yet seductive with its unpredictable and mesmeric ingenuity, and one which offers something distinctly different with each mischievous slice of imaginative enterprise.

The Bristol based band finds its first seeds with the chance meeting between Vancouver musician Jenner Blank and Bristol offspring Thomas Mason in the city of Quetzaltenango, Guatemala. A fortnight of ‘escapades’ ended with each gent returning to their respective countries and a year doing their own thing, which according to the promo sheet for the release consisted of beans and plants. Then Blank turned up in Bristol and the pair began experimenting with aural creativity soon aided by the addition of local talents in Dominic Mitchison and George Garratt. Since then it seems to have been a constant rise for the band, a year of playing free shows where ever they could led them to the attention of Howling Owl Records. That took the band to supporting local bands such as Towns, Weird Dreams, and La Sera, and the release of their first single The Surfing Song and an accompanying video, both finding a strong and eager reception. Now with the release of the magnificent Gymnophoria, it is hard with its outstanding content not to expect the band to wake up the UK as a whole to their immense inventive presence.

Musically the band offers a riotous mix of post punk, noise pop, garage punk, and fuzz rock not to mention plenty more hungry spices. There is admittedly a strong Pixies feel to their sounds but wrapped in flavours which provoke thoughts of many more bands whilst still standing strong as something unique to Velcro Hooks. The release opens with A Love Song For T.S. Eliot and instantly the scythes of guitars has the senses simmering with content. As the vocals enter and the song spreads around the expressive tones that Pixies comparison is rife, especially when discord soaked melodic scarring ensues. There is much more to the song though, the guitars at times bringing a breath which recalls the sharp melodic play of Television and the energetic surges spills essences of Buzzcocks in to the mix.

It is a striking start easily matched and elevated by the following Wasabi Colonel, a song which crawls over the ear with a wicked glint in its eye and the hunger to light up the passions in its heart. From the slight Frank Black like vocals and fiery hooks the song weaves a blend of feisty punk rock and smouldering melodic caressing to bring thoughts of Max Raptor and The Fratellis into the equation though again it must be emphasized the results is something wholly unique to the band.

The album has a variation which can only be admired, a diversity which links every track to another all the same whilst standing clearly and inventively apart. The excellent Wildman with its pulsating bass line and clashing guitars bursts through the ear with the outstanding potent simplicity of The Fall and swagger of the Arctic Monkeys whilst The Prerogative Of Daniel Potter is simply a dark vaudeville delight, both showing the impressive expanse of ideas and sound to the band. The first of the pair is a wonderfully blistering rub of punk with the psyche vocals as unbridled as the maniacally carved sounds, its charge irresistible and imagination a twisted and compulsive contagion, whilst the second collects all the shadows possible to entertain them with unbalanced keys and slight sonic squalls behind the spoken narrative and bedlam dragged screams. Imagine The Shanklin Freak Show meets the Cardiacs and you have a clue to its majesty.

The best track on the album comes in Girlfren, a song which spills its psychotic breath on to relationships for a storm of noise rock which just lights the strongest adoration its way. It is brief, too short to be honest as you feel so disappointed at its conclusion, but in its exhilarating crusade it lays a maelstrom of The Gaa Gaas, Devo, and Innercity Pirates to spark an orgasmic ardour.

Gymnophoria is completed by the just as impressive Yesterday’s Man, a song which is arguably the most straight forward on the release with its postpunk/Joy Divison pop croon, and the mighty Grandpa, No. The closer returns to the more open Pixies soaked sounds which were at large in at the beginning of the album and leaves one wanting so much more as its final sonic wave disappears into the smouldering sunset of the album. It is a staggering release which just leaves thoughts and senses drooling. Velcro Hooks are destined for great things and the album their first great triumph.

https://www.facebook.com/velcrohooks

RingMaster 16/11/2012

Copyright RingMaster: MyFreeCopyright