Coburg -The Enchantress

If a title ever fitted an album and its lead protagonist then it is The Enchantress. The debut album from UK hailing symphonic rock outfit Coburg, the release is a riveting cauldron of adventure fuelled sound and melodic seduction; a fascination of imagination with a bite in its jaws and theatre in its flirtatious trespass.

Coburg is the creation of and led by singer songwriter/guitarist/actress/model Anastasia Coburg, an artist who has previously gripped attention through previous guise Jet Noir and as part of Naked Lunch. The London based band is completed by synth player Dean Baker and bassist Mark Spencer both of Galahad and Twelfth Night, rhythm guitarist Sarah Sanford, and drummer Pietro Coburg. Musically, Coburg embraces the gothic rock tones of Jet Noir into its grander and bolder symphonic rock soundscapes; a blending which simultaneously feels intimate and worldly around the emotively woven heart and expressively delivered lyrics of each individual adventure.

Straight away The Enchantress beguiles ears and thoughts, a tempting which only escalates track by track for a seriously potent lure starting from the first breaths of opener A Cold Day In Hell. As soon as the resonating touch of bass and keys fingers the senses the song, which was born in Anastasia’s Jet Noir exploits, has submission in its grasp. Swiftly, you can hear the growth and maturity which has blossomed in the song since its first impressive days a couple of years back, a new sense of drama and intensity fuelling stalking riffs and rhythms as Anastasia’s striking tones step forward. Erupting throughout with melodic flames, the song continues to prowl as that drama intensifies note by note. Apocalyptic in air, darkly romancing in character, the song is immense and unafraid to twist through unpredictable discord lined detours.

Its Middle Eastern spices are even richer within the following and equally exceptional Echoes In The Night. They emerge from the initial shadows of the song, dark corners and provocative ecclesiastical chants enticing as they are soon in union with the wiry tendrils of guitar. With Blancmange like qualities, those cosmopolitan essences dance seductively on the ear, keys and guitar weaving an entrancing beckon before the grittier tones of Anastasia walk the eager stroll. Her lead guitar prowess teases around and alongside too while rhythms share their excitable shuffle in a proposal which has the body as lustfully involved as the imagination.

Dark essences are never far from a Coburg song and coat the senses straight away as The Hall Of Ghosts steps forward next; its fiery and lively balladry a lithe saunter draped in flavourings hinting on the likes of Sisters Of Mercy, The Mission, and Vajra. Its melodies have a childlike innocence but encased in a dark tide of further melodic suggestion and raw power. With bewitching harmonies sealing the deal, the great track is matched in success by the tenebrous atmosphere of Into The Darkness. Gothic rock again flows openly through the symphonic nurtured tapestry of sound, bringing a noir lit intrigue and in turn virulent infectiousness to infest ear and imagination. As with every track, each listen reveals a new twist and layer, the song evolving and growing from its stirring introduction into another major moment within The Enchantress.

Each song also feels like an individual tale and fresh chapter in the album’s journey, Requiem no different as it romances ears next. Though not quite having the sparks of those before it, the track is a heated flame of melodic and lyrical invention which captivates with creative ease before the album’s title track spins its own crepuscular web woven with the fingering enterprise of synths and guitar around smouldering but direct vocals. With electro and progressive rock invention joining its drama, the song is an increasingly compelling proposition, an essence which applies to all songs to be honest as proven by next up Thy Dagger. Its union of intimidating scythes of guitar and electronic revelry instantly grabs full attention, a focus rewarded with vocal and melodic dexterity as the track blossoms note by note into a magnetic slice of cultured rock ‘n’ roll

A haunting realm of suggestion and sound brings Till The Bitter End into view, its shadowed melodic lighting and veiled threats encapsulating the intimate yet broad depths of song and words. Personal tastes did not take to the track as easily as with its companions within The Enchantress but instantly it nurtured a want to go deeper whilst embracing the siren like harmonies and undisguised imagination bringing it to life.

The album is completed by firstly Warrior’s Blood, a song with steel in its skeleton and rousing invention in its evolving character. There are moments which mix the bite of Otep with the melodic fire of Within Temptation but just flavoursome strains in the individual emprise of song and Coburg before Rise closes things with its inflamed hope graced ballad. As if further proof was needed, the song is an emotive declaration of Anastasia’s quality as a singer and songwriter as well as the band’s craft and individual imagination.

Song by song The Enchantress captivates and stirs, growing as mentioned with every listen into something even more impressive whilst announcing Coburg a striking addition to the European symphonic rock scene.

The Enchantress is released October 24th via Evolve Or Die Records and available @ https://coburg.bandcamp.com/album/the-enchantress

http://coburgband.com/    https://www.facebook.com/COBURGtheband/    https://twitter.com/COBURGband    http://www.anastasiacoburg.com/

Pete RingMaster 24/10/2017

Copyright RingMaster: MyFreeCopyright

Ghosts of Social Networks – Outside The Wheel

From impressing with their debut AA-sided single Love Potion/ Mockingbirds last year, UK band Ghosts of Social Networks has gone from strength to strength in writing, sound, and attention. Earlier this year, No Going Back left its predecessor and the band’s second single Comeback Kid in the shade, a feat replicated now by Outside The Wheel, easily the outfit’s finest moment to date.

Created by and based around the craft and music of Manchester based Nathan Till, Ghosts of Social Networks create musical and emotional drama within their songs and no more striking than the suggestive theatre shaping Outside the Wheel. Again a song produced by Gavin Monaghan (Editors, Robert Plant, The Sherlocks), the new single winds a spicy groove around ears first, it’s tempting persona soon backed by tenaciously prowling rhythms the warm and expressive vocals of Till. At the same time, a haunting air rises and flows across the song, bringing a sense of The Mission to the brooding, politically charged encounter.

Building crescendos which erupt into a fiery chorus soaked in its own espionage of drama and creatively flirtatious escapades, moments with a touch of Bond to them; the song simply ignites ears and imagination not forgetting real pleasure.

There are some songs which leave a lingering mark on thoughts and emotions; Outside The Wheel one of them leaving Till and Ghosts of Social Networks a real task to match its majesty next time around.

Outside The Wheel is available now through Integrity Records.

http://www.ghostsofsocialnetworks.com/    https://www.facebook.com/GhostsOfSocialNetworks    https://twitter.com/GOSNmusic

Pete RingMaster 19/04/2017

Copyright RingMaster: MyFreeCopyright

Calling All Astronauts – Anti-Social Network

Calling All Astronauts Promo Picture_RingMasterReview

It is easy to have an on-going appetite for a band but not always as simple to keep the fervour of the enthusiasm for their work burning just as brightly, especially as they evolve and move away from the things which first beguiled ears and imagination. With British electro rockers Calling All Astronauts no such problem has existed to date; with each release as they have grown and experimented, they seem to have sparked even more vivacious praise and greed; a success which will only continue with their new album Anti-Social Network.

The eleven track incitement is the CAA sound at its most rounded and mature yet and equally at its most adventurous and diverse. Recently talking about Anti-Social Network, band vocalist and album producer David Bury revealed, “We wanted to make an album we would buy ourselves, that pays homage to our heroes and many influences whilst still sounding like us. I think we’ve just about got there” Get there they did with tracks with harken back to seventies/eighties gothic and electro pop influences whilst uncaging a modern snarl of rock ‘n’ roll with a political and emotional bite as forceful as the virulence which ensures feet and hips are as eager and voracious as ears.

The successor to heavily acclaimed debut album Post Modern Conspiracy, and in turn the singles and EP which followed it, the band’s eagerly awaited second album is the outcome of “20 months of insane creativity that saw the guys locked in their studio for days on end as they wrote, engineered and produced an album that stretched their creativity like never before.” Straight away it makes a potent impact, Living the Dream bringing the album to ears with a poppy yet shadow kissed invitation. Within it, the dark bass lure cast by Paul McCrudden almost prowls ears as a melodic and infectious swing brightly entices around the distinctive stony vocals of Bury. Feet are tapping within the first round of electronic beats whilst hips soon get involved with J Browning’s spicy grooves, the body seduced by the lively contagion which is slightly reminiscent of bands like Modern English and B-Movie.

art_RingMasterReviewIt is a great start quickly eclipsed by the even more addictive Empire. Released as a greedily devoured single towards the end of last year, it immediately runs its tempting fingers across the senses with the moody bait of McCrudden bass and the mouth-watering hooks of Browning, all within an equally captivating electronic climate. Punkish with an alluring irritability to its twists and a scent of aggravation to Bury’s expressive vocals, Empire beguiles body and thoughts, inciting thick involvement from each before making way for the spiky electro punk defiance of Time to Fight Back. With the additional agitated tenacity to spark any dance-floor, the song has the body bouncing as emotions raise a middle-finger to surrounding ills, a touch of Sigue Sigue Sputnik meets Pop Will Eat Itself doing its successful persuasion no harm.

The already familiar Hands Up Who Wants To Die? is the provider of more energetic and contagious exploits, ripe hooks and flaming guitar enterprise lighting ears as rhythms back the punch of vocals and words with skittish boisterousness. It too has an imposing charm and vivacious resourcefulness hard to resist, as too Life as We Know It which follows with a mellower but no less fascinating and arresting romancing of hips and ears. CAA might take swipes at establishments and worldly corruptions but barely a song goes by without the trio leading the listener into physical collusion with its inescapable dance-ability.

Through the heavier air and rock ‘n’ roll of The American Dream, a track which gives a hint to what Iggy Pop would sound like it he went down the electro/industrial route, and the fiery God Is Dead with its bubbly scathing, attention and thick enjoyment is again firmly taken care of, even if neither quite live up to those before them, whilst Always Be True hugs ears with a synth pop laced reflection. It too might miss the last spark of other tracks for our ears but with Bury adding a great Tom Waits like texture to his enticing tones as the electronic atmospherics of the song come loaded with their own suggestiveness, the Fad Gadget tinged track is a compelling and increasingly potent proposal.

The outstanding Look in Your Eye has ardour blazing again with its conspicuous gothic punk and post punk imagination. Touches of bands like Play Dead and March Violets emerge across the thrilling encounter, but as everywhere, familiar essences and textures are mere strands in something unmistakably Calling All Astronauts. As mentioned earlier, the band wanted to pay homage to their inspirations without losing their own individuality, this track on its own proving their success.

Anti-Social Network is completed by firstly the predacious and again insatiably alluring Black World where a Sister Of Mercy/The Mission like courtship of ears and imagination instantly beguiles and only becomes more intoxicating over time. Finally the band unleashes Divisive upon the passions; its attitude loaded presence spawned from electro punk/metal irritability and infested with devious and rebellious strains of funk and electronic devilment.

It is a mighty close to another powerful and galvanic release from Calling all Astronauts, and the sign that the band is ready to step out of the underground scene and stir up the biggest attention.

Anti-Social Network is released March 11th via Supersonic Media across most online stores.

http://www.callingallastronauts.com   https://www.facebook.com/CallingAllAstronauts/    https://twitter.com/CAA_Official

Pete RingMaster 11/03/2016

Copyright RingMaster: MyFreeCopyright

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In Fall – Delete

In Fall_RingMaster Review

From Ekaterinburg, Russia, In Fall is a gothic rock duo consisting of Shade (vocals, bass, programming) and Eric (guitar). Recently they released third album Delete, a collection of dark yet hope filled, melancholy soaked tracks that simply capture the imagination. Aligning contrasts within a blend of creative intricacies which themselves are paired with simplicity of tone and emotional openness, the release is a fascinating and increasingly enjoyable offering suggesting the band are ready to prompt broad attention.

The background to the band and its members are not openly offered in profiles and press release, but 2012 saw the first In Fall release in the shape of the Coffin shores EP whilst a year later debut album Charm appeared with its successor How can you fall in love? coming in 2014. Recently linking up with GlobMetal Promotions, In Fall now has Delete to entice and inspire the imagination, a success in motion from its first touch.

Delete cover_RingMaster Review   Sometimes starts things off, a lone piano casting a classical air as thicker sounds brew around it, guitars and rhythms a shadowy tempting courted by an even darker bass lure. The voice of Shade has a mellow but emotive intensity which lies separate to the melodic beauty and metallic intimidation around it, but links all with its potent plainer hue. For ears, the song and subsequent album provokes thoughts of bands like Sisters Of Mercy, The Mission, and Gene Loves Jezebel, though equally as the likes of the album’s title track takes over, thoughts of Type O Negative and more so an emotionally detached version of Black are also nurtured. For the main though as keys seduce and shadows encroach, vocal croon and melodies caressing within a muscular climate, In Fall create something specific to themselves becoming more impressive and enticing with every listen.

Through tracks like the climatically smouldering You say and the more tenacious rock ‘n’ roll of Wednesday ears are pulled deeper into the release and its romantic lure around ironic and openly reflective lyrics. Both songs offer individual proposals in sound and design which again only increase in persuasion as their theatre of emotion and rich textures is increasingly revealed before the post punk shaped Brainbox bewitches an already happy appetite with niggly riffs and a bestial bassline around elegant keys and subsequently seducing strings. Vocally Shade deviates little from his prime emotionally cold delivery, which at times is a temper to the flames of beauty aside him, but always he stretches it to rise and fall with the heart and intensity of a track, and as here always to great effect.

Could be similarly weaves a fusion of post punk and gothic/melodic metal resourcefulness into a haunting embrace whilst from a warm dance becoming emotively darker and physically irritable, Beautiful day crawls into the psyche and passions to take best song honours. It is a relentless prowl of ears, a magnetic spark for the imagination, and lingering sinister hug for the senses, and quite superb.

That great post punk breeding lines the melodic call of synths across More, the song a transfixing siren of sound reminding of eighties band Leitmotiv. The feel of that era is a recurring and welcome spice across certainly the post punk and gothic colouring within Delete, its provocative melancholic scent again flowing through Dust even as a carnivorous bassline seeds a volatile atmosphere which, though it never quite erupts, is a constant intensity to the enthralling drama.

The album concludes with firstly From above, a lighter and catchier affair on ears, and finally the raw emotive intensity and sonic fire of Over. Each song leaves ears and pleasure full and the impressiveness of Delete enhanced even if not quite matching up to the potency of tracks before them. They certainly add to an album which just gets stronger and more engrossing though, not forgetting one more enjoyable with every encounter.

In Fall, as previously for us, is likely to be an unknown outside of their homeland for most but that deserves to change from Delete alone, a release you seriously should be checking out.

Delete is out now.

https://www.facebook.com/in.fall.gothic

Pete RingMaster 04/11/2015

Copyright RingMaster: MyFreeCopyright

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Blacklist Union – Back To Momo

blacklistunion_RingMaster Review

A few short weeks back, US rockers Blacklist Union unleashed their single Alive N Well Smack in the Middle of Hell, a magnetic stomp of a song providing an inviting teaser to the band’s new album Back To Momo. If you too took up its enjoyable invitation to rebel rouse let us tell you now, as good as it actually was, it barely touched on the might and enterprise flooding the band’s fourth full-length. It is persistently rivalled and at times just outshine by the thrilling incitements offered by Back To Momo, which tells you just how outstanding the album is.

Formed in 2004 by frontman Tony West, the Los Angeles hailing Blacklist Union was soon stirring up attention, especially from the 2006 release of debut album After The Mourning. The band’s reputation and stature continued to grow as the band emerged on the US rock scene, second album Breakin’ Bread With The Devil two years later luring keener fan and media focus which its well-received successor Til Death Do Us Part in 2012 pushed much further. Now it is the turn of Back To Momo to try and breach the broadest spotlights, a success hard to bet against such its rebellious and anthemic might.

BLU-Momo-Cover-smBlacklist Union - Back To Momo   With guitarist/bassist Todd Youth and drummer Matt Starr alongside West, Blacklist Union opens up Back To Momo with that aforementioned single, Alive-N-Well Smack in the Middle of Hell. A lone guitar stirs the air first, it’s coaxing soon pierced by a vocal shrill and joined by tangy grooving. Part hard rock, part punk ‘n’ roll, the song hits its stride with a swagger and a closet full of irresistible hooks and sonic enterprise from the guitars. Addiction is the order of the day with the song and as it has feet and emotions fully involved, it is easy to think rock ‘n’ roll does not get much better than this, but oh yes it does, and often across Back To Momo.

The following Shake It Off has a more restrained canter to its blues washed hard rock, and a sense of familiarity which is only enriched by the excellent delivery and vocal attitude of West. Expectations are fed a touch by the song, surprises less bold than on tracks around it but again it has ears and enjoyment settling into a keen appetite before the outstanding Mirror, Mirror on the Wall turns the creative heat up. Erupting in a surge of rhythms and sonic flames, the track quickly swings boisterous hips and frees contagious resourcefulness as an equally riveting vocal adventure jumps in. The track is glorious, a rousing blend of The Stooges, Turbo Negro, and Jane’s Addiction with just the right amount of glam metal, and easily the best incitement upon the album, and the next single surely?

Both the actual upcoming single Evil Eye and Superjaded keep things fiercely bubbling. The first is a scintillating swamp of prowling beats, nagging riffs, and blues bred hues with again an irresistible vocal tempting from West whereas its successor merges the infection of rock pop with the tenacity of punk and the revelry of hard rock, it all contained in a vibrant but restrained embrace which only seems to intensify the invention of the song. Both tracks come with a wealth of flavours and styles, another great feature across the rock ‘n’ roll of the album, and maybe it is no surprise they do given inspirations to the band range from Guns N’ Roses to David Bowie, Bad Brains to Bauhaus, T Rex to The Mission and The Ramones, to name a few.

With a title like Rock N Roll Outlaw you pretty much have an idea of the type of sound on offer and true to pleasing form, the song is an enticing blend of southern and classic rock coated in that twang that gets the taste buds grinning. The music itself does not hold the biggest key to the song’s success, as flavoursome as it is, but the invention and mischievous twists the band put into it is what excites the imagination most before the album’s title track uncages some more punk lined rock ‘n’ roll which simply radiates belligerence within a anthemic blaze. With a skeleton of pulsating rhythms within melodic and infection oozing creative flesh, the song entwines echoes of Alice in Chains, New York Dolls, and Shark Tape.

We Are Not Saints, as It’s All About You right after, flirt with some invigorating strains of garage rock for their individual designs, the former twisting it into a predatory prowling of the senses and serious ignition of the instincts to rock ‘n’ roll whilst the latter, taking an even richer dose of sixties/seventies garage ferocity, weaves a tonic for body and soul bristling with sonic tendrils, sparkling hooks, and psych rock breeding. The rhythms from both bass and drums are wicked seduction whilst West again shows he is one of the most magnetic and dynamic frontmen/vocalists in rock right now.

Things remain infectiously hot with the enthralling Meet Me on Zen Street, a song veering on the brink of horror punk at times, and again through the dirty scuzz lined Graveyard Valentine. Rock ‘n’ roll needs a healthy dose of filth and attitude, and there is plenty on show in voice and sound in this irresistible proposal, the grouchy deep throated bass leading the way. Punk again rears its welcome head, and not for the first time on Back To Momo, there is a touch of Canadian duo The Black Frame Spectacle to the thrilling stomp.

The album is completed by firstly the niggling temptation of Wined, Dined, & 69’d, the song simply classic bred, glammed up rock ‘n’ roll, and lastly Read Between the Lines, a track which again prowls the listener with dazzling lures and spicy enticements. It does not quite live up to earlier peaks yet as all songs, only leaves a licking of lips and want for more.

Back to Momo is not bulging with sounds that are unfamiliar yet from start to finish it is commandingly fresh with an insatiable spark sure to ignite any day. The single Alive N Well Smack in the Middle of Hell was and still is a mighty way to join the Blacklist Union, whilst the album shows it has much more to thrill and incite with. . After this if the band has not breached major attention then world rock is a fool.

Back To Momo is available now via BLU Records.

Ringmaster 13/08/2015

Copyright RingMaster: MyFreeCopyright

Tijuana Bibles – Sun Chaser

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Having already established their emerging presence and darkly dramatic form of shadowed rock ‘n’ roll through previous releases, Scottish band Tijuana Bibles has broken into new sultry climes with brand new single Sun Chaser. The song still explores the rich and tangy flavours already nurtured by the band but with a cleaner cut to its shape and a more exotic nature to its transfixing character, the result an enticement which bewitches ears and infests the psyche like a swarthy and heroic exotic escapade.

The Glasgow quartet of Tony Costello, Behn Cross, Mikey Dornan, and James Brannigan made a striking impression on the Scottish and British underground scene with the release of the Wild River EP as well as the acclaimed singles Toledo and Crucifixion. They were introductions which caught the imagination and breaths of an increasing many whilst performances at festivals like T in the Park, Wickerman, Belladrum and GoNorth, as well as supports slots for bands such as The View, Deap Valley, Alabama 3, and The Amazing Snakeheads only reinforced the impressive arrival of Tijuana Bibles. Now the band is pushing things on with Sun Chaser, a song from and an irresistible teaser to, the forthcoming Ghost Dance Movement EP.

A dirty bass tone is the first lure and treat, it almost De Staat like in its dark nature. That magnetic initial bait is straight away increased by spicy sighs of guitar and an evolving ambience which seduces with the romantic charm of smouldering climates. The vocals of Costello are similarly captivating over the unrelenting tempting of the noir clad rhythms. There is a mystery and almost sinister edge to the song but equally a flame of melodic radiance and irresistible contagion that simply binds ears and passions with sublime craft.

In certain moments the song has a feel of The Mission at their virulently compelling best and in others the absorbing drama of Echo and The Bunnymen, whilst essences of Helldorado and Benaccia also suggestively encroach on thoughts. In truth though, Tijuana Bibles has a sound which has an individuality setting it and the band apart, and now, breaching new masterful heights with the quite brilliant and rigorously thrilling Sun Chaser.

Sun Chaser is available from March 2nd

Upcoming Tijuana Bibles live dates…

MARCH/;

6 Copleand Stadium – Whitehaven

7 This Feeling – Amersham Arms – London

20 This Feeling – Broadcast Midnight show – Glasgow

21 This Feeling – Sneaky Pete’s – Edinburgh

27 Leicester Academy 3 – Headline Show

28 This Feeling – Night and Day Cafe – Manchester

http://tijuanabibles.co.uk/   https://www.facebook.com/tijuanabiblesofficial

RingMaster 02/03/2015

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/

 

Sleep of Monsters – Produces Reason

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pic: Niklas Kapanen / Nakkertton Photography

With dark beauty and compelling drama oozing from every note and syllable, Produces Reason is one of those creative emprises which almost deviously seduce ears and imagination. It is a proposition stocked to the rim with rapturous melodies and harmonies but of often within a frame of predatory rhythms and voracious intensity which intimidate as they entrance. Released by Finnish metallers Sleep of Monsters, the album is gothic rock in its most accessible and fiercely inventive incitement. Already available and greedily devoured in the band’s homeland, the album recently had its worldwide release through Svart Records and it is fair to say that already passions are submitting and appetites becoming greedy for album and its creators.

To be honest it is no surprise, Produces Reason is a riveting collection of individual dark dances united in the creative theatre cast by the Helsinki band. Equally there is maybe no shock due to Sleep of Monsters being the brainchild of ex- Babylon Whores vocalist Ike Vil. Other than his startlingly distinctive tones there is no real similarity between the two bands though, the former a raw and voracious death rock confrontation and Sleep Of Monsters a blazing seduction of melodic grandeur and tenacious gothic temptation, but experience and adventure never loses its potency. Alongside Vil, the band sees the equally skilled invention of guitarists Sami Hassinen (formerly of Blake) and Uula Korhonen, bassist Mäihä, drummer Pätkä Rantala (who played on HIM’s acclaimed debut album), and Janne Immonen on keys. It is a creative powerhouse but to that there are also The Furies, a trio of vocal sirens going under the names Hanna Wendelin, Nelli Saarikoski, and Tarja Leskinen, who soar across and spice songs with a part angelic part devilish seduction. As evidenced by the Pekka Laine (LAB, 45 Degree Woman) produced album, it is a combination blurring lines between the darkest romances and the brightest emotional consumptions in enthralling songs which have little problem igniting the imagination.

Produces Reason begins with the brief ethereal harmonic lure of Holy Holy Holy, thirty five seconds where The Furies seduce ears and thoughts into the arms of the album and the following Nihil Nihil Nihil. A mesmeric guitar sculpted melody opens up the song before the bulging sinews of rhythms and imposing riffs join its coaxing. As ears swiftly come to realise, every moment is just that in a passage of a song, a breath in a continual evolution which here sees a mellow yet fiery stroll with infectious arms surrounding the impressing tones of Vil. At its darkest twists and especially the chorus, Sisters Of Mercy come to mind and in its most charming mellower moments the song is simply fresh and spicy ingenuity. With pungent beats and the haunting harmonies of the ladies as potent as the fiery guitar endeavour and lead vocals, the track is an immense start to the release swiftly matched by Abomination Street.10689922_618393148275006_5434782575254450074_n

The third track is another unafraid to show its sinews but also explores a flavoursome eighties synth pop adventure, keys and vocals combining at numerous points to brings thoughts of Blancmange to mind. The accompanying press release describes the album as bulging with “radio-friendly” songs and as much as that term annoys, it is easy to see where they are coming from with this and its predecessor alone. Every moment is an anthemic and ridiculously catchy proposal yet not to the detriment of venomous shadows, dark places and thoughts explored as swiftly shown again by Murder She Wrote. There is a Victoriana air of danger and dankness to the opening bass resonance, the suggestiveness soon joined by the expressive tones and narrative of Vil within the emotional embrace of darkly dramatic keys. As the song expands and grows so does the tension and sinister theatre of the track, as well as noir lit adventure in the imagination. It is a glorious proposal, guitars adding mesmeric flames whilst vocals croon with depth and elegance.

The tense atmosphere of Christsonday comes next, its classic metal colouring a rich flame within the gothic breath of the song. Again, and it is fair to say it pleasingly toys with most songs, there is an eighties tinge to essences within the imposing and descriptive ambience of the track. It provides a canvas for thoughts to colour and an aural painting for ears to immerse in, before making way for the sweltering heat of Our Savage God. Striding resourcefully within a sultry climate with contagious enterprise, the track is irresistibly sensational. Think Chris Isaak and Helldorado meets Pete Wylie and equipped with one of the most ridiculously catchy and inescapable choruses possible, the track puts its head above the rest of the peaks filling the album.

Horses Of The Sun grips body and mind next, its opening tribal coaxing as shamanic as it is satanic, The Furies’ enticing aligned to an intimidating rhythmic baiting as menacing as it is hypnotic. The song evolves from here into an intensive impassioned croon with vocals and keys a prominent seduction, the track like a merger of Walker Brothers and Poets of the Fall as it unveils another beauteous aspect to the landscape of the album.

The engrossing adventure and drama of Through A Mirror Darkly is next, the song infusing Eastern mystique in a fiery melodic flight with has a loud whisper of The Mission to it. Its triumph is followed by the fascinating melodic and vocal evocation of Cobwebs Of Your Mind, another song also recalling elements of Wayne Hussey and co. It should be stated though that for all the references offered every song emerges as something unique to Sleep of Monsters, just they come with excitingly familiar whispers.

The album closes with the magnetic smouldering of Magick Without Tears, a track which ebbs and flows like waves lapping the senses, every strong wash of sound and emotions bringing thick resonance and virulent drama. Produces Reason does have an additional bonus track not on its Finnish release, the song being I Am The Night Color Me Black which continues keeping the appetite contented though it has yet to convince as successfully as the other songs on the album.

Babylon Whores was an underrated and for many an undiscovered confrontation but it is hard to imagine Sleep Of Monsters slipping under the broadest radar, especially after releasing easily one of the year’s best debuts in the transfixing shape of Produces Reason.

Produces Reason is available now via Svart Records @ http://svartrecords.com/shoppe/home/2735-sleep-of-monsters-produces-reason-cd.html

www.sleepofmonsters.com

RingMaster 05/12/2014

Copyright RingMaster: MyFreeCopyright

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