Varsovie – Coups et Blessures

Comprised of Arnault Destal (drums, lyrics, music, arrangements) and Grégory Catherina (vocals, guitar, music), Varsovie is a band which has just released one of the year’s most compelling propositions so far in the shape of third album Coups et Blessures. It is our introduction to the French outfit and the beginning of a very attentive affair with their individual post punk/dark rock inspired sound.

Formed in Grenoble in 2005, Varsovie released their first EP, Neuf Millimètres the next year and were soon playing shows and touring outside of their homeland, playing the likes of the Drop Dead Festival in Prague, the Crimson Night in Münster, and the Creeper Fest in Vilnius. 2010 saw debut album Civil Status released on Infrastition Records with its successor,  L’Heure et la Trajectoire coming five years later. Both were well-received propositions and took the band to new European shores and shows. As mentioned though, we had managed to escape their presence until Coups et Blessures and if it is an echo of things past we have definitely been missing out.

Released through Sundust Records, Coups et Blessures quickly shows itself a dark and invasive trespass of the senses and imagination but with an instinctive catchiness which swiftly gets under the skin. It is a virulence of sound and intent which is certainly predacious in tone and touch but equally contagious. Maybe unsurprisingly, given the band’s name which translates as Warsaw, there is a Joy Division-esque feel to the band’s music and similarly one of Polish post punks Siekiera who seem to have been an inspiration to the pair, yet it is inescapably individual to Varsovie. The first song immediately beats on ears to grab attention while teasing with a melodic lure. This potent lure unites with a gloriously dark contagion loaded bassline and in turn the potent tones of Catherina; magnetism rising with each addition as the song almost menacingly pulsates upon the senses. Its fusion of post punk and raw rock ‘n’ roll continued to grip and imposingly seduce as twists and turns added to a tremendous start to the album.

The following Revers de l’aube has a far darker air from which a rhythmic web swiftly entangled ears and appetite, Destal in two songs already proving his craft a dynamic and deviously compelling aspect within the Varsovie sound. The track envelops the imagination like a frenetic fusion of The Three Johns and The Birthday Party pulled into the distinct individuality of Destal and Catherina; the result an incitement just as enslaving as its predecessor and one soon matched by the darkly lit Va dire à Sparte. More controlled in urgency as emotive and physical shadows align vocal and melodic intimation, the track prowls ears whilst all the time enticing eager attention especially with guitars, bass, and its instinctive drama.

Killing Anna is similarly hued; dark and intense but with a persuasive swing enhanced by the tantalising wiry exploits of the guitar. A sinister air soaks the encounter, its noir lit character a tenaciously smouldering gothic suggestion resembling a mix of bands like Sex Gang Children, Dead Can Dance, and Artery. Transfixing from its first breath, the track is superb; addictive from the off and almost matched in heights by Le Lac. The bold mesmeric rhythms of Destal fuel song and attraction, a strain of punk bringing attitude to the rock ‘n’ roll bred, resourceful sonic clamour.

That punk ‘n’ roll courted trespass is even more pronounced in next up Intersections, an intensive and slightly irritable tapestry of sound and flavour challenging and tempting in equal measure before Discipline reverberates on ears with tenebrific emotion within an invasively haunting atmosphere. Neither track quite sparked the reactions given to their predecessors but each adds a captivating variety of edge and imagination to the release which could only be hungrily feasted upon.

The final pair of Chevaux échappés and Feux complete Coups et Blessures in fine style, the mesmeric first a nagging temptation of dark sound and emotive hinting prowling the senses and imagination while its successor provides a melancholic reflection which simmers with an underlining volatility before erupting into an infectious canter with melodic flames licking at its intense drama spawned body.

With the album totally sung in French, a language we have yet to master, it is impossible to share the lyrical content of Coups et Blessures yet the hearts of songs and their emotional intensities are inescapable. The album is a magnet, fascinating and virulent at every turn and Varsovie a band we wish we had come across before and will have ears clamped to hereon in.

Coups et Blessures is out now through Sundust Records; available @ https://varsovie.bandcamp.com/  and https://www.sundust-records.com/en/349-e-shop

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Pete RingMaster20/05/2018

Copyright RingMaster: MyFreeCopyright

Frauds – With Morning Toast & Jam & Juice

It cannot be just coincidence that year on year December brings some of the relevant year’s best and often most dramatic releases. Maybe it is just that they generally come within a concentrated two week burst with the year’s final pair of weeks more likely to be party time for all so that it is more noticeable than in other equally productive months but there does seem to be a real gathering of striking encounters  as the year makes its departure. The debut album from UK duo Frauds simply adds to the evidence, With Morning Toast & Jam & Juice a glorious cacophony of noise bred rock ‘n’ roll infested with post punk and post hardcore rapacity.

Formed in late 2012, Croydon hailing Frauds consists of Chris Francombe (drum/vocals) and Mikey Alvarez (guitar/vocals), a musical partnership which seems to hail from well before their latest venture burst into life. Inspired by the likes of Nick Cave, Tom Waits, Sonic Youth, Fugazi, Mclusky, Hot Snakes, and Drive Like Jehu, the pair initially began jamming together again with the intent of only playing covers. Soon though their own imagination and creativity took over and new songs emerged. Since then the band has become a potent presence on the capital’s live scene sharing stages with the likes of Idles, Life, HMLTD, Tigercub, Demob Happy, Kagoule, USA Nails, Slaves, Blacklisters, Queen Kwong and site favs The St. Pierre Snake Invasion along the way. Fresh from tour dates alongside ex-Reuben front man Jamie Lenman, Frauds are poised to nag national attention with Morning Toast & Jam & Juice, a niggling hard to see failing such its raw majesty.

Let’s Find Out kicks things off, a riveting tendril of guitar winding around ears and soon joined by the thump of Francombe’s beats. Second by second the web expands, Alvarez’s guitar creating a clamorous jangle with post punk hues to its sharp spice. Vocals equally have a caustic edge, courting the repetitious magnetism of the encounter with punk attitude and ferocity. Sonic shimmers and distortions only add to the virulent nagging, the track as much an intro as a complete offering luring ears and instinctive attention into the waiting depths of the album.

Next up, Smooth instantly twists and turns around the senses, its post punk/alternative rock antics as invasive as they are seductive. Like the spawn of a union between The Three Johns, The Droppers Neck, and Mclusky, the song swings along drawing the listener deeper into its feral majesty before The Feeding Frenzy envelops ears with its noir clad atmospheric drama. Sonic smog devours as vocals provoke, the underlying volatility brewing a ravenous toxic drone as flirtatious as it is debilitating.

From its virulent inhospitality, the mischievous exploits of Sandwiches emerge, the song a rash of hooks and rhythms around brash vocals; all carrying a liquor of humour and captivating causticity. Again there is an eighties post punk discordance in allegiance with modern creative antipathy and again everything uniting in a corrosion of punk irritability which simply sparks ears and an instinctive appetite for noise rock. As it evolves with increasing imagination, the track feeds ears with a delicious groan of bassoon-esque guitar; its barracuda tone pure manna for these senses and matched in addictiveness by the duo’s vocal lures. There are numerous major moments within the album but this is the pinnacle with ease.

The psychotic rock ‘n’ roll of Just Come Of Age comes next to be a strong rival though, beats a kinetic psychosis matched by the wandering tendrils of guitar and vocal theatre. The Eighties Matchbox B-Line Disaster easily comes to mind as the song plays with the imagination, crawling over the senses with predacious glee and tenacity.

Suck Jobs keeps the thrills high with its senses scathing sonic enticements and vocal abrasions, the song mercurial in air and relentless in infectious dynamics while Doom prowls and seeps through the body with grievous intent. Its suffocating tones devour mood and thoughts, dragging attention by the throat into a finale which is pure punk ferocity. The track is one of the least easily accessible trespasses provided by the album but joining all in leaving pleasure brimming.

With Morning Toast & Jam & Juice concludes with firstly Could’ve, Should’ve, Would’ve, another carnally tart and compelling stroll with an Engerica hue to its visceral contagion, and finally through the transfixing saunter of Give In. Rhythmically hypnotic and melodically haunting with a just as appetising acrid edge, the song slowly entangles the senses, its own individual drone like bait viral persuasion becoming more chafing and disturbing second by second.

With a hidden scar of punk as its actual final breath, With Morning Toast & Jam & Juice leaves pleasure high and anticipation for their next move lustful. As earlier mentioned there have been numerous really stirring propositions this year yet it is hard to remember many as glorious as the debut from Frauds.

With Morning Toast & Jam & Juice is available now through Till Deaf Do Us Party Records and available @ https://fraudsfraudsfrauds.bandcamp.com/album/with-morning-toast-jam-juice

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Pete RingMaster 19/12/2017

Copyright RingMaster: MyFreeCopyright

Cardboard HIT – Subject to Status

We all have favourite bands which feel like they have been bred to pleasure personal tastes and desires and now adding to our list is UK trio Cardboard HIT. Creating a tantalising mix of punk, alternative and noise rock, and numerous other rock ‘n’ roll nurtured flavours, the East Sussex based band just creatively teased, tickled, and ravished our sweet spot with debut EP Subject to Status.

Though a brand new proposition for us, thanks to an introduction sent by drummer Matt Rouse, the release has been tempting ears for over a year now but well worth highlighting such its potent presence in an overwhelming landscape of bands and encounters very easy to be lost from sight within. With bassist/vocalist Ross Towner and guitarist/vocalist Lee Hayes alongside Rouse, Cardboard HIT opens up their first EP with the irresistible Bobby. Teasing wiry strikes of guitar get things underway, their post punk scent soon a rapid trespass with great Fire Engines like discord to their tempting. The dual vocal strike of Towner and Hayes is as magnetic as their sounds whilst the probing beats of Rouse manipulate ears and instincts with a controlled but bold touch. Growing into something akin to Eighties B-Line Matchbox Disaster and Japanese Fighting Fish in league with eighties band The Three Johns, the track is superb; manna to an already hungry appetite for more.

Say Yes is the next to feed the need, the thick strains of bass and guitar marking out its predecessor enslaving ears again as vocals and a melodic dexterity brings a calmer if still dramatically tenacious enticement. More dance friendly for feet and hips, the song swings with a bullish attitude and infectious boisterousness as again distinctive vocals rouse a similar energy in the music around them.

The grumbling tone of the bass is a delicious ingredient and once again ignites the first breath and subsequent stroll of the band’s latest single All the Voices. Its grumble is tempered by the dexterity of the two prong vocal lure, beats a swiping incitement alongside the calmest texture as the song grows more manic and wicked with every passing second.

That mellower essence is a bolder instinct within closing song Rabbit Hole, though it too has an unpredictable nature and off-kilter instinct which grabs attention and the passions. Showing a whiff of 12 Stone Toddler in its punk ‘n’ pop shuffle, the song has the body bouncing and a hungry want for more in motion in no time; heavy grooves, rapacious rhythms, and a loco invention for the fourth time seducing the senses and spirit.

With Cardboard HIT working on new material as you read, the time feels right for new fans to find the band and be swept away with their punk disco. With a trio of great videos accompanying the EP, Subject to Status is the doorway into an adventure meant to be lustfully devoured.

Subject to Status is available on iTunes, Spotify, and other stores.

https://www.facebook.com/Cardboardhit/    http://cardboardhit.wixsite.com/cardboardhit

Pete RingMaster 15/08/2017

Copyright RingMaster: MyFreeCopyright

Hey Colossus – The Guillotine

As proven time and time again with UK outfit Hey Colossus, the only thing expectations can assume is that any encounter with them will be thickly compelling and singularly distinct in theirs and the surrounding musical landscape. And so it is with new album The Guillotine, a release taking the sextet’s sound to a new terrain of adventure and unpredictability whilst bewitching body and imagination like never before.

Formed in 2013, Hey Colossus have persistently nurtured and evolved their sound and its exploration; from the earlier lo-fi sourced, psychedelic and heavy noise rock bred triumphs of Radio Static High and In Black And Gold, the two albums which really drew thick attention the way of the band through the more hi-fi live causticity of Cuckoo Live Life Like Cuckoo, nothing has ever stood still or relaxed into one realm of imagination. Within those albums, there was an open quest to push things further and further.  The Guillotine is no different, a creative emprise of brooding tones and dark atmospheres woven into trespasses of the imagination and physical arousing of body and spirit. Using hindsight, there has been hints to this new vein of fertility within previous releases, especially those just mentioned but glimpses of something startling and vigorously thrilling which trespasses us now.

The Guillotine sees the controlled and new mesmeric tones of Paul Sykes to the fore, his presence almost like a storyteller and as boldly alluring as the sounds and voices found within the collective ingenuity of Rhys Llewellyn, Roo Farthing, Robert Davis, Joe Thompson, and Timothy Farthing alongside. The album begins with the tantalising dark psych rock of Honest To God, a track which is pure alchemy. Its initial wiry psych shimmer breeds a post punk lined meander as a slowly strolling guitar and bass grooves saunter across the awakening web of temptation. Every aspect is a rich lure, accentuated by Sykes’ gentle but dark vocal swing. Like a nostalgia kissed mix of Spizz Energi, Zanti Misfitz, and The Three Johns, the song teases the psyche with its seductive fingers while brewing up a raw energy which erupts with scuzzy zeal. Revolving through each stage of its perpetual metamorphosis, the song is pure manna for noise/post/psych punk hungry ears and appetite.

The exceptional start is swiftly followed by the fuzzier venture of Back In The Room, a track rolling on hypnotic rhythms and fizzing upon the senses with its three guitar pronged shuffle. The dual attack of vocals is just as magnetic, a collusion resourcefully driving the volatile proposition with a hint of The Birthday Party adding to its arousing shadows and increasingly rabid head. The song is part nagging dirge and part raw but multi-textured seduction united in a thorough captivation which eventually makes way for the gentler climate of Calenture Boy which smuggles its increasing delirium through ears while a smouldering climate is equally blessed with a sonic psychosis which sizzles with increasing heat second by second.

Its raw croon is followed by the mercurial enterprise of Experts Toll where beats dance with flirtatious trespass as the bass throws its own captivating dark steps into a jungle of craft and skittish imagination. The song’s relatively calm opening and agitated dexterity is subsequently given to more forceful inclinations, the track twisting into a heavily stomping, dirtily intensive brawl of enticing sound cored again by those unruffled vocals before Potions casts its own somnolent charms around ears like a melodic narcotic shaped with stout rhythms and veined with willowy psychedelic tendrils. As its creative elixir thickens so does its intensity but moving through the stages of evocative density with a calm and fluid ingenuity.

Though every track within The Guillotine had us locked into its snare, certain moments simply steal the passions; Englishman the stealthiest, glorious one of all. A stroll of senses clipping beats, broody basslines, and teasing riffs, the song simply bewitches. Scything melodies and infection loaded vocals only add to the irresistible bait enslaving ears and imagination which though not necessarily in matching sound, creates a tapestry rich in the attributes of XTC, Melvins, Talking Heads, and Fugazi; all twisted and reenergised by the unique imagination of Hey Colossus for total bliss.

The album concludes with firstly In A Collision, another brooding trap of sound and creative cunning as shadowy as it is instinctively catchy, even when its once darkly mellow body and atmosphere ignites with dirty raptorial virility. Raw beauty from start to finish, the song is succeeded by the album’s title track, an even more predatory proposal drenched in melancholy, antipathy, and sonic mesmerism with the bass at its earthiest, carnivorous best. With the guitars as potent in elegance or being abrasively bracing, the song is a final captivation to get hooked on and lost in.

The Guillotine is simply magnificent, leaping to the frontline of favourite releases of the year so far with its manipulation of body and imagination while proving Hey Colossus as one of, if not the, most exciting thing in the weaving of noise around.

The Guillotine is out June 2nd through Rocket Recordings and available @ https://heycolossus.bandcamp.com/album/the-guillotine

https://www.facebook.com/heycolossus/    https://heycolossusband.wordpress.com/    https://twitter.com/HeyColossus

Pete RingMaster 02/06/2017

Copyright RingMaster: MyFreeCopyright

The Machismo’s – Share One With A Friend

TM's_RingMasterReview

At times listening to Share One With A Friend, the new album from The Machismo’s, it is hard to decide whether it is a kaleidoscope of its author’s talents and imagination or a bedlam of the same. It is one of the most eclectic and unpredictable escapades you could wish to be confronted with and one of the most inescapably enjoyable.

The album consists of fifteen one of a kind slices of creative exploration and mischief, and the first new songs from the band in eighteen years. Its sound ranges from indie and alternative to punk and noise rock with experimentation at every turn. The band itself probably described their music and release best via their Facebook page where it says they are “Putting the Punk and the Weirdness back into Indie.” with “Now includes added poetry….” as an extra essence. It is a suggestion that they certainly live up to within Share One With A Friend.

The band itself is the brainchild of Sam Marsh, once of the compelling and irresistible Jacob’s Mouse. Initially a solo project, The Machismo’s formed in 1995 and recorded two full albums in Sam’s home cassette portastudio. Recruiting additional members for their live exploits, the band never really exploded into serious action though and disappeared with many recordings put aside unreleased as Sam moved onto other projects. Almost two decades later though, he relooked at those songs and releases that lay awaiting attention and realising their quality and worth, released the 1996 recorded debut album Good Things About To Happen in 2013 whilst also reviving the band with Rachel Marsh and Karly Stebbings. The album was a striking invitation for those of us missing the Bury St Edmunds hailing band first time around to explore, and it seems a spark for Sam himself to push The Machismo’s on with new zeal in what is a very exciting music scene within his home town right now. As mentioned, Share One With A Friend offers the first brand new tracks from the band in a long time whilst equally offering reasons to suggest that The Machismo’s is one of the most compelling propositions within the British music scene, past and present.

The album opens with the warm and fuzzy indie pop of The Loveliest, the song a sizzle of melodic guitar jangle and robust rhythms around the expressive tones of Sam. It has an echo of the tracks within that debut album as a raw and unfussy elegance captivates as potently as the catchy swing of the song. It is a straight forward start, in comparison to things to come, and an alluring one with its additional folkish hues before the unpredictable tango of Vrrrm! takes over. Beats throw their agitated lures all over the place from the start, though finding more restraint as punkish flames of guitar align with the great dual vocal persuasion. The further ears get into it, the more volatile and thrilling things become; all the time a debut album era Squeeze essence adding to the off-kilter indie punk attraction of the song.

cover_RingMasterReviewThe outstanding Collapse To Be Rebuilt grips ears and imagination next with its garage punk infused punk ‘n’ roll. With an addictive swagger as riffs and rogue voices add their unconventional roars, the Iggy Pop meets Pere Ubu like stomp has ears and body bouncing, and an already awoken appetite licking its lips and greedy to indulge in the following dark theatre of Bad Dreams.  Straight away a grumbling static storm crowds and rumbles around vocal poetry as a single slim guitar melody adds its own melancholic emotion to that of the vocals within the thickly compelling piece.

It is hard not to think of Jacob’s Mouse a little as the sultry sway and bewitching climate of When You Know It’s Real seduces ears next, its bulbous rhythmic swing the spine for flirtatious melodic vocals and the percussive imagination making equally irresistible advances within the excellent track. It has a brilliance of presence and fun which is emulated instantly by the punk devilry of Rise Again. Snarling guitars opens up and a flirtatious noir lit hook pushes on the irresistible encounter; the latter swiftly joined by the swinging vocal persuasion which as much as anything urges hips and spirit to get involved. Twanging bass groans, sonic sighs, and ear clipping beats only add to the smile inducing adventure of drooping hopes and their Viagra crafted resurrection; whilst the combined festivity of all creates one of those moments that only lingers.

Through the likes of the muggy aired and sonically bracing Should Recognise and in turn the folkish canter of Plastic Surgery, with Sam again leaning on his poetic craft as much as his musical prowess, band and album surprise and enthral, using the following Belvia to stir up an even stronger hunger with its scuzzy pop punk trespass. It has an old school punk tone to its rapacious character and energy too, a hue which only adds to the dirty and inviting bait rushing through ears.

Post punk meets indie discord is maybe the best description for the ear grabbing, pleasure giving lo fi stroll of Gotcha!, bands like The Three Johns and Swell Maps coming to mind for certain essences of the song. To be fair though, any references are hints to portray the individuality of song and The Machismo’s free and rebellious experiments of sound and imagination which continue to evade expectations with the folk laced croon of A Better Man and the addiction forging shuffle of The Storm. Like The Jazz Butcher meets Mark E. Smith but not, the latter track is manna to ears and passions; the kind of stripped back rock ‘n’ roll with a grin in its heart that all music should be bred from.

The album concludes with the trio of firstly, the melodically salty and slightly Cajun scented However Nice You Are, There’s Always Someone Who Think’s You’re A, the Pixies-esque garage punk rumble of Class A High, and finally the nursery bred and chimed ingenuity of Machismo’s 4 Tha Kids!; all three songs offering yet more fresh twists in the album’s tale to feel stimulated and refreshed by.

The Machismo’s is not exactly a new band but their presence and invention within the album feels like something that is, which of course the album’s songs are.  So if you are looking for the unconventional but something damn good too, then go Share One With A Friend.

Also worth noting as treating yourself with is The Poets Pendulum: Is It Good Or Is It Shit?, an album of Sam Marsh’s poetry which he has been bringing to the band’s live shows for quite a while to eager responses. Both albums are available as Name Your Price Downloads @ https://themachismos.bandcamp.com/album/share-one-with-a-friend with Share One With A Friend also available on very Ltd Ed vinyl.

https://www.facebook.com/TheMachismos   http://themachismos.tumblr.com/

Pete RingMaster 21/04/2016

Copyright RingMaster: MyFreeCopyright

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The Gaa Gaas – Close Your Eyes

art gaa gaas_RingMasterReview

It has been a long time in the waiting and an increasingly anticipated moment; that being the time when something new from The Gaa Gaas would step forward to infest ears. That occasion is now with the release of new single Close Your Eyes, an irresistible taster of the new evolution and adventure in the UK band’s exploration of sound. Showing a rich vein in flavour and sonic variety without losing the hypnotic insistence of their earlier successes, the track is simply going to have old fans drooling and a host of new followers entangled.

Formed after a garage punk night event at a venue in St Helier on Jersey in the Channel Islands, by vocalist/guitarist Gavin Tate, The Gaa Gaas spent their first two years honing their sound and becoming a potent live proposition on the island, before relocating in 2005 to Brighton, then later London from where they switch between the two. Their hunger to play live took the then trio, across the UK and Europe with shows and tours, a success in turn building an eager fan base stretching outside Britain as far as France, Italy, Germany, Poland, Lithuania, and Sweden. The following years saw the release of two EPs to strong success and the embracing by internet radio shows and stations alone, of songs like the 2010 James Aparicio (Nick Cave, Mogwai) produced and Robert Harder (Brian Eno, The Slits) mixed and mastered debut single Voltaire and the equally devoured Hypnoti(z)ed.

As suggested, recent times have been a quieter affair with the band though work on their first album has been an on-going adventure. Now with an inescapable new maturity to their sound and bold expansion to its tapestry, the foursome of Tate, keyboardist Peter Hass, bassist Jamey Exton, and drummer Stewart Brown, have a new piece of virulent temptation ready to entice and thrill. Like a gift placed in the hand by a loved one making that certain request to prolong the surprise, Close Your Eyes had an air of excitement to it even before a note is heard, something all their fans will no doubt equally feel.

The Ali Gavan (former member of The Electric Soft Parade) produced song strokes the ears with a single raw caress of guitar first, its resonance remaining as a sonic mist brews up around it. It is a swift and firm coaxing which soon parts from the inside, opening the way for the eager stroll of the song to bound through. With a punkish rockabilly like swagger to its rhythms and hooks, the track instantly has ears gripped; only strengthening its hold as Exton’s bass flirts with, Brown’s beats jabs, and the sonic web the band is renowned for envelops the senses. With Tate’s vocals potently leading the lure, a new melodic infectiousness reveals its growth within the band’s sound. It is a tempering to the caustic nagging potency the band has always shared but another compelling hue only adding depth and might to the great post punk/noise pop catchiness which coats the swing of the proposal.

Like a mix of The Horrors, Wire, The Adverts, and The Three Johns, yet openly individual to The Gaa Gaas, Close Your Eyes worms under the skin and into the psyche in no time. As suggested, it has the prime recognisable sound of The Gaa Gaas at its heart but feels like the key to a whole new adventure which the band has obviously been working on across that recent calmer period in their emergence.

Backing the single is the siren-esque Indian Giver. Originally composed as an instrumental, the track has become an even richer provocative embrace of the senses since Tate’s dissonance scented harmonic vocals have merged with the song’s sonic imagination and early Cure/Artery like atmospherics. The result another dramatic incitement of the psyche through seductive tempting and provocative majesty.

With both tracks taking the listener into unique and individual landscapes of suggestiveness , all that is left to say is roll on their new album set for later this year and roll on the big bold spotlights surely set to crowd in on The Gaa Gaas if the single is the sign of glories to come.

Close Your Eyes is released February 29th via Movement-2-Records @ https://thegaagaas.bandcamp.com/album/close-your-eyes

For more info check out https://www.facebook.com/TheGaaGaas and to hear more of the band’s new songs head over to https://www.facebook.com/events/1034320063257409/1047980888557993/ at 23:00 GMT also on the 29th February.

https://twitter.com/The_Gaa_Gaas

Pete RingMaster 29/02/2016

Copyright RingMaster: MyFreeCopyright

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Nonagon – The Last Hydronaut

the-last-hydronaut-600

Carving out a noise which simultaneously torments and seduces the senses, US band Nonagon is an encounter which challenges and rewards with an equal intensity and vitriolic craft. Their third EP The Last Hydronaut takes no prisoners, its offering demanding and invigorating with a squall which blends stretches of punk and garage rock with noise and post punk/post metal irreverence. To be honest the six track release and songwriting of the Chicago trio defies any exact definition of their violations but that is just the start of the enjoyment and potency of the release.

Nonagon was formed in 2003 by drummer Tony Aimone (ex-The Blue Meanies, J. Davis Trio, Taylor), bassist Robert Gomez (ex- Der Lugomen and of Martian Law), and guitarist John Hastie (ex- Jumpknuckle). The band released the No Sun EP in 2008 and the People Live Everywhere EP last year, the first a more punk driven causticity whilst its successor shows the beginnings of the varied corrosive endeavours which ignites The Last Hydronaut. The new release sees the band taking another step forward, it’s uncomfortable and compelling presence a fury of unconventional and uncompromising uniqueness as destructive as acid and as thrilling as a magnetic storm.

Opener Razing All Boats instantly ignites ears and emotions, its initial crowding of the senses a tempest of sinew driven rhythms, bass predation and antagonistic riffing. That starting scourge never changes across the track but with the squalling vocals and niggling groove irresistibly capturing the imagination, the song makes a constantly riveting and dramatic introduction to the release. The throaty bass prowl and unpredictable rhythmic caging reminds of early Killing Joke in a union with The Fall whilst with the scowling punk vocals across the grazing riffery the song aligns a mix of Converge and at times Melvins. It is an excellent rage soon matched by The Pfister, another virulent torrential abrasion which teases, taunts, and tantalises with a multi-flavoured acidity. The bass makes the early call before sonic guitar scrubbing disguised as a groove employs its excellent toxicity upon senses and emotions. The vocals help create a presence which recalls eighties band The Three Johns whilst the melodic intent of the barbed groove with discord an enthralling bedfellow adds elements of The Fire Engines to the outstanding confrontation.

For those old references the EP and sound is a refreshing wind of modern inclination which King Corky takes to another depth of potency with addiction forging niggling grooves and guitar temptation. Less immediate than its predecessor but no less intense and dramatically contagious, the track creates a daunting consuming web prowled by the excellent bass courting of the ears, its crawl and enticement as rapacious as the equally predatory drum exploits which builds an enthralling frame for guitars and vocals to spurt their fractious sonic brawls from.

Both Elvis and Affinity Fraud increase that intensity previously taken to darker places to even heavier testing heights, the first with a rigorous almost destructive presence whilst the second of the two twists and turns with a scalding and scathing invention of melodically drenched sonic hunger. Though neither quite lives up to their predecessors, the experimental invention and hunger to push their boundaries is undeniably fascinating and gripping, the second at times almost bringing whispers of pop punk to bear within its sour laced pungent enterprise.

The final track Hydronauts completes the excellent release with more of the same adventure in a new appealing guise for the EP, vocals and guitars acerbic bait inside a continually arresting and incendiary rhythmic ingenuity. The Last Hydronaut will not be an easy listen for some and noise manna for others. For us with repetition and spellbinding droning as much a bewitching antagonist as the rhythmic conjuring and sonic tempestuousness, the EP is a gripping and exhilarating trial for nerves and senses.

http://www.nonagon.us/

8.5/10

RingMaster 22/10/2013

 

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