Dead Cross- Self Titled

Pic SAWA

As the world seemingly surges rather than drifts into bedlam it is maybe not surprising that a sound is rising to echo it’s chaotic and discord fuelled order. It resonates from the creative union within Dead Cross, a project said to have emerged “out of a series of impractical schemes, fallen-through plans, and last-minute musical experimentation.” Featuring the combined acclaimed talent and creative ingenuity of Dave Lombardo (ex-Slayer, Suicidal Tendencies, Misfits), Mike Patton (Faith No More, Tomahawk, Mr. Bungle, Fantômas….), Justin Pearson (The Locust, Retox), and Michael Crain (Retox, Festival of Dead Deer), Dead Cross has just released their self-titled debut album; a deviously manipulative and skilfully conjured tempest of noise and intent, simply manic manna for the senses and imagination.

There really is no need to provide background to the members of Dead Cross, each individually and within a mass of bands having set down incitements and inspirations so many have fed upon and blossomed their own ventures with. So it is straight to the first breath of the foursome’s first release we go and the initial sonic mist of Seizure and Desist. From its midst surging raw riffs and rampaging rhythms burst, their assault soon joined by the distinctive and ever rapaciously mercurial vocals of Patton. Just as recognisable are the dynamically imaginative and textile swings of Lombardo; his anthemically biting incitement entangled in the sonic rapacity of Crain and the grumbling bestial tones of Pearson’s bass. A senses crumbling assault of hardcore, he track is as multi-flavoured as it is uncompromisingly furious and a hint of the developing web of noise and varied rock ‘n’ roll infesting the punk heart of the release.

The following Idiopathic even further harries and bullies the senses, its rhythms fuelling a barbarous catchiness which spreads to the united vocal attack and raw tone and causticity of the outstanding track. Unpredictability is as rampant as animosity, mischievous craft and fun equally as bold within the senses ravishing, body inciting maelstrom. Every passing second brings a fresh breath of bold and devilish adventure, the track a dancing predator by the time it makes way for the waspish nagging and unrelenting beating of Obedience School. It is glorious stuff, barbarous and harmonically bewitching leaving a tapestry of punk, alternative metal, and gothic rock suggestion.

Shillelagh is simply punk rock yet hardcore unafraid to embrace the spices of other pungent flavours to its infectious animus; the result a venomous contagion which has the body bouncing and appetite drooling before the imagination is enslaved all over again by a riveting cover of the Bauhaus classic Bela Lugosi’s Dead. Infesting it with the kind of energy and boisterousness felt at the Batcave venue back in the day, Dead Cross ensure the shadows and haunting atmosphere of the original are still an invasive temptation; Crain casting veins of melodic acidity which alone beguiles the senses.

The caustic invasion of Divine Filth hits the spot dead centre right after too, Patton and co vocally swinging from imagination’s rafters as the music around them throws itself around like an imaginatively manic dervish, again every passing second bringing new twists and expectations destroying adventure. Grave Slave is equally as tenacious in tone and intent, the Suicidal Tendencies exploits of Lombardo seemingly inspiring the whole of Dead Cross as they funk out with raw intensity and rancorous resourcefulness whilst equally embracing a Melvins meets early Therapy? like friction. It is a highly addictive proposal within an album similarly growing drug like in its temptation.

The persistent creative harassment of The Future Has Been Cancelled matches the lure and entrapment of its predecessor with its own individual and increasingly ravenous quicksand of sound and invention, at one point sinking into a quagmire of heavy seduction before bursting out with its instinctive rabid virulence of energy and sound to head towards the waiting heavy set jaws of Gag Reflex. It too meanders and dashes through a landscape of evolving gaits and twisted manhandling of the listener; each turn increasing its magnetism and our subservience to its manipulation.

The industrially lined shadows of Church of the Motherfuckers brings the album to a mighty conclusion, the track lumbering along with a primal swagger as resonating beauty glistens in its atmosphere. On the ground irritability guides the tempestuous exploits of the track, its climate remaining relatively clam but around a volatile heart which beats with combustibility. Through it all Lombardo springs a rhythmic trap which enslaves body and spirit, his creative mastery the last word in persuasion as the album comes to a thrilling close.

The tag super-group is bound to accompany many references to Dead Cross but ignore them. The band is a real and potent new force in its own right, yes embracing the previous experiences and exploits of its creators but offering something very different and exciting to rival and outshine most hardcore/punk noise exploits around them.

The Dead Cross album is out now via Ipecac Recordings through most stores.

https://www.facebook.com/deadcrossofficial/

Pete RingMaster 08/08/2017

Copyright RingMaster: MyFreeCopyright

Raketkanon – Rktkn#2

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Barely a handful of weeks back, Belgium band Raketkanon not only ignited but incinerated the passions and imagination with the single Florent. A warped rhythmic dance immersed in a startling and ridiculously compelling tapestry of noise, the song not only announced the introduction to one compelling band but made a riveting and exciting appetising to the album it came from. Now that the release has arrived, and though Rktkn#2 does not always quite live up to that first initial seduction, it makes for one blissfully thrilling proposition.

To be fair when we say the album does not match the earlier appetiser it is not strictly true as where Florent was a swift explosive dig in the ribs of attention and lust, many of the songs within Rktkn#2 provide a slow and intensely simmering temptation which need time to convince and seduce. Ultimately they do though, ensuring every listen is a fresh and perpetually unveiling exploration that is very easy to rigorously enthuse about.

With their name meaning rocket cannon in Dutch, Ghent hailing Raketkanon create an experimental incitement seeded in a wide array of sounds and flavours. From sludge and doom to noise and psychedelic rock, the band’s music has a distinct character and invention which defies comparisons on the whole. Some have offered Melvins and Tomahawk as references whilst we could suggest the likes of Kabul Golf Club, Joy Division, Coilguns, and Young Gods as a hint to their sound but only listening reveals the dark majesty of the compelling drones, incendiary rhythms, and dramatic textures fuelling tracks and release.

10959513_10153103655542112_4720665964608033336_nThe album opens with the aforementioned single and after a torrent of listens when first released, Florent still makes the greatest magnet for the band. As feedback and sonic enticement lead into discord kissed enterprise surrounding an unrelenting prowl of invasive rhythms, the track preys on body and emotions. It has a threat, a danger, and a fascination which just engulfs the ears and psyche. The quartet of Jef Verbeeck, Pieter de Wilde, Lode Vlaeminck, and Pieter-Paul Devos continue to entrance as scowling vocals from Devos spill from his throat over the expanding web of noise. A post punk tone to the bass also emerges more prominently as the song takes to a meditative respite midway; it’s tempting aligned to twanged guitar endeavour and a calm which is almost as portentous as the returning deranged dance of noise. The song never turns into a raging fire though; its droning reserved and its croon certainly unhinged yet controlled, with only the vocals a bedlamic fury.

With each song titled by a name, Nico Van Der Eeken comes next and it too opens on an immediate bait of slow but focus grabbing beats before creating a spiralling weave of synth brewed intrigue. The effect coated vocals also have a restrained introduction though it cannot stop them bringing inviting mania into the mix. They surprisingly remain ‘subdued’ as the song raises its intensity and voracity, taking centre spot in the quieter moments of a song which despite its energetic pursuits is also nothing less than mesmeric. A flush of hardcore like influence eventually ignites the vocals in an inflamed finale to a song, and end and song leaving thoughts and emotions startled and enslaved.

The following Suzanne has an instant swagger to its lively entrance and a more stoner-esque air to its melodic sultriness, both aligned to the ever vocal and enticing down tuned coaxing of guitars. The track is a more recognisable rock proposal initially, stomping with aggression and energy before wrong-footing with a drop into calm evocative waters, a simple melodic caress accompanying similarly gentle vocals. Of course all that we suggest has another lining to it, a generally indescribable one which festers and grows into something different, here a psychedelic wind of stark and uncomfortable but mentally and physically stimulating trespass growing from the calmed storm.

The albums adventure twists around again with Mathilde, the song a gentle embrace of cold but welcoming guitar and wistful low toned vocals over repetitive and wonderfully hypnotic bait. For three minutes its sombre yet magnetic temptation enthrals before lifting its muscular head and weight with a new angst in riffs and vocals matched by a dark fuelled bassline and fiercely jabbing beats. Doomy and embracing essences of post rock, the song is one of those longer to persuade but emerges as a spellbinding and ever changing sonic emprise of emotional and physical evocation.

Elisa is another long term simmering in regard to getting under the skin but with a spine of rhythmic repetition and eruption into an angst pooled vat of intensity and sonic rapacity it wins out. Exploring a more alternative rock premise whilst continuing to throw in a constant barrage of musical and inventive curveballs, it takes time to grip the passions unlike Ibrahim which has them enslaved within the first few moments of its driving and almost sonically mystical opening. The track is sensational, a rival to the opener and a tantalising maze of spicy endeavour with an imagination bordering on the chaotic yet staying within a sculpted framework, though to be honest that in itself is bordering psychotic.

Straight away another irresistible triumph is unleashed through Harald, a contagion loaded song which is as funky as it gets in a noise woven, distortion fed, and sonic crazed enterprise. Its opening minute is sheer infection but it is when the band unleashes a rhythmic stalking bred from the same wells of invention of a Wire or Gang Of Four that the track kicks off a torrent of lustful reactions. Entangling disorientating sounds, raw vocals, and sonic disturbances, the track sculpts the most enthralling and mouth-watering demented soundscape.

The album closes with the epic Hanz, a track maybe too long for personal tastes though not one moment of its nine minutes is lacking certifiable invention and engrossing ideation. Its low key emergence is soon a continually growing and intensifying brew, harsh but gentle sounds gaining an edge and attitude in many ways before finally breaking into more tempestuous scenery, though that too is just a stage in the evolution of the song. Cinematic, transfixing, and atmospherically brooding, the track eventually finds its heaviest, intrusive touch at its climax. It is a fascinating end to the album if not the most easily accessible without plenty of attention.

As we said at the start, Florent brought high and excited hopes for Rktkn#2 and the scintillating encounter has not let us down. The single forged a plateau for the band’s music which was always going to be hard to persistently match but plenty of tracks within the album do and those missing its ledge still leave a seriously enjoyable and creatively innovative experience to greedily devour. Bottom line is that Raketkanon is a must for all fans of noise, discord, and experimental challenges.

Rktkn#2 is available now via KKK Records @ http://raketkanon.bigcartel.com/ on CD and vinyl and digitally @ https://itunes.apple.com/us/album/rktkn-2/id972774371

Upcoming show dates…

28/04/15 : Stag & Hounds – Bristol

29/04/15 : The Shacklewell Arms – London

30/04/15 : Audio – Glasgow

02/05/15 : Live in Leeds Festival – The Brudenell Social Club

03/05/15 : The Hope – Brighton

http://www.raketkanon.com/   https://www.facebook.com/Raketkanon

RingMaster 15/04/2015

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

Raketkanon – Florent

 

    Raketkanon

    Raketkanon is most likely a name still relatively or entirely unknown to the wider expanse of British ears and appetites, but a situation unlikely to remain the same after the release of the band’s debut UK single. Florent is sheer noise alchemy, an insatiable and ravenous temptation. It is also the first teaser for the band’s new album, a larger and easy to suspect no less potent proposition with the potential to make the Belgian band a new lustful passion for a great many across the UK.

Hailing from Ghent, Raketkanon (meaning Rocketcannon in Dutch) have a sound which launches itself on the senses with zeal, relish, and devilish invention. It is easy to offer comparisons to the likes of Melvins and Tomahawk upon the band’s music, yet it defies real tagging as equally essences can be found of nosier exploits like Kabul Golf Club, Butthole Surfers, and Coilguns. It is a proposition which more than likely will draw different ideas and references from different sets of ears, and a sound, alongside the band’s presence on stage, which has led to the release of the single on Jazz Life Records, the label of Blood Red Shoes. Laura-Mary Carter of the British band recently commented on Raketkanon, saying “After seeing their first London gig and being pinned to the back of the wall by the sheer force and insanity of them playing live, I knew we had to sign them to our label.

Feedback and sonic enticement make the opening lure, bait swiftly reinforced by a heavy rhythmic stroll and he discord kissed enterprise which springs from the intriguing start. Consisting of Jef Verbeeck, Pieter de Wilde, Lode Vlaeminck, and Pieter-Paul Devos, Raketkanon soon has ears and imagination immersed in their thick, unpredictable experimentation. Sludgy atmospheres collude with quietly psychotic textures whilst just as reserved droning comes to play with the senses. Each though is just a strand in the fascinating and incendiary tapestry of noise conjured by the band, post punk seeded bass and guitars aligning with rapid fire beats for a psyche twisted dance bound in a sultry and equally bedlamic synth cast seduction. Courted by the increasingly deranged delivery of vocalist Pieter-Paul Devos, the track is a bedlamic croon, a distorted and unhinged serenade sending shivers of joy across senses and imagination.

Florent is quite sensational, an insatiably and creatively irrational seduction which is not only frighteningly captivating but an irresistible temptation to the band’s forthcoming album RKTKN2#. Britain and the world is about to be seriously infected and after being tainted by Florent, it cannot come fast enough.

Florent is available on limited 7” white vinyl through Jazz Life Records from March 30th whilst RKTKN2# is released via KKK Records on April 13th.

http://www.raketkanon.com   http://raketkanon.bigcartel.com/   https://www.facebook.com/Raketkanon

RingMaster 23/03/2015

Copyright RingMaster: MyFreeCopyright

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