Murena Murena – Shame Over

Pic © Jann Averwerser_klein

Pic © Jann Averwerser_klein

Genius or lunacy?

A question to ponder as Shame Over seduces ears and infects the psyche with its deranged carousel of dark imagination and off-kilter rock ‘n’ roll. The riveting aural amusement park of warped thrills and twisted adventures is the new album from Munich based Murena Murena. Though self-tagged as horror soul,  the release offers twelve tracks of unique imagination twisting alchemy embracing both genius and lunacy which, though hard to easily reflect in word, is maybe best described as Powersolo meets Wall Of Voodoo meets Nick Cave whilst lost in the realm of Twin Peaks.

Murena Murena is the creation of Daniel Murena, vocalist and writer/composer of some of the most irresistible cinematically lit murder ballads and sinister shuffles heard in a long time. 2014 saw the release of debut album Ghoaster Coaster, a slice of sonic and creative loco within which the seeds to Shame Over can be clearly heard. They are beginnings though which have blossomed into a proposal far more unhinged and seductively unsettling; an album of songs which work the ears and imagination of the listener like a puppeteer. With Albert Pöschl, Tagar, and Dizzy Errol alongside Murena, the band and Shame Over simply turn ears into an addict whilst sharing a cracked Sin City like comic book of noir fuelled escapades.

The album opens up with Newsflash Apocalypso, a dark romancing of ears with a rumble in its belly and a Yello-esque flirtation to its electro hues and devilry. Imposing in emotive dark and beguiling with a maze of vocals which trespass song and imagination, it is an attention grabbing start to the album and swift glimpse into the house of visceral shadows and provocative tales to come, starting with the outstanding Drag Race. Cowpunk rhythms and an appropriate swing quickly grip body and appetite with rockabilly devilment swiftly adding to the Cajun tinged stomp. Again vocals are a mesh of asylum bred incitement matched by beats and country hooks, an aligning of textures breeding a scent of Powersolo / Heavy Trash to its rascality.

The necrophilic romance of Le Van´s Wife immerses ears and thoughts in dank graveyard mustiness next, its soulful moon lit insight hosted by a sultry electronic glow framed by prowling rhythms. There is no escaping a Nick Cave hue to the excellent nocturnal disturbance and its smothering embrace of dark doings, or the invigorating diversity brewing in the album which continues with the reggae spiced bounce of Dancing Naked. The grouchy tone of bass enjoyably tempers the lusty shuffle of riffs and skittish beats hugged by the warm kiss of keys, a fusion of textures creating an addictively surreal surf/spaghetti western/ska flavoured hop

cover_RingMasterReviewCountry and rockabilly strands entwine the following Lovely Homes, skittery beats laying an eventful canvas for the smouldering dark charm of air and narrative of voice to conjure upon. Guitars and bass only add to the increasing drama, spawning a Helldorado like theatre that once having seduced ears and enjoyment, steps straight into the unbalanced horseplay of Pretty Please! which quickly has feet and thoughts  jumping like a psychotic mix of Th’ Legendary Shack Shakers and Johnny Kidd and The Pirates with an added twist of The Dancing Did.

The pair simply disorientates and ignites the senses before Peace swaggers in with its throaty Johnny Cash climate and vocal dexterity as rich sultrily hued melodies wind seductively and poetically around ears. The track epitomises the whole of the album and Murena Murena sound, there seeming little going on in the building of a thick array of textures yet every moment is a kaleidoscope of new noise and imagination which reveals more and more with every dark engagement.

A lighter dance is provided by Shy Goose, its sixties pop and electro rock dance a magnetic croon which gets right under the skin with bass and beats masterfully leading the infestation. It shimmers and erupts with increasing tenacity and bewitchment before being pushed aside by the addictive sonic and rhythmic agitation of Tu Tu. Sounds and textures almost seem to battle each other in the bedlamic stomp, but in the end they simply collude for a hyperactive rock ‘n’ roll waltz that leaves body and soul alive and ready to be drawn into the psych rock haunting of War Drugs.  In another twist to the album, it is a dark enveloping of the imagination which is alive with vocal psychosis and warped echoes of noise and emotion, and quite beguiling if equally disturbing.

Shame Over is brought to a close by the pair of Fossil Fuel and Fossil Fuel 2. The first is a throbbing draw of vocal resonance and ethereal electronic theatre with plenty of suggestive bite whilst its successor is a blues romancing equipped with nostalgic easy listening country-esque mesmerism. Both tracks sublimely bewitch with their individual imagination, a description which fits the whole of the quite unique and gloriously unpredictable, not forgetting wonderfully eccentric or should that be crackpot, Shame Over. Creative diablerie does not come much better or deliciously darker it is easy to say.

Shame Over is released globally by Totally Wired Records on April 15th @ https://totallywiredrecords.bandcamp.com/album/shame-over

http://murenamurena.com/   https://www.facebook.com/murena.munich   http://danielmurena.bandcamp.com/

Pete RingMaster 13/04/2016

Copyright RingMaster: MyFreeCopyright

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Kristy And The Kraks – Self-Titled EP

kristykraks

Casting a seductive web of sixties and garage punk, Kristy and the Kraks has a sound which sidles up to the imagination with lips pouted and provocatively swaying hips before adding a sonic glaze to the affair which permeates psyche and passions with equal tenacity. Hailing from Vienna, the band has just released their debut self-titled EP, a release consisting of four songs said to be inspired by Le Tigre and Julie Ruin. It is a raw and enchanting blaze of punk enterprise which croons and teases as its scores the senses in a presence which for us is best described as The Cramps and The Creeping Ivies meets The 5 6 7 8’s and The Crystals.

Kristy and the Kranks is the creation and union of Kate Kristal (Rabe, Dot Dash) and Ana Threat (The Happy Kids, Bretzel Krake Hoffer), the two coming together for the project in the spring of last year. Providing a temptation of two sets of vocals, a single guitar, and a basic stand-up drum set, the pair alternating instruments for certain songs, Kristy And The Kraks mesmerise with their sound. Like the best strains of garage punk the band makes a startling first impression, one which challenges and intrigues predominantly but it is not long before their lo-fi wiles and simple melodic toxicity become an irresistible and captivating temptress.

A resonance of drums opens up the EP as I Don’t Love You No More steps into view, the initial beckoning soon joined by sultry calls of coverguitar, both aspects gentle in their persuasion and gait at first. As the vocals come forward a more flaming voice emerges in the guitar strokes, their acidic tempting deliciously raw edged as they align with the smouldering harmonies which skirt the similarly heated vocal lead. The chorus brings a flush of urgency behind its melodic enticement which then switches to and fro with the previous more even tempered but fiery narrative. The song and sound is quite compelling, like a humid union of The Shangri-Las and The Fall and thoroughly absorbing.

The following Twentyone is forty two seconds of irresistible addictiveness. It is simply a hypnotic stride of beats inflamed by scuzz grilled guitar with intermittent vocal shouts striking across its bow. There is very little more to it but boy is it effective and inflammatory for the passions, riling and lighting them up for the next up No No No No No. The third song, which has also been the source of the band’s debut video, opens on a sensational throaty twang of guitar, its resourceful baiting of the imagination complemented by harmonic waves of vocals and a courting percussive coaxing. The song flirts with its moves and sounds, its swerves and tempting as raw and seductive as you could wish for. There is something primal about the song and the overall sound of the band, an instinctive lure which you cannot tear yourself or emotions away from, with this track arguably the most naturally bewitching of the four.

The just as masterfully magnetic Suicide completes the contagious incitement, the song veining its shadows with sirenesque harmonies entwined in rich guitar colour as well as a rhythmic punctuation. It all combines to provide a gripping drama with a healthy whisper of The Slits to its invention.

The EP is a magnificent debut, a release which increases its persuasion and beauty over each dive into its vibrant uncluttered depths. A release for garage punk, post punk, and lo-fi melodic punk fans, Kristy And The Kraks has announced themselves with one lingering fascination of a debut. Expect to hear and enjoy a lot more of this charismatic band.

The EP is available as a limited edition 7″ as well as a digital download via Totally Wired Records now!

http://totallywiredrecords.bandcamp.com/album/kristy-and-the-kraks

http://www.facebook.com/kristykraks

9/10

RingMaster 19/04/2014

Copyright RingMaster: MyFreeCopyright

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