Bardus – Stella Porta

bardus_2016_RingMasterReview

Fresh from a US tour with Grizzlor and on the first step of another American tour, this time with The Glorious Rebellion in celebration of their new album Euphoric, Philadelphia hailing Bardus have their own slice of sonic delight being uncaged courtesy of Solar Flare Records. Released the April 1st, the opening date of the tour, Stella Porta is a rich and uncompromising seven track maelstrom of sludge, grunge, noise, and psych rock forcibly showing exactly why so many people are making vocal fuss about the trio.

Formed in 2011, Bardus quickly showed that their sound and songs was never going to settle into one style or predictable design. Their self-released debut album Solus in 2013 proved that; its well-received uncaging the spark to a growing reputation built and pushed by the band’s DIY intent and live presence which has seen them regularly tour and share stages with numerous national acts. As Stella Porta infests the senses, it feels like it just might be the wake-up all to those yet to be challenged and persuaded by the band’s vociferously intrusive sound. If that is not to be, it is certainly a potent and impressive step to grow that success from.

The album starts with the voraciously compelling Smoke Bath, a track which instantly grips ears and appetite with the controlled stroll of Kyle Pierce’s beats and the grouchily infectious growl of Ari Rosenberg’s bass. Soon it is awash with the caustic strokes and sonic animosity of guitar, Justin Tuck casting an invasive web of discord fuelled drama matched by his raw throated vocal squalls and angst. It is a gripping start to the release, noise and punk drenched rock ‘n’ roll with thick anthemic prowess stirring up imagination and passions ready for the equally rousing exploits of Monolith. As with the first song, there is a touch of label stable mates Sofy Major and the likes of Unsane to the track but every impacting swing and raw sonic trespass only reveals a voice and character unique to Bardus; those essences of familiarity merging with fascinatingly fresh and beguiling imagination.

SLF022 - hi-res cover_RingMasterReviewSky King backs that up with its opening sonic mist offering a recognisable air but soon igniting into a furious punk ‘n’ roll tango with flirtatious rhythms and an addictive hook alongside a senses scarring vocal attack within a noise infested tempest of blistering intensity and ever shifting enterprise. Irresistible in its unbridled rampage and evocatively intrusive in its calmer inhospitality, the song incites fresh urges of  hunger in an already eager appetite before the thicker doomy atmospherics of Transcendence wrap a sludgy, bordering on funereal, canvas of suggestiveness. There is venomous vitriol and intimidating portentousness to its enveloping animus though which incites a lively almost rancorous energy to the track.

Living up to its name, Haze provides an opening raw embrace which sonically drifts and evocatively lies on ears, enveloping the listener as clean vocals align with an infectiously inviting and melodically distorted passage of calmer flirtation. As expected it is soon ablaze though, ferocious vocal discontent and sonic dissonance drenching song and recipient before rotating between the two extremes for another keenly favourite moment of Stella Porta to which the Melvin-esque Oracle creates a matching pinnacle with its own abrasive rock ‘n’ roll with ire stained vocals and an insatiable virulence in hooks and spicy grooves. As everywhere upon the album, there is theatre to the songwriting and its inventive portrayal which fuels a web of intrigue and imagination which right here is unafraid to involve surf and psych rock seducing in a tempest of belligerent noise and intent.

Clandestine brings the release to a jaundiced yet inescapably bewitching grudge of a close, guitars and voice the corrosive roar around the more controlled but no less impacting rhythmic predation offered. Though maybe not quite igniting the passions as many of its predecessors, it is a fine to an excellent intrusion on body and emotions.

Like so many albums recently, Stella Porta takes its time to rise to its full creative height but as many, each play only enhances its qualities and irresistible persuasion to show why Bardus is becoming a favourite challenging flavour for a great many.

Stella Porta is released April 1st via Solar Flare Records @ http://shop.solarflarerds.com/products/567534-preorder-bardus-stella-porta-cd-digital

https://www.facebook.com/BardusMusic   http://bardus.bandcamp.com

Pete RingMaster 01/04/2016

Copyright RingMaster: MyFreeCopyright

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False Flags – Hexmachine

artwork_RingMaster Review

Casting belligerent revelry in a tempest of hardcore, punk metal, and noise rock within debut EP Hexmachine, UK quartet False Flags quickly suggest they are a raging on the ear that giving attention to can only be rewarding. It is a five track causticity loaded with noise infested hooks and discordance fuelled enterprise that snarls and gnaws on the senses with a combination of familiar and fresh ferocity. Major surprises are scarce, originality in some ways slim, but fair to say band and release stir up a very healthy appetite for their uncompromising persuasion of sound and intent.

Hailing from Leeds, False Flags emerged from the ashes of Red Stars Parade, Whores Whores Whores, and Year of the Man some when around 2011. Drawing on inspirations from bands such as Unsane, Breather Resist, Botch, and Coalesce, False Flags saw its members exploring new avenues for their hardcore bred ideation and adventure; better explained by guitarist Charles Pritchard, “after the break-ups of our previous bands in Leeds and all previously being friends from the DIY scene here, we wanted to form a band that took influence more from the noise rock / discordant hardcore end of the spectrum.” It was an aim soon finding success and a quickly growing following to a live presence which including sharing stages with the likes of Noothgrush, Narrows, and Envy. Long anticipated, Hexmachine is their first studio unleashing, a fierce roar on broader spotlights which more than lives up to the buzz their shows have bred.

The EP erupts with Earl Black, the opener emerging from a distant sonic haze in a brawl of thumping rhythms and caustic sonic violation. It is an assault bound in an infectious tenacity and lure too even though the vocals of Chris Jenkinson are throat raw, every syllable bearing the blood of his vocal chords as around him the guitars twist a mesh of flavours from punk to metal to heavy rock. Pritchard’s fingers keep song and imagination busy with his prowess on string as too the dark bass tempting of Mark Snellgrove, his prowling invention superbly aligned to the scything swings of drummer Mike McGoran. First impression of the track is strong, second great with it further impressing with each subsequent play.

The same applies to the following Last Screen Goddess. It makes a bolder entrance, beats badgering ears from its first breath as riffs and grooves entwine in a web of temptation. More predatory in gait and energy than its predecessor, the track is a cantankerous involvement which again only becomes more compelling over time. It is probably fair to say that it lacks the same imagination as the first song in the bulk of its body but saves that for a passage where everything twists around each other in a riveting and bruising noise infested trespass of the senses. Satisfaction is only left full across its bellow and filled again by the confrontation of Fate (Has a Driver). Like a blaze seeded in Sofy Major like rock ‘n’ roll and the scarring contagion of The Great Sabatini, the track heftily pleases; its grooves and bass rabidity especially incendiary sparking an even greedier appetite by this point.

Pet Wolf sculpts its barbarous infestation of air and ears from a similar canvas to the last song but turns it into a much more volcanic and volatile proposition veined by southern hued, sludge coated grooves. Bass and drum endeavour is as bewitching and punishing as the sonic incursion courtesy of the guitar, it all led by the harsh vocal and lyrical devilment. It is a great bullying which continues in the noise/punk inferno of Namedropper. Once more contagious hooks and flaming grooves join barbarous rhythms and vocal abrasion to create an assault as addictive as it is debilitating.

From one great track to another as Phone My Wallet brings Hexmachine to a rousing and brutal end, the track a bedlam of tasty repetitive grooves and intrusive hooks amidst a raging storm of voice, rhythms, and intensity. It sums up the False Flags sound in one invasive blow and ensures the EP leaves on a lofty plateau.

With a want for a touch more bold originality and diversity to Hexmachine the only slight wish of the EP it is an impressive and thoroughly enjoyable introduction to False Flags. With their pedigree and open talent, it already feels like the emergence of a unique character to their sound is on the cards; another reason to be confidently excited by the band.

Hexmachine is available from November 20th @ http://falseflags.bandcamp.com/

https://www.facebook.com/falseflags   https://twitter.com/falseflags

Pete RingMaster 20/11/2015

Copyright RingMaster: MyFreeCopyright

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Sofy Major – Waste

Sofy_Major_pic2015_RingMaster Review

After the merciless conditions which opposed the band when recording their acclaimed second album Idolize, including hurricane, flooding, loss of equipment for the band and the studio they were recording at, we assume the recording of its successor was an easier time for French rockers Sofy Major in comparison. What we can be certain of is that the time since the 2013 release and the unveiling of Waste has seen the band grow in presence and sound to hit another lofty peak with their new proposition. Waste is a glorious slab of rock ‘n’ roll; a storming proposal retaining the raw energy and uncompromising snarl of previous releases but also revealing a more melodic and composed touch to the wonderful volatility that persistently sets the Sofy Major sound as something to get excited over. Also as the last album, the Clermont-Ferrand trio has offered another essential slab of rock adventure to devour greedily, a temptation hard to see many refusing.

Produced by Dave Curran (Unsane, Pigs, Big Business), mixed by Andrew Schneider (Pigs, Julie Christmas, Unsane), and mastered by Carl Saff, Waste opens with its title track and an instantly intimidating and magnetic growl of noise and punk rock driven by heavy rock grooves and grizzly bass riffs. The vocals of bassist Mathieu Moulin roar with intensity yet equally an inviting tone, luring attention as a host of spicy grooves and tempting hooks add matching appeal within the increasingly carnivorous maelstrom of energy brewing across the track. It is a gripping and potent start to the release backed up in kind by We See Fire and a quickly emerging big hook of a slim but irresistible chorus. Twisting and turning with each breath, the song captivates like a fusion of The Great Sabatini, The Fat Dukes Of Fuck, and UK band The St Pierre Snake Invasion, great vocals from Moulin and drummer Mathieu Desternes around the increasingly enthralling guitar enterprise of Sébastien Fournet enslaving ears and imagination.

sofy_major_cover_RingMaster Review   Turning Point is just as adept and creative at raising the passions, its irritable bass bait inescapable addictiveness matched in success by the swinging gait of the song and its casting of contagious and psyche infesting grooves. There is a familiarity to this and the songs before it, but of Sofy Major only and taken to richer and more virulent levels, proof again coming with the bearish textures and roar of Slow Everywhere, it a bruising captivation as sonically antagonistic as it is roguishly captivating with the bass especially fiendish in its grumbling tone.

Variety is another returning aspect to the Sofy Major songwriting and ingenuity, the classic rock hook of Infinite Pill Case a wrong-footing tease from which the song tenaciously explores a weave of rhythmic agitation and guitar bred imagination impressively led by the ever alluring vocal delivery of Moulin. With unpredictability another constant throughout the rock ‘n’ roll bellow of the album, the song has body and emotions quickly involved, leaving an exhausted and full appetite in its wake for Black and Table to keep thoroughly satisfied through its slower wrapping of ears with sinister intent and stalking magnetism.

An essence of post punk flavours Iron Butt next, a spicing lacing the web spun by Fournet’s fingers whilst Devotion Man brings a more grungy essence to its enticing brew of noise and punkish confrontation. Both tracks get the blood racing in different ways as they inflame the air, the first with a more urgent tempest and its successor through a controlled yet predatory canter which uses every breath to create an infectious coaxing.

The album concludes with an excellent cover of the Les Thugs song As Happy As, Sofy Major taking the track to darker and again more post punk depths whilst increasing its virulence. Rarely does a cover match an original but the closing song on Waste is more than a thrilling match for its inspiration.

Fair to say a soft spot for Sofy Major through their previous albums, Idolise especially, has become much more lustful thanks to Waste. Rock ‘n’ roll does not get much more carnivorously attractive and exhilarating than this so get those ears and pennies ready

Waste will be released via Solar Flare Records on October 30th on 12″ vinyl, CD, and digitally. Preordering available @ http://shop.solarflarerds.com/categories/pre-orders

Pigs/Sofy Major European Tour Dates:

15.10.15 : London @ Power Lunches

16.10.15 : Paris @ Le Picolo

17.10.15 : Liège @ La Zone

18.10.15 : Vesoul @ Café Français

21.10.15 : Cologne @ Sonic Ballroom

22.10.15 : Lille @ La Péniche

23.10.15 : Rotterdam @ Poppodium Baroe

24.10.15 : Bruxelles @ Magasin 4

25.10.15 : Genève @ L’Usine

26.10.15 : Prague @ Exit Us

27.10.15 : Vienne @ Fluc

28.10.15 : Bologne @ Freakout Club

29.10.15 : Rome @ Init

30.10.15 : Savona@ Raindogs House

31.10.15 : Milan @ Lo Fi + Mutoid Man

04.11.15 : Montpellier @ Black Sheep

05.11.15 : Lyon @ Grrrd Zero

07.11.15 : Bergerac @ Gare Mondiale

09.11.15 : Clermont-Ferrand @ La Coopérative de Mai

10.11.15 : Bordeaux @ Iboat

11.11.15 : Toulouse @ Pavillons Sauvages

12.11.15 : Poitiers @ Grand Café

13.11.15 : Rouen @ Kalif

http://www.sofymajor.com   https://www.facebook.com/sofymajor

Pete RingMaster 13/10/2015

Copyright RingMaster: MyFreeCopyright

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Pigs – Wronger

pigs_2015_RingMaster Review

If you are looking for a noise rock treat to end the impending year’s end on a high, we have the new Pigs album to suggest. Equally if you are looking for a ferocious punk rock tempest, or an uncompromising rock ‘n’ roll confrontation, Wronger fits the bill perfectly too. The new album from the New York City trio of Dave Curran from Unsane, Jim Paradise of Player’s Club and Freshkills, and Andrew Schneider (renowned producer with the likes of Cave In, Converge, Made Out of Babies, Unsane, and Keelhaul on his CV), is a brawl you will only get increasingly excited to be swallowed up by. It is a blaze of scarring imagination as virulently addictive as it is mercilessly abrasive, and indeed bracing. Pigs made a mighty debut with first album You Ruin Everything in 2012, cemented and pushed their refreshing presence with the Gaffe EP the following year, but Wronger is a whole new caustic bitch slap of pleasure and aggressive adventure to get fired up by.

It opens with the sonic infestation of A Great Blight, a diseased web of noise hypnotically living up to the creeping invasiveness of its title. The instrumental piece crawls over the senses and into the psyche, eroding defences with its repetitious whilst The Life In Pink waits in the wings to fill its departing void. The second track though rather than quickly assaulting ears weaves in on a flirtatious hook cast by Curran’s guitar, its successful lure shaking under the impact of Paradise’s composed and resonating beats. In no time the bass of Schneider growls with a predacious passion whilst the riffs and vocals of Curran add grizzled attitude and prowess to the song’s emerging heavy stroll. It is a raw and thickly enticing bluster, tempestuous rock ‘n’ roll which ensures an inescapable persuasion, especially with the re-occurring delicious hook which sets things rolling.

pigs_wronger_cover_RingMaster Review     The following Bet It All On Black leaps in with a punk swagger and impossible to resist rhythmic devilry, willing feet and hips recruited as rapidly as ears and imagination through another delicious hook which this time has a whiff of post punk addictiveness to it. Schneider swings an equally magnetic and infectious groove through his ever bestial toned bass, another spice to the gripping drama and threat of the track, an intimidation emulated in Amateur Hour In Dick City though it pursues a more hard rock flavouring to its noise rock volatility. As in all songs, things evolve though, turn in on themselves and bring new twists and exploits to contemplate. Without quite matching its predecessors, there is only an infection to the eventful song which flows eagerly before Mope descends on the listener with its scuzz woven tapestry of meandering grooves, intoxicating hooks, and predatory rhythms. A smothering cloud of raw noise is the best description, this veined by virulent temptations and, within certain brief partings of its worrisome clouds, melodic toxicity for major addictiveness.

     Wrap It Up is the same, its hostile climate and abusive physical invention increasingly persuasive with every sonic lancing and rally of rhythmic bullying colluding in something quite bewitching as it corrodes the senses. Imagine Joy Division meets Unsane and you get a sense of part of the excellent encounter, though again it is a proposition shifting tact and character minute by minute.

The Cajun twang of Mouth Dump and its thumping beats around a trio of spoken vocals spark thoughts next, its short insight a respite yet provocateur in a way setting up the scathing roar of Make Sure To Forget, another sonically cancerous slice of punk/noise agitation with its own tasty Buzzcocks scented hook. As seriously pleasing as it is, it does not rival in success other songs around it, emphasizing their might, and is unlucky to be followed by the majorly outstanding Bug Boy, a song which makes you forget the past three or so minutes as soon as it scurries under the skin. Featuring guest vocals from ex-Made Out of Babies/Battle of Mice front woman Julie Christmas, the track is a ravenous tempest once again entwining imagination infesting grooves and hooks, barbarous rhythms, and a vocal bedlam to get greedy over.

Wronger is brought to a close by firstly its physically cantankerous title track and lastly the extensive bellow of Donnybrook. Both songs grip forcibly as they abrase and tempt, the first hitting its sweet spot around midway when it dips into a haunting melodic aside still walled by raw shadows and waiting to bellow sonic animosity. Its eight minute successor prowls and lurches through ears with doomy breath and volatile temperament, becoming more unpredictable and magnetic as a warm calm emerges from its erosive landscape and in turn brews its own dark imposing atmosphere which becomes the dominate wind of fascination. A slow burner compared to some, the track is undoubtedly a mighty end to a thoroughly enjoyable trespass.

The album is easily Pigs finest moment to date, but you get the feeling still just a step to bigger and bolder things from the band. As Christmas lists are being drawn up, Wronger is one to place at the top for all violent rock ‘n’ roll fans with no regrets found through this thrilling beast

Wronger is out now via Solar Flare Records on 12” vinyl, CD, and digitally @ http://music.solarflarerds.com/album/wronger

http://www.pigsnyc.com     https://www.facebook.com/pigsnyc

Pete RingMaster 13/10/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Sewer Rats – Money Maker EP

_RingMaster Review

Dirty, energetically angry, and sonically visceral; that is Money Maker, the debut EP from British psych rockers Sewer Rats. The band has a sound which more than lives up to its name and a release which is bred from the filthiest recesses of their grungy psychedelic lit minds. The five track encounter, unleashed by London based label Fluffer Records, intimidates and tempts in equal insatiable fashion whilst providing the potent seeds for a very healthy and musically carnal future for the band.

Consisting of vocalist/guitarist Luke Morris, bassist Iain Morrison, and drummer Dean Robbins, the Immingham in Lincolnshire hailing Sewer Rats has been brewing up plenty of keen attention through their fiery live presence and abrasive sound. Money Maker is sure to inflame matching success, its recent release already luring rich acclaim and hungry new appetites their way.

cover_RingMaster Review   It all begins with Skint and a swift caustic wind of guitar which in no time is part of a sonic lacerating of the senses as gnarly bass, scything beats, and raw intensity joins the mix. It is a blend weaving a sludgy swamp of stoner bred grooves and heavy, almost animalistic, riffs led by the scowling, Lemmy-esque tones of Morris. As thick and aggressive as that is, the scuzzy roar accompanying the sounds expelled ensures there is viciousness to the swing of the song and an irked belligerence to its bracing air. It is a superb start to the release, addictive hooks and grooves vocal throughout the tempest before it all makes way for Devil Blues.

The second track has a slightly more laid back approach to its bluesy filtered cauldron but still stirs up a blaze of scarring sonic trespass and anthemic hostility bound in more scorching grooves. Again this is a title which perfectly sums up its content; rock ‘n’ roll to open up hell and enslave salacious souls, and indeed leave the listener exhaustingly wanting more.

The psychedelic instincts of the band take centre stage with the instrumental Black Label Serotonin. It is a sweltering climate of sultry melodies and surf rock twisted enterprise, providing rich evidence that Sewer Rats can be as emotionally and sonically gentle as they are aurally ferocious. It is a bewitching hex which is swiftly a memory as the EP’s corrosive title track surges with toxic radiance and caustic energy straight after. Once more grooves collude with searing hooks and ever grouchy vocals to create a swagger to the sonic blizzard, and again feet and senses are treated to a rebelliously contagious and enjoyably punishing stomp.

Money Maker is concluded by So Far Away, the brutish Motorhead meets Black Tusk corruption of its predecessor replaced by a wash of psych rock acidity aligned to a southern kissed morass of aggressive invasiveness and inhospitable noise. It is a mighty end to a gripping release, though you can easily sense that Sewer Rats is only at the start of its evolution and there will be plenty more attention grabbing and mightier proposals forged ahead, certainly just as uncompromising ones.

If the likes of Bad For Lazarus, Converge, Mastodon, Unsane…well you get the idea, are your temptation check Money Maker out for sure.

The Money Maker EP is out digitally and on vinyl now through Fluffer Records.

RingMaster 14/08/2015

Copyright RingMaster: MyFreeCopyright

Unmothered – U M B R A

Unmothered_Reputation Radio/RingMaster Review

U M B R A is a predator soaked in doom and sludge but equally draped with essences of black metal, noise, stoner rock, and most likely any other voracious flavour you can imagine. It is also one of the most primal and inventively addictive things heard so far in 2015. The new carnivorous proposition from US band Unmothered, the three track EP proposition brawls through ears, violates the senses, and scars the psyche from start to finish, all the time igniting the passions with its fierce turbulence. There is no escape once it takes hold but no desire to flee its uncompromising trespass either.

Starting their raucous prowl of the senses in 2010, the Austin hailing Unmothered unleashed their self-titled debut EP vinyl in 2012 to acclaiming responses across the underground scene. It brought seven atmospherically ravenous and physically cavernous landscapes to feast on the senses, laying the seeds for the even darker and in many ways more intimate intrusions to be found within the insidious temptation of U M B R A.

cover_ Reputation Radio/RingMaster Review    As its predecessor, the EP is wrapped in the artwork of UK artist Andrew Sloan, its dark toning and organic imagery a first glimpse of the creative tapestry and sonic exploration set to seduce ears and beyond. Opener Magnetar rubs ears with a lone riff to begin within but swiftly revolves and broadens into a predatory canter of imposing rhythms from drummer Matt Moulis and dark throaty bait courtesy of Joseph Barnes’ bass, both entwined in the just as gripping sonic tenacity of guitarist Matt Walker. Alone each sculpts pure drama but together they make aural pestilence whilst additionally conjuring a groove which no matter where it leads or what it twists itself into, is an unrelenting seducing within the carnal ambience and textures around it. The pestilential tones of Walker’s vocals crawl into the psyche too as they hitch a ride on the increasingly contagious grooving and tsunami like hostility swinging its way to the same destination.

If the swagger of the first song is incendiary and contagious, it is light weight compared to that of Scarp and before it Huntress. The second song scythes through ears on a sonic lure before thickening its bait within a musty swamp of noise. It is only building towards the point of greater addictive enterprise though, another flaming acidic groove with a waspish nature flirting within ears as guitars and drums spin a magnetic enslaving web. Equipped with gnarly bass tones which simply inflame the senses, the song offers whispers of bands like Ministry and Morkobot, though equally you would suggest Unsane or a Today is the Day, as many do, as a hint to the ravaging being enjoyed. The track is irresistible, a disembowelling of the senses with riveting rewards in return but quickly over shadowed by the final song.

Scarp from its first breath is a torrent of sonic nagging, Walker’s guitar a primal bee in the psyche which is rapidly matched in primeval temptation by the roguish swipes of Moulis and the throaty dissent of bass. A rhythmic and sonic virulence does not let up even as the raw tones of Walker spill their new narrative of aggression and his guitar skirts over the Killing Joke like rhythmic spine with its caustic and corrosive enterprise. A post rock like calm embraces ears midway through to wrong-foot and bewitch, the drums continuing to roll out a mouth-watering and unrelenting niggle of anthemic beats throughout. It is a mesmeric and meditative passage yet in its air, lurking in the shadows there is an intimidation and menace which bides its time before exploding in one hellacious climax of one outstanding incitement.

The track is a brilliant; a gripping end to a glorious slab of noise fuelled contagion posing as U M B R A. Letting greed have its say there is no doubting that the EP is over too soon but with the adage ‘leave them wanting more’ surely in its thoughts, U M B R A and Unmothered have opened up a vat of anticipation for something bigger and you suspect even more threateningly bolder.

U M B R A is available from May 26th via Crowquill Records. For details see http://crowquillrecords.limitedrun.com/artists/unmothered

http://unmothered.com/   https://www.facebook.com/Unmothered

RingMaster 26/05/2015

Copyright RingMaster: MyFreeCopyright

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Hombre Malo – Persistent Murmur of Words of Wrath

hombre_malo_web

Pic: catty stone

 

Full of uncompromising fury and unbridled belligerence, Persistent Murmur of Words of Wrath the new album from Norwegian band Hombre Malo, is an incendiary device to ignite the imagination and passions. Its explosive nature and severe hostility is not for the faint hearted but sandwiched between opening and closing tracks which made potent and sizeable impressions there lays a cauldron of blistering enterprise and virulent hostility to take the breath away. Creating a tempestuous fusion of hardcore and noise rock with stoner and sludge metal, Hombre Malo has unleashed a beast of an album which is sure to make a relatively unknown band a talking point in a broader expanse of mouths.

Hailing from Oslo, Hombre Malo was formed in 2008 by ex-members of Sons of Saturn and Ictus and features current members of MOE and Okkultokrati. The quartet since starting has splits with bands like Jack and the Bearded Fishermen, Desert Icons, and Sofy Major under their belt as well as their 2009 debut album The Ecstasy Of Devastation. All have bred acclaim and eager attention though it is easy to feel that Persistent Murmur of Words of Wrath will be making the strongest impression for the band so far. Recorded with Ruben Willem and mastered by Brad Boatright (High On Fire, Ringworm, Nails), the band’s second album is a provocation from a band which you just feel relishes the turbulence they are going to create in the ears, thoughts, and emotions of their listeners.

Opener L’Etranger instantly casts stoner-esque grooves around ears as the album begins its conquest, their spicy coaxing matched by punchy beats designed again to grab attention. It is an inflammatory start for the imagination which loses a little of its potency when relaxing into a heavy and intensive stroll, though that small relinquishing of intrigue is compensated by the caustic tones of The Muerto, his throat spilling venom and spite with every forced syllable. With rises of rhythmic endeavour and the still virulently enticing grooves, the track has a firm hold as it continues to merge hardcore and punk with its sludgy tsunami of noise.

As mentioned earlier it is a strong start flooded with potential, as the band, but not able to inflames senses and passions as its successors begin to do from hereon in, starting with Crosses And hombre_maloMarching Feet. Striding from the news sample bulging link connecting the first two tracks, the song bawls and then brawls with ears as a crescendo of agitated beats and riffs fling themselves at the senses, all guided by again corrosive vocal squalls. Like a furnace sculpted by Melvins, Kunz, and Unsane, the track is all out assault of sonic voracity and creative mayhem honed into a deranged and addictive maelstrom.

Its success though is just a taster for the album’s pinnacle, the sensational Golden Calf. Again the song evolves from its predecessor, a great tendency of the release, and is soon crawling over the psyche with its corruptive rhythms and sonic unpredictability. Just as swiftly as the violent temptation takes hold, a swagger comes to grooves and beats, a swinging lure complimenting the equally infectious eruptions of bruising mass vocals. The further into its body it takes ears the more gripping the blaze of punk rock bred antagonism and predation aligned to psych rock ingenuity. Like a mix of Poison Idea and fellow Oslo band Shevils, the track is a vicious contagion which with a cleaner vocal delivery and unrelenting splinters of sonic taunting and teasing, simply ignites ears.

A darker sludge spawned turn to the album comes next through Vladislav, a track inspired by the homophobic murder of 23-year-old Russian Vladislav Tornovoi. The song prowls the senses from the start, riffs and grooves weighty and predacious intimidation stalking the listener. It is a constant pressure and oppressive enticing offered by the seven minute track, from its first breath to last a senses smothering provocation equipped with a carnivorous bass tone and raw vocal expression to match similar toxicity cast by the guitars. It too finds a catchy character within itself so that by its end it is stomping with a virulent suasion before making way for the punkish roar of Reaching The Shore. With the sonic voracity of a Coilguns to its hardcore truculence, the song scowls and boils with spiteful enterprise and abrasing intensity before it too has to part for its outstanding successor.

Elena, from a melancholic and abrasive melodic start which is portentous and seductive simultaneously, detonates a ravenous and sonically disorientating expulsion which soon settles into a no less uncompromising but more ordered creative shuffle. It is another song where it explores a contagiousness to grip feet and imagination whilst gnawing upon and spilling toxicity over senses and emotions. It is a glorious and hellacious ravishment which reveals even more of the incredible potential and already accomplished devilry in the band’s songwriting and sound.

The album finishes on the epic Deathbed Conversation, a track which flies from the traps with thrilling caustic ferocity. It is an engrossing storm, though when it slips into a provocative and darkly emotive exploration of its central character’s narrative amidst a haunting ambience and ethereal melodies, it lacks the inescapable grip of its predecessors if not the intriguing and impressing invention. Nevertheless it is a fine and potent end to an excellent incitement, a release suggesting that there is still much more to come from the depths of Hombre Malo, whilst establishing the band as one tremendous onslaught right now.

Persistent Murmur Of Words Of Wrath is available now via Disiplin Media @ https://disiplinmedia.bandcamp.com/album/persistent-murmur-of-words-and-wrath

https://www.facebook.com/hombremalo666

RingMaster 14/11/2014

Copyright RingMaster: MyFreeCopyright

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