Vie Jester – All In Jest

It was around two years ago that L.A. trio Vie Jester grabbed ears and impressed with the Etches In Aether EP, a collection of multi-flavoured and imaginatively sculpted melodic/alternative rock bred songs. Recently drummer Cliff Conway got in touch to introduce the band’s latest offering, All In Jest, to our ears. Another EP sized clutch of songs, it was gratefully received especially once discovering the new adventure and maturity shaping the band’s sound and even more striking new offering.

As much as it left a greedy appetite for the Vie Jester sound, Etches In Aether is forcibly eclipsed by the exploits of All In Jest. Everything about the band has grown and matured with its five songs giving dramatic evidence within their skilfully woven episodes of enterprise and imagination. Magnetically melodic but with a snarl which may ebb and flow but always lurks to add greater depth, All In Jest is an inventive roar unafraid to lyrically take a bite at intimate and social issues.

It opens up with new single Please and one of the best starts to any release this year. The track is immense, rising from a calm but portentous melodic yawn into a muscular yet inviting spire of sonic nagging. The guitar of vocalist Kyle Guerrero needs mere seconds to tempt, his powerful vocal prowess just as swift in persuasion once gracing a song already revealing an unpredictable and adventurous body. Vocally backed by both Conway and bassist Jaime Salas with matching potency, Guerrero’s niggly citric tendrils addictively persist though stepping back nicely at times as the track blossoms from one twist and idea to another with increasing magnetism.

It is a magnificent start which hints at bands like Voyager, Tool, and Karnivool in its own individual adventure; a blend echoed in the equally creative Sunburn & Moonshine. A gentle melody wraps its suggestion around ears first, harmonic whispers adding their elegance before Guerrero’s expressive tones join the already bubbling adventure brewing within the catchy encounter. Embracing an engaging intimacy as it brews up emotive crescendos, the track just seduces ears and attention. It does lack the tempestuousness of its predecessor but replaces it with melodic flames and warm infectious tenacity for similar if not quite as spectacular success.

Enigmata follows quickly catching expectations unaware with its electronic tempting as vocals gather. The same essences continue as they are joined by the imaginative enterprise of guitar, rhythms, and vocals; the song evolving with every passing note and idea with enticing endeavour. Its relative calm and boisterous expulsions are similarly gripping whilst the array of flavours and textures within its body only captivate. It has the boldness guiding the whole release to the fore but with its richest invention in play as the song explores it simply demands plaudits.

The release is concluded by firstly The Punchline, an ethereal caress with volcanic tendencies, and lastly through the rousing endeavours of Colourblind. Both tracks keep pleasure and ears intensely involved with the second of the two especially gripping with its stylish touch and creative tapestry framed by Conway’s rhythmic prowess. It is probably fair to say that neither quite lights the major fires in personal passions as those before them but both inflame an already installed appetite for the Vie Jester invention whilst pushing the new craft and imagination shaping their sound.

Vie Jester has always deserved greater attention and they should get it with All In Jest; certainly they and it warrant a moment of your concentrated time.

All In Jest is available now @ https://viejester.com/album/548219/all-in-jest

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Pete RingMaster 07/11/2017

Copyright RingMaster: MyFreeCopyright

Ape Rising – Self Titled

It is hard to believe that it is five years and a few months ago that we were tantalised and hooked on the melodic dexterity and acoustic mischief of The Radioactive Grandma and their debut album, the fact that numerous of its tracks from it are still a regular part of our intimate listening for pleasure moments. Ready to re-energise that playlist, the outfit has returned with a new offering to grip ears and seduce the imagination.

It is not quite as simple as that though. Firstly the Co Cavan and Maynooth hailing band is now called Ape Rising and where once a trio it is now a tenaciously inventive quintet. Band originals in vocalist/guitarists Johno Leader and Peter Donohue are still there leading the way in melodic enterprise and lyrical suggestiveness but now joined by keyboardist Peter Denton, drummer Fran Mc Donnell, and bassist Jimmy Deface who is/was also one half of the excellent duo Juggling Wolves alongside Leader. Whether it was the need to recruit new members or the evolution of their sound which inspired the new moniker, or as hinted at elsewhere a dubious porn site taking their previous domain name, it certainly comes with a fresh wind of invention and a broader array of sound with the outfit; a blend simply lighting up their new self-titled treat.

Their acoustic prowess is still in evidence but embraced by a new indie/progressive/math rock venture which truly refuses to sit in any camp but embraces plenty of styles and flavours within its retro kissed synth inspired adventure. To say it is magnetic from start to finish does not do the increasing irresistibility of the album justice. It swiftly gets under the skin and engagingly niggles away whether with or without its company. It all starts with In Their Masses, the song rising from an initial ignition sparking sample in a melodic haze before guitars begin weaving their suggestive enterprise around the vocal prowess of Leader and the assisting tones of Donohue and band. Perpetually blossoming second by second as melodies and harmonies cluster, a seventies synth essence brings its flowing colours to the creative canvas. It is just one of the emerging traits though, a raw alternative growl having its moment in voice and sound too before things settle back into the track’s gentler yet still fiery seduction.

The song is pure temptation sparking things off and setting the heart of the release in fine style before being eclipsed by the following Oddysee. Straight away a great nagging hook is at work, its touch part celestial part espionage like resembling one of the teasing attributes of those classic sixties/seventies spy/sci-fi TV show themes. From its intrigue, a strolling body of infectious energy and endeavour surges, spun by guitar and keys as rhythms dance boisterously around zeal fuelled vocals. There is theatre in its nature, adventure in its heart; a combination with individually cast bold invention unites to simply hit the spot.

There is a bit of early Jimmy Eat World to next up King Of The Universe, Denton’ s keys bubbling with that ever present seventies  revelry alongside the irresistible acoustic craft of the guitars. Incessantly catchy to feet, neck muscles, and appetite, the song whisks the imagination away into its own climate of warm temptation; a plateau frequented just as captivatingly by Divide where imagining Young Knives and KingBathmat fused together gives an idea of the enticing progressive hug of the song and its graceful voice.

Keeping Me Away is a slice of indie rock ‘n’ pop which has the body bouncing with just its first eager strum, and swinging by the time keys swarm poetically across high-spirited rhythms.  Of all the songs within the album, this has the boldest Radioactive Grandma feel to its swinging body but it comes with the organic infectiousness which made eighties outfit The Woodentops so glorious, and now adds the same addictive quality to Ape Rising.

The calmer reflection of Medicine Part 1 shares a poetic suasion which reminds of songwriter/composer/musician John Bassett while Medicine Part 2 loads all of its predecessor’s assets into its own rousing sortie on ears and imagination, at times bewitching like a hybrid of Yes and Voyager. Numerous tracks make a play for best honours but this always stands at the front of the pack with every listen.

It is probably fair to say that To Daze The Day I borrows something of Juggling Wolves for its emotive canter but a stroll which bubbles with an energy which borders on raucous as keen invention simply lights up ears and the passions with an unrelenting imagination.

New single, The Model Prime skips in next; its melodic dance and harmonic sways animatingly lighting the song’s retro tone and mesh of glowing flavours. Like a siren it calls on ears and the spirit, unafraid to add unpredictability to its warmly cast temptations before the shuffle of the album gets even more kinetic within Joysticks & Stones, a song which at times has a touch of eighties band Furniture to it and in other moments the more hot-headed devilry of someone like Bloc Party.

The album finishes on the lustfully simmering progressive pop of Flicker and finally the pop rock beauty of 6 Eight 7. Both tracks simply match the pleasures before them with their own ear stroking, spirit stirring enterprises with the stunning first again having a great KingBathmat vibe which can never do any harm while its successor offers an acoustically nurtured samba which excites the senses with its unrelenting and greedily accepted infection.

The Radioactive Grandma will never be forgotten here or lose their spot on for pleasure only listening but now they are joined with equal zeal by Ape Rising, a proposition sure to drive you to highly pleasurable distraction.

The Ape Rising album is out now @ https://aperising.bandcamp.com/and through other stores.

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Pete RingMaster 02/10/2017

Copyright RingMaster: MyFreeCopyright

NoSelf – Human-Cyborg Relations Episode 1

Proving that nu metal is still a valid presence and temptation, Central Florida outfit NoSelf have just released their new seven track mini-album to excite ears and arouse the spirit. Human-Cyborg Relations Episode 1 unites familiar traits with the band’s imagination stoking individuality, sparking body and an already bred appetite for the earlier heyday of nu metal along the way. It is claimed there is a new revival of the genre; a most welcome second coming if band and album is evidence of its new adventure.

Emerging in 2002, NoSelf draw on the inspiration of bands such as Deftones, Spineshank, Adema, Nothingface, and Korn for their sound, spicing making a potent ingredient in the band’s new Matt Johnson recorded offering. It is flavouring which has enriched previous encounters but makes more of a hue than ingredient of the immediately pleasing Human-Cyborg Relations Episode 1.

The album opens with Casting Stones, instantly cradling ears in a melodic coaxing as keys entice. Their suggestive welcome swiftly draws the listener into a waiting raw roar of sound, the guitar of Justin Dabney a predacious tempest of riffs and grooves backed by the rapier swings of drummer Drew Miller. The snarling tones of vocalist Dylan Hart Kleinhans are enticingly tempered and supported by warmer vocals, the union a bridge between the savage and electronically enchanting aspects of the outstanding opener. As suggested earlier, the song brings recognisable aspects in its turbulence but equally a squall of fresh enterprise which has body and thoughts quickly locked in.

As great as it is, the starter is still eclipsed by next up Save Me; carnivorous riffs and the wonderfully gnarly tones of Joey Bivo’s bass chewing on the senses, their ferocious web sonic barbed wire. Similarly to the first, the track contrasts its ferocity with a harmonic radiance, vocals and melodies flirting with ears before falling into the onrushing scourge of aggression though still forcing their inviting calm to the surface. That Adema influence is an especially open and enticing colour in the storm, and across the release, adding to its drama as it tempers the corrosive heart of the excellent song.

Nudisease is just as appealing and intrusive as its predecessors though with a more tolerant nature, riffs and grooves to the fore from its first breath. The intensity of the first two is pulled back in the third though its fire is as pyre like but turned into a hook carting swagger which has the body bouncing. Slips into calmer passages are fluid and magnetic, the track revealing a bolder adventure than the previous two if less of their greed inducing savagery while successor Through Your Eyes also embraces mellower climes in its more mercurial atmosphere and proposition. The song though has a volcanic temperament and heart which fuels its melodic and aggressive sides, creating an unpredictable and rabid but ultimately restrained trespass which maybe teases more than fulfils but still leaves pleasure stuck in its previous high.

If there has been a more enticing start to a song this year than that of Outatime we have yet to hear it, the track beckoning with flirtatious sonic finger wagging before the funk hearted bass of Bivo adds its lure; swiftly followed by a rapacious tide of riffs. Just as tenacious vocals and rhythms soon jump in, their more predatory touch colluding with the atmospherically intriguing, funkily mischievous antics of the song and the similarly devious presence of Hart Kleinhans. Eventually its carnal rawness erupts in a contagion of an insatiable chorus before things ebb and flow in intensity with increasing infectiousness. The track steals best song honours in no time, cementing its claim with every listen.

The weakest moment on the encounter is Frisco but the fact it is one inescapably catchy and persuasive moment tells you how potent Human-Cyborg Relations Episode 1 is as a whole. The song has a definite pop spiced side not heard on the previous tracks; a kinder more deliberately infectious nature which has the feet trapping and vocal chords induced. There is something of Australian band Voyager to the song at times which only adds to its tempting and a growing growl that shows real teeth but lacks the weight and tenacity of its predecessors for personal tastes. In saying that there is no denying it commands full involvement and enjoyment before making way for the closing delights of Ctrl-Z. It too has an undisguised poppiness but latched to an imposing antipathy which hits the spot as much as its infectious escapades. The song is another which bears boldness in design and adventure to captivate ears and imagination but also a hearty tension of sound and emotion which grips eager participation.

Recently signing a worldwide distribution deal with Zombie Shark Records, the new record label from Noah “Shark” Robertson (Motograter, EX-The Browning), NoSelf have pushed themselves to the fore of this new wave of nu metal seeded goodness with Human-Cyborg Relations Episode 1. There is more to their sound than just that field of flavouring, one we eagerly await hearing expand ahead.

Human-Cyborg Relations Episode 1 is out now and available @ http://www.zombieshark.net/  and  https://zombiesharkrecords.bandcamp.com/album/human-cyborg-relations-episode-1

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Pete RingMaster 22/08/2017

Copyright RingMaster: MyFreeCopyright

Vault 51 – Kid

It is never a bad thing to make a thumping good first impression and that is exactly what US quintet Vault 51 has done with their debut EP, Kid. Not that the band is exactly a new force to attention having been around a while now with a buzz soon brewing up around them and apparently they have been signed to Roadrunner Records at some point too. Kid though is their first meaty proposition for real focus following a clutch of magnetic singles, and a forcible reason to pay close attention to their rousing sound.

Roaring out of Atlanta, Vault 51 breed a sound which lies somewhere between alternative rock and melodic/post hardcore; a proposition embracing familiar essences with fresh invention to create an individual character which blossoms across the six tracks of Kid. Already earning comparisons to the likes of Red Jumpsuit Apparatus and Story Of The Year, the band gets straight down to persuasive business with the Drew Fulk (I Prevail, Motionless In White) produced and Lee Rouse mixed EP. Thirty Six gets things underway, it’s ticking suggestiveness soon submerged in a torrent of riffs and fiery sonic flames. That passing of time is still there working away as the song ebbs and flows, the bass of Alex Garmon a gnarly temptation and the jabbing beats of Joshua Landry a biting trespass as melodies and harmonies catch alight and soar. Frontman Landon Jones leads the way with his potent tones backed by the similarly alluring voice of guitarist Tom Jepson, whose strings simultaneously collude with those of Patrick Snyder in a web of enterprise which has ears gripped and an early appetite stoked in swift time.

It is a powerful start to the release, that mix of varied flavours and textures a tempestuous yet composed blaze which as suggested earlier merges recognisable essences with bolder exploits belonging to Vault 51; a success found again within the following We Don’t Care. The track quickly shows itself a predatory individual, riffs carrying a sinister and aggressive edge tempered by again impressing vocals. With rhythms bringing their own cantankerous almost inhospitable intent, the track still plunders the senses; a Spineshank meets Breaking Benjamin spicing grabbing keen attention as things flow through mellow and harsh scenery with craft and emotional intensity.

The first two striking tracks set the marker for the EP which arguably the subsequent songs miss matching yet as latest single Magnolia with its melodic graces and atmospheric caresses soon reveals, the adventurous ear pleasing nature and power of the release refuses to die down. A volatile encounter as calm and seductive as it is fiery and imposing, the third song breeds a virulent infectiousness as forceful as that cast by its predecessors and in next up Wildfire. A poppier incitement from the off but soon lighting a pyre of emotion and intensity, the song has something of Australians Voyager and Sick Puppies to it, a mix of the two in many ways at least which has the imagination soon caught up in its creative drama.

The magnetic reflective calm of Mourning View makes an engaging contrast soon after; the song a melodic serenade on the senses with a brooding rhythmic lining as keys cast their suggestive poetry.  It too has tempestuousness to its heart which flirts with rather than breaks in ears, adding an anxiousness which firmly appeals before Sincerely Me brings things to a ferocious conclusion with a blistering tempest abound with melodic beauty and emotional drama. Maybe taking longer to initially convince than other tracks within Kid, it blossoms into one of the highlight of the release with its cyclonic breath and rousing ingenuity.

Kid makes an increasingly compelling and impressive statement through every listen, sparking the lift off of Vault 51 into the grasp of real attention but more importantly a certain new wave of hungry fans.

The Kid EP is out now on Spotify, through other stores and @ https://www.vault51.net/merch/kid

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 Pete RingMaster 25/07/2017

Copyright RingMaster: MyFreeCopyright

Figures – Chronos

Barely giving the acclaim laden dust time to settle after the release of their self-titled debut EP this past February, Australian outfit Figures have just unleashed its predecessor in the similarly striking and fiercely enjoyable shape of Chronos. Offering five more slices of the Melbourne quintet’s alternative rock/melodic metal blend, the EP also has a new fresh breath and seeming richer maturity which defies the mere four months between releases. Obviously we cannot say when the songs of either release were written but the step is maybe surprising but greedily taken as Chronos eclipses the equally outstanding first offering from the band.

Formed as 2013 turned into its successor, Figures has risen up the ranks of attention with notably increasing success in recent times due to that critically acclaimed first EP and a dynamic live presence which has already seen the band  share stages with the likes of Caligula’s Horse, Twelve Foot Ninja, and Superheist. Broader focus and support for the band has without doubt been aroused these past handful of months and is sure to escalate again as Chronos is discovered by more and more. Instantly it has ears and attention in the palms of its creative hands as opener Recoil raggedly simmers into view and proceeds to uncage a gnarly groove as primal as it is magnetic. The guitar continues to growl and tempt as the lively rhythms of drummer Josh Sforzin and Jen Fletcher’s moody bassline join the blossoming affair; vocalist Mark Tronson soon in the mix with his agitated roar. Predatory and magnetic, the track needs mere seconds to entrap the senses and imagination, sealing the deal as Tronson’s melodic prowess unites with his rawer tones as steely metal and melodic rock textures equally collude.

The stunning start is matched by the equally dramatic and even bolder exploits of Alpha. Guitarists Paul Callow and Simon Edgell spring a lure of wiry riffs and sonic temptation around the harmonic delivery of Tronson, though as the music he allows harsher textures to escape his throat to keeps things unpredictable. Virulently infectious and persistently imaginative, the song is pure captivation; its heart earnest and body a tapestry of melodic and sonic intrigue with just the right richness of volatility to keep things intensely fascinating.

Tied Around follows, winding brooding grooves around ears as Fletcher’s bass groans with matching seduction while again Tronson enthrals with his impressive vocals. There is an agitation in the riffs and beats of Sforzin which is transferred to the steely grooves but tempered by the elegant beauty of melodies and harmonies floating across the song’s inner oasis. As with the first pair, creative magnetism is at play sparking an elevated greed which Point of Doubt feeds with its cosmopolitan almost shamanic nature. Sultrily exotic melodies align with anthemic rhythms within the song’s fiery blaze, its riveting landscape tempestuously sharing warm and irritable climates.

The EP concludes with Crying Door, a mellow melancholy lined croon shaped by keys and voice and their suggestive beauty, Tronson again a magnet in its midst. Darker hues walk the song’s edge, bassy shadows lurking as skittish beats court a more portentous edge. It is an entrancing close to a second seriously striking encounter with Figures. Musically the band has been compared to the likes of Incubus, Deftones, and Karnivool, all justified but add a touch of Voyager and possibly even Porcupine Tree and you get a fuller impression of what, to be honest, is a sound distinct to one truly exciting proposition.

Chronos is out now @ https://figuresbandofficial.bandcamp.com/album/chronos and other online stores.

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Pete RingMaster 21/06/2017

Copyright RingMaster: MyFreeCopyright

Slug Comparison – IIa

photo by Peter Wiholm

As the world and age wears down the ability to be truly surprised and equally finding many things to be   especially excited by, there is one thing which does get the juices flowing and that is something new from Slug Comparison. That kind of anticipation springs from being enthralled by its first single Bringer of Doom and subsequently hooked on a following self-titled debut album back in 2014 and has now been seriously rewarded with new EP IIa.

For those yet to discover the glory of Slug Comparison, it is the solo project of Doug Harrison, the vocalist/guitarist of the similarly tempting Canadian progressive rock outfit Fen, they not to be confused with the British black metallers of the same name. Harrison’s sound has already proved to be is an instinctively bold and imaginative embracing of various rock bred styles and textures while involving ears and thoughts with an intimacy which maybe can only emerge within a solo endeavour. It has been a quiet time on the Slug Comparison front recently with Harrison being afflicted by tendinitis last year which brought his work on new tracks to a temporary halt; being unable to play and compose as is his process on the guitar. He is back now though and returns with the first in a series of EPs, a trio of songs produced by Doug Fury with Harrison which simply ignites the senses and imagination like never before.

Drawing on the craft of Fen guitarist Sam Levin, bassist Mike Young from The Devin Townsend Band, and Randall Stoll of Congenital Fixation to bring his new tracks to life, the latter pair having helped out previously on that first album, Harrison instantly captivates attention with opener Let Some Light. The lure of acoustic guitar hungrily caresses ears initially, it’s tempting soon joined and enhanced by Harrison’s distinctive and ever compelling vocals and the darker hues of bass and beats. Melodies ignite across the infectious canter of the song, opening like suggestive blooms as voice shares emotion and reflection with harmonic and earnest dexterity. Heavier rock strains add to the evolving landscape of the song, essences of blues and classic rock colouring more progressive and folkish essences though it all joins and emerges as something with its own character and style. The track is simply delicious, infectious and emotive while involving body and thought with sublime ease and craft; escalating all attributes with its unpredictability.

The opener also reveals a new organic catchiness in Harrison’s music without defusing the imagination and established individuality of sound exposed within his debut album. That infectiousness is even more virulent in the following Exactly What to Do. If its predecessor is irresistible, the second track is alchemy for the spirit, the track instantly grabbing hips and instincts with its swinging gait and a rock ‘n’ roll hunger soon joined by an addiction inciting chorus. Spicy grooves and grungy rapacity adds to the contagious theatre of the song, every catchy twist and seductive turn a spark to involvement and lusty pleasure. At times there are hints at the likes of Porcupine Tree, Voyager, and Katatonia within the adventure but again no more than scents in its own rich roar.

Becoming completes the EP, a gentle stroll of a song with Harrison and acoustic guitar again an engaging hug welcoming ears into the intimacy and heart of the song. A smouldering persuasion compared to the forceful exploits of the first two tracks, it still needs little time to unite with thoughts and appetite as ears get lost in its melodic wiring and descriptive beauty.

Even with an instinctive connection with the sounds of Slug Comparison because of those earlier temptations, IIa still left a surprise spawned open mouth behind on its first listen and a greed for much more thereon in. Doug Harrison has hit yet another plateau with his own writing and music and indeed for us eclipsed anything from Fen to date too; time the world caught on we say.

The IIa EP is out now and available @ https://slugcomparison.bandcamp.com/album/iia as a name your own price download.

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Pete RingMaster 13/06/2017

Copyright RingMaster: MyFreeCopyright

Zedi Forder – Self Titled

Some bands and artists just click with ears and imagination from their introduction and for us one was definitely UK trio Zedi Forder. Maybe it is more accurate to say the creative force behind the band crafted the connection because previous adventures for the duo of vocalist/drummer/primary songwriter Chris Kerley and guitarist Mark Carstairs have equalled seriously enticed and stoked the passions. They are also the creators of Tricore, An Entire Legion, and Rind Skank; all distinctly individual bands releasing some of the most exciting and imaginative adventures in recent years though each being sadly missed or ignored by a tide of major attention. Zedi Forder is their latest project, with bassist Richard Tomsett alongside, creating a bold and multi-flavoured mix of alternative metal and voracious rock ‘n’ roll which fuels a self-titled debut album that quite simply deserves greed driven recognition.

In some ways because of previous seductions of our passions, Zedi Forder get a head start in a want, or should that be need, to hear its exploits and an assumption of having some level of appetite for what may be on offer. Equally though, it makes expectations much more demanding and triggers the question of can the band create something unique and fresh enough to be truly new from past endeavours as much as those around them. Many bands or musicians struggle in one guise but across a few it is a rare success. The release of an also self-titled EP in 2015 suggested the Woking hailing outfit could and would, their first album now a striking confirmation going well beyond simply bearing out that proposal though understandably it also gives delicious slithers teasing at earlier explorations which adds to rather than defuses the originality.

The Zedi Forder bio says it is a band with a split personality. “One side is driven by the musical aim of being bold and ever hopeful. The other side is fearless and judgmental, with music that reflects this.” The album certainly reflects this suggestion, its songs, sometimes within themselves, twisting from creatively free-swinging and swashbuckling to imaginatively mischievous on to proposals forceful and emotionally edgy and cutting but all crafted with an instinct for rousing sounds, manipulative rhythms, and daring diversity.

The album opens up with Killakarta and instantly consumes ears with rapacious riffs and jabbing beats as a bass growl courts a thick wiry groove. Kerley’s distinctive and ever magnetic vocals are soon in the heart of the mix, steering the song’s muscular stroll with expression and flair. That initial groove, carrying a growl far more vocal in the bass of Tomsett, winds around the imagination; it trespass enjoyably toxic and addictively refreshing. A slip into a mellow climate is just as tempting, accentuating the song’s unpredictability before being overwhelmed by a more primal expulsion of sound and intensity, reclaiming its moment as a great jazzy lilt infests the bass.

Seductive and predatory in equal measure, the track is a glorious start to an emprise of imagination and craft backed by the arguably less mercurial Machines though it is no slouch in raising its temperature and dynamics across a persistently eventful body. Kerley’s beats bite as Carstairs’ melodies spin a web of suggestion; his trap of enterprise further ignited by possibly the most virulent and catchy hook lined groove you will hear this year.

Dark Mook is a kaleidoscope of sound and texture, its opening noisy glaze slipping into a funky pop tinged stroll of melody and harmony before grungier flames escape guitars and bass as Kerley consistently croons with his never wavering melodic dexterity before I’m the one offers its own individual tempting for an already aroused and on the brink of lustful appetite. The fourth track also opens with a bracing surge of raw sound but is soon entangling the listener in a flirtatiously earthy bassline with funk in its genes and as quickly catchy vocals and beats with a sense of devilry in their gait. Carstairs’ weave of melodic teasing is a riveting net to get caught up in, ensnaring the senses before things get dirty and feisty though Kerley is still keeping the instinctive catchiness flowing in touch as the track to re-establishes its unbridled virulence. The song is another early pinnacle; an irresistible treat with a great 12 Stone Toddler meets KingBathmat scent to its revelry.

Darker shadows wrap the melodic beauty and volatile turbulence of next up My Moon, the song drawing on electronic tenacity to colour its variable and perpetually alluring atmosphere above a rugged terrain of invention. Across its roar, thoughts pluck at comparisons to the likes of Sick Puppies, Voyager, and Soundgarden; all slightly inaccurate but potent hints to the great track.

The grin loaded Nachoman comes next, the song a compelling tongue in cheek but earnest tease of social commentary. It has voice and hips hooked within its opening Red Hot Chili Peppers smoked swerve and only proceeds to tighten its vice like grip through heavier spices and inventive condiments of sound while Open Wide grabs attention with a bullish tirade of sound before flirtatiously dancing in ears with its Jane’s Addiction like funk metal meets System Of A Down seeded versatility. Melodies and emotions fluctuate in character and intensity across the song, as too vocals and rhythms with the latter an evolving torrent of enticement and aggression.

They love it more is a cyclone of sound and energy within an oasis of reflection and melody, never truly settling but always in control of its volcanic fusion of rock and metal while successor Smooch is a predator of hips and imagination with its boisterous shuffle courted by barbarous rhythms and emerging sonic hostility again spurned on by the spiky beats of Kerley and the irritable tone of Tomsett’s bass. With an infection loaded and at times psychotic groove sharing lures with an inherent catchiness, the track as its predecessor hits the spot dead centre, burrowing deeper with every listen, as quite simply does the album.

The growling Time after time leaves no stone of temptation unturned, its grunge/metal snarl maybe the most creatively untwisted track on the release but as bold and naturally infectious as any others such as the following On the run, a slab of classic metal and heavy rock with a nod to the likes of Zeppelin and Sabbath in its heart infused with the progressive and melody conjuring imagination of Zedi Forder.

Though not the actual final song, Lonely One closes things off with its melodically haunting, sonically searing, and rhythmically imposing blaze which alone shares all you need to know to hear why its creators warrant unbridled attention.

With a bonus quartet of mesmeric acoustic tracks which alone prove why we rate Kerley as a vocalist so much, each also unveiling a new drama and shade to the original’s aspects, the album is manna for body and soul and a real bargain as it seems it is being released as a name your own price download. Covering their first EP we said “it would be rude not to go off and discover its majesty “, for the album substitute ‘rude’ for ‘stupid’ because you will surely not hear anything more gripping and exciting than what Zedi Forder have in lying wait.

The Zedi Forder album is released June 10th wit pre-ordering available now @ https://tricore.bandcamp.com/album/zedi-forder-the-album-out-10th-june-pre-order-to-get-4-tracks-entire-flame-wiz-album-now

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Pete RingMaster 02/06/2017

Copyright RingMaster: MyFreeCopyright