Victorian Whore Dogs – Afternoonified

VWD_RingMasterReview

From the voracious trespass of Afternoonified there is no hiding place for the body and emotions, no safe haven within a sludge/doom metal bred consumption of the senses from a band ready to devour far broader attention than already incited by previous releases. Afternoonified is the eagerly awaited debut album from UK quartet Victorian Whore Dogs and the next punishingly irritable and rousing exposure to the band’s self-named “Sexy Hobo Trampcore.”

The Guildford hailing and 2010 formed Victorian Whore Dogs have already whipped up potent attention and keenly offered praise through their first pair of EPs, starting with the three track rabid assault of Fetch in 2013. Fair to say, Hobo Chic two years later stirred up even greater awareness and support for the band whilst pushing their stripped back and hungrily abrasive sludge metal cored sound on again which Afternoonified now continues. The album’s eleven corrosive roars are as unashamedly raw and boldly cantankerous as ever but equally show a new creative imagination and greater resourceful design to their ravenous and invasive ferocity. It is a wake-up call to those still blind to their sonic antagonism and gripping humour lined devilry, and sure to enhance a formidable reputation already earned by the band’s live presence which has already seen them crush venues alongside the likes of Conan, Ortega, We are Knuckle Dragger, Lord Misery, and Burden of the Noose as well as the New Blood Stage at Bloodstock in 2015.

Afternoonified opens with Mutton Shunter where an initial sonic lancing quickly invites inescapably anthemic beats and caustic stabs of guitar. Their union becomes more abrasive and compelling as psyche infesting grooves from Adam Crawley seduce as they wander through ears. The-hardcore/noise seeded side of the band’s animosity soon emerges too as vocalist Danny Page uncages his throated shredding roars matched in forceful kind by the vocal squalls of bassist Andy Nuttall. The track is superb, quickly in control of attention and an eager appetite whilst being purposefully guided by the rhythms of drummer Stephen More.

Front_Cover_RingMasterReviewIts creative animus is followed and matched by that cast by Captain Kirk Was My Favourite Stormtrooper. Straight away a web of spicy grooves and rapacious riffs unite beneath a mercurial atmosphere ablaze with the jaundiced vocal ire of Page. Like a psychotic mix of Neurosis and William English, band and track create a thick and swinging incursion of the senses finally making way for the even more antipathy toned challenge of I Have Become. The next track immediately shows an even darker and heavier gait which only becomes more intense and atmospherically tar thick as it insistently lumbers through ears on the way to spreading its cancerous hues to Murder Boner which breeds a whole new inhospitable sonic malignancy from them. Again the merciless aspects are offset by infectiously demanding rhythms and fearsome yet engagingly waspish grooves and piercing hooks; a combination resulting in a highly alluring landscape around more vocal enmity.

Both tracks commandingly stir up again the hungry focus and emotional involvement already in motion though the pair soon finds themselves eclipsed by the calmer invasive flirtation of Barrington Monroe. It’s droning elegance and fiery ambience smothers the senses whilst simultaneously invigorating them with a dark almost nagging touch and charm crawled over by the fiercely rasping vocal delivery of Page. The track beguiles as it scars, a quality found again in the far more predacious and equally enthralling (I Can’t Believe It’s) Nutbutter which stalks ears from its start before breaking into a repetitive and addictive groove veined grind/sludge metal woven grudge.

An infectious persistence of grooves and predatory rhythms shape the similarly captivating Agœcia next, the track another which seems to instinctively incite the primal wants of any slab of galvanic aural barbarism. It is admittedly, a quality gracing the whole of Afternoonified which will keenly entice those with an emotionally and sonically dissonant tooth, and repeats its success in the likes of the melodically and emotively rancorous Snatch Files and in turn the rhythmically enslaving Nååñshååg. The first of the two expels a coarsely bracing blaze whilst its successor creates a tapestry of rhythmic incitement before soaking its frame in doom fuelled sonic and vocal venom. It is another which infests the psyche and passions with little resistance whilst showing a strain of diversity which maybe not all songs as openly show but for the main hold.

The album comes to a close through the virulent feud of Southern Fried Homicide and the crawling aural malice of Sebastian Tenderhoof, another duo pushing the blend of textures and flavours to greater variety within their individual conflicts of sound and intent. Together they make for a heavily pleasing end to a thoroughly gripping and enjoyable invasion of body and spirit.

Though Afternoonified will impress those with an appetite for sludge, doom, and debilitating metal swiftly it is over numerous plays that it truly comes into its own and reveals its depth of invention and character. Victorian Whore Dogs is a band on the prowl with its finest vindictive growl about to be let off the leash.

Afternoonified is released April 1st via Hibernacula Records @ http://victorianwhoredogs.bandcamp.com/ and http://www.hibernacularecords.com/product/afternoonified-by-victorian-whore-dogs

https://www.facebook.com/VWDBAND

Dates for the Victorian Whore Dogs UK Tour:

01/04 – Reading, Facebar*

02/04 – Southampton, Firehouse *

03/04 – Portsmouth, Edge of the Wedge

07/04 – Worcester, The Pig & Drum *

08/04 – Leicester, The Firebug *

09/04 – Leeds, Bad Apples*

10/04 – Nottingham, The Running Horse *

14/04 – Bristol, Stag & Hounds +

15/04 – Cardiff, Fuel +

16/04 – London, The Black Heart +

17/04 – Brighton, The Prince Albert *

22/04 – Worthing, Bar 42

*With Morass of Molasses

+With Greenhorn and Tides of Sulfer

tour_RingMasterReview

Pete Ringmaster 31/03/201

Copyright RingMaster: MyFreeCopyright

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

Like Animals – Feral EP

Photo Credit: Travis Tiernay

Photo Credit: Travis Tiernay

Taking our introduction to Canadian trio Like Animals through new EP Feral, it did not take long for their sound to show it matched up to the release’s title; each of its five tracks an untamed slice of noisy revelry and warped imagination and all leaving the licking of lips and a taste for more.

Hailing from Orillia in Ontario, the trio of guitarist/lead vocalist Jamie Haffenden, drummer/backing vocalist Will Tennant, and bassist/backing vocalist Myke Caouette create what is declared in regard to the EP as deviant melodic math metal. Equally though, it has paws in progressive technical metal, noise rock, and hardcore ferocity we would suggest, all flavours amongst others spicing up the increasingly impressing Feral. Following previous EPs from Sweet Whispers, Plagued Ears to The Undertoad and The Wild, the latest encounter is another animal themed exploit challenging and unsettling the senses and gripping the imagination with its unbroken raw spirit and fierce exploration.

EP Cover - Like Animals - Feral_RingMaster ReviewThe EP opens with its title track and initially a low key, melancholically toned guitar coaxing which is quickly joined by Haffenden’s voice. A few moments more and Tennant and Caouette bring a bulkier incitement with their rhythms, each carrying raucous intent to their catchy nature; William English meets At The Drive-In coming to mind through it all. Subsequent jazz lined weaves of guitar and moody bass shuffles only divert the creative adventure to new thrilling detours though they never meander too far from the driving compelling core of the encounter.

Perpetually unpredictable and magnetic, the track is a gripping start to proceedings instantly backed by the Fall of Troy meets Red Hot Chili Peppers like discordance of The Lions Share. Everything from vocals to sonic tempting has an off-kilter edge and mania to it yet things never lose structure or captivation even as hardcore ferocity succumbs to advent-grade devilry, and in turn it to a punk fuelled uproar. Again expectations are left lifeless as the track continues to creatively twist and turn like a dervish before Lounge Lizard relaxes things with its unconventional balladry and skittish canvas of ear bait and invention. Every Time I Die in league with early Postcard Records era bands like Orange Juice or Josef K comes to mind at times, not for clear reasons the latter pair but close enough to suggest the ingenuity at play as the song seduces at times whilst on its way to a more volatile and explosively dynamic trespass of ears and passions.

The indie punk/technical rock discord juiced eccentricity of Caterwaul ignites ears and appetite next, bordering on frenzied reactions admittedly whipped up by its tempestuous landscape of bullish ideation and exhausting noise aligned to seductive asides and mellow trespasses. As creatively busy as it is though, The Jungle Book of Love provides an even more feverish incitement whilst bringing the heated confusion and clamorous beauty of its namesake to bear on ears and thoughts. Dipping into spices of Mars Volta and The Dillinger Escape Plan, the track is a tapestry of wilding craft and sonic, maybe slightly deranged, adventure.

That description easily applies to Like Animals as a creative force too, a thought cemented as Feral for the umpteenth time sets our passions boiling whilst words are written.

The Feral EP is released January 22nd @ http://likeanimals1.bandcamp.com

https://www.facebook.com/likeanimals/   https://twitter.com/likeanimalsOFCL

Pete RingMaster 22/01/2016

Copyright RingMaster: MyFreeCopyright

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

Incendiary Arousals: Twenty one Metal/Noise/Rock releases which lit up The RingMaster Review in 2015

2015 was a year of creative savagery and rousing, anthemic glories within metal, rock, and noise driven genres. The RingMaster Review picks out those EPs/albums covered by the site which especially sparked ears and passions.

 

OMNISCIENT_FC_RingMaster Review

Desert Storm – Omniscient
https://ringmasterreviewintroduces.wordpress.com/2015/01/22/desert-storm-omniscient/

Skindred – Volume
https://ringmasterreviewintroduces.wordpress.com/2015/10/29/skindred-volume/

William English – Basic Human Error
https://ringmasterreviewintroduces.wordpress.com/2015/07/01/william-english-basic-human-error/

Arcade Messiah – II
https://ringmasterreviewintroduces.wordpress.com/2015/11/23/arcade-messiah-ii/

Arcade-Messiah-II-Cover_RingMaster Review

Tirades – Lifetime of Wars
https://ringmasterreviewintroduces.wordpress.com/2016/01/08/tirades-lifetime-of-wars/

Raketkanon – Rktkn#2
https://ringmasterreviewintroduces.wordpress.com/2015/04/15/raketkanon-rktkn2/

Show of Bedlam – Roont
https://ringmasterreviewintroduces.wordpress.com/2015/05/08/show-of-bedlam-roont/

XII Boar – Pitworthy
https://ringmasterreviewintroduces.wordpress.com/2015/03/10/xii-boar-pitworthy/

Cover_RingMaster Review

Jess & The Ancient Ones – Second Psychedelic Coming: The Aquarius Tapes
https://ringmasterreviewintroduces.wordpress.com/2015/12/08/jess-the-ancient-ones-second-psychedelic-coming-the-aquarius-tapes/

Shevils – The White Sea
https://ringmasterreviewintroduces.wordpress.com/2015/11/04/shevils-the-white-sea/

Shattered Skies – The World We Used To Know
https://ringmasterreviewintroduces.wordpress.com/2015/01/15/shattered-skies-the-world-we-used-to-know/

Possessor – Stay Dead
https://ringmasterreviewintroduces.wordpress.com/2015/04/02/possessor-stay-dead/

cover_RingMaster Review

Grumpynators – Wonderland
https://ringmasterreviewintroduces.wordpress.com/2015/05/21/grumpynators-wonderland/

Shaving The Werewolf – The Pissing Link
https://ringmasterreviewintroduces.wordpress.com/2015/12/09/shaving-the-werewolf-the-pissing-link/

Sofy Major – Waste
https://ringmasterreviewintroduces.wordpress.com/2015/10/14/sofy-major-waste/

6:33 – Deadly Scenes
https://ringmasterreviewintroduces.wordpress.com/2015/01/12/633-deadly-scenes/

art6:33_RingMaster Review

Murdock – Dead Lung
https://ringmasterreviewintroduces.wordpress.com/2015/04/17/murdock-dead-lung/

Grenouer – Unwanted Today
https://ringmasterreviewintroduces.wordpress.com/2015/03/20/grenouer-unwanted-today/

Markradonn – The Serpentine Deception
https://ringmasterreviewintroduces.wordpress.com/2015/12/15/markradonn-the-serpentine-deception/

We’ll Go Machete – Smile Club
https://ringmasterreviewintroduces.wordpress.com/2015/08/27/well-go-machete-smile-club/

 

cover_RingMaster Review

TesseracT – Polaris

https://ringmasterreviewintroduces.wordpress.com/2015/09/27/tesseract-polaris/

The RingMaster Review 01/01/2016

Copyright RingMaster: MyFreeCopyright

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

William English – Basic Human Error

w.english_RingMaster Review

The most intimidating and thrilling cauldrons of hostility are those which spit and burn even before you get dirty and scorched within their blistering ferocity, and so it is with Basic Human Error, the debut album from UK noise violators William English. It is a release which singes flesh from ears and boils the senses from its first breath alone, only impacting and thrilling with harsher and richer intensity once you actually delve into the depths of the seven ravishments. The Norfolk quintet lit a fuse in the passions with their first single from the album Bud Vessel a couple of months ago, but hindsight shows its triumph barely scratched the surface of the wonderfully hellacious Basic Human Error

The William English sound is a prowling rabidity of doom enriched, tar thick sludge which is just as open and voracious with heavy strains of hardcore, noise, and dark metal. It makes for a menacing and uncompromising proposition yet one with an array of virulent toxic grooves and rapier like rhythms aligned to slithers of invention embroiled in anything from punk to noise to post punk. It is an invigorating and punishingly exhausting consumption of body and psyche, which only gets fiercer and more scintillating with every listen.

Cover_RingMaster Review   It is Bud Vessel which lights the touch paper to the album, its two minutes plus of vicious addictiveness an instant onslaught of barbed hooks and spicy grooves encased in fuzz soaked, snarling causticity. With mercilessly stabbing beats from drummer Joe Woodbury in the driver’s seat, the track careers through ears with the squalling hardcore tones of vocalist Shane Miller an acidic burn in the hostile and contagious smog of the song. Stoner seeded grooves spring their bait throughout too, everything colluding to ignite ears and emotions in a blaze of cancerous temptation.

The opener is as much a punk roar as anything else and quickly contrasted yet emulated in many ways by Life Of A Fisherman. The song is a slowly invading protagonist, a crawling and persistently expanding threat initially which once settled kicks up a gear and unveils a masterful swagger rich with ravenous and inviting grooves around a volatile nest of barbarous rhythms. Spilling sonic ire and addictive lures with every passing minute of the track’s weighty length, guitarists Ryan Carter and Dave Vickers sear and ignite the senses and imagination respectively, their hostile invention, as across the whole band, forceful and riveting whether slowly trespassing through or raging with tsunami effect at the listener.

The epic assault finally makes way for a just as intensive examination from Seaweed, a track venomously lapping ears with steady persistence, and as the last, creating moments of sheer violence. The bass of Callum Gibb is a predatory stalker within the crushing weight and intensity of the song whilst vocally Miller uncages his full punk spite and expression, especially devouring the air with an effect covered might when the song slips into a cavernous, post punk spiced, doom soaked passage of insidious calm. The torrent of rugged riffs and rhythms provide a constantly evolving and nagging proposal but as other aspects around them are regularly unafraid to switch gait and hostility as the ever gripping drama of the grooves persist in their addictive tenacity.

     Captain Tugboat unleashes its own distinct violation next, bringing extra tang and ingenious unpredictability to a fury of hooks and toxic grooves in a presence which embroils torment and rage in one corrosive and once again irresistible animus of sound and emotion. As the album, at times the track sparks thoughts of bands like Eyehategod and Buzzov*en but equally of others like Coilguns, KEN mode, and Neurosis; raw whiffs just as suggestive in the following Grandpa Sorrow Pt. 1, another taking such elements and sculpting them into something solitary and predacious to William English. The track stalks the senses with a laboured but hungry intent from start to finish, eventually dissipating for A Monger to cast its individual sonic coaxing and bracing creative hostility. There is no escaping its slow encroachment and the subsequent raptorial explosions breeding mouth-watering savagery, nor the spellbinding effect of its unbridled barbarity in tone and sonic enterprise. Bass and the song’s truculent atmosphere provide a bestial embrace, the vocals an ever shifting in delivery and belligerence throughout whilst the guitars emerge carnivorous in invention and enthralling in craft for another viscous treat.

The album closes with the eleven minute sonic opus of Grandpa Sorrow Pt. 2, a full journey in its own right exploring every flavour and inventive corner within the William English invention, ability, and sound. It is as dramatically appealing and darkly ruinous as the world we live in, every passing second and twist a creative cacophony of raw seduction and jaundiced attitude shaped by fearsome tapestries of viscid sludge spawned ingenuity.

The track is a tremendous end to a thrilling first album from William English. Basic Human Error is sure to be an encounter seeing many fleeing for the hills in fear but similarly one to breed plenty of lustful hunger and stalker like attention for its creators. We are the latter and suspect we will be heftily joined in that club over the coming weeks.

Basic Human Error is available now via Grandad Records @ https://williamenglishband.bandcamp.com/

and http://grandadrecords.bigcartel.com/product/basic-human-error-william-english

https://www.facebook.com/WilliamEnglishBand/

RingMaster 01/07/2015

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