Scant Regard – Skipping Over Damaged Area

Pic by Thomas Triton

A body infesting, imagination twisting kaleidoscope to the hope and insanity of the world we shape, Skipping Over Damaged Area is the senses ravishing new captivation from Scant Regard. An album of unscrupulous hooks, electronic virulence, and guitar carved intimation, it surges through ears casting a realm of suggestion and reflection as devilish as the themes inspiring its creative antics leaving hope, fear, and sheer pleasure in its wake.

Scant Regard is the solo project of London-based guitarist/writer/producer Will Crewdson. He is a musician few can have failed to have been consciously or unknowingly pleasured by. Whether with the rock escapades of Rachel Stamp, which he co-founded, and She Made Me Do It or through his work with the likes of Adam Ant, The Selecter, Johnette Napolitano, Flesh for Lulu, Bow Wow Wow and numerous other bands he played guitar for, Crewdson is a guitarist who has been in demand because of his instinctive ability to incite and bend the imagination as well as simply ignite songs and ears alike. Scant Regard has been an adventurous showcase for his craft and skills across four previous albums, Skipping Over Damaged Area a riveting new addition to their ranks.

Exploring various shades in an overall theme “of the apocalyptic destruction and devolution of the planet we live on”, Skipping Over Damaged Area is a tenacious maze of styles and flavours glazed with a sci-fi nurtured intrigue. At times it is like a warped soundtrack to a seventies TV show such as UFO, Space: 1999, or Doomwatch but with a dark lining in its every move; corrupting hope and light at a turn, tempering their threat in the next.

The album opens up with the swiftly addictive Mostly Accidental, electric pulses exploding on impact as it swaggers into view with an almost predacious swing. Instantly electronic suggestion and animation dances and flirts on the senses, thick doomy hues underlining the brewing Westworld-esque imagery conjured in thoughts by the instrumental piece which fully comes alive once Crewdson’s guitar explodes on the imagination.

It is an outstanding beginning, one to be honest we had to listen to twice before moving on upon our first listen to Skipping Over Damaged Area but quickly matched in strength and temptation by Fuck Everything. Repeated samples of its title float across a landscape of attitude, another electronically woven tale which immerses the listener in an evolving cascade of light and dark, fun and irritancy driven by inspiring shards of guitar.

The following Ill Gotten Gains is a corruption of sound and reflection; an addiction breeding ground with melodic lures aligned to dark deeds. At times it lies somewhere between the evolution of Martyn Ware and Ian Craig Marsh’s project British Electric Foundation into their band Heaven 17 but with thicker shadows and dare we say even more infectious boldness.

Similarly Destroy (We’re Here to) has an eighties electronic edge to it around hooks and melodies which border on the salacious. Like the musical voice to a modern day Mars Attacks, the track waltzed over the senses, sending them spiralling as the imagination conjures. Simultaneously feet and hips were given a good smile wearing work out before BIGBLACKSHADES creates a conspiracy of sound and suggestion with its cold wave meets industrial espionage. Electronics and guitar again unite in a dark interpretation of life, its funkiness contrasting yet complementing the song’s voracious dynamics.

A lighter climate accompanies the outstanding Car Crash on Pluto, the track like something akin to Fred Schneider colluding with Helldorado as they glide the cosmos upon surf rock fuelled winds, while Hemi Demi courts indie rock tenacity within its electro pop enterprise as again seventies flavoured hues spice its rock ‘n roll.

Through the celestial smoulder of Traits, a track with lava hot melodies veining a volatile shimmer, and the hook carrying electro smoking canter of Sublineage Blues, ears and imagination are drawn into further incendiary drama while Posthistoric springs a more intensive atmosphere and adventure to navigate as a bubbling undercurrent of catchiness snaps, crackles and pops. All three simply tantalise and captivate as the imagination fantasises, Crime and Retribution in turn sparking the same responses with its brooding electronic groans and emerging guitar spun cold war clamour.

The album closes with Blue Moon Juice, a collage of vivacious sounds woven into a canvas of rockabilly bred devilry; imagine a psychobilly Yello and you get a hint of the track’s irresistible lure as it brings the album to a forcibly magnet conclusion.

Skipping Over Damaged Area is a prismatic insight and incitement for body and thoughts. It impacts on numerous levels, pleasures on every one. Crewdson is no stranger to attention and acclaim and can expect plenty more with what just might be his finest moment yet.

Skipping Over Damaged Area is out now on download and CD @ https://scantregard.bandcamp.com/album/skipping-over-damaged-area

https://scantregard.com    https://www.facebook.com/scantregardpage   https://twitter.com/scantregard

Pete RingMaster 09/05/2018

Copyright RingMaster: MyFreeCopyright

Chick Quest – Vs. Galore

Their sound is self-tagged as spaghetti western post-punk and their name, as that of their debut album, is pure B-movie manna for the imagination. Chick Quest is a band from Austria who in already a wealth of exceptional releases in 2015, may have just stolen the whole show to date with Vs. Galore. Every essence of it from song title to sultry blazes of brass provides cinematic adventures equipped with rhythms to command feet and sonic temptations to get lustful over. It is a puppeteer for body and soul, an unpredictable and slightly deranged dance of sound and invention providing one of the most intoxicating and exciting debut incitements heard in recent years.

Vienna hailing Chick Quest, began in 2014 with two friends who decided to form a band to play feistily danceable songs based on Spaghetti Western chord progressions and called Lee Van Cleef. With fresh songs under their belt the pair pulled in a bassist and trumpet player, renamed the whole adventure Chick Quest and set about recording their first album. And here we are with the outcome and quite simply it is one of, if not the, best things in indie rock and dark pop you are going to hear this year.

Consisting of vocalist/guitarist/keyboardist Ryan White, drummer Iris Rauh, bassist Magdalena Kraev with the additional talent of trumpeter Christian Sonderegger, Chick Quest instantly get down to startling seduction with album opener Somebody Call a Doctor. A swipe of sultry guitar ignites ears and imagination right away, rubbing away with teasing effect before being joined by punchy beats and a swiftly following more caustic sonic wind. Vocals offer a punk nature to the constantly evolving song whilst the lure of the trumpet and understated melodies within the infectious stomp, have s smouldering western tang seeded in Ennio Morricone compositions. There is also a deranged element to the encounter which simply adds further bait for the appetite to hungrily devour, the whole thing playing like a Swell Maps meets Helldorado revelry.

     The following Girl on Fire is even quicker in stealing attention and the passions, the gnarly grouchiness of the bass which brings the song in, alone enslaving ears and emotions. It also has a swagger to its Gang Of Four like lure which aligns with a seductive caress of guitar which appears not long into the magnetic song. The crisp beats of Rauh take their fair share of the brewing lust too, whilst the trumpet…well that just oozes sonic seduction. Once the vocals come in, the whole blend has a feel of The Clash to it, White’s voice alone having a Strummer-esque quality. Basically tangy rock ‘n’ roll with that cinematic quality mentioned in word and musical enterprise, the track is the first pinnacle of the album, but not the last.

Vengeance is Fun bounces in next, an agitated slab of post punk pop with a feel of Baddies and Futureheads to its energetic psychosis of sound. Addictiveness was made for songs like this, its raw rock ‘n’ roll merging with virulently warped pop punk for yet another stonecast favourite and triumph. The flames of brass only adds another twist in the character and psyche of the encounter, an unpredictability which is as potent as the sounds it toys with and again potent fuel for the wonderful exploits of Sounds Like Bruce! which follows. A warmer but no less compelling bass welcome starts the song off with surf bred melodies entwining their dark lure around it with equally virulent temptation. The instrumental sends the imagination into overload, scenes of hot sandy shores with sex and sinister danger across their expanses brewing in thoughts, the song the sizzling soundtrack to untold mischief and espionage.

As exceptional as it is, the track is soon a passing memory as I’m Tired of Pretty Girls prowls into view with attitude and creative devilment in tow. Rauh pounds out an almost predatory shuffle of beats, luring in the listener with tribal incitement before Kraev’s bass unveils its own climatic and dramatic enticement alongside similarly throaty and colourful strokes of guitar. There is a psychotic edge to the song and that is before White opens up the agitated narrative with an equally twisted and unsettling delivery. Fuzzy, dirty, and irresistible, the song virtually stalks the senses with its discord kissed rant for yet another important moment in the health of the album and modern music.

Through the mellower sway of Schatzi and the militant stomp of Explain Yourself to a Bat, band and album has body leaping and pleasure elevated all over again. The first, sung in German, is a more even tempered spot of rock pop with an air of Yello meets Violent Femmes to it under an intensely simmering sun of trumpet enterprise whilst its successor strides purposefully through ears on a single minded stamp of thumping beats. Around this thick spine a dark bass shuffle ebbs and flows with tantalising menace whilst the guitars unveil a vivacious jangle. Both leave the listener short of breath and hungry for more, as does the humid tempting of Fashion Fascist. The heat of the trumpet is an early hot kiss on the senses but it is the again a snarling bass tone which especially sets things off in the passions, its raucous contagion courted by resonating beats for an inescapable persuasion. Whether the rest of the song lives up to the tremendous start is debatable but with that rhythmic baiting never relinquishing its hold as vocals and guitars create a tempestuous weave of arousing incitement, it all occasionally coloured by the sizzling trumpet, the song is raucous punk ‘n’ roll to put the world on hold for.

Surf rock resourcefulness and sixties garage rock collide with modern psych pop for a fiery adventure in Monkey No Dance For No One next, another instrumental stretching limbs and thoughts with its unrelenting rhythmic nagging and exotic melodies. Far too short and pure musical alchemy, the track is one you have to play twice before moving on and falling into the scuzzy arms of the also tremendous You Have a Future in Television. With old school punk breeding and unhinged energy, let alone nature, the song manages to be nostalgic and new whilst providing yet another shade to the presence and invention of the album.

Vs. Galore is brought to an end by Go Back to ze Dezert, an instrumental escapade through drifting ambiences and steamy surroundings with romance and adventure in its voice and melodic theatre in its brass and guitar crafted embrace. It is a thrilling end to a sensational release, an introduction to Chick Quest which has instantly installed a deep rooted affair with emotions. Of course individual tastes in each of us will decide if Vs. Galore goes down as the album of the year come December but it will be there in the handful of most enjoyable treats given the chance.

Vs. Galore is available now via most online stores and at https://chickquest.bandcamp.com/album/vs-galore

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

RingMaster 22/04/2015

Copyright RingMaster: MyFreeCopyright

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

 

Grandchaos – We Suffer When The World Changes

Though We Suffer When The World Changes is our first real confrontation with Belgium based Grandchaos, it did not take long to show that the praise of others was deserved as the thoroughly addictive lure began stealing the passions. For fans and on the musical reputation of its creator Russian composer/musician Tcheleskov Ivanovitch who has been setting inspirations and templates within EBM for over three decades, its weight and quality was maybe unsurprising but it is still provided a fresh and impacting encounter once directly in the ears. So consisting of sixteen tracks, including a clutch of remixes, the album showed itself to be a riveting dance for body and imagination cast from a tapestry of sounds which as Ivanovitch’s career, spans the years of electronic temptation.

Tcheleskov moved to Brussels in 1982 with brother Trevosky, where the pair formed Ivanovitch Dans L’Ombre and were soon heading towards cult status for their irrepressible creative sounds and releases. The early nineties saw the duo bring the band to an end to focus on their professional careers but after time Tcheleskov had the itch to pursue a solo musical adventure and founded Grandchaos. Exploring a minimal electro sound, the artist quickly found attention and support which led to the release of the acclaimed debut album Open Source in 2007. The following time saw him link up with and play live in Jacky Meurisse’s EBM band Signal Aout 42, release second album Rumours of My Life and earn further acclaim for his inspiring sounds. We Suffer When The World Changes has, just a few weeks after its unveiling, already made the biggest impact yet for Tcheleskov, its weave of eighties electronic melodies alongside new beat and techno vivacity under dark but alluring shadows, a primal calling for ears and emotions.

The album opens with The Light and features Meurisse helping shape its shady character and swiftly riveting presence. A slightly desperate vocal breath aligns to the heavy pulse of the track from the start, toying with the imagination nicely before finally settling into a transfixing mesh of sound. It is a vibrant tempting but elevated by the instantly compelling baritone bred vocals of Tcheleskov. Menacing and inviting, the song continues to sonically flicker in ears, lighting their hunger before making way for the similarly drama cloaked Man On Fire. The shadows are darker and heavier on the second song but it counters by offering a busy scene of electro revelry and virulent catchiness. At times slithers of Rammstein antagonism seep into the enthralling electronic narrative but also the edge of a Cynical Existence and most of all the flirtatious tenacity of Yello.

     Love And Hate moves down a different avenue with its eighties synth rock and progressive electro gait, though it’s spatial soundscape and low key festivity is wonderfully tempered by the ever pleasing and bordering on morose vocals. Like a wallflower in a dance hall, the song is siren-esque in its voice and reserved in its energy but another seriously engrossing encounter sharing its charm before the sonic and expressive palpitations of The Death Of You And Me embraces feet and senses. With new diversity to the vocals as Meurisse again adds his skills to its masterful flight, the track sparks a wave of warmth ready for the spicy static taunting of The Tempest. The Swiss electronic genius of Dieter Meier and Boris Blank return as a spice and comparison in the first of these two but even more so in the fuzzy and dazzling dark waltz of its successor.

The anthemic dance of both incitements is replicated in the haunting and intimidating Pulse (909 version). It has an industrial rawness which aligns itself to a melodic radiance, a merger bringing rich life to the danger washed body of the track. As in most songs, there is plenty for ears to interpret but more for the imagination to run with and set about casting their own noir bred adventures with the music as their soundtrack.

The inescapable virulence of We Suffer is next, its body sparking bait infusing eighties electro pop into another addictive flirtation with the dance-floor. A song which could even bring the residents of a cemetery to life it is the obvious lead lure into the release and if not already should be a single. Just as contagion soaked is the following and also outstanding Memory Is A Poison. Unafraid to bring a vein of post punk, Tcheleskov finding an Ian Curtis lilt to his monotone voice, into another eighties inspired hypnotism, the song ultimately steals top track honours from the throat of its predecessor and the earlier peak of The Tempest.

Both Tell Me You Love Me, with its angst rubbed croon and energetic skittishness, and the melodically syrupy Pulse (808 version) keeps satisfaction and feet fully involved whilst End Of Transmission is a potent if less gripping relaxed tango for the senses. Though not the end, it makes for a fine conclusion to the main body of the release leaving some decent remixes from VV303, #366 : A Live Lifed, Parade Ground, and a couple of thumping alternative views of songs on the album from Ethan Fawkes and Atropine to complete the impressive encounter.

The album is a masterful instigator of bodies and unbridled enjoyment. Grandchaos has injected fresh blood into the already flavoursome world of EBM but more so it has the potential to open the scene up to a new audience. We suggest everyone should seriously contemplate plunging into We Suffer When The World Changes if only to make their feet happy.

We Suffer When The World Changes is available now via EK Product @ http://www.ekproduct.com/artists/grandchaos

http://www.grandchaos.be

RingMaster 09/01/2015

Copyright RingMaster: MyFreeCopyright

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De Staat – Vinticious Versions

There is such an originality and warped invention to the music of Dutch alternative rockers De Staat that you wonder if they have any idea what is going to happen or know their intentions when starting on the journey of creating each adventure. It is what sets the band apart from the rest and makes them one of the truly and persistently unique propositions, as evidenced by their previous trio of acclaimed albums, and some of the most deviously memorable and lingering, psyche infecting songs. Now the band unleash new EP Vinticious Versions, a virulently addictive collection of re-worked tracks taken from those three albums, I_CON (2013), Machinery (2011), and Wait for Evolution (2009). The band twists and re-interprets the eights tracks making up the release, giving them new characters, fresh mischief, and mouth-watering devilry for another seriously compelling and fun proposition from the band.

Listening to Vinticious Versions is like venturing through secret doors and passage ways within familiar surroundings, finding yourself inside and at the heart of each proposition where you find an alter-ego or private fantasy of what the song would like to be just once in a while. Vocalist/guitarist Torre Florim sums it up best when he says, “the EP takes you on a trip down an alternative pathway with familiar surroundings…something that is a little more dark and delicious”. The concept for the EP came from the band being asked to play radio sessions and small in-store shows, this inspiring De Staat to imagine and craft different versions of their songs to play. What has emerged is a release which combining a ‘retro feel’ to its recordings, flirts and dances with the imagination like an old friend revealing their deepest kinkiness.

     Get It Together starts things off, an instant dramatic lure opening the door to an exotically populated dance floor of popping beats and sultry vocal harmonies courted by similarly heated sounds. An oriental air caresses each note and sonic flirtation whilst bubbly melodies swing with the wiles of an insatiable temptress. It is as irresistible a seduction of sound as you can get, or so you think as its toys with the passions but then the pure intrusive lures of Build That, Buy That have not had their say at this point. A dulled vocal countdown is the lead into a ridiculously contagious stroll of almost childlike melodic simplicity and ingenious unpredictability. Even if new to the song it will be barely seconds before feet are leaping without mental direction and voice trying to join the ridiculously captivating call of the brilliant track. A creative shuffle where sounds and voices are as skittish and inventively lively as a backside on an ant hill, the song is an anthem to party though that applies to all De Staat songs on the EP and as a whole.

Input Source Select sways in next, its sultry curves rubbing seductively on ears as bulging beats and punchy vocals tantalise and spark the imagination. Reminding of nineties UK band Honky, the track is an old school hip hop seeded romp with a colourfully creative haze to its seventies fascination of sound. It is to be fair the norm that no one De Staat song is like another but no more so apparent than on the EP, as proven again by the next up Down Town, a noir hued climate of smouldering Tarantino like drama and melodic elegance. Every heat spilling note from guitarist Vedran Mircetic and keyboardist Rocco Bell comes with their own creative smokiness whilst the vocals of Florim are as dark throated and gripping as the heavy seduction of Jop van Summeren’s bass and the jabbing beats of Tim van Delft. Completed by a siren-esque breeze of female vocals, the song slips around ears and thoughts like a lover’s caress.

The humid reggae spawned swagger of All Is Dull comes next, its cheeky body swerving with the guile of a feline provocateur as vocals align their similarly magnetic and varied croons for an already greedy appetite filling incitement. It makes way for the slow funk fuelled sexually inflamed flight of Devil’s Blood, a track to make ladies swoon and men daydream. Again it has a rich and tasty sixties/seventies breath to sound and vocal persuasion, lighting senses and emotions ready for the glorious surf rock brilliance of Sweatshop. One of our all-time favourites songs, expectations were as excited as they were fearful on how the band would take on their classic. Within its opening distinctive twang doubts were banished as sweltering warmth of keys and guitar scythes swooped with as mentioned a surf bred temptation. Like B-52s meets Yello but still like nothing before or after it, the track like a psychedelically enhanced loner dancing intimately with themselves on the dance-floor, it pulsates and glows with celestial charm and inescapable teasing.

The release is completed by the sinew flexing pulsation of Wait For Evolution, another track hinting at hip hop inspirations whilst immersing its warped ingenuity with funk lined revelry and providing an enthralling end to a treat of an encounter. It is probably right to say that no track eclipses the originals but many come very close to equalling their might and all leave pleasure rampant and hunger for new De Staat fun as impatient and insatiable as ever.

The Vinticious Versions EP is available now digitally, and in CD and vinyl versions via Cool Green Recordings/Mascot Label Group @ http://www.mascotlabelgroup.com/destaat-vinticiousversions.html

http://www.destaat.net/

RingMaster 24/11/2014

Copyright RingMaster: MyFreeCopyright

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Tim Paris – Dancers

Dancers is the ideal title for the debut album from London based Parisian Tim Paris, each of its tracks whether an open flirtation or a more chilled proposition, a vibrant adventurous waltz. Better known as one half of It’s a Fine Line with Ivan Smagghe, Paris has sculpted songs which pull the imagination into unpredictable and vivacious soundscapes. Each one is distinct and stands alone in the tapestry of the release but have a symbiotic union which provides one refreshingly inventive landscape for senses and emotions to bask in. Dancers ebbs and flows in success across its body it is fair to say but only to waiver within a constant magnetic seduction which never relinquishes its strength.

As renowned for his remix invention which has seen him reinterpreting invention from the likes of The XX, Femi Kuti, Battant, Au Revoire Simone, Ewan Pearson, and Tiga, the DJ, producer, and musician now unleashes his own electronic alchemy through the album, merging the purest essences of synth pop, new wave, post punk, electronica, disco, house, and much more for transfixing and evocative aural climates. Dancers provides insights into richly flavoursome cinematic scenes but also ones which have an intimacy which goes beyond voyeurism to draw the listener emotionally into the imaginative investigations. Featuring a wealth of guests, the album is also a collaborative affair embraced by the creative ingenuity of Paris.

Opening track Golden Ratio strides boldly in on punchy beats and an electro tinkling which reminds instantly of Love Cats by The Cure though it takes little time to show its own distinct tease to the coaxing. The song then infuses intriguing melodic lures which do not nestle easily within the established pulse of the song but only accentuates the awakening potency. Featuring Georg Levin of Wahoo, the song opens up warm arms of melody bred enticement and smooth vocal expression which are themselves veined by intriguing twists of enterprise and electronic investigation. The post punk strict rhythmic heartbeat steers the journey allowing thoughts to take in the radiant sights and absorbing atmosphere. It is an adventure which midway takes a breath to return with an even more masterful hold on the appetite, a case of absence making the heart grow fonder.

The enticing start is matched by Rain which sees the guest appearance of Coco Solid of the Parallel Dance Ensemble. The song drips slightly chilled riffs down upon the ear whilst a rhythmic shuffle hurries across the senses. It is another alluring start given extra drama by the skirting dark throated bass, the combination building a striking premise which is enriched further by the cyber kissed vocal narrative. The repetitive spine of the track bewitches constantly; the stark core holding Joy Division/Bauhaus like predation around which the elegant and mesmeric call of the song spreads and croons.

The metallic breath of Outback, Stones & Vinyl soaks the ears next, the initial caress of the song courting a John Foxx essence which never leaves the infectious persuasion. As the track explores its seductive canvas, building and colouring the imagination with inspiring textures, the instrumental toys with the senses further, stretching its provocative enveloping with an additional Bill Nelson like invention. Like standing on a heaven lit cliff top whilst warm winds and sights wrap rivetingly around the senses, the song puts the listener in a hypnotic almost meditative emotional trance.

The following Minireich which features Sex Judas and Rupert Cross and Disco Ellipse both create a transfixing dancefloor bred temptation, though the pair tantalise and shimmer in their enticement rather than leap upon the eagerness of feet. The first has a definite Yello feel to its mischievous invention, vocally and in the devilish temptation offered whilst its successor is a cybernetic tango, flashing sonics and dazzling electronics spraying their bait around before the emotive weave of distressed melodies and restrained bedlam make their play successfully for the passions. Those nor the next up Unsung Deaf Hero fire up the same intensity of hunger and thrills as the opening songs but all captivate and refuse to release the album’s hold, the third of the trio a smothering wash of thick ambiences and funk spawned vocals casting a dark dance of inciting suggestiveness and mystery.

Dancers is back to dominating senses and mind with the outstanding drama of The Grip. With Ben Shemie, Paris lays a noir bred sinister atmosphere within which guitar and rhythms stalk the imagination, the encounter a soundtrack which could easily grace any caped crusader or futuristic darkly shadowed enigma. All the tracks allow the mind to run riot with their aural paint but this more than most conjures up stories and emotions to intoxicatingly bask in.

You’ll Never Know also creates a tenebrous encounter to immerse within, it’s again noir crafted riddle an imposing and incendiary fuse for an adventurous mind to run with whilst ears welcome the varied vocal hues and electronic weaves. It is a blend which is just as alluring in the slightly lighter Extreme Nails, its celestial stroll within a heavy but slow rhythmic frame a beacon for the listener to explore in their own design. Shadows as across most tracks are never far away with their tempering relish though they have to take more of a backseat within the fruity exploits of Heaven Parking which again sees Sex Judas involved. There is a subdued but visible lunacy to the song which brings thoughts of the eighties Martin Atkins band Brian Brain. It is a thrilling revelry which steps aside for the equally delicious Backseat Reflexion to close the album. The song sees Forrest joining Paris in a last irresistible seduction, electronics and melodies aligning within a shadow built emotional seduction.

It is a masterful end to a similarly consummate release, Dancers offering a collection of emotive and provocative vignettes which absorb thoughts and passions like a sponge for exhilarating experiences and adventures. Apart from the length of a few tracks stretching their staying power to clutch at straws in an attempt to temper the enthusiasm, Tim Paris has provided his finest hour with his own solo release, the first of many we hope and suspect.

Dancers is available on 2 x 12″ vinyl, CD, and download right now via My Favorite Robot Records.

http://www.facebook.com/djtimparis

9/10

RingMaster 12/04/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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BulBul – Hirn Fein Hacken

Ok I will admit I had not come across Austrian band Bulbul before being handed their new album Hirn Fein Hacken, a release which sees them returning after six years from not sure where, but from here on in after the intensive psyche examination presented by their latest, a backward investigation is sitting high on the list of musts. An insatiable and mischievous, not forgetting criminally addictive, exploration of every delicious element you can imagine to rile, ignite, and seduce the very core of the mind and senses, Hirn Fein Hacken is quite simply sonic irreverence and quite brilliant.

The first sign of Bulbul we can find is the release of their self-titled debut album in 1997, Bulbul a one man project of guitarist/vocalist Raumschiff Engelmayr at the time. With Derhunt linking up on bass, the band released second and again self-titled album in 1999, via as the first via Trost Records. Drummer Ddkern joined not long after as the band continued to experiment with sound, imagination, and their fans minds through their third and fourth albums in 2003 and 2005 respectively, again under the same monikers as the others. 2006 saw fifth album BlllBlll unleashed whilst the Patrick Pulsinger produced 6 was uncaged via Exile On Mainstream two years later to strong acclaim and attention. Hirn Fein Hacken is as mentioned the band’s return, again via EOM, and takes little time in slipping under the skin of the senses and psyche as well as giving the passions an irresistible creative toxicity to feast upon.

The Vienna hailing band’s influences according to the press release include the likes of The Kinks, Cpt. Beefheart, Rhys Chatham, Django Reinhart, Abner Jay, Fats Domino, and Bob Dylan, but as the album seduces with its ingenious seductive dementia we would suggest artists such as Kontrust, De Staat, Yello, and Fantomas as a starting place. Opener Fire offers a wide groan before bringing all of its thought and energy into a concentrated rhythmically driven nagging of ears and senses. Riffs gently niggle as the bass provides a fuzz kissed tonic to greedily swallow whilst all the while strong vocals dance over the bait with devilry in their tone and relish on their lips. The song continues to swagger and weave across the imagination, enterprise of the guitar as boisterously naughty as it is creative and the bass an irresistible growling incitement impossible to tear emotions away from.

It is a magnetic start which has little difficulty in making slaves of thoughts and passions, leaving the following Uhu a willing canvas to play with. An electro simmering ebbs and flows initially, its voice slightly smothered but eager to break free to greater clarity. That aspect is taken by the funk bred grooves and suasion of the guitar matched by the vivacious vocal delivery. The song smoulders, never lifting its gaze or energy from a wanton sway of its body and sex infused melodies. Not as dramatic as its predecessor but equally as enthralling, the song makes way for I hea eh scho lång nix mea, a song which like the first secures its initial conquest through repetitive coaxing before exploring an industrially inspired realm with clanking tubes, concussive temptations, and unpredictable almost maniacal imagination. The track pushes the earlier thoughts of De Staat to the fore, the song a cousin of their Sweatshop track without the same feverish urgency. It is a glorious trap for the passions warming them up for the even greater infestation to follow.

That virulence comes in the shape of the ridiculously addictive and epidemically infectious instrumental Kanzla. From its first second, guitars respectfully grind against the ears whilst the bass again adds a barracuda like tone to the abrasing lure of the song. The rhythmic restraint with punctuating twists of the drums only reinforces the delicious irritancy as the track persists with its rub through sonic rises and falls. The dip into a brief sultry teasing only inflames the senses more before the track reverts to its feverish meshuga of a tango, intermittently interrupting its blaze with further inventive twists.

Both the psychotic Fisole, where instruments are abused and random items employed for a warped bedlamic cacophony, and the noise rock taunting of Quicksand keep the passions breathless, the second of the two finding an element of Melvins and even Pere Ubu to its spellbinding guitar sculpted temptation. As impressively thrilling as they are the pair are only the appetiser for the pinnacle of the album, Gurdy. The track takes a breath before cantering eagerly through the ears, spicy short guitar strokes and rumbling riffing spurred on by the darkly sinister vocals and unrelenting rhythms. The track is pure 100% unbudging contagion, every flavour, trait, and inventive bait pure addictiveness. Imagine Mike Patton, Pryapsime, and Queens Of The Stone Age engaged in an illicit enterprise and you have the quite magnificent Gurdy.

Genderman Can provides a raw punk fuelled rampage next, vocals and bass antagonistic whilst the guitar boils the air with a blues tasting sonic toxin which again is only good for health and passions, especially its closing warped and sizzling smothering of the senses. From here the album relaxes its energetic stance to unveil a pair of slowly burning treats. Bomb comes first, its opening air awash with the fiery country blues flames which were hinted at on its predecessor. With pulsating beats and a psychedelic ambience drifting over song and listener whilst the vocals like the music flickers within a seductive fire formed around the narrative, the track is a mesmeric enchantment littered and primed with broad intrigue and unruly invention, but within a relatively sobering confine.

The closing A To Beans is just aural sex, a slow hip swerving seductress with smooth rhythms, a throbbing intent, and a sinister vocal invitation which should be avoided but impossible not to embrace as deeply as the noir blessed sounds. It is a ridiculously captivating end to a quite sensational release. As these last words are written contemplation of how BulBul avoided our attention is loud and incriminations rife, but it is hard to imagine previous releases being better than Hirn Fein Hacken so maybe this was the right time to find the band. We are heading back into their history as you read and suggest you do the same once you have been infected by this mad beauty.

http://www.bulbul.at/

http://bulbul.bandcamp.com/album/hirn-fein-hacken

10/10

RingMaster 08/04/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Naked Lunch – Beyond Planets

    The return of Naked Lunch, one of the UK’s first electronic rock bands, has been an increasingly impressive and thrilling proposition with a clutch of single showing that this is not just an aesthetic return of an eighties band as with so many others. Reinventing their sound and early songs with a craft and invention which sees them an easy fit in the modern premise of electronic world as well as casting new and invigoratingly inciting encounters to bask in, the band has made a striking statement with their debut album Beyond Planets. Anticipation was high because of the previous singles but the album exceeded all assumptions and hopes with its refreshing and magnetic slices of electro rock/pop.

    Originally formed in 1979 by vocalist Tony Mayo and guitarist Gary Shepherd, under the name Sons of Perdition at first with Naked Lunch becoming the moniker after their debut gig, the band built a strong and feverishly followed presence through shows with the likes of DAF, Cabaret Voltaire, Fad Gadget, B Movie, and Clock DVA, as well as their own gigs and tours, and first single Rabies. The band also made a major contribution in helping Stevo find bands for the ground-breaking Some Bizarre compilation album which was released via the Daniel Miller (The Normal) owned Mute Records and to which the band itself contributed the track La Femme. That first single followed to acclaim and good support though was banned from day-time radio play because of its title; but subsequently line-up changes and differences led to the band ending in 1981, though there was a short lived live presence through Mayo until 1985.

   2010 saw Mayo reunite with early member Paul Davies with the pair writing new material before original line-up members Mick Clark and Cliff Chapman joined a year later. The band was expanded by Mark Irvine in 2012 and Jet Noir last year. First single Alone sparked the attention and bred an appetite in a great many for the band’s return, which the following Slipping Again, Again and Glow only reinforced and accelerated. Now with their excellent debut album, Naked Lunch position themselves back to the fore of British electronic music with a mature craft and imaginative invention which time has obviously bred in their creativity.

     Opening track We Are, the new video single from the band, opens on an electronic dazzling of sound and sonic light, a space bred beckoning enticing the imagination into play. From the celestial ambience magnetic beats soon register an eager coaxing before stretching the bait with firmer rhythmic temptation. The song soon settles into a restrained stroll with vibrant electro colour courting the somber and pressing dark vocals. It is an enthralling mix with a subdued funk swagger, the track playing like a mix of Fad Gadget and Yello as the narrative sets the scene and premise of the release, humanity in all its oppressive shadows. The song takes longer to fully convince than subsequent tracks it is fair to say but ultimately succeeds to set the album off on a potent and engaging start.

    Slipping Again, Again comes next, the song a reworking of the B-side Slipping Again of that very first single. The song has a dark bordering on sinister essence to vocals and ambience which adds a delicious noir breath to the tantalising mix of melodic enterprise and rhythmic revelry. The dust clad tones of Mayo only accentuate the heavy intrigue and shadow of the song whilst the synth teasing and guitar sculpted flames provide riveting adventure and mystery to the contagious and menacing croon of the song. It is an enthralling new chapter to the original song and easily ignites the senses before being straight away matched by next up Rabies. A new album version of the band’s first success, the track emerges on a skittish shuffle of percussive bait soon joined by pumping electro vibrancy and caustic guitar scratching. The band has taken the heart and essential power of the original but polished up its sides and intent to sculpt an even greater contemporary synth pop dance. It is a mouthwatering piece of enterprise which alone shows how the band has evolved and grown its sound without losing the  striking glory of its first entrance.

     The album continues to raise its plateau as the next trio of songs starting with Emotional Turmoil, toy with, entrance, and manipulate the passions. The track is a bouncy infection drenched romp of electro pop with scuzz kissed guitar and seductive sonic beckoning all framed by a rhythmic toxicity which is equally irresistible. A tonic for any down trodden day, the track is an energy fuelling, emotion regenerating dance of creative endeavour and irrepressible mischief. It is immediately followed by a new version of Le Femme, the song receiving its originally intended spelling but one changed by Miller for the Some Bizarre release. Like Rabies, the track is bursting with fresh updated invention but without losing any of its original strengths, and like the other thoroughly enjoyable. Alone steps in next with its shadowed brew of evocative elegance within an almost oppressive web of emotional drama, its premise that of individuals in a disconnection to the world the voice within an immersive atmosphere. It is a gentler embrace than the previous tracks but no less resourceful and thrilling.

The album’s best track, Weekend Behaviour struts in next with an instantly addictive electro seduction, a tempting soon aided by less intensive vocals and a wash of melodic radiance. It is slightly deceitful though as from within the warm stomp returning intimidation coated vocals join the affray alongside a snarling graze of guitar aligned to raucous energy. The song is a scintillating brew of electro rock with old school punk rock essences taunting and firing up the passions.

     A new version for the album of that previously mentioned single B-side, Slipping Again treats the ear next with similar success to the other re-workings on Beyond Planets whilst its successor Glow, a song which like all the recent singles gets an album make-over, provides a Landscape like expanse of exploratory imagination from the keys and guitar within a smouldering and pulsating electronic soundscape. With a delicious groove around and spicy twang to its central narrative, the track is a lofty pinnacle in a climate of peaks.

     Completed by the excellent Fade Away with its absorbing oscillating radiance and electro majesty, Beyond Planets is an outstanding exploit in a vibrantly expressive journey. Rich in nostalgia but only to the extent of re-kindling old flames to unite with greater new and potent excitements, the album easily declares Naked Lunch the real deal to give all the young electro bucks a run for their creative money.

www.nakedlunch.org.uk

9/10

RingMaster 11/02/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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