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Dog 'N' Style – Pub's Calling
Unleashing a flavoursome dose of rebel and spirit rousing rock 'n' roll within its muscular walls, French heavy rockers Dog 'N' Style have just released debut album Pub's Calling. A hungry and virulent roar from start to finish, the ten track encounter revels in the band's stoner and hard rock shaded rock 'n' roll which in turn inspires ears to greedily devour what is maybe not the most unique incitement but certainly one which leaves thick satisfaction.
Formed in 2013, Epinal hailing Dog 'N' Style quickly hit their stride live, the following three years seeing the Spinalien quartet play over a hundred shows across France and further afield including tours in Russia, Spain, and Luxemburg. Sharing stages with the likes of No One is Innocent, The Casualties, Tagada Jones, Ultra Vomit, and Burning Heads along the way the band's melody infused heavy rocking has been increasingly praised while their self-titled debut EP of 2015 introduced the band to a broader attention which Pub's Calling can only further ignite.
An earthy revving of an engine opens up the album, its growl welcoming the meaty body and sound of The Best of Me. Straight away the song sets the character and intent of sound and release, riffs and rhythms heavy and imposing as fiery flames of guitar and rich melodies collude with an infectious boisterousness. As most songs within Pub's Calling, there is something familiar about the opener but a recognisable air which wraps the band's commanding and enterprising songwriting to fine effect.
The great start to the album continues with I Did Something Bad, the growl lined vocals of Greg Hal a magnetic essence as swinging riffs and rhythms unite while the guitars of Yan Pierrat and Hal spin a web of sonic and melodic adventure. Like its predecessor, there is an instinctive catchiness to the song which is irresistible even when the bass of Robin Rob's grooves along on its own. The band lists inspirations as the likes of Black Stone Cherry, Steel Panthers, Red Fang, and Nashville Pussy, and it is those kinds of influences which especially leap around within the album's second track.
Pretty Fly reveals a grouchier intent in its nature and sound from the off yet again grooves and the inviting tones of Hal are quickly seducing ears as the mighty rhythmic swings of drummer Boub Tchak resonate. A cantankerously toned bassline entangles the warmer but no less intrusive riffs and grooves of the guitars, it all contrasting and mixing masterfully with the melodic and fiery imagination which blossoms across the track before One Day springs its Gruntruck spiced proposal and in turn Bad Motorcycle swaggers in with its hard/classic rock fuelled stomp. Neither track quite live up to the heights of the first trio of songs yet spicy grooves and infectious roars as well as the sonic dexterity offered ensures both leave enjoyment high.
The release hits top gear again with Night Losers, its funk infested basslines alone sparking an already eager appetite as the tendrils of tangy guitar entangle ears. Again vocals and rhythms involve the listener with ease and though originality is maybe limited the imagination is swiftly hooked by the songs inventive twists, turns, and snarling enterprise.
With its southern rock hued melodies, the same applies to the excellent Running Out which swiftly seduces as sultry sonic sighs amidst calmer vocals and energies immerse ears in its smouldering but rhythmically imposing climate. Carrying a fierce snarl in its mellower stroll, the track is outstanding, best track contender which though closely rivalled within the album leaves the moment which lingers longest even as the bruising and thickly catchy rumble of Never Trust An Asshole mightily consumes ears and pleasure next.
The album's title track is heavy rock 'n' roll at it most compelling and rousing, rhythms and riffs enslaving instincts as grooves and almost toxic melodies infest the imagination. It too is a battleground of attitude loaded aggression and energy infused with a tapestry of warm melodic invention and dustily charming harmonies.
Ensuring the album ends on a high similar to how it started, it calls time on the boozy rabble-rousing with the final Couple Of Beers, a track again weaving all the traits and contrasting shades of the Dog 'N' Style sound and invention in one exhilarating escapade. It is a fine end to Pub's Calling, an album which may not be about to change the direction of muscle driven rock 'n' roll but certainly gives it something to get lively about.
Pub's Calling is out now across most online stores.
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Leave a comment Posted in Album, Music Tagged Black Stone Cherry, Burning Heads, Dog 'N' Style, France, Gruntruck, Nashville Pussy, No One is Innocent, Pub's Calling, Red Fang, RingMaster Review, Steel Panthers, Tagada Jones, The Casualties, Ultra Vomit
Embracing the sickness: exploring Caustic Method with Matt Caustic
It has been a far time coming with US metallers Caustic Method first emerging in 2003, but debut album The Virus is an infectious scourge of sound and invention which more than lives up to its title. For many it has been the first taster of the band and its virulent of tapestry raw and contagious animosity bred from a fusion of flavours and diversity, an introduction breeding, certainly for us here, a hungry appetite for the Syracuse roar. With big thanks to vocalist and band founder Matt Caustic we dig into the heart of Caustic Method, The Virus, and the passion fuelling all…
Hi Matt and many thanks for sparing time to talk with us.
Can we start with looking at the beginnings of the band; what was the spark to its creation and how did you all come together to be Caustic Method?
Thank you for this opportunity. I think the real spark to the band's inception was mostly an opportunity to put our message out there and to lyrically speak my mind, and work out some demons and issues I might not have normally addressed otherwise. Eventually I found myself writing about several life issues that a lot of our fans seemed to really relate to. As we grew they grew with us and the walls really began to fall where I found myself less worried about opening myself up lyrically and it became my means of therapy. We were all in very established bands in New York State and at one point I was revamping the line-up and an opportunity presented itself to be able to play with some amazingly talented people who I always had a great amount of respect and admiration for. From that point on the planets aligned and we really began to get a head of steam rolling to propel the EP to get us to where we are today. Everything happens for a reason they say and I am very honored to be amongst the best people I now call family
Was there any specific intent for the band and sound as it escaped your imaginations and does that prime idea still drive the band twelve or so years on or has it evolved?
Our real intent was to just stay true to ourselves and make the art that just naturally creates itself. Through time we have kept that mentality of just letting things happen and even more so now, as on the new record half the songs were written from intuitively responding to the music and improvising my vocal lines and lyrics on the spot to the point I actually kept 90 percent of what was written in the session. That gave me the best possible snapshot of what inspired me at that moment in time.
Is there a specific story behind the band name?
Originally called Caustic from a past co-worker with a very "caustic" sarcastic and biting attitude, with an alternate definition of something that can eat through flesh, it seemed perfect for the music we were creating. As we branched out and began travelling we found other Caustics out there and made a decision to separate and define ourselves with no confusion or mistaken identity. The Caustic Method is the means of applying stress on something to effectively find its breaking point, so to speak. Combined with the previous definition it was a very fitting change. Keeping the familiarity with fans and separating ourselves at the same time. The change also helped us shed our skin a bit for the next level we were trying to reach.
You have just released your album The Virus, a thrilling incitement whose qualities and addictive potency certainly lives up to its title. For fans it has felt a long timing coming so how is it for you guys on the inside. A relief to finally have your first album out or is it more that this is the exact right time to unleash its?
I think timing and chemistry are behind all great achievements and for us and the style of music we create, the timing couldn't be any better. There is a void in modern metal today we are trying to fill by keeping the attitude and message as the defining attribute of what we create. We have also for years lovingly referred to our fan-base as The Virus because word of mouth has been this band's best friend over the years. After hearing about us and then finally seeing a live show we hope that's the point where we win people over and they continue the whole process for us by spreading the word about the band. We pride ourselves on our live performances whether for one hundred or ten thousand fans and we always strive to go above and beyond anything on the album. In an effort to thank our fans for putting us where we are today, the album was given the title The Virus. We love and value the fact that we are fortunate enough to have such a broad fan-base. Fans of Caustic Method are exceptionally supportive and really are the fifth member of the band when it comes to promoting and spreading the Virus. They are one of our greatest sources of pride and confidence knowing they are always behind us.
How long was the album in the making?
The sessions for this record were incredible and unique to any other sessions I've been involved with. We were literally chomping at the bit to get these songs down. We just went in and hammered every song with confidence and attitude from beginning to end, we are super proud of what we have created on The Virus. It retains the energy and live vibe of our shows with the precision we were looking to capture. We recorded the sessions at an incredible studio in Syracuse called Subcat. It's world class all the way and just being really prepared made the process a memory I will cherish my whole career.
Alongside its adventurous exploits and gripping imagination there is a live energy and feel to the album which you touched on there. We described it as stirring "up the blood and putting a fire in the belly." Give us some more insight into its recording.
We took each song as its own entity and tried to really focus on the subject matter at hand to enhance the message and passion of each performance. I feel we really accomplished this well and for the first time I am really proud of all of us. I wrote a lot of the lyrics for this album during one of the darkest periods of my life. I didn't think twice about what I was writing or how i was saying it. I just let it out knowing that it was necessary to go through the dark to get to the light. Coming out the other side I can't say I have any regrets or would have done anything differently. It was all part of the process; a healing process and a growing process, some of which is hard to listen to, but I can and will stand behind it forever because it is honest and real.
Did you approach its creation with any particular intent and set idea or was it more an exploration of its emerging depths and boundaries in the studio environment?
I think we came at it from a very open minded perspective. We were prepared on the playing side but knew we wanted to convey all the attitude you'd find at one of our shows. Combined with some healthy exploration I'd have to say it was the combo that made it extra special for us.
Can you give us an idea of how the songwriting process works within the band?
It differs a lot, which I love. Some days I will just have a vocal hook like The Virus. I presented it as just a dry acapella vocal line and the band just painted with me instead of after me and boom it's done before it began. Other songs are conceived from just instrumental experimentation with an improvised vocal line written in real time as they play. My gut reaction to what I hear is usually my best guide in writing vocal lines and melodies. It's like opening up a channel and letting the energy flow. Decoding my lyrics can be frightening at times but it's a new way of writing I have really embraced as well as the band. These guys are exceptional players and it is like the possibilities for this band are endless. They know how to use the gas pedal and the brake very well. Knowing when to play and when not to play can be just as important for the message to be heard effectively. Being the heaviest or fastest band on earth doesn't ensure the listener can relate to your message. We really tried and found the balance we were most comfortable with.
Were there any major surprises or unexpected moments which merged whilst recording the album which either enhanced or provided an unexpected obstacle in its emergence?
Actually the song Bottle of Scotch only existed as a voice recording on my phone from one of my acapella vocal lines we worked on briefly one night at rehearsal. As we were finishing up our session, our friend Ron Keck and owner of Subcat was like before we break down the drums is there anything else we can get on tape. Angel remembered the shell of the song on my phone and we ran through it twice in ten minutes and then hit record. The band nailed it immediately and I literally improvised the verses as he hit record and the tune has become one of our favorites. To me THAT is the Caustic Method!
The Virus has been released through Pavement Entertainment how did that link-up come about?
A friend of ours Michael Trumble was helping us with some PR work and sending the video of The Virus around to some mutual industry friends when Mark Nawara from Pavement saw the video and thought we would be a good candidate for the label. I was a huge fan of a lot of the bands on Pavements roster and I knew in my heart instantly that this would be a great fit and a good home for us. After talking with Tim King our A&R rep and bassist of Soil for a couple weeks we worked out the scope of what we were trying to accomplish and we signed our deal right around New Years. I knew then that 2015 was going to be an epic year in the growth of this band. With distribution through Sony RED it's available all over the world. The main objective was never to be famous or a rock star but to get our music out to a larger audience because if it works in the Northeast we were confident it would work elsewhere. With Pavement's amazing network and support we have definitely reached a much larger audience and the response has been overwhelming.
With their stable and history of potent releases, the environment they offer for your music must give you an extra spring in the step to match those sparked by the album itself and the acclaim it is earning?
Without a doubt! After years in the trenches we are no strangers to hard work and not much has changed. We knew coming into this we would have to work harder than ever but knowing we are in good hands gives us the confidence to meet all challenges as they come. And of course we are also looking forward to hopefully touring with some of our label mates soon! We are all still huge music fans first and foremost and there is so much talent on the Pavement roster it is just amazing…Such huge fans of all of them.
Looking at your history as a live presence, it is fair to say since forming you have ignited stages with a Who's Who of modern metal including Hatebreed, American Head Charge, Ten Years, Candlelight Red, Otep , Korn, Mushroomhead, (Hed) P.E., Cypress Hill, Threat Signal, Skindred, Toxic Holocaust, Nashville Pussy… well the list goes on. Noticeable is the diversity of bands and sounds you guys fit in with. Fair to say your fan base is impressively eclectic?
We have been really blessed in our region to have played with many of our heroes and literally dozens of amazing bands we were able to learn from and grow with. Growing our fan-base through the diversity of these bands has given us a uniquely eclectic fan-base for sure. I do feel we crossover well from hardcore to metal to old school punk and commercial hard rock audiences and that has only reinforced our main objective of just doing what WE do and never emulating anyone.
It is easy to assume that Caustic Method are in their element on stage, tearing up audiences and venues?
The stage is where it really all comes together for us. We can roar like a lion or purr like a kitten. Mostly though we roar like a tornado and sweep you up and drop you on your head,
Fair to say your music on the album take no prisoners, the band has to be the same on stage?
Confidence and attitude are what we emit most onstage. We not only take no prisoners we take no shit! It's what we all live for and everything else in life is on hold for the next hour because our show is what it's all about. I relive every inspiration good or bad every time I deliver my lyrics. I flashback in my head to the very minute the words came to me and like a tidal wave all those emotions and attitude that created that song just pour out of me like the wound is still brand new; like ripping open your stitches just to see your beating heart. Not a great idea but you will see a noticeable and real reaction. We transform right in front of you. Forget the people you may have spoken to before the show. We leave them on the stairs to the stage.
Any hope we will see you across Europe and the UK in the near future?
We would love nothing more than to tour Europe immediately. I am fascinated by how different the music fans are there. They seem to have way more diverse tastes and a lot more tolerance of stuff that is different from each other. In America we compartmentalize our music and god forbid you cross compartments. Not true of everyone but we have these boxes and categories of metal everyone lives within where it seems over there people are just fans of any metal that is credible and simply put just GOOD. We all can really respect that and hope to be able to have the honor to tour there in the very near future. Definitely on the high priority list!
So what is next for Caustic Method?
The response to the album has been amazing and for us the real next step is to get out and tour to support this record, see the world and spread the Virus as far and wide as possible!
Once again thanks for chatting with us, any last words for the readers?
Thank you so much for giving me the opportunity to tell our story and If you truly like what you hear….YOU ARE THE VIRUS! Spread the word about Caustic Method! You are our fifth member and we thank you all! SEE YOU AT A SHOW NEAR YOU!
http://causticmethod.com/
www.facebook.com/causticmethod
Read our review of The Virus @ https://ringmasterreviewintroduces.wordpress.com/2015/06/05/caustic-method-the-virus/
Pete RingMaster
The RingMaster Review 12/08/2015
Leave a comment Posted in Interviews, Music Tagged American Head Charge, Candlelight Red, Caustic Method, Cypress Hill, Hatebreed, Hed p.e., Korn, Matt Caustic, Metal, Mushroomhead, Nashville Pussy, Otep, Pavement Entertainment, RingMaster Review, Skindred, SOiL, Subcat, Ten Years, Threat Signal, Tim King, Toxic Holocaust
Helligators – Road Roller Machine
It is fair to say that Road Roller Machine lives up to its name, the new album from Italian heavy rockers Helligators an unrelenting juggernaut of ravenous riff driven rock 'n' roll. Immersing strains of blues and stoner bred colour into a raw and uncompromising tempest of power and intensity, the release is a thumping treat of bruising and invigorating sound; not the most unique you are likely to come across this year but without doubt one of the most exhaustingly enjoyable.
Hailing from Rome, the 2009 formed Helligators self-released their debut album Against All Odds two years later, it and a video for the track Tattooed Killer, enticing keen attention the way of the band. The varied flavouring in their imposing sound sparked increasingly eager appetites from that point on, with the release of 2012 single Snake Oil Jesus only reinforcing their emerging presence and potent musical persuasion. The song was a strong teaser to things to come too, pleasures to be found and grown further in the 2014 recorded and recently released Road Roller Machine. Alongside all of this the band's live presence has equally drawn acclaim, the sharing of stages with the likes of Orange Goblin, Nashville Pussy, Doomraiser, Strana Officina, Bad Bones and many more persistently impressing over time. Now it is with their second album released on Sliptrick Records, to whom the band signed this past spring, that Helligators are looking to stir up rock 'n' roll 'trouble', and such its rigorously persuasion it is hard to see them not becoming a loud household name.
Recorded with Luciano Chessa, Road Roller Machine bursts into rugged life with Nomad, a lone invigorating groove straight away gripping ears and appetite before rhythms and heavily robust riffs join the deliciously intensive early bait of the song. Thoughts of Motorhead quickly take hold, hints joining just as pungent ones of Danish band Grumpynators spicing up the deluge of spiky rhythms and ravenous riffery. It is a thrilling onslaught only accentuated by the growling tones of vocalist Hellvis, his bear like delivery a thick incitement within the increasingly tenacious enterprise surrounding him. Guitarists El Santo and Kamo bring stoner and blues lined hues to entwine with insatiable charge of riffs, both also providing good vocal backing to Hellvis, with everything involved adding up to the most hellacious and thrilling start to the album; maybe to any heavy rock album this year.
The Doomstroyer holds court next, its opening sonic coaxing over swiftly addictive enticing from drummer Alex, again an immediate grab of the listener. Heftily anthemic from the first instant, the track continues to incite imagination and body with the descriptive expression of Hellvis against slightly restrained rhythms and riffs but lures still pulling at the leash of intimidation. There is a Desert Storm like air to the track, a dirty and tempestuous climate which is as volatile as it is infectious, especially as guitar cast melodic tendrils wrap around rhythmic pistons and the song's raw ferocity.
A 'lighter' air springs forth with Scream next; its blues rock breeding spicy veining to a landscape as rugged as that of its predecessor. The bass of Goblin stalks the song from its first second, a dark and predacious spine the guitars entwine with their constantly evolving and enthralling ideation. The individual craft and passion of each member is an equally roaring essence in each album track, and here uniting in a furnace of virulent adventure and instinctive tempting for a success more or less matched by both She Laughs and Snake Oil Jesus. The first of the two tempers its rabid aggressiveness with mellower melodic rock resourcefulness, both guitars and even the vocals infusing a relative calm to proceedings though the gripping snarl of the bass and the ever wickedly jabbing beats of Alex ensures there is no lack of the bands intimidating edge. Its successor is a groove machine all on its own, an incessant scorcher which spills adrenaline fuelled intensity and rebellious attitude with every caustic syllable and acidic chord. Once more the band twists in strong variety to the design and persuasion of the song; never going into the unknown but only leaving ears and appetite urgently wanting more.
More is what you get with Truckdriver, a track with little in the way of major surprises but a tank load of inventive enterprise in its southern honed rumble. There is no escape from the pure contagion of the song or that of the sultry and sinister dark majesty of Swamp Man Voodoo. Every groove and predatory hook oozes menace, backed by the rapacious nature of rhythms and the ever hungry riffs though each element also leaks rich seduction that never lets go. The outstanding song is pure theatre, a satanic dance and fiercely vociferous trespass for the soul.
No surprises for guessing the character of a song called Bad Ass from Helligators, its air instant belligerence and sound swift confrontation with of course plenty which just invites full involvement before Stone Crusher takes over with its Metallica meets AC/DC like blaze. There is no denying that the song did not find the same depth of appetite as those before it, or to be fairer as consistently as those as there are moments when the band again shows they can rival any one in unleashing a torrent of rock 'n' roll brilliance with thick rigorous invention.
Road Roller Machine is brought to an end by the acoustically crafted Black Sun and its blues kissed melodic smoulder. The song fuses stoner and southern rock hues with classic rock ingredients to sculpt another song which maybe does not quite match those earlier within the album but is impossible to tear one away from whilst providing a fine end to one mighty slab of heavy duty rock 'n' roll. Helligators have no interest in re-inventing rock music but certainly they want to give everyone a riotously good time and that they do big style with Road Roller Machine.
Road Roller Machine is out on Sliptrick Records now!
Leave a comment Posted in Album, Music Tagged AC/DC, Against All Odds, Bad Bones, blues rock, Desert Storm, Doomraiser, Grumpynators, heavy rock, Helligators, Metallica, Motorhead, Nashville Pussy, Orange Goblin, RingMaster Review, Road Roller Machine, Rock 'n' Roll, Sliptrick Records, stoner, Strana Officina
Desert Storm – Omniscient
Two years on from their acclaimed second album Horizontal Life, British heavy blues metallers Desert Storm unleash a new cauldron of ridiculously addictive temptation in the ravishing shape of Omniscient. Before listening to the new release we would have been ecstatic to announce that the album was an equal to its brilliant predecessor. But it is not; just like the last album was a fascinating and thrilling step forward from the band's outstanding debut full-length Forked Tongue, the glorious Omniscient is a leap to new plateaus. Everything about the encounter is a gripping evolution of adventure and maturity; riffs are dirtier, grooves keener edged, and it has a contagion which borders on slavery, all without losing any of the blistering uniqueness and raw power which has always soaked Desert Storm's sonic invention.
Where many similarly styled bands seem like servants to the riff, in that it predominantly consumes their songwriting, Desert Storm enslave that feature of their sound and twist it into a web of just as forceful and potent grooved and melodic exploration. As proven by their previous album it means each track has a distinct character and creative emprise of its own, and in Omniscient all songs come from an even broader canvas of imagination and craft. Since forming in 2007, the Oxford quintet has challenged and lit ears right through to the passions with their persistently gripping releases. Equally they have earned a formidable reputation for their live presence through shows and tours with the likes of Karma To Burn, Nashville Pussy, Peter Pan Speedrock, Honky (ft. members of Down/Melvins/Butthole Surfers), Orange Goblin, Red Fang, and American Head Charge, not forgetting igniting festivals like The Bulldog Bash, The Desertfest, Brisfest, and Roadkill. Their stature and reputation already goes before them but now with Omniscient global recognition and spotlight has to be on the cards.
The band's fans are sure to break into a broad smile as opener Outlander instantly collides with ears through excited rhythms and imposing riffs. As spicy grooves swiftly join the revelry it is prime Desert Storm psych blues flavouring, intent on seducing senses and imagination with concussive beats and intoxicating sonic temptation. Already there is a sense of new adventure though, background melodies and atmospheres adding their suggestiveness as vocalist Matt Ryan roars. His voice is as bracing and gruffly coated as ever but also seemingly carried on a new clarity and variety. As expected it is impossible to escape the lures of guitarists Chris White and Ryan Cole or their weave of sinew driven riffs and toxic grooving, every note spilling temptation and virulence to match the similarly seductive dark throated tones of Chris Benoist's bass and the anthemic heavy footed swipes of drummer Elliot Cole. It is an enthralling and incendiary start to the album, body and emotions already aflame from its creative bait and blues spirit.
The following more predatory Queen Reefer is just as irresistible. The source of the band's new video, it is a ruggedly charming temptress with bulging beats and acidic invention. Far heavier and threatening compared to its more devilish predecessor, it casts a darker more volatile demonic air in its breath around a corrosive touch. In saying that though, the song is still irresistibly catchy and commanding, and with a mesmeric slip into a gentle embrace of expressive melodies and low key drama cast by guitars and bass at one point, mouth-wateringly adventurous.
Horizon continues to spread thick almost doomy textures of intensity and emotion next, drums creating a clash of percussive disorientation which only adds to the power of Elliot's swings and the tangy blues grooving binding song and senses. It is just one part of the track's scenery though as halfway it explodes into an explosive rhythmic tango which in turn seems to incite greater energy and venom to flush through the brawl of vocals and sonic enterprise. The track never quite ignites into the fury you suspect it might but is the better for it, the relative restraint adding to the dramatic tension of the song, a scintillating theatre which again turns Sway of The Tides into a battlefield of hostility and contagion, and Home into a folk ballad of sheer beauty. The first of the pair comes with flared nostrils and a rhythmic blood lust as heavy metal and stoner-esque blues rock clash in ears. The song is breath-taking, especially when it switches to a folkish pasture of cleaner vocals and a simple but expressive melody midway. It only impresses more as the scene and sounds start building back up to another fire of intensive emotion and searing grooves. Its successor is even more tantalising and enslaving. Voice and guitar again align to create a mesmeric smoulder of blues folk and southern tinged melodic rock which simply delights. Whereas the last album had the transfixing unexpected melodic delights of Gaia, Omniscient has this absorbing treat to wrong-foot, surprise, and thrill.
Not that the album has a moment where it does not do all those things in varying degrees anyway, as proven by the boozy swagger of House of Salvation which stomps in next. The track with its bar room like blues grooving and abrasing riffery reminds of N Ireland band Triggerman in some ways, especially in the melodic toxicity veining the devilment and the magnetic flame of a groove which has the appetite licking its lips and body swerving in subservience. The excellent temptation is matched straight away by the funk nudged stroll of Night Bus Blues. Making the perfect soundtrack to those times after a show where the cold flirts as you wait for the over-due conveyance to take you home and that is only part of the recognisable drama, the track proves humour is never a missing ingredient in the recipes Desert Storm conjures. Obviously it is not lacking addictive sounds either, an adjective which perfectly fits both Bandwagon and Blue Snake Moan which follow.
The first revels in a seventies blues rock seeding, spawning its sonic tempting from a psychedelic scent as fresh as it is familiar. The song provides yet another shade of colour and striking originality to the album, Omniscient easily the bands most excitingly and enjoyably diverse and expansive offering yet. The second of the two bristles and bellows with the heavy rock 'n' roll sound that the band has always bred its imagination through. Again though, it is widely spiced and commandingly robust with an array of rock bred flavours inviting feet and soul to roll with its rigorous devilry.
The album closes with Collapse of The Bison Lung, a summing up of things in a way as ripe grooves and intimidating riffs collude with rampant rhythms and snarling basslines to bind attention and light fires in the passions. A masterful end to a mighty release it reinforces and confirms what Omniscient suggests and we declare, that Desert Storm should be mentioned in the same breath as bands like Black Tusk, Red Fang, The Sword, and yes maybe even Mastodon.
Omniscient is released worldwide via Blindsight Records on January 26th.
Following the album's release Desert Storm will be going on a short European tour:
Fri 6th Feb – Antwerp Music City, Antwerp BE w/ Atomic Vulture
Sat 7th Feb – Rock Cafe Jinx, Zaandam, NL w/ Millstone
Sun 8th Feb – Bassy Club, Berlin, DE w/ Samsara Blues Experiment
http://www.desertstormband.com/
http://www.thereputationlabel.today
1 Comment Posted in Album, Music Tagged American Head Charge, Black Tusk, Blindsight Records, blues metal, Desert Storm, Forked Tongue, heavy bles rock, Honky, Horizontal Life, Karma To Burn, Mastodon, Nashville Pussy, Omniscient, Orange Goblin, Peter Pan Speedrock, Red Fang, RingMaster Review, stoner, The Sword
New Jacobin Club – Soldiers of The Mark
Photo credit: Kathryn Trembach
It has been four long years since the release of the attention gripping and highly enjoyable shock rock opera This Treason but at last Canadian gothic rockers New Jacobin Club return with its successor, the equally thrilling Soldiers of The Mark. A leaner and more creatively aggressive encounter which leans arguably more to the horror punk side of the band than the band's previous releases, it still voraciously embraces the theatrical drama and gothic elegance which is the trademark of the band and what sets them apart from the crowd. Soldiers of The Mark is overall though rock 'n' roll at its best, the band employing a wide range of flavours and styles in the body and musical narrative of a concept album which is sure to leave fans and newcomers even hungrier for the band's inventive contagion.
The brainchild of vocalist/guitarist Xerxes Praetorius Horde (aka The Horde), the Saskatoon band emerged in 1995 as a trio but had expanded in sound and size to a ten-legged tempest of unique incitement and expression by the time of their self-titled debut album in 2001. Fourth full-length, This Treason saw the band as a seven-piece unit pushing their sounds to new depths and heights whilst live, and often accompanied by the performance artists known as the Angry Teeth Freakshow, New Jacobin Club became renowned as not only one of Canada's but metal's most startling and exhilarating live acts. Across the years their reputation has continued to grow as the band shared stages with the likes of KMFDM, Voltaire, The Groovie Ghoulies, Nashville Pussy, and The Nekromantix amongst many. As mentioned it has been a fair gap between albums but Soldiers of The Mark shows the band has lost none of its potent visual and musical temptation but with a new line-up honed it into a more diverse and seductively predatory proposition.
Themed by the riveting premise that "a Turn-of-the-Century Gentleman's Hellfire Club holds meetings and conducts depraved rituals to help bring about the end of the world as described in the Book of Revelations", the album opens with The Mark. Instantly intrigue drapes over firm beats and a hazy glaze of guitar and keys which themselves hang over the imagination, coaxing thoughts to swiftly play with their tempting. It is a slow and strangely intimidating atmosphere initially but soon stirred up and twisted into a hungry charge of raw riffs and thumping rhythms led by the distinctive snarling vocal charm of The Horde. There is no escaping the tracks infectious primal bait or the emotive elegance of cello from The Luminous which strokes thoughts from within the striding persuasion of the song. Not for the last time on the album, a Misfits like breath flirts with ears but as a passing whisper immersed in the exotic imagination of the band, its hints pale against the bewitching theremin skills of Poison Candi and the dark emotive shadows cast by the cello. Driven by the stomping beats of drummer Rat King and further coloured by a punk tenacity bred by the guitar, the track is a compelling start to the album and immediate declaration that New Jacobin Club are back better than ever.
A classical stroke of guitar strings brings the following Parade of Innocents potently into ears and imagination, it's slightly Latin hue evolving into a magnetic mesh of sinew sculpted beats and reflective melodies which are soon absorbed in the drama laid by the keys of Mistress Nagini and the throaty bass lures of The Ruin. It is an enthralling start which expands into a mix of Type O Negative and The Damned to give some idea of the delicious presence of the song. As with any NJC track though every moment is just an individual turn in its journey and narrative, a fresh twist coming here through the vocal temptation of Poison Candi which seizes the centre stage. Musically the song turns and swings with sonic ingenuity and invention from all sides yet that slimmer feel and texture to the song talked of earlier is evident showing that the band's songwriting has again remarkably matured between releases.
Champagne Ivy brings fifties seeds to its gothic punk presence, its bass and cello croon casting shadows which are simultaneously lit by the swagger of the guitar and the band's vocals. Again it is just one aspect as heavy metal riffing teases ears within a theremin swoon and darkly stringed seduction, producing a Volbeat meets Mötley Crüe incitement but different again. Its masterful enticement is soon left in the shade by Angel MMXIV and even more so A Grey Day to Die. The first of the pair is led vocally by Poison Candi and also parades heavy metal flames this time on a short but pungent gothic horror punk canvas. It is raw and unfussy, pure rock 'n' roll to greedily devour before the bigger meal of its successor. The second of the two roars and threatens in one breath and then unleashes some of the catchiest gothic pop enticing you could wish for. King Rat punishes the senses with his venomous swings whilst riffs growl with every note as the bass prowls the senses but it is only matched and enhanced by the virulent chorus and its anthemic contagion musically and vocally. Imagine Calabrese and March Violets in league with The Creepshow and you get an idea of the addictive majesty.
From one pinnacle to another as Into the Fire steps up next, a gentle provocative caress of chords and the melancholic beauty of the cello warming thoughts straight away. It is a transfixing entrance which only grows as romantic melodies and expressive shadows grip the song and ears. Like a bridge to This Treason, the song of all upon Soldiers of The Mark draws on the resourceful gothic rock invention of previous albums whilst exploring a fascinating rock pop and progressive ideation.
The fiery sonic mystery of Garthim makes for the next compelling endeavour. Bringing a texture rather than narrative, vocals talk from a distance, submerged in the gripping and haunting instrumentation which spills menace and apocalyptic beauty. It is a track for the imagination to run with for varied exploits, every swerve of its almost hostile causticity and its persistent melodic intrigue setting up the appetite for the outstanding romp of My Smile. Folkish in its infectious charm and rockabilly like in its tenacious enterprise, the track bounces around like an offspring of The Horrorpops but tempers its revelry with the mesmeric emotional drama of the strings and gothic keys alongside the sheer inescapable seduction of the theremin.
The album ends as strikingly as it starts with firstly the exceptional Seal of Metatron igniting the passions. With sonic washes lapping senses from time to time, the song is an aggressive yet controlled storm of heavy rock and gothic passion which takes every opportunity to wrong foot and surprise ears and thoughts with its innovative exploration. Its scintillating proposition is backed up by the irresistible rock 'n' pop of Return to Eden. With the cello melodically sighing around the pop vocal delivery of Poison Candi, the song instantly seduces before firing up feet and emotions with its unstoppable contagion. The track is gloriously mischievous in tone and vivacity, reminding easily of The Rezillos, yet has a psychobilly edge which only pushes its drama to richer success.
Soldiers of The Mark is New Jacobin Club at a whole new level. The band is still one of gothic rock's finest protagonists but the band has now set down firm marks in rock 'n' roll a whole with rewarding recognition surely set to follow.
Soldiers of The Mark is available now digitally, on CD, and as on 12″ Vinyl with a hardcover companion book @ http://www.newjacobinclub.com/webstore
http://www.newjacobinclub.com
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The New Jacobin Club Interview
Recently here at The RingMaster Review we came across a band and album that stopped us in our tracks with its majestic darkness and vibrant energy, as well as a creativity and theatrical presence that captivated deeply. The band was Canadian shock rockers The New Jacobin Club and their album This Treason. The album, their music and jaw dropping live shows show a band with a perfect grasp on originality, visual impact and insatiable impressive metal sounds. We had the pleasure to find out more about the world of The New Jacobin Club thanks to the band agreeing to and taking time out to answer some questions.
Welcome to The RingMaster Review and thank you for taking time to let us ask you about all things The New Jacobin Club.
So The New Jacobin Club, where, when and why?
HRD (The Horde) – The group began as only a trio in 1995, the original members a combination of inexperienced instrumentalists or from other existing groups of contrasting styles. The New Jacobin Club was a response to the mid-90's holier-then-though attitude prevalent in Canada at the time within the underground punk and hardcore scene, bands signed to labels like Fat Records. We were politically incorrect and unafraid to incorporate those views into subjects of the occult, demonology and history. There was no scene for what we did. We created our own. We put up with a lot of hostility for being attention grabbers at a time when everyone was obsessed with the "message in the music" and how if you dressed for the stage and emphasized the performance you were somehow less of a musician.
We've always been based out of Saskatoon, Saskatchewan, which is the dead center of Western Canada. Probably the most land locked place in North America.
For all those still not had the pleasure could you introduce the members of the band?
HRD – We have a large group, we rarely get every member on stage every time we organize a series of concerts, but the line-up that was on stage throughout 2011 has been:
The Horde – guitar/vocals, The Swarm – bass/vocals, The Fury – guitar, Vitruvius – synth/vocals, Poison Candy – theremin/percussion/vocals, The Luminous – electric cello, Rat King – drums
We see some shuffling of duties at the end of certain shows – Rat King playing guitar, or The Luminous picking up the bass. Our programmer and former drummer Eclipse (who played on Retake the Throne & Wicked City) also sometimes joins us onstage.
When did the current line-up get together?
The Horde
HRD – After we finished 2 years promoting "Wicked City" in 2006-2007, we met up with 2 members of what would become the Angry Teeth in a short while. We put together a big carnival themed event with some other collaborators from a local burlesque group and realized we couldn't go back, and that this was going to be expected of us again and again.
The beginning of our relationship with the Angry Teeth in 2008 was the beginning of a new band line up as well. We gained Rat King, replacing our previous longtime drummer who had just moved to the UK and Vitruvius on synth. Luminous and Candy joined during the long process of recording This Treason (2009 – 2010), although both of them had been indirectly involved with the band before that.
The band has had quite a few changes in personnel over its fifteen odd years, has this been something that in hindsight has improved the bands diverse sound over the years?
HRD – New members have always provided the band with a new angle on the material. The songwriting core has been largely the same for 10 years, but the interpretation and delivery of the music has always stayed exciting and new. Everyone has brought something unique to the table that puts an imprint on the band, and becomes part of the sound and style.
RAT – Each new member brings with them something different which the band can use to expand on its main theme. So basically the band changes when its members change. With a band that's been around this long, "improvement" is relative. For a band to improve it has to evolve and continue to be a positive creative outlet for all involved. Each album and lineup has done this; therefore making every effort the band puts forth a positive addition to its continuing career.
Is losing a member something you can ever get used to, especially if they have been part of the band's life for a fair amount of time?
HRD – When it's someone who was responsible for a major musical component it can be frustrating. I now look forward to the mystery of what we'll be gaining rather than what we're losing. We've never had a member leave on bad terms, it's just that this group can be incredibly taxing to be a part of, and we all completely respect anyone's decision to retire. We all have responsibilities and careers outside of the group as well, sometimes they take us places the band can't go.
LUM- Every new member is a growth, but every loss is a tragedy. It's a unique part of the sound that won't be present in our future endeavors. Luckily, we console ourselves by the fact that we are truly a "club" of sorts and old members are never far away and usually willing to come back and moonlight from time to time.
How would you say The New Jacobin Club has evolved most predominantly over its existence, in sound and live?
HRD – The music angle is weird, I think it's the delivery that has evolved the most. The delivery is dependent on the diverse line up of musicians in the group. I tend to write songs with the group in mind, to play on everyone's strengths and make the most of our instrumentation. So what we're working on now will be sonically very different from what worked well with the line up we had for Wicked City, or the punky power trio that we were in the 1990's.
As for the live performance, I think it evolved hand in hand with the sound. As we grew as musicians and songwriters we began writing more and more elaborate parts. It forced us to concentrate more on our musicianship. We've all improved with age, and the comfort zone of our technical ability has widened, allowing us to put more emphasis and energy into the performance. You could say that as the music evolved, the side effect was a more commanding and confident live show.
How does the songwriting process work within the band?
LUM – It's definitely a collaborative approach. A majority of the ideas both musically and thematically are put forth by
The Luminous
our founding father, The Horde, but everything is laid out on the table in raw form and all of us get a chance to add our own unique spin on the idea and we collectively morph it into what you see on stage and hear in the recordings. And as our avid fans can attest, we are never "done" with an idea. Our records show how our changes in line up and personal taste have driven us to re-vamp older tunes into something that inevitably comes "alive again."
Your last album This Treason is where we came across you, a release that it has to be said left us open mouthed with awe and pleasure. How long was it in the making?
HRD – It started in late 2007 with one song – the title track. Then it turned into 4 songs that were linked together, for a possible EP. By summer 2009 we were performing half the album live on tour, and it helped the process a great deal. It was a year of writing and rehearsing and another year of recording and assembling the elaborate package that included the promo video, live show, documentary footage and concept artwork.
This Treason is an involved yet easy to digest concept album, can you tell us about its theme and inspiration?
HRD – In 2007 the remains of a man who had been hung, drawn and quartered were found in an English abbey graveyard. Speculation was that it was a portion of the mutilated body of Sir Hugh Despenser the Younger, executed for treason n the early 1300's. He was accused of sleeping with and manipulating King Edward II, "sowing discord" between the King and Queen. The story is so involved I don't even want to start. It's full of plotting, backstabbing and revenge, not a single character involved could be said to be any sort of hero, although we do make Hugh out to be a sort of sacrificial lamb for a world lost in its own wickedness.
Since 2007 there has been a lot of attention drawn to this enigmatic medieval villain. A fairly well received historical fiction novel was written about his family ("The Traitor's Wife" – Susan Higgenbotham), which I was only made aware of when our album was about to be released. A UK writer, Jules Frusher, is currently working on a book that focuses more on the man himself, and I have corresponded with her on several occasions since we were both eager to exchange opinions on the subject.
Was this the first album to be made this way or did Retake the Throne and Wicked City also have a theme?
HRD – Retake the Throne and Wicked City both had unifying themes. Retake the Throne was about the evils of ruling political bodies and the ignorance of the masses to their oppression. Victor Hugo's depiction of the urban masses in "Notre Dame de Paris" as well as the French revolution was the main sources of inspiration, but in no way did the album tell a story.
Wicked City was a little more of a concept album. It is about the western world as a theocracy, a ruling class using religion to excuse their brutalities and atrocities. We covered a lot of ground on that one, from the Russian Revolution to witch hunts in colonial America.
Is it different to write an album with a distinct connecting theme compared to one made up of unconnected songs, especially lyrically?
HRD – It didn't seem that different, it almost seemed natural. It was like having a story first, then fleshing out the script. When we decided on a whole concept album and not just a 4 song cycle, it progressed incredibly quickly. I laid down the storyline as a sort of song by song narrative with what lyrics already existed and made booklets for each band member so we could finish the complex soap-opera like tale as a group.
The album as it unveils its tracks feels like an aural play, or maybe theatre is the best term, is that how you look at it?
HRD – This Treason is a tale told from the point of view of different characters, each with their own story – making it more of a rock opera than just a concept album. In fact, the way the songs describe events slightly out of order is kind of like watching Pulp Fiction – the stories all cross each other's path but viewing them in chronological order would not make sense. We like to think that it is a larger story told episodically, which is how we treated it live, like a theatrical compilation of one person plays all tied together with a common background story.
The one description of your sound and band that is famously used is that you lie "Somewhere between the realms of mid-era Judas Priest in a straightforward rock/metal style and newer era Misfits vocally and visually." With a sound that is vibrant with much more than that in our view how would you describe yourselves?
HRD – That was from an American magazine, Metal Mania or Metal Maniacs, around the time "Retake the Throne" came out almost 10 years ago. It's probably time we stopped allowing ourselves to be described that way. I think the anthematic element in our songwriting and the way we deliver pop and rock sensibilities in a barbaric and colorful way is our signature. We have evolved far beyond "horror rock" to still easily describe ourselves that way.
LUM – We're a Pandora's box. Untold horror, ecstasy and wonder are found within and will manifest differently depending on who does the unleashing.
What are the personal influences that have made the biggest impact on yourselves as musicians and the music you create?
HRD – There's so much – it would be impossible to name any that I would consider a general influence on the band as a whole. Killing Joke is a big one for some of us; we even covered Love Like Blood live and on our 2008 Final Entertainment Show EP. Conceptually and musically I think they've been pretty important too. Canadian visionaries like Forbidden Dimension and Voivod are both also massively big influences in terms of inspiring our plans for a unified musical, visual and lyrical theme.
In addition to the traditional instrument set up there is the haunting and emotive sounds brought by the electric bass of Luminous and Poison Candy on the Theremin. Did the songs you were writing guide you in this direction or the decision to add them came first?
HRD – Luminous first joined us on stage in 2009 before we began recording. We had lots of orchestral arrangements planned for some songs and we wanted to see how having a live string instrument on stage would enhance that rather than just hear it through a synth or backing track. The theremin was originally written into the instrumental "Kronos Devours His Children," but then we found a couple other spots for it so we could justify having it on stage when we performed the album live. Candy also plays some baddass tambourine and provides some backing vocal harmonies.
This Treason also contains a DVD combining a live performance with interviews and backstage extras, do you feel this was important to in a way make a personal connection with fans, showing the band as people and something all bands should do at some point?
HRD – Yes, and also to give fans elsewhere on the planet the chance to be at one of our shows. It was also almost a necessity, we aren't just musicians in the studio, we are performers as well. We wanted to give people a live performance they could take home with them. I know a lot of bands are scared to do that sort of thing – to put their technical imperfections and personalities on display like that, but I think it does give the fans a sense of really having been there. I would hope that people watch it and not only think "I'd love to see this show in person" but also "I'd love to hang out with these weirdos." Some of our biggest fans have turned into good friends over the years.
Your shows are events, more than just simple gigs they are a full theatrical performance. One assumes from the beginning it was different, so how and when did the shows evolve into the full experience they are now?
HRD – The band had toyed with theatrical bits on stage as far back as 2003. Our first shows with extra theatrical performers in 2008 were not true collaborations, the sideshow and burlesque dancers performed separately and not with the band. It was summer 2009 that we came up with the first unified stage show – the "Cannibal Circus Roadshow", Rima and Firecrotch Jones call it a "psychodrama." As the band expanded as well as the membership of the Angry Teeth, bigger and more involved stage spectacles were added. We needed big stages with proper backstage areas to safely perform, so it was a pain in the ass to tour with. For our stage show to promote "This Treason" in 2010 we had a dangerous number of people on stage.
For shows as you said you expand with the addition of The Angry Teeth, can you tell us about them? They were a completely separate troupe before the band or evolved because of and with The New Jacobin Club?
TNJC with Angry Teeth
HRD – The Angry Teeth were a group that broke away from a larger act. They wanted to do more bizarre and theatrical things instead of just traditional sideshow tricks. They still do perform occasionally on their own.
How do you find first timers to your shows react with the combination of your music and energy being punctuated with the disturbing visuals of The Angry Teeth? How many leave in shock haha?
HRD – A surprising number of people that come to our concerts are there out of curiosity, and later tell us something like "that was WILD! When are you playing in town again?" And the coolest part is they are not there because they are fans of metal or goth or freakshows, they just came out because they heard it was a great show. I think the shock factor in what the Angry Teeth do lies in the reality of it. We have a saying that we like to remind people of – "Gwar is not real, we are" The machetes and swords are real. The syringes and sledgehammers are real. The costumes are real, the armor is real. The fire and torches and chains are real. And when someone bleeds, it's real. I think the audience picks up on this and they aren't cheering out of shock or awe, but in the same way you cheer on a fighter who refuses to stay down.
Watching the DVD that accompanied your album This Treason, the visuals the Angry Teeth bring onstage seem connected to the song that surrounds them, so do you all as one decide on what the girls bring to a gig at those points or do you trust and give their ideas full independent rein?
LUM – As can be imagined, there is no "standard" way that those girls do anything. They'll bring forth an idea that they're really excited about pursuing and we'll try to work it into our set or we'll express a visual that we want to convey and they'll devise a way to make it happen. It's always a work in progress making the different genres of art complement one another, but we really enjoy pushing the boundaries of "the experience." At the end of the day, we aim to entertain. That's what it's all about.
Do you change the live show from gig to gig or play the same show across a tour or series of gigs as with for example, around the release of This Treason?
HRD – Typically we prepare a stage show for a series of concerts, like a touring theatre production. The more elaborate ones are conceptual collaborations with the Angry Teeth that usually see some sort of disturbing or enigmatic story unfold with the music. The "Cannibal Circus Roadshow" tour 2009, "Acts of Treason" 2010 and "Moral Adventurers" in 2011 were like this. A few elaborate shows are only performed once, like the infamous "Ragdoll Tea Party" show we did in late 2009 some of which appears on the DVD included with This Treason.
Home city is Saskatoon, Saskatchewan, not known for its musical heritage around the world. How is it for music and how has it if at all, helped shape your music and direction?
HRD –In a smaller more secluded community you stick out that much more. I think it trained us to be unafraid of making a spectacle of ourselves. Groups from bigger cities have such a conservative attitude about what's cool and what's not. We have absolutely no inhibitions. I would say that's what Saskatoon gave us.
Our hometown did get some major press in Rolling Stone when the Sheepdogs (from Saskatoon) made the cover last year. They wrote an article on what Saskatoon was like and made it sound like a northern backwoods village full of drunks, prostitutes, hockey hooligans and really seedy bars with horrible music playing in them. Perhaps there are a few bits of truth in that, but the music and arts scene here is unbelievably vibrant. Bands from the bigger Canadian cities like Toronto and Vancouver often comment on how busy and diverse the scene is here despite our small size and population. Amigos Cantina, the club that we filmed "Inside the Cannibal Circus" at was named by the CBC (Canadian Broadcasting Council) as one of the 20 most important live venues in Canada.
With the size of Canada and vast distances between some cities how easy is it to expand beyond your home area through the country let alone into the world?
HRD – It's tough. It sucks. Sucks sucks sucks. We are a 5-6 hour drive away from any city that would be considered "big." Any band that tours Western Canada puts some serious mileage under their belts just to play a handful of shows. We have recently begun to be more aggressive with our online presence to balance that out.
You have shared stages with the likes of Nashville Pussy, Groovie Ghoulies, KMFDM, and VOLTAIRE, a distinct diversity of sounds. It is not a surprise your own diverse sounds fit such a range but how did the individual artists fans take to you?
HRD – Or did you mean how did our fans take to them? Haha…I'm kidding, sort of. The guitarist from Nashville Pussy is from our hometown; they're loud and obnoxious and breathe fire, so we fit in fine. Interestingly enough, the only time I've ever heard that we didn't fit well on a bill was with KMFDM. They're more techno-based, and we were actually playing in front of a sizeable audience who had never heard of us. We have several different species of fans – the punks, the metal dudes, the goths, the garage rockers, the artsy types; our appeal to all sorts of different people is what gives us our healthy draw.
From the band and all its public face, the world only knows about you as musicians and the band personas. How important is it to you to have that distinct image and privacy too, or is it 'merely' another part of the drama and theatrical power of The New Jacobin Club?
RAT – For me, it's an extension of the theatrical element of the band. I use it to separate my everyday self from the stage in order to achieve the best performance possible.
What has The New Jacobin Club got in store for 2012?
HRD – we'll take some time in spring to write new songs and promote our new EP "Left Behind" with some western Canadian tour dates during which we will also be trying out some new material on stage. We always tour with new material before we record it. There are plans for a sort of 15th anniversary compilation, probably containing some new tracks, but it is still in the early stages of conception.
Thank you so much for letting us into the world of The New Jacobin Club. It has been a pleasure.
Before you ending would you like to leave a last thought or comment?
HRD – It is more than a pleasure for us to talk with you. We value our fans outside of Canada immensely. In the digital age we can easily monitor our popularity outside our country, and the UK as well as continental Europe has given us a lot of encouraging support.
And lastly how about giving us something to intrigue about the people behind the personas that make up The New Jacobin Club?
HRD – We are a multi-discipline artistic endeavor. We embrace everything. Within our group we have a painter and art teacher, a radio personality, a film director, a dance instructor, music teachers, a freelance journalist, a post secondary math instructor, illusionists, and the obvious performance artists that you see with the Angry Teeth. Members of this band also participate in other groups that play country and bluegrass, synth pop, experimental post-rock and Renaissance music.
Read This Treason review @ https://ringmasterreviewintroduces.wordpress.com/2012/01/06/the-new-jacobin-club-this-treason/
Read The Angry Teeth Interview @ https://ringmasterreviewintroduces.wordpress.com/2012/02/06/interview-with-raunchy-rabies-of-the-angry-teeth-freakshow/
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1 Comment Posted in Interviews, Music Tagged Forbidden Dimension, goth, Gothic Metal, Groovie Ghoulies, Killing Joke, KMFDM, Left Behind, Love Like Blood, Metal, Nashville Pussy, punk, Retake the Throne, RingMaster Review, Rock, The Angry Teeth, The Horde, The New Jacobin Club, This Treason, Voivod, Voltaire, Wicked City
The New Jacobin Club – This Treason
Though This Treason from Canadian shock rockers The New Jacobin Club has been out for over a year, it and the band are new discoveries here at The RingMaster Review and because the find is so immensely enjoyable a review though late was an inevitable outcome. The first question was how on this internet connected earth it has taken until now for a band this good and formed in 1995 to capture these eagerly searching ears though the fact they have is all that matters.
Since its rise from the depths of its original conception in the dark creative minds of the original trio of which vocalist/guitarist The Horde remains, The New Jacobin Club have released four album and various EP's, cassette singles and contributions to compilations, the first official release by the trio coming in 1998. The debut self titled album arose in 2001 and was the first to have bassist/vocalist The Swarm within the band's dark ranks. Second album Retake the Throne was the moment the band really started to divert ears and eyes their way as college radio and international media began taking notice then in 2006 third album Wicked City and the single from it 'Creeping Flesh', pushed the band further out from their own home shadows as their undeniably eye catching live shows and wonderfully darkly intrusive sounds toyed with more and more senses. This Treason takes the band even further out into the masses with a wonderfully flamboyant theatrical wicked essence combined with impressive striking heavy intense sounds and senses treating dark gothic creativity.
Alongside The Horde and The Swarm the band consists of guitarist The Fury, Brother Vitruvius on keyboards, drummer Rat King, plus The Luminous and Poison Candy on cello and theremin respectively. Together they have created a gothic punk , rock metal veined tour de force concept album which takes the listener into its eager and black bloodied depths as it explores the relationship and events surrounding the true life and death of England's notorious warlord Sir Hugh Despense and his relationship with King Edward II, or as the band's website calls it 'A morality play set to music'.
Having read The New Jacobin Club being compared to a mix of Judas Priest and modern era Misfits there was an uncertainty as to what they would sound like and maybe a little fear too not being an enjoyer of classic heavy metal. There was thought s that maybe they would be a band bringing the overblown pomp and excess of 80's artists who over indulged with concepts and rock operas or maybe another Gwar type beast where they venture to close to ridiculous to win real credibility, though there might have been the warped corruption from the likes of Macabre to enjoy too. As the title track opened the album the theatrical grandeur was there, the welcoming soaring keys inviting with a flourish but then came a delicious grumbling bassline and gothic keys taunting the ear. One minute in here was one hooked, captured and trussed up victim to the merciless bombardment of pleasure feasting upon the senses. Tumbling riffs and dominant rhythms seize the ear as incisive hot guitars slither through and the suggestion of sweet insanity comes with the theremin intrusions. The track and subsequent songs have a little of everything and sounds from numerous sources but it is all distinctly The New Jacobin Club.
This introduction to the album and the tale to unfold could not be more satisfying and as subsequent tracks play and unveil the people and the events in the life of and leading to the death of our lead protagonist in the opener we are treated to an array of sounds, skill and pleasure. 'Private Hell' is a more heavy rock based track with Jerry Only like vocals, and gives reason for the often used comparison previously mentioned. The cello of The Luminous swarms and soars all over the track wonderfully and lifts it to even greater heights.
The musicianship of all is stunning as it offers up sounds and influences of bands like the two previously mentioned and often stated The Damned, Christian Death, Killing Joke, The Birthday Party and Maiden but others less expected spices oozed out too. 'Countess Scorned' offers up a taste of Wall Of Voodoo whilst the punk fuelled 'The Fall' is expanded with a heady mix of Asking Alexandria and Alien Sex Fiend, and throughout one is reminded at moments of bands like The Mission, Southern Death Cult and fellow gothic bands. The best track of all on the album 'Like Dogs' which brings an irresistible mix of psychobilly spawned rock with a blend of The Cramps, Calabrese and Danzig. A triumph that ignites the passions within and takes one on a primal dance around the length of its mighty display. All proof that This Treason offers up a mesmerising array of sounds and despite referencing many it is all uniquely The New Jacobin Club once given their inimitable touch.
There really is not anything negative to be found about the album, even the meandering 13 minute epic 'All Mourning Long' with its abyss spawned bedlam that eats away at the senses and throws torment and despair by the moat full at the listener is wonderfully effective despite its testing soundscape and alarmingly hypnotic caustic aural assault.
The album comes in a cd/DVD package with an included live performance that corrupts as it engages and shows the band as dominant and irresistible on stage as they are aurally from the studio, and why The New Jacobin Club has graced shared stages with the likes of KMFDM, Nashville Pussy, Groovie Ghoulies, Voltaire and Discover Channel's Guinea Pig show. Eventful, dramatic and most of all wonderful, everyone should have one.
1 Comment Posted in Album, Music Tagged Black Metal, Christian Death, Creeping Flesh, Discover Channel's Guinea Pig, Gothic, Gothic Metal, Groovie Ghoulies, Iron Maiden, Judas Priest, Killing Joke, KMFDM, Misfits, Nashville Pussy, punk, Retake the Throne, RingMaster Review, Rock, The Birthday Party, The Damned, The New Jacobin Club, This Treason, Voltaire, Wicked City