Voodoo Sex Cult – A Year And A Day

Voodoo Sex Cult Photo

Steamy, sweaty, and imposingly heavier than a stampede of overweight buffalo, the sound of US rockers Voodoo Sex Cult is one uncompromising rampage. It also as proven by the band’s debut album A Year And A Day, makes for one exhaustingly appetising and thrilling incitement for ears, body, and passions. From a potent but steady start, the release proceeds to expand and rumble with bullish tenacity and ferocious energy, emerging as one insatiably compelling and enjoyable brawl of intimidating rock ‘n’ roll. It is fair to say that the album is not bulging with striking originality or pushing boundaries but such its passionate devilry and arsenal of demanding rhythms, storming riffs, and fierce grooves, it is hardly an issue once inside its voracious enterprise. Providing a thick swamp of hard and southern rock entwined with similarly heavy doses of heavy metal and grunge, the Arizona quintet’s sound and album is simply a creatively salacious fury to greedily devour.

Announcing themselves as, “The Rev, the Preachers Son, The Redneck, The Castilian, and The Survivalist, five guys that share one common goal, one common passion; to create their own distinct sound of rock and roll, and share it with the world”, Voodoo Sex Cult from band name and bio alone makes for an intriguing proposition which their album swiftly backs up. Unleashing Cuttin Loose as their first riot on the album, the band flings robust riffs and imposing rhythms at ears from the off. The opener bustles into life with firm aggression but soon relaxes into a classic rock stroll driven by the punchy beats of Doyle Meredith and the great slightly grizzled tones of vocalist Royce Taghon. It is a potent start to the album but not one to ignite the passions, though certainly the craft and invention of guitarists Tim Hills and Peter Avalos captivates whilst the throaty bass endeavour of Chris Burgess raises a keen appetite. It is a safe way to open the album in many ways, setting down an appealing marker before pushing limits and imagination across the release.

The following Voodoo Rising emerges from a magnetic and restrained coaxing of guitar punctuated by dramatic rhythms. It is a slow and sultry entrance which easily catches the imagination ready for the exertion of energy and intensity which soon follows with a blues whisper in its air and sonic intrigue to its creative expression. The track is an easy-going yet forceful encounter continuing the firm and strong start of the album before making way for the similarly structured and flavoured Break It On Down. There is a distinct character to the heart of the song though, its gait and tone individual as vocals roar with craft and passion whilst grooves and riffs along with striking rhythms weave a mesh of heavyweight rock ‘n’ roll. There are few surprises on the songs to this point, but the riveting move into vocal and bass alone here is a tasty twist giving the track greater substance and persuasion.

From the more than decent 40 Days, the album hits a new lofty plateau starting with Down And Dirty, a track growing outward from a start of fiercely jabbing beats, throaty bass predation, and a slow wail of guitar. It is a menacing and VSCCOVERworking2gripping start which only accentuates its pressure and stature once riffs bulge alongside a southern bred groove and the bass delivers its own broody twang. Ridden by the increasingly enjoyable gravel toned vocals of Taghon, the track is an intensive smoulder of sultry heavy rock and predatory melodic expression, the first pinnacle of the album, though it is soon surpassed by Broken. Short but spicy grooves embrace ears from the start, their lure instantly matched and pushed further by the dark tones of Burgess’ bass and the similarly heavier delivery of Taghon. Like a mix of Clutch and Hellyeah with a touch of Black Tusk, the track growls and flirtatiously swerves with imposing intent and heated charm. It is an enthralling canvas which the band then turns inside out to reach even greater heights; a passage of unpredictable and startling invention seeing the track moving from a contagious stomp through a low guttural musical groan to a fiery and agitated climax merging in all the goodness the song started out on. It is a glorious proposition taking best on album honours.

Both the humid tone and energy of Fade Away and the intensive lure of Dead Season keep ears and emotions tightly involved, the first a crawling croon loaded with infectious low key melodies and stormy expression led by the varied roar of Taghon, and the second whilst moving with a similar gait, entwining dark and heavy provocation with raw grunge fuelled endeavour led by again impassioned vocals. Essences of Stone Temple Pilots make hints as the song prowls, blooms, and ruptures with attention gripping sonic enterprise and primal intensity. It is another mighty peak to the album with a seriously lingering potency that though not equalled by either Home or Legacy is emulated in their ability to leave a meaningful persuasion in their wake. The first of the pair bounces on a blend of blues and hard rock, with a just as healthy hint of funk and classic rock in its easy going rock ‘n’ roll revelry whilst its successor returns to the dark-side in sonic provocation and bass antagonism under a flame of acidic grooving and dusty vocals. Both songs feed the greedy appetite ignited earlier by the album whilst emotions are by this point bloated with satisfaction.

   A Year And A Day uncages further major highlights in its home stretch, firstly with the brilliant Vsc-17. Riffs and bass stalking straight away chews upon and ignites the imagination whilst the crisp beats of Meredith sculpts enticing bait ready for the increasingly addictive invention coursing through the song. It is a beast of an incitement and temptation, the album’s most unique offering revealing more of the potency and expressive songwriting within the band.

Closing with the voraciously infectious and anthemically aggressive Sinking Slowly and finally the inimitable provocation of Black Jesus, with blistering grooves and searing melodies across its cantankerous stride menacingly tantalising, A Year And A Day is a brute of a treat and unrelentingly thrilling. Voodoo Sex Cult has not cast a spell of originality and major surprises with their debut but certainly has unleashed a tempestuous hex of riffs and grooves to feast heartily and persistently upon, a more than good enough reason to embrace their first outburst.

A Year And A Day is available now @ http://voodoosexcult.com/shop/

http://voodoosexcult.com/

RingMaster 21/10/2014

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Wayne Hussey – Songs Of Candlelight And Razorblades

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Since coming across Wayne Hussey with Dead Or Alive, it is fair to say his musical journey has persistently left impacting and lingering marks on our personal musical travelogue, and of rock music itself. Whether it has been the dark compelling beginning through to the pop agitated revelry of the Pete Burns led band, the caustically elegant gothic drama of Sisters Of Mercy, or the melodic adventure and emotive beauty of The Mission, he has been there inciting and inspiring, like for so many, our passions. His adventures have not worked for all, drawing mixed responses at times towards his creativity, but it is fair to say that for us, especially with the last of those bands, he has been a distinctive musical presence with his various band-mates to find constant joy in.

So is was with relish and intrigue that we approached his new solo album Songs Of Candlelight And Razorblades, thirty years plus after first striking a bond with his creative presence. To be fair it is hard to go into a Wayne Hussey involved release without some expectations, and maybe hopes of hearing essences of former glories. It was the same with the new album and those wishes were pleasingly fed, much because of the unique vocals of the man, but what also emerged was an album which unveiled a glorious landscape of diverse melodic and emotive adventure with an intimacy, which as so many of the songs in his past, found a personal connection. Already covered in acclaim for The Mission’s last album The Brightest Light of last year, Mr Hussey is due another heavy dose of eager praise and recognition for what is an album of the year contender.

The successor to his previous album Bare, a release seeing Hussey present various Mission songs and other covers, Songs Of Candlelight & Razorblades is the personal creative craft and heart of the Sao Paulo based musician on display alone for arguably the first time. It makes for a riveting proposition, one merging impassioned folk, resonating melodic rock, and emotional shadows into a startling and thrilling portrait of an artist still discovering and exploring new corners and depths. Released on his own Eyes Wide Shut Recordings, the crowd funded album opens with Madam G, a noir kissed slice of melancholic yet radiant melodic moodiness. The gentle caress of its sultry embrace is a weave of 71XaDXdPBKL._SL1500_expression soaked strings and poetic piano around the welcomingly familiar tones of Hussey. It is a bold way to open the release, not a punchy and openly infectious lure as most albums would begin with, but a jazz kissed smouldering which slowly and successfully draws the imagination right into the album.

The following Nothing Left Between Us opens on a bloom of folk tinged guitar melodies and the gravelled tones of Hussey. It is a warm and inviting beginning soon broadening with backing harmonies and a deliciously throaty bassline, light and dark essences entwining for a riveting and reserved but keen stroll which increases in passion and intensity the deeper into the song’s vibrant croon it goes. Its catchy potency is matched by the more exotic breath of JK Angel of Death (1928-2011), electro jabs linking up with sonic enterprise for its own individual evocative call of sound and expression. As its predecessor, the track washes the senses in a provocative climate of melodic colour enriched with emotive hues, further confirming that in writing and vocal strength alone Hussey has lost none of his compelling strengths.

Both Swan Song (Lament) and You Are Not Alone keep the album’s fine persuasion soaring, the first another slice of impassioned balladry aligned to a gentle catchiness brought by creative hooks and vocal prowess, whilst its successor explores the kind of melodic twang and tenacious imagination which has never been far from the pinnacles within the perpetual success of The Mission. It is not a song which fully erupts into areas hinted at across its bewitching presence, but certainly leaves plenty for thoughts and emotions to feed greedily upon before Wasting Away [Reprise] braces ears. With Hussey finding an almost Bowie like tone initially to his vocals within a tender caress of the music, it is a track which does not seize the imagination like those before but worms under the skin for a just as lingering enjoyment.

The album hits its most impressive peak at this point, the pungent charm and emotional elegance of The Bouquets and the Bows making the first roaring temptation. From another warm and reserved stroking of ears and imagination, the track increasingly grows and brews up a climactic passion and energy to cast a finale which simultaneously burns and seduces the senses, bass and keys especially potent in the latter of the two sides alongside the vocals. Its success is soon surpassed by the scintillating Wither on the Vine, the best track on the album. Straight away it shimmers with a melodic rock resonance which in turn is veined with a quite delicious sonic hook coursing with irresistible melodic blood. Again it is hard to ignore strong flavouring of The Mission but also there are elements sparking thoughts of Modern English, both rich spices accentuating the ridiculously infectious smile and magnetic invention of the track. It is prime Wayne Hussey songwriting and ingenuity, and quite outstanding.

   No Earthly Cure is not backward in igniting the passions either, the song a summery canvas which blooms and flourishes in voice and enticing harmonies to increasingly involve and spark the imagination. Its melodic scenery is enthralling, an electronic shimmering radiating through the expansive colour of melodic and harmonic beauty. The song again walks the highest plateau of the album, a level not quite emulated by ‘Til the End of Time but matched by Devil’s Kind. The first almost marches with folk bred festivity and endearing melodic invocation whilst the second brings caustic country rock breath to its captivating and raw again folk seeded persuasion. With thumping beats poking throughout the contagious devilry, the track is rock ‘n’ roll in its barest dressing and rigorously thrilling.

From the orchestral croon and lure of When I Drift Too Far from Shore, a song which soothes and seduces ears with a relatively subdued yet open theatrical appetite, the album begins its conclusion by provocatively exploring classical and dramatic textures through the gentle tempest of Next Station before ending on the challenging intrigue of Aporia. The first two of the trio only confirm the still impressing strength and heart bred expression of Hussey’s voice, as well as his stirring songwriting, whilst the closer sees him providing a spoken narrative across a haunting and engrossing flight of sonic exploration. Though the slower suasion of all three songs cannot rival what came before them, they still combine to ensure The Songs Of Candlelight & Razorblades ends with a memorable and invigorating conclusion.

It is probably right to assume that fans of Hussey and The Mission will find a swifter and easier impassioned connection with the album, but that does not detract from the fact that The Songs Of Candlelight & Razorblades is a breath-taking and stunning release. Listening to it you also feel that Wayne Hussey has only scratched the surface of his individual adventure which only increases the hunger for more.

The Songs Of Candlelight & Razorblades is available via Eyes Wide Shut Recordings now.

https://www.facebook.com/themissionuk

RingMaster 20/10/2014

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WITCHRIDER move ‘Unmountable Stairs’, out 3rd Nov via Fuzzorama Records‏

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WITCHRIDER DEBUT ALBUM AND EUROPEAN TOUR ANNOUNCED!

Fast rising Euro stone rocksters ‘Witchrider’ release ‘Unmountable Stairs’ on Monday 3rd November through Fuzzorama Records/Code7/PHD, and tour throughout Europe with Truckfighters.

When listening to Witchrider, you cannot help but be drawn in by their magnetism. They have a haunting beauty that proves to engulf and ignite. As frontman Daniel Dorninger says, “the thing about making music is there are no boundaries. It’s like a spirit of emotions that eventually passes through your body…you never know what you’re gonna’ end up with”.

Formed in 2012 and hailing from Graz, Austria, Portsmouth, Witchrider sport a mutual love for the quirky riffage of heavyweights QOTSA and Eagles Of Death Metal, as well as affection for the dark elements of Soundgarden. Siphoning fuel from these powerhouses, Witchrider offer a genuinely refreshing take on their own brand of stripped down, fuzzed up alternative rock.

Living and breathing their music is crucial to the four-piece, and as such, they are constantly writing and honing their craft. “Being able to work on music all the time is essential for all of us. That’s why we record most of our stuff at home if we can. There’s even a freakin’ drum kit next to my bed!” states drummer Michael Hirschmugl.

Although the songs work with each other as a collective piece of work, Witchrider’s music is diverse and has an array of influences. “I always found musical style not really that important. What counts the most is whether you can identify yourself with the music or not. I know I can and I am happy about every person who can as well. I think that’s what makes music ‘cool'”, says Hans-Peter.

As well as basking in the writing process, the band are supremely dedicated to playing live and fans will have ample opportunity to see the quintet as they hit the road this autumn supporting label mates ‘Truckfighters’. For a complete list of all European shows, check out http://www.facebook.com/witchriderband

In early 2014, Witchrider signed to Truckfighter’s Fuzzorama Records and they now release their new album ‘Unmountable Stairs’ on Monday 3rd November. With eleven killer cuts of low-strung scuzzy alt-rock, the record contorts and burrows itself deep into your skull. Look out for new single ‘I’m Outta Breath’, and don’t miss the band on tour throughout October and November.

http://www.witchrider.com http://www.facebook.com/witchriderband

https://twitter.com/Witchriderband

WITCHRIDER LIVE (as main support to Truckfighters):Nov 10 – Brudenell LEEDS;
Nov 11 – Sound Control MANCHESTER; Nov 12 – King Tuts Wah Wah Hut GLASGOW;
Nov 13 – The Basement NOTTINGHAM; Nov 14 – O2 Academy Islington LONDON; Nov
15 Hard Rock Hell – PWLLHELI; Nov 16 – Oobleck BIRMINGHAM.

DIE NO MORE unleash their ‘Elected Evil’, on 3rd November via Rocksector Records‏

Die No More Online Promo Shot
ASCENDING BRIT METAL CREW DIE NO MORE RELEASE DEBUT ALBUM

UK metallers ‘DIE NO MORE’ have just signed to Rocksector Records and they unleash their debut album ‘Elected Evil’ worldwide on Monday 3rd November, through all good stores.

Bursting out of Penrith, Cumbria, UK newcomers Die No More merge together a formidable sound which lifts from the Bay Area Thrash metal scene and fuses elements of such intensity they call to mind legendary British bands such as Iron Maiden, Judas Priest and Saxon. Born in 2011 and consisting of four friends who had, and still have, the same passion for creating modern metal that also acknowledges classic influences, Die No More’s sound is heavy, yet melodic, and it grabs a hold of you with its jack hammer guitar riffs and frenetic solos. While reminiscent of the greats, they bring a fresh and hugely enjoyable slab of Thrash Metal to a young audience.

The band’s rise has been progressive and certainly productive. Last September they unleashed their debut EP ‘Blueprint’ which secured wide praise throughout the metal underground. The record also gained the attention of Rocksector Records who swiftly signed the band to their roster. The quartet continued to successfully hit the live circuit before heading back into Axis Studios to work again with revered producer Matt Elllis (Black Spiders, Absolva and Massive Wagons) for their soon to be released debut album ‘Elected Evil’. Yet again, the band have pulled it out of the bag. The album is rammed with eight beefy metal cuts, from their new single ‘Dark World’, which hammers at your eardrums with true grit and conviction, to the dynamic and driving ‘Absentia’. ‘One In The Chamber’ further showcases the foursome’s craft and guile. Now with European dates and a UK tour confirmed to support the album, the band are destined to break the UK metal scene.

- DIE NO MORE RELEASE ‘ELECTED EVIL’ WORLDWIDE ON MONDAY 3rd NOVEMBER
THROUGH ROCKSECTOR RECORDS / CODE 7 MUSIC AND ALL DIGITAL STORES -

www.facebook.com/DieNoMore

Late Cambrian – Golden Time

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Our introduction to US indie rock band Late Cambrian came with their Social Season EP and became a lustful attraction through second album Peach, a release offering a thrilling dance of vibrant personality with matching sounds and imagination. It was an encounter of at times stunning brilliance within a constantly refreshing and warm temptation which stirred up the passions within seconds of contact. Now the band returns with its successor Golden Time, a release bred from the same eclectic invention and making a potent first impression, but working with a slower more sultry seduction and smouldering pop vivacity reaches the same captivating heights. The album reveals another leap in songwriting and sound maturity without relinquishing the bands almost mischievous use of hooks and melodic grooves. It takes its time to reveal all its depths but Golden Time emerges as another irresistible proposition from the Brooklyn quartet.

Late Cambrian has continued to make impressive marks from debut album The Last Concert released in 2011, onwards. Their Social Season EP of the following year raised the bar and bred one of their most successful and greedily devoured songs to date, Ryan Gosling. It was with Peach though that John N Wlaysewski (lead vocals, guitars, synth, percussion), Nunzio Moudatsos (bass, backing vocals), and Olive ‘O’ Hui (vocals, synth) sparked a much stronger and global spotlight. Now with the addition of drummer Alex to its line-up, the band offers a new tantalising treat with Golden Time. The band has often been compared to Wheatus, who Late Cambrian are touring the UK and Europe with as this review is posted, but the new album shows a unique and distinctive bloom to its summery sound and presence, which flourishes in that maturity spoken off earlier.

The PledgeMusic funded release opens with an immediately enthralling and virulently infectious Throwing Shade. As soon as guitar stabs, with a tone quite distinctive to the band, crosses ears there is a warm glow in emotions and imagination bred from past experiences with Late Cambrian’s invention. There is the quirky manner and enterprise which fuelled the last album on immediate show but also a melodic elegance and relish which provides new scenery to indulge in. The welcoming and harmonically bracing vocals of Wlaysewski backed by Moudatsos and O, embrace like an old friend but again with a new hue to their enterprise and stature. It is a thrilling entrance which the song reinforces across its length with a transfixing wash of radiant keys and punchy rhythms, but it is the Steely Dan like caress, vocally and musically, which steals the deal.

The following title track is no less compelling and invigorating. Electronic pulses lead to a coaxing guitar twang, which in turn moves into a bold stride of crisp rhythms across rich and magnetic melodies. The song’s title fits the sound Golden Time album Artworkwithin it perfectly, the duet of vocals between Wlaysewski and O as seductive and bright as the feisty pop melodies dancing around them. Again there is a contagion to the song which is inescapable for ears and an energy enslaving feet but it is its melodic swing that ignites another hungry urge in an already keen appetite.

Illamasqua swiftly installs its insatiable persuasion next, rhythms and vocals the prime lure initially, before the song slips into a tenacious stride of jabbing beats and lively yet sultry keys. As with many songs on the album, there is an instant familiar breath and touch to it which by the close you realise is simply from the band having their own distinct sound and presence. Also noticeable is that the song hints it has a fire to expel but instead remains in its enjoyable smouldering. This happens a few times across Golden Times and though at times you wonder how things would go if the band had ignited that extra mystery spark, the album flourishes in its inventively controlled and imaginative calm.

Both Game Show and Now keep the creative and appealing flames in ears and emotions sizzling. The first is a gentle canter of a song with potent and varied vocals against eclectic melodies and unpredictable endeavour, all flirting around a deliciously throaty bassline, whilst the second flows with a slow seducing of mellow yet vivacious vocals within a web of sharp hooks aligned to wispy blues kissed melodies. Though neither quite grips the heights of certainly the opening pair of tracks, both shine with a blaze of charm and bold imagination before making way for the thrilling romp of Objects May Appear. Big riffs and beats dance with ears straight away, their tango irresistible and only enhanced with the joining of similarly jaunty vocals from the band in turn. There is no escape for body, voice, and emotions to the album’s anthemic lure, the track a beguiling and fascinating stomp taking best song honours.

DYBIL with its crystaline melodies alongside riveting vocals and harmonies, provides a powerful romance for ears and senses to immerse in and passions to grow for whilst the following acoustic hug of the emotive Montauk simply whisks the imagination off on a seductive waltz to leave satisfaction brimming. Both reveal more of the evolution in, and growth of, enterprise and songwriting within the band before Shiny Cars brings the album to a healthy close. The outstanding final song has a thick and heavy resonance absent from much of what came before which again only offers another enjoyable shade to the album, whilst it’s gentler but lively vocals and melodic adventure only declares that this is a band coming of age.

There is no go for the jugular stand-out on Golden Time, no jaw dropper like Ryan Gosling or Wolf, but every track has a body and heart which outshines plenty of Late Cambrian’s impressive catalogue and combine for the band’s finest moment yet. For beautifully sculpted and dramatically radiant rock pop it is hard to think of many better offerings this year than Golden Times.

Golden Time will be available in November, for more details and remaining dates on their tour with Wheatus and  MC Frontalot go to http://www.latecambrian.com/

https://www.facebook.com/LateCambrian

RingMaster 17/10/2014

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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Target: Renegades – [Press Start]

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Heavy, imposing, and rigorously compelling, [Press Start] the debut album from UK rockers Target: Renegades, may not be a ground-breaking offering but it is a release demanding attention and inspiring perpetual returns to its muscular arms. Everything about it snarls and confronts, but with rugged charm and passionate intensity which turns familiarity into a raw asset, the album is a potent and riveting declaration of the accomplished craft and rich potential within its creators.

Hailing from the North-West of England, Target: Renegades has been earning strong attention and acclaim with their ferocious hard rock bred sound, 2012 seeing them voted by music fans as the Unsigned Revolutions Award winners. Alongside the release of their debut release, the Corruption For Beginners EP and the band’s stature as an impressive live proposition, which has seen them play with the likes of The Vibrators and I Am Giant, it has been a powerful emergence which [Press Start] only reinforces and pushes to another level. Produced by Daniel Lovett-Horn of another of the UK’s best formidable underground talents, Promethium, [Press Start] hits hard and with ferocious relish from the start , showing the quartet of vocalist Adam Hulse, guitarist Daniel Fide, and bassist Jack Hamnett, alongside drummer Steven Erskine who has since left to be replaced by Matt, as a thoroughly masterful and thrilling incitement.

The album opens with Once Was Strength and an initial web of sonic enticement from the guitars. It is an imagination awakening start which intrigues without setting a fire, though the addition of a dark throated bassline and crisp percussion certainly enlivens the lure. A great roughly touching groove soon ignites infectiousness in the song, egged on by the great abrasing and potent tones of Hulse, whilst a heavy swagger is soon in charge as the encounter increases its impressive persuasion. Rhythms badger ears with the same composed relish as elsewhere throughout and though it lacks a final spark to explode into an outright storm, the track is an exciting and captivating opening to the album.

The following I’m Not Emotional is more of the same but with an openly distinct character. Contagious and clad in intimidating sinews, the track strides with imposing antagonism and creative tenacity to push the release up another step 1011910_473542209405259_773939138_nright away. Vocally Hulse again impresses whilst rhythms dangle addictive bait before ears, it all glazed with a sonic mist and causticity woven skilfully by Fide. The bass of Hamnett almost stalks everything around it, again its heavy grizzle of a tone magnetic within the sonic smog. The track is riveting and makes a raw tempest to which the following melodic beauty of emotive Wounded offers a superb contrast and companion. Showing more of the vocal depth of Hulse and creative potency of the band, the song plays, as its predecessor in many ways, like a mix of nineties band Skyscraper and Pearl Jam. It is a tantalising and bewitching mix of power balladry and raging passion, which with the last song sets the pinnacle of the album.

Oro provides a swift and muscular kick spawned from scarring riffs and menace drenched rhythms whilst vocally Hulse whips up an anthemic dirt ball of confrontation and antagonism. It is a great addictive track continuing the lofty plateau of the album, and a riot you can only imagine whipping up live audiences in an eager frenzy. Its hostile stomp makes way for the similarly intensive but more restrained Vulture, another song employing recognisable essences but turning them into a flavoursome spice within the band’s own honest and accomplished recipe. Once more a grungy infusion makes its potency known to add further flavour, though ultimately the enjoyable encounter does not manage to rival certainly the trio of excellent triumphs before it, nor the insatiable rampage of These Eyes Judge which follows. Storming ears with fiery riffs and rapier like beats the track roars and charges with merciless intent across its length, merging this rabidity with more restrained moments which lack the spirit and fire of the rest of the nevertheless gripping encounter but certainly does its potency no harm at all.

Its imaginative and stirring finale leaves an enthralling enticement which is immediately taken up by Say Goodnight and its opening dark roaming bass shadows and spicy sonic weave of guitar. The final track of the album stalks ears and thoughts with its persistent heavy footed and evocatively intensive presence, providing an atmospheric landscape unafraid to visit elegant and melodic embraces which in turn explore rawer and more impassioned blazes of adventure and sonic bluster. It is a glorious end to the alum, its most adventurous and sublimely provocative offering leaving the listener basking in the potential it alone offers for the band.

[Press Start] is a striking and exciting debut from a band you can only see growing stronger and more boldly inventive as they evolve and explore. Target: Renegades is the name to watch out for, one as it is easy to assume we will be hearing plenty more of ahead.

[Press Start] is available now digitally and on CD @ https://itunes.apple.com/gb/album/press-start/id890500862 and http://www.targetrenegades.bigcartel.com/product/press-start-album-cd respectively

http://www.targetrenegades.co.uk

RingMaster 17/10/2104

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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