Alex Von Z – Implicate Order/Life’s Addiction EP

Showing two sides of and the extensive diversity within his sound,  Alex Von Z is unleashing a gem of an EP stroke album which is as accomplished and incendiary to the passions as you could wish from any release. Combining the four track  Implicate Order EP and the three track single Life’s Addiction, which first made their appearances in October and December respectively last year, the release is a thrilling and impressive blend of melodic rock and aggressive metal shaped rock n roll.

Alex Von Z (Alex Seleznov) comes from Aurora, Colorado and has spent years investigating and discovering his spiritual and musical progression resulting in the two releases which now are combined into one exhilarating package. Varied and exuberant with a craft to his musicianship and songwriting which is irresistible, Alex combines multiples flavours with stated influences coming from the likes of 3 Doors Down, Eddie Vedder, John Lennon, Blind Melon, Collective Soul, Chris Cornell, Counting Crows, Billy Joel, Matisyahu, Buckcherry, Tesla, System of A Down, and many more. The result is songs which impact musically and lyrically, music which rather than make demands requests and invites passionate union with a presence and warm touch so easy to greedily devour, whether it is offering a melodically soaked seduction or holding a more caustic and aggressive stance.

The Implicate Order part of the release is a gentler companion to its partner but no less impressive, the songs a mix of acoustically led and melodically persuasive pop rock, for want of a better term. With tracks taken from the upcoming album of the same name, it lights up the senses with contagious recruitments for voice, senses, and passions.  Opening track Drawn starts with shimmering sonics before immediately opening its melodic arms to embrace in an acoustic cored smouldering piece of melodic elegance. The clean tones of Alex add to the warm ambience and by the time the first run of the chorus comes in the song has enlisted gleeful participation and addicted attention. As it stretches its stride with ardour seizing melodic flames and classic rock whispers expanding the strength and lure of the song, it is impossible not to be wholly enamoured with the enterprising treat on offer and anticipation for the songs to follow heightened.

What It Should Be steps up next with a more ballad like breath though there is still a underlying keenness almost urgency to excite the listener, something it does with ease. The temptation of the keys and again classic rock toned guitar reaps and gives further reward from the song whilst its smooth and compelling again is an easy consumption increasing the already brewed hunger for the release. The track does not quite reach the pinnacle of its predecessor but still makes a very strong declaration as does the excellent Chocolate Covered Karma, a rock n roll riot of invention which has loud whispers of a Buckcherry or Motley Crue to it. Like the others even with its sturdier swagger, the track is virulently infectious and stirs the passions with the ear catching guitar craft from Alex which spirals within the rampaging eagerness of the sounds.  All three songs have a familiarity to them which enforces their tempting hook upon the emotions and senses, but a recognisable element which brings the listener into the heart of the pieces like old friends enjoying new escapades. Completed by the full version of Drawn, a track which it is impossible to tire of whatever its length, it is a richly enjoyable and impressive first part.

The Life’s Addiction portion of the release, featuring songs taken from the Life’s Addiction album, reach into the harder rock heart and musically imposing side of Alex’s songwriting, and quite simply leaves the listener breathless. The title track of this section instantly lets its riffs gnaw on the senses whilst harsher flames of guitar and rhythmic intimidation seize their moments with strength. The vocals are still the impressive clean smooth style which transfers into the more imposing arena with accomplished ease whilst imagination is rife within the song, arguably more so here than in the mellower tracks before. Guitar invention and its finely crafted delivery is almost siren like in its pull and bewitching magnetism within the song, and the overall attack stirring and rampant with a slight wantonness to its inducement. Once finished with the emotions the song passes over to the stunning Rise and Fall, a track pulling progressive rock and classic metal into a dazzling tempest of crafted intensity and explosive heavy rock hunger. The most inventive and imaginative song of the whole release with striking musicianship to match, it swaps some of the infectiousness of earlier songs for a potent weave of thought grabbing brilliance with equal impact in its distinct stance.

Completed by What About Me, another outstanding burst of hard rock with a carnivorous greed to its energy and play, the whole package is a sensational introduction to an artist which blends artistic craft and imagination into sounds and songs which you want to hear and hear constantly, their epidemic like hold on the passions as intense as the invention breeding them. An outstanding release from a fantastic artist, enough said.

http://www.alexvonz.com

https://www.facebook.com/AlexVonzmusic

9/10

RingMaster 20/04/2013

Copyright RingMaster: MyFreeCopyright

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Velvet Star: All Or Nothing

If All Or Nothing the new EP from UK rockers Velvet Star is like for us your first introduction to the band then hold tight for one high energy heart bursting ride of pure rock n roll. It is an adrenaline rush to leave one breathless and exhilarated. Whether the release offers anything openly new is arguable but it really does not matter when the songs making up the EP are so deeply satisfying and invigorating.

The quartet from Yorkshire began in 2007 with brothers Danny (vocals) and Corey(bass) Jones. The following years saw plenty of line-up changes as well as their well received debut album In The Face Of Vanity through Rocksector Records. Featuring on the cover CD of Classic Rock as well as playing across the UK alongside the likes of Faster Pussycat, The Treatment, Star Rats, GUN, and Vains of Jenna to name a few, has also marked the rise of the band to date, something the new release will surely take to greater places.

Spring of this year saw another change with the addition of guitarists Mewsy (Ex SilverJet) and Robbie G (Ex Slash Vegas) to the band alongside the brothers and drummer Ginna, as Velvet Star set in motion the beginning of All or Nothing. Recorded alongside Matt Elliss (Black Spiders), the EP finds the band returning bigger, mightier, and with an increased determination and passion, the songs themselves the open proof.

The release opens the riotous fun with Bring It On, a thumping attitude driven feast of snarling bass riffs and scything guitar strikes. An immediate bruising friend to take on all comers, the track has the pulse racing and militancy flaring from its combative energy and fiery melodic guitar streaks of sound. With muscles bulging and chest fully extended, the infectious rampage just ignites the passions in a storm of insatiable and rewarding pure rock n roll, something the very best releases always manage to do.

From such an impressive and triumphant start things actually get even better, the release finding elevated plateaus track after track. The following Crash & Burn is a greedy heavy footed gem, a blistering stomp sounding like a mix of Buckcherry, Dope, and Marilyn Mansion wrapped in a healthy piece of Trucker Diablo aggressive energy.  It has a slower swagger than the opener but a scorching groove which captivates the imagination with wanton ease. If listening to the time bomb of contagion your toes, feet, limbs, and heart are not in motion with its stroll… then call the paramedics, you may be at deaths door, such its irresistible lure.

It is hard to find any flaw with the songs or release, nor the inventive songwriting and skilled delivery, other than there is only four songs, greed taking over as the EP boils the senses persistently. Glad You’ve Gone is a great blues soaked slab of rock majesty, the over catchy chorus and magnificent guitar work from Mewsy and Robbie G manna from rock heaven whilst the vocals just glow and the rhythms seize and lift passions higher .

The closing Overrated without doubt takes top honours, the punk n roll rampage an unstoppable juggernaut of feisty intent and breathtaking energy. Impossibly infectious, the track takes full control of voice and body let alone passion as it refuses to leave until you are joining in with its unbridled enthusiasm and siren heart. Midway through a totally unexpected break into a quite quirky moment which one would expect from a Faith No More, bursts free. It appears from nowhere and departs just as simply but works wonderfully as the mischief of the band leaves a final wink.

All Or Nothing is simply brilliant and Velvet Star one of the great new pleasures for The RingMaster Review this year, make them one of yours too is our only advice.

www.facebook.com/velvetstarband

RingMaster 25/10/2012

Copyright RingMaster: MyFreeCopyright

Dead City Ruins: Midnight Killer

Offering something insatiably energetic and imaginative as well as eagerly teasing the debut album from Dead City Ruins is one unexpected and impressive pleasure. It jumps all over the ear with a diversity and adventure which is refreshing and leaves one grinning ear to ear with satisfaction. Midnight Killer does not kick down any doors leading to new corridors of invention for rock n roll but it is certainly an album which is as enjoyable and invigorating as any other rock release this year and easily more impressive than most.

Formed in London in 2007, the now Melbourne based band infuse in to their core rock sound flourishing veins of classic metal, punk, and blues brought with a stoner and grunge breath. It is a brew which welcomingly leaves its eager mark long after departure to inflame an enthusiasm to constantly return. Sine their beginning the band took no time in drawing a respectful and consistently growing attention through live shows and their first EP Lost In London. 2010 though saw the band feel the need to search for a fresh and new direction which led them to move to Australia. Soon the line-up of vocalist Jake Wiffen, guitarists Tommy Teabag and Sean Blanchard, bassist Mick Quee, and Drewsy on drums came together and cylinders were firing on full high octane as the quintet ignited the likes of Australia, Dubai, England with their greedy rock n roll. Fifty plus gigs across eleven different countries saw Dead City Ruins share stages with the likes of Veins Of Jenna, Faster Pussycat, and Wraith to increasing acclaim which Midnight Killer and upcoming shows with Wolfmother, Gojira, and Mastodon can only accelerate as the band enslaves many more hearts.

Released 23^rd July, the album did not initially ignite the fullest enthusiasm due to artwork which does not do justice to the quality within and an opening song which whilst strong and pleasing did not really unveil the full power and inventive engagement of the band. Opener Where You Gonna Run is fairly formulaic as a rock song but presented with an undeniable skill and energy which does only grabs attention. The track is an eager mix of Buckcherry and Wasted Sinners forged to a classic rock body and whilst it did not exactly light any fires it gives enough to keep one keen especially with some fine guitar work to dazzle the ear.

The following Damn My Eyes raises the temperature with its infectious and driving energy skewered with strong vocals from Tommy and the growling bass of Mick, whose play is the greatest lure from a multitude of irresistible beckonings across the album. With its bluesy air handing onto the scuzzy energy of My Lai Massacre the release is already a notable array of well crafted and blended flavours. Off of a pulsating and tingling electrified presence from guitar and bass the third song on the release is an exploratory handling of catchy invigorating riffs and rhythms punctuated with continually agreeable vocals and air blistering guitar imagination. The track has a smooth organic feel through all the manipulations and conjuring before the ear whilst the lyrics not exactly cutting offer a direct and open view.

The moment the heart was truly captured came as the title track takes its place before the ear, though it will be individual to all. From its opening incendiary guitar exploits the song steps into a hypnotic shadowed side street of glorious prowling basslines and wickedly tinted vocals. The beats keep the pace urgent and eager as the song storms with wonderful rages of stirring riffs and melodic hooks so impressively that even the continual thoughts of Rebel Yell cannot deflate the thrill of the song. The track is the point the band show their willingness to play with and venture into unexpected pastures and spicery to create something unique to them which they successfully do, yes there is probably nothing openly new but no one has combined and twisted it the way Dead City Ruins does so magnificently across the album.

The song is the beginning of a trio of outstanding highlights on the album. The obviously tinted Blues follows with a magnetic slow swagger and mesmeric breath to simply spark the strongest addiction. It is one of those songs which crawls mischievously through every pore to envelope one in a consuming warmth lined with aural entrapment so before you realise you are hooked for life. This glorious piece of songwriting is followed by another gem in Go To War. The song is less involved than the previous two but simply sparks up the senses with raging riffs and explosive guitar ventures. It is just unbridled rock n roll to feast upon with the added bonus of an excellent punk ending vocally Mr Lydon would be proud of.

Completed by the stomping and easy going Highway Girl and the excellent Fallen with the bass leaving us with one more gnarly orgasm of sound, Midnight Killer is just one of the most pleasurable rock albums to excite the ear this year. It is a release which lights up the senses whilst marking Dead City Ruins as possibly being one of the most important bands to emerge for the future of hard rock.

https://www.facebook.com/deadcityruins

RingMaster 09/07/2012

Copyright RingMaster: MyFreeCopyright

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Zeroking: Kings Of Self Destruction

Enthusiastic and unfussy yet openly addictive is the only way to describe the latest album from US hard rock band Zeroking.  With an obvious intent to have and give the fullest of best times Kings Of Self Destruction simply leads the ear and emotions on a boisterous and mischievous rampage through insatiable riffs and fully loaded melodic enterprise. It is not the most inventive or ground shaking of releases but it sure is one of the more eagerly enjoyable.

Formed in 2005, the Huntington West Virginia quartet of vocalist Andy Haught, guitarist Shane Day, alongside Paul First and Chris Webb on bass and drums respectively, took no time in garnering strong attention and growing acclaimed from their debut EP Sweet Sale Of Excess in 2006 and the sharing of stages with the likes of Anthrax, Twisted Sister, Bobaflex, Jackyl, Dope, Black Stone Cherry, and Airbourne, as well as impressive appearance at various festivals. Listening to their album it is no surprise, the impossible to ignore songs a feast of infectious melodic imagination and feisty addictive riffs and honest rock sounds. As mentioned there is not anything particularly startling or unique to the release but do not mistake that for it being flat or boring. Kings Of Self Destruction is a thrilling ride from first song to last, a familiar but inventive party to fully engage with from beginning to end.

The recording of the album began with producer and engineer Steve Riley mid 2009 and last year saw Zeroking release the EP A Taste Of Self Destruction which featured three tracks from the album as a teaser and followed previous single Stone Cold Bitch/Girls of California, the pair of songs also appearing on the release. Both garnered impressive acclaim and marked the album, as one to eagerly or impatiently wait for.

From the opening Dead Rock Star the band unleash a riot of sounds and songs which recall a brew of flavours from the likes of Guns N’ Roses Motley Crue, Saliva, Seether, and Buckcherry to name a few. Anthemic and rife with the best rock/metal tendencies, the album pulls you to your feet from the off and leaves it breathing heavily and sweating satisfaction. The opener incites only enthused responses to its familiar and compulsive sounds. It might play like an old friend but it is a fresh and vibrant returning buddy which lights up the senses and invites full union, something you can tag the whole release as.

The following Forget Vegas with its breezy swagger and flashy horns immediately is evidence to the diversity across the album soon backed by She Said with its twisting riffs and brooding bass sounds of First. It is a more reserved saunter through the ear than previous songs though still has the impetuosity which endears across Kings Of Self Destruction.

Showtime Revolution is an immediate highlight as soon as it entraps the ear with addictive hooks and a melodic infection to ignite inner fires. The guitar of Day is an electrified bristling delight whilst the rhythms of Webb jab and punch with the precision of a middleweight to drive the song home wonderfully. Vocalist Haught as on every song is an impressive focal point without distracting from the quality the rest of the band offer every time.

Songs like the sexy blues bar room joy Southern Lady, Ex-Godiva, the mesmeric Love Is Dead featuring the fine emotive voice of Stacee Laswson, and the aural contagion that is the title track, lead the senses into more devilment with a varied and wicked glint in their individual eyes. Again the music is uncomplicated, immediately your best friend, and completely infectious. To be honest hard rock has never been our favourite flavour at the RR but when it comes with such vitality and pleasure as that brought by Zeroking there is not a whisper of complaint to be heard.

The excitable metal veined treat which is Girls Of California leads the climax of the album to be ably supported by songs such as the teasing and incendiary stomp Black Friday and the majestic emotive ballad Valentine, the release continuing the strong and open diversity it started and persisted with.

    Kings Of Self Destruction is an excellent riot of rock n roll sure to find a home in every rock and metal heart. Honest and without pretensions the release is nothing but enjoyment and Zeroking a band who deserves more than a minute of any ones time.

https://www.facebook.com/Zerokingfans

Ringmaster 04/07/2012

Copyright RingMaster: MyFreeCopyright

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Trucker Diablo: The Devil Rhythm

The album title might be The Devil Rhythm but whether the horned one could handle this juggernaut of a release from Irish rock band Trucker Diablo is very debateable. The release is an unrelenting brake off, throttle down, explosion of rock n roll. It twists, turns and writhes through every essential rock sound and ideal to emerge a fully accomplished and most of all a deeply exciting pulse racing slab of joy.

Trucker Diablo started laying down sizzling rubber from its formation in 2008, the band simply four friends coming together to make the music they loved. Of course the fact the members had already made a mark and gained strong experience with previous bands Joyrider and TILTED could only have gone to add something extra to their new band, an extra that helped grab local attention and acclaim immediately and soon further afield. The band also leap to the attention of the likes of Ricky Warwick (The Almighty/Thin Lizzy) who also features on one track on the album, and Joe Elliot (Def Leppard) to name two, with their infectiously catchy and robust rock sounds.  Now with the re-release of The Devil Rhythm through Ripple Music, the album initially a self release in 2010, there is an over powering air and belief that this is their time.

The quartet of guitarist/vocalists Tom Harte and Simon Haddock, bassist Glenn Harrison, and drummer Terry Crawford, create a strap it on and get down type of rock n roll, their sounds an irrepressible and potent thick mass of eager hungry riffs and courting seductive melodies all wrapped in to an infectious and captivating bundle of essential sound. As they march through the ear with arms open the songs are like long time buddies that you already know and love but each offering something new and stirring every time you welcome them in, the opening track Drink Beer, Destroy, an immediate evidence. The track waves from afar at first with an eager distant riff before driving and rumbling forward with a parade of powerful riffs and hearty forceful rhythms fuelled by an insatiable energy, and already The Devil Rhythm sounds like an album with the biggest enthused heart heard in a long time. With a delicious snarling bass line and guitars that whip one into a frenzy the song is sheer musical gold, a treasure one never wishes to leave alone.

Juggernaut continues the powerful onslaught with a fusion of thunderous riffs and vibrant melodic enterprise. Featuring Warwick, the song teases with more guzzling riffs and rumble strip shaking rhythms whilst the melodic sing-a-long chorus sweeps up all into appliance and in joining in. The song as with a lot of the album does not offer anything blindingly new but it is hard to think without a very long and probably fruitless deliberation of many bands that bring it on as brilliantly as Trucker Diablo.

Every song goes straight for the heart with little resistance before them. From the southern tinged Big Truck, through the punk rock flavoured Stand Up and Fight, on to the Buckcherry come eighties feeling Dirty Love, and the Seetherish sounding When Angels Die though that band has never sounded this mighty, songs never fail to engage fully and gloriously. Trucker Diablo is a hard rock band as a base but they add so much to send their sound up to heights and power most bands can only dream of. The key of course is that for all the power the band generates and energy they consume the ear with their craft and insightful use of melodies and textures is second to none and adds a depth to their music and songs like Rattlehead and Never Too Late To Sin (featuring Matt Fitzsimons) to name two more that sets them apart.

The Devil Rhythm is simply one of the most gratifying pleasures heard in a long time and proof that well written and enthusiastically driven rock n roll takes second place to nothing. Trucker Diablo will be massive, no question, it is just a matter of if it is this month or the next…

RingMaster 02/04/2012

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