Dead City Souls – Self Titled

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Potential loaded and aggressively contagious, the self-titled release mini-album from UK rockers Dead City Souls is simply an irrepressibly enjoyable and impressive debut. It is an encounter which is firmly established in a recognisable heavy and hard rock seeding and stomps more with the presence of an already familiar friend than a brand new provocateur, but it does not stop the release from switching on appetite and emotions with its thoroughly satisfying and adventurous rampage of sound and energy.

Rocking out of Stoke-on-Trent, Dead City Souls formed in the spring of 2013 and were soon drawing and breeding potent local support and attention. This spread as their live presence and their reputation for fiery energy soaked performances. Spending last year also recording a host of demos in preparation for this album, the quintet hit the studio with Paul Hulme (Lawless, Demon) in May of this year and the result is a potently stirring riot posing as an album.

Starting with the almost blink and you miss length of decent intro Embark, band and album fully explodes with the following Back Against. The guitars of Jay Meehan and Scott Pinnington are swiftly upon ears with raw bracing riffs whilst in close attendance the crisp beats of Jake Nixon and bass predation of Glenn Culver add to the infectious lure of the song. In no time the strong vocals of Jordan Davies are adding their expression and weight to the increasingly punchy drive of the song, every aspect converging on an addictively catchy and fiery blaze of a chorus. The song is insatiable in its anthemic tempting and infectious tenacity from start to finish, an entrapment of body and emotions which arguably is not opening new doors of originality but does not prevent it making a seriously compelling and thrilling start to the release.a1944187688_2

The following Breathe makes a gripping entrance as artillery of pulsating beats rain down on the senses but it is defused slightly once the song hits a more merciful stride. Nevertheless with thumping rhythms and caustic riffs against the increasingly impressing vocals of Davies roaring across its muscular frame, the track makes for a highly pleasing aggression driven slice of melodic rock with a pop tempting. Overall it is a steady if unimposing track but with enough invention for thoughts to get to grips with before the outstanding Save Me launches its predacious enterprise. Prowling with sinew clad riffs and as expected unrelentingly heavy rhythms, the song almost flirts with its antagonism before unveiling a seriously addictive and incendiary chorus; the type classic anthems are bred from. There is imagination to the guitar designs and flaming emotion to the thick texture and heart of the strong vocals, each only adding to the drama but it is that chorus which seals the deal enlisting feet, voice, and passion with ease.

Say Goodnight has the task of following the release’s pinnacle and with its intrigue of keys and rampant rhythmic rigour, the track soon has its own hold on ears and thoughts with another uniquely tenacious slab of rock pop. It also shows yet another twist of colour and diversity to the band’s sound, not a major leap but as shown by all tracks certainly an open side step in flavour and character which reinforces the success of the album, as again shown by excellent snarl of Hurt No More. The track is another major peak in the lofty heights of the release, its flaming riffs and acidic grooves the web to which thick vocal expression and a rugged terrain of riffs and melodic blazing bring a tasty John Bush era Anthrax spice.

The album is closed by the meaty hard rock stomp of Watch The World Burn, a track which is simply raw and irrepressibly contagious rock ‘n’ roll to test neck muscles and fill the appetite. It is a heftily pleasing end to a great introduction to Dead City Souls. There is unfiltered promise across the album which ignites every song in tandem with the sounds themselves, this not only provides a thoroughly enjoyable encounter but raises real anticipation for the band’s endeavours and evolution ahead.

Dead City Souls is available now through all good online stores and @ http://deadcitysouls1.bandcamp.com/album/dead-city-souls

https://twitter.com/DeadCitySouls

RingMaster 10/11/2014

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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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The Sticky Boys – Make Art

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An album which is as much punk as it is hard and heavy rock, Make Art is an unexpected pleasure which is simply what all great albums should be, out and out rock ‘n’ roll. The new slab of dirt encrusted sleaze kissed revelry from French trio The Sticky Boys, is certainly not making a major statement of originality but for riotous fun aligned to bruising voracious sounds it is hard to think of many better mischievously enjoyable heavy rock rampages this year.

Rampaging out of Paris in 2008, the trio of guitarist/vocalist Alex Kourelis, bassist/vocalist J.B Chesnot, and drummer Tom Bullot drew attention with their early demo Rock’n’Roll Nation two years later but more so with debut album This Is Rock’n’Roll in 2012. The album was an easy on the ear arguably unsurprising but thoroughly satisfying rock ‘n’ roll. Make Art can in many ways be described by the same line but with its stronger fresh adventure and that punk seeded ferocity to an undemanding presence, the Listenable Records released album is a new and attention grabbing offering from The Sticky Boys.

Opening track Mary Christmas swiftly ingrains flavoursome riffs upon ears before unleashing a feisty tide of thick guitar and bass enterprise punctuated by the jabbing beats of Bullot. If like us you have an aversion to seasonal songs never fear as the lyrics soon steer towards the salacious side of festivities whilst hooks and rhythms bring an intoxicating spirit. Like Turbonegro meets Skid Row, surprises are few and pleasure high as the track strolls proudly towards the following Bad Reputation. Here a Motorhead influence is open as grimy riffs entwine with predacious hooks and rhythmic confrontation. There is also a breath of Offspring to the track, the punk bait making its most vocal suasion yet around the subsequent melodic flames of Kourelis which scorch and treat ears simultaneously.

A great throaty bassline opens up the AC/DC spiced High Power Thunder and continues to spine the stroll of heavy metal draped in guitar cast melodic flame. It is a strong if unspectacular track, keeping attention and appetite keen 10501716_10152593575618919_2268711738949228514_nbefore making way for the similarly toned classic rock coloured Mrs Psycho and subsequently Uncle Rock, a quickly pleasing anthemic stomp primed with a classic hard rock swagger and belligerent rhythmic attitude. Again neither song sparks a fire in the belly but leaves the body drenched in sweat and emotions well satisfied.

There is no need to reveal the theme of Party Time, its title the perfect summing up of the addictive energetic mosh and rhythmic contagion. It the previous track was anthemic this is a brawling call to arms for the devil’s mischief and rock ‘n’ roll at its primal best , a triumph swiftly matched by The Ramones spiced The Future Is In Your Hands. Equally there is an essence of The Clash to the album’s best song, both flavours adding to the captivating hard rock cored encounter.

Love On The Line explores the same classic rock/punk scenery as found in Bad Reputation to similar success as Make Art continues on its most potent stretch to date, its sonic intrigue and craft a compelling texture to probably the most intensity soaked song on the album. That high level is reinforced by the excellent agitated confrontation of The Game Is Over. Persistent scythes of rabid riffs and uncompromising beats gnaw and flirt with the senses whilst the bass sculpts another dark temptation as Kourelis explores a seemingly Lemmy inspired delivery. It is a thrilling proposition which makes its own claim for best track accolades.

Make Art concludes with the more than decent pair of Juicy Lucy and its title track, each providing a strong and in the case of the closer a thrilling finale to the release. The first of the two is an all-out heavy rock charge and the last a punk infused rocker which opens with Boomtown Rats like keys and proceeds to twist and flirt through pop punk hooks, sonic causticity, and aggressive vocals, all within a melody strewn hard rock climate. It is a real grower and to be honest over time manages to make the strongest persuasion with its adventurous and imaginative invention; think 999 meets Mötley Crüe.

Not carrying major surprises but loaded outright creative revelry and undiluted fun, Make Art offers the kind of devilry it is hard to get enough of. Every rock ‘n’ roll party, riot, and rampage needs a heart to drive it and they do not come much more enthusiastic and enjoyable than this from The Sticky Boys.

Make Art is available now via Listenable Records @ https://itunes.apple.com/ee/album/make-art/id904560291

http://www.stickyboys.eu/

RingMaster 30/09/2014

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The Milestones – Higher Mountain-Closer Sun

Photo by Pasi Rytkonen Photography

Photo by Pasi Rytkonen Photography

We cannot say we have a natural appetite for southern and classic rock, nor an over attentive interest, but occasionally something hits the right spot and sparks a thorough investigation. The recent impressive album from Norwegian blues rockers Electric Woodland has been one and the legendary Bad Company in the past another to light a fire of interest and pleasure. Now with new album Higher Mountain-Closer Sun, Finnish southern rockers The Milestones have lit another potent appetite with their hot sultry sounds. Another reason for mentioning the first two bands is that this album comes with a healthy soak of blues/hard rock to its southern sonic climate which brings potent comparisons in many ways to the enticing sounds of those two bands. Higher Mountain-Closer Sun seems to soak up those essences and many more flavoursome spices to create its own feistily simmering proposition, an offering which seduces even our more aggression wanting tastes.

Twenty years since taking its first steps and with now four albums under the belt, The Milestones has earned a strong presence within world hard rock since the release of their debut album Vol. 1 in 1996, an album seeing a re-release later this year. Acclaimed and drawing strong interest in the States, its success and the band’s live presence led to them traveling to New York to record second album Souvenirs of 1999. This proved to be nowhere near as successful in sound and impact as its predecessor and as the promo sheet accompanying the new album states, “Ultimately it would take ten years for The Milestones to heal the wounds.”

That was when album three emerged, Devil In Men in 2009 pushing the Helsinki quintet back to the stature and acclaimed attention enjoyed before on a global scale. It was followed by tours around Scandinavia, Central Europe, and the US the band supporting the likes of Whitesnake, Deep Purple, Black Stone Cherry, Gary Moore, Raging Slab, and D.A.D. along the way. Now they uncage Higher Mountain-Closer Sun through Listenable Records, a magnetic and fiery romp of instinctive rock ‘n’ roll taking body and passions on a fevered stomp.

From the first track the album seems to have a hook deep into thoughts and emotions, the opening Walking Trouble instantly smothering ears in a blaze of sonic and melodic haze with the guitars of Tomi Julkunen and Marko 10301540_10152415122872560_6266331794037874146_nKiviluoma a seductive graze on the senses whilst the bass of Veli Palevaara roams with equally captivating enterprise and swagger. Completed by the firm beats of drummer Tommi Manninen and the dusty vocals of Olavi Tikka, whose harmonica flair also ignites a twinge of hunger, the track is a storming romp to start things off and get the listener to their feet.

Both the smouldering heat of Shalalalovers and the tarmac stomping Drivin’ Wheel keep the impressive start heading along the same plateau. The first of the two merges a great sultry climate over verses with an almost too easily accessible chorus, its lure predictable and over familiar yet irrepressibly addictive. The union works a treat with a soft spot for the harmonica well fed again before the song’s successor pulls on a Stones like blues colouring to wrap its southern bred adventure. Again there is a simple but inescapable virulence to the chorus which makes a great contrast to the more intensive creative tenacity before and after their expulsions. Both tracks incite full engagement physically and emotionally before allowing a breath to be taken with the evocative southern rock heated scenery of Oh My Soul. With a breath of gospel passion and ‘red neck’ causticity, the track is a sizzling temptation which increases its strength with every listen.

The acoustic ballad Grateful is a pleasing encounter but lacks the spark of previous songs, though that is probably more down to personal preferences for feet sparking revelry. To be fair it is a vocally and musically accomplished song which at times sounds like a mix of Elvis Costello in his country era and Bon Jovi. The following Sweet Sounds does have the body moving with intent next and again apart from its stirring chorus is another enjoyable but underwhelming offering when up against songs like the brilliant It’s All Right. The track is an insatiable rocker from start to finish, grooves and hooks as eagerly tenacious as the increasingly impressive vocals of Tikka and the addictive rhythmic bait. As with all the songs on the album, you feel you already know this bruiser of rock ‘n’ roll devilry which only adds to its invigorating and refreshing presence.

Such the strength and tremendous pull of the track it gives the likes of the energetically fevered You and the melodically and vocally reflective Looking Back For Yesterday a stiffer task to match up to, but both without quite lighting the same fire still treats ears and imagination to exciting endeavour and enflamed melodic sounds. Their success is taken to a new level by the raw and gripping drama of Damn. Again ridiculously compelling hooks and grooves vein what is a darker and sonically fevered canvas to the song. It makes a slow initial impression but emerges as another evolving into a big highlight within the album.

The scintillating Fool Me brings the main body of the album to a tremendous close, the guitars of Julkunen and Kiviluoma bordering on sonic eroticism such the potency and spellbinding strength of their grooves whilst vocals and rhythms dance with impassioned devilry around them. It is a stunning track, a show stealer on any other album.

The CD version of Higher Mountain – Closer Sun is finished by a couple of bonus tracks in Call Of The Wild and Quicksilver which sadly our promo did not contain but such the quality of the rest of the album it is easy to assume they only add to the fun. The Milestones may have taken ‘ten years to heal the wounds’ but there is little to stop them now with releases like this.

Higher Mountain – Closer Sun is available now via Listenable Records @ http://www.amazon.co.uk/Higher-Mountain-Closer-The-Milestones/dp/B00ILWB4VS and http://www.levykauppax.fi/artist/milestones/higher_mountain_closer_sun/#cd

https://www.themilestonesmusic.com

RingMaster 30/09/2014

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Beggarz Fixx – Rouse The Rabble

Beggarz Fixx Online Colour Promo shot

Brewing up an accomplished and fiery proposition with a dirtily rowdy nature, UK rockers Beggarz Fixx unleashes their debut EP this week for a healthy stomp of rock ‘n’ roll which should find a welcome in the ears of glam metal/hard rock fans. Rouse The Rabble is a feisty encounter which romps with the recognisable inspirations of Mötley Crüe, Buckcherry, and Aerosmith ringing through its six riots of energy and sound. It is not offering anything ground-breaking or re-inventing the genre wheel but instead pulls the listener, even those without a real taste for its style of music, into a pleasing and contagious exploit which only satisfies.

Swaggering out of Brighton, Beggarz Fixx has built up strong support and reputation locally and across the south of England since emerging in 2011. A few line-up changes has led to the quintet of vocalist Chazza B. Bennett, guitarists Mykki Felyxx and Danni Oakheart, bassist Zakky Redloxx, and drummer Billy Kidd coming together whilst the years since forming has seen the band share stages with the likes of Love/Hate, Attica Rage, Adam Bomb, Reckless Love, and Mallory Knox. Rouse The Rabble is the band’s first release and nationwide attention grabber and it is hard not to expect it to emulate across the rest of the UK its success in London and below.

….And The Devil You Know sets the release in motion, its slow rhythmic coaxing and simmering flames of guitar an attention prodding entrance. The track continues in that nature, accentuating its sonic heat throughout with the 10616344_669858903083407_6433403193299458609_npredominantly spoken vocals which offer a raw edge to the climactic texture of the song. It is a potent if not startling start which flows straight into Outta Control, a track instantly raising the temperate and energy levels. Beats are punchy and riffs raw, whilst the vocals of Bennett provide a nicely varied flavour to their presence. There are no real surprises with the song but plenty of fresh ideas and a highly agreeable persuasion of sound and craft.

The strong start is matched by the following Gimme Some. Drizzled with a bluesy temperament in the flair and stringed enticement of Felyxx and Oakheart, the track is an immediate party with infectious bait for feet, imagination, and passions alike. Hooks flirt, and rhythms entice with similar success whilst again the guitars cast a weave of melodic and sonic tenacity to match the vocal enterprise. Old school and proud, yet providing a modern fire to its attitude, the track again holds little to shock or surprise but plenty to rouse body and emotions for a thoroughly pleasing encounter.

Burn It Down is an anthem primed to recruit the listener within its first touch, hooks and chords an easy and stormy mix which breeds familiar seeds into its own antagonistic riot. With some potent twists and ideation, the song is another to awaken the spirit, and limbs, but lacks the stamp and spark of other tracks, and especially its predecessor. The next up Sick N’ Tired has a stronger and far more lingering presence and adventure to its tempest. Aerosmith meets Skid Row with a touch of Turbonegro to its aggressive breath; the song shows another side to the invention of the band, its progressively spawned melodies and intriguing turn of imagination bringing richer promise and endeavour to the track and release.

The EP is brought to a close by the impressive Walking, a smouldering croon which expels a blues twang in its climate and emotive heat to its reflective narrative. Guitars and vocals fuel the imagination whilst both Redloxx and Kidd provide an imposing yet respectful frame which cages ears impressively. Along with Gimme Some, the track brings the biggest thrill to an easily enjoyable and potent release.

Rouse The Rabble is a sonic orgy of fire bred rock ‘n’ roll which has the swagger and qualities to leave a host of new fans very happy.

The Rouse The Rabble EP is available now through all stores.

https://www.facebook.com/beggarzfixx

7.5/10

RingMaster 08/09/2014

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Demoni – Day of Demoni

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Described as a ‘surfabilly band which fuses punk rock beats, psychobilly bass, and surf guitar’ it is easy to go slightly astray with expectations over US rockers Demoni and their much more flavoursome sound. Certainly those essences make up the core of the band’s sound as evidenced on their outstanding album Day of Demoni which recently had its UK released via British cassette/digital label Graveyard Calling, but as the nine track rampage infests ears and ignites emotions there is plenty more to the band’s alchemy of invention. At times there is a hard rock fury at work, and in other moments a seventies glam teasing at play, whilst throughout there is a pungent whiff of fifties honesty to it all. Day of Demoni is a thrilling onslaught which dares to be just that little bit different in the world of psychobilly whilst embracing the seeds of the genre with a full ardour and revelry.

The Boise, Idaho trio take inspirations from the likes of Cramps, Dick Dale, Mad Sin, and Misfits to their adrenaline powered and relentlessly voracious sound. An early self-titled demo in 2008 seemed to draw strong attention but it was with their albums Dawn of Demoni a year later and Day of Demoni which was released in 2012 that a spotlight really hit the band. It was an interest which has only been enhanced by the band live which has seen them play shows with the likes of Koffin Kats, Chop Tops, Three Bad Jacks, Stellar Corpses, The Hedcat, Sawyer Family, The Recently Deceased, and The Rocketz. Their new UK release of Day of Demoni sees the five songs which appeared on the US version joined by one originally found on the first album and another pair from the band’s Surf City of the Dead release, as well as one more track. Together they combine to make one of the most exhaustingly enjoyable encounters to hit the UK shores this year.

From first track And Now the Screaming Starts, band and release has the imagination bound and ears hungry. It opens with a sonic squeal before launching into a thunderous charge spiked with spicy twangs of warped grooving. Riffs coverand rhythms are in top gear within seconds, their eagerness almost ravenous as they swiftly build an anthemic temptation upon which the smooth delivery of vocals lay perfectly. The click of drum stick wood on rims is irresistible whilst the brawling attitude of the guitar is contagious persuasion, but it is the unpredictable slides of grooves and caustic melodies which turns the outstanding song into a classic.

Its glory is followed by the instrumental Black Lagoon, its stomp speared by a hook which is fifties seeded but coming with a seventies air. That initial temptation is soon evolved into a sultry surf rock enticement though both lures switch and entwine across the rest of the compelling track. Like a sonic stroll across a blood soaked beach beneath a sinister moon, the track has the imagination casting its tales whilst feet still find no respite from the involvement inspired by its predecessor. The magnetism of the song is intensified in the exceptional They Crawl, another virulent surge of riffs and rugged enterprise equipped with a cowpunk lilt and riotous hard rock intent. The song is as persistent as the protagonists in its lyrics, scampering relentlessly with tireless rhythmic feet and feisty sonic tenacity. Sparking thoughts of  Koffin Kats and Tiger Army, the track is another peak to the album and makes one wonder why the band has not been recognised over here before.

Scared to Death is no slouch in setting ears and passions ablaze either, it’s almost smouldering sonic presence and rhythmic control, certainly compared to the previous song, a transfixing instrumental narrative providing another surf spawned slice of heated suggestiveness. Its sultry presence makes way for the fiery and robust harrying of the imagination unleashed by Night of the Creeps. Thumping heavy rock beats courted by a caustic punk abrasing of riffs offer a contagious tempting from which vocals and acidic melodies surge with eagerness. Again a heavier rock aggression adds to the flavouring whilst at times there is a softer melodic catchiness which merges easily with the strenuous suasion of the song. You can almost call it as psychobilly pop punk.

Both No Pain No Gein and Beware the Moon bring another twist to the album and satisfaction, the first akin to Turbonegro with its punk rock rapacity but also you can hear tinges of Nekromantix and The Ramones in its rowdy enterprise. With the bass a delicious standout texture and voice to the song, it is an insatiable stomp swiftly matched in sweaty contagion and voracious energy by its successor. There is an immediate sense of The Dickies to the punk side of this song whilst its expansive psychobilly design offers up suggestions of Mad Sin and a little of Rezurex. It is a flaming beast of a track and another to squeeze out a little more lustful acclaim for the release.

The album uncages a final two slabs of thick persuasion through first of all the instrumental scourge of blistering riffs and niggling grooves that is Session 9 and lastly Die! Die! Die!, which is maybe an instrumental too many on the album but such its exciting climate and creative blaze it is impossible not to greedily devour its presence. They make enthralling climaxes to a ridiculously addictive release, which itself sets Demoni as a thrilling new protagonist for British psychobilly appetites.

Day of Demoni is available via Graveyard Calling @ http://graveyardcalling.bandcamp.com/album/day-of-demoni digitally and on very Ltd Ed blood-red cassette.

http://www.demonipsycho.com

9/10

RingMaster 28/08/2014

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Bite The Shark – First Blood

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With a sound as snappy and hungry as their band name suggests, Bite The Shark have made one impressive and attention grabbing entrance with debut single First Blood. Consisting of three songs which roar and swagger with a muscular rock tenacity and punk ferocity, the release is an adrenaline charged juggernaut of rock ‘n’ roll. If you are looking for music unafraid to get dirty whilst spilling bodily fluids then letting Bite The Shark and its single clamp its jaws on you could be one of the wisest moves you make this year.

Hailing from Manchester, the UK band only formed in the early days of 2014 and has swiftly drawn a healthy attention and fan base their way. The recently released First Blood equally took no time in garnering acclaim and more, its success leading to an invitation to the trio of Rory O’Grady and brothers Adam and Edd Langmead, to record with Romesh Dodangoda (Motörhead, Bullet For My Valentine, Twin Atlantic) this September. Like the music within the single, it is fair to say that Bite The Shark is on a charge.

Gas & Air right away tells you all you need to know about its creators, rugged riffs immediately sizing up ears before welcoming imposing rhythms and spicy grooves. It is a striking entrance which is as bold in its presence as it is addictive Microsoft Word - bitesuarez.docxin its explosive enterprise. Elements of Turbonegro and Buckcherry whisper across the raucous adventure as well as spillages of old school punk rock, all resulting in a richly flavoursome and highly anthemic stomp. Hooks and increasingly infectious grooves continue to enslave ears and emotions whilst vocally the band provides a captivating call and brawl of passion drenched energy. The song seems to be the one the band’s fans has grasped to their hearts the most and it is easy to see why as it flirts and romps around the senses.

For us though it is Burn em to the ground (sometimes seemingly just called Burn) which ignites the biggest lust. The track is a beast of an encounter, its opening prowl of beats and bass grooving irresistible and only added to by the sonic squall from the almost belligerent invention of the guitar. Lyrically and musically the song has a snarl and attitude which finds its seeds in bands like The Clash and Stiff little Fingers, whilst its addictive grooves and rapier like swings of rhythms infuses a hard rock riot into its predation. Politically powered and lyrically accusing with a weight of sound and tenacity to back it up, the track is immense and the seal to believing Bite The Shark is definitely going places with the potential to make a lingering mark.

The single is completed by the acoustic track Ms. Ratshit, a song with a swing to it that is bordering on rockabilly and vocals which simply captivate. Based on One Flew Over The Cuckoo’s Nest, it is another contagious stomp to cast praise and ardour over.

Do expect to hear a lot about Bite the Shark ahead and if you are wise you will jump on board their ascent right away with First Blood.

First Blood is available now @ https://itunes.apple.com/gb/album/first-blood-single/id899365205

http://www.facebook.com/bitetheshark

9.5/10

RingMaster 27/08/2014

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