Full Throttle-Roads Of Life EP

The Roads Of Life EP, from Russian band Full Throttle is a release which combines hard rock and heavy metal with other assisting flames, for an encounter which fires up the senses with ease, its high octane melodic fuel and forceful energy spilling over for an engaging and invigorating ride which would enhance any intensive road trip. It is a release which admittedly offers little new in barrier breaking but easily feeds any appetite for melodic metal bred by passion and invention.

Full Throttle was formed in 2004 in Kaluga and initially had a softer metal sound which with a change of personnel of the years evolved with a harder more aggressive breath. 2005 saw the band’s debut album Lie released to strong responses but was followed by a three year hiatus for the band from 2007 due to internal disagreements. The band returned in 2010 and soon was working towards a second album which due to difficulties was reduced to this EP and an impressive release it is too. Taking influences from the likes of Manowar, Nightwish, Metallica, Sonata Arctica as well as Russian bands Aria and Kipelov into its own invention, the three track release makes a powerful persuasion offering all the spices which could see the band find the widest awareness and with the band recently signing up with GlobMetal Promotions, it is hard not to feel that the band will soon be garnering strong interest and a wealth of eager new fans.

Full Throttle’s songs find seeds in the ideology of the biker’s movement: freedom, speed, the choice between life and death, not that we could tell as the songs are all sung in Russian, though not any issue of course. The opening title track revs up with sturdy riffs and crisp rhythms whilst keys and the melodic tease of the guitars enflame the air with sonic colour. It is an immediately appealing introduction which settles down into an energetic charge across the plane of the song with expressive winds from the keys and powerful female vocals astride a spine of heavy intensive riffing. Though lacking a groove or hook to make it strongly contagious the accomplished and fiery song has an infection about it which potently entices and recruits deep satisfaction. It is a richly pleasing and stylish cruise of intensity to start things off.

The following Crying Soul changes tact and stance of the release instantly, its emotive beauty and symphonic whispers an impacting elegance within the strong hungry melodic flames which skilfully shoot into the roof of the song. The keys are especially enchanting whilst the vocals have a bite to their again open beauty and harmonic grace, their presence epitomising the blend of light and intimidation seemingly prowling the track. It is a soulful and powerful song showing the diversity of the band and their adeptness at fusing gentle and vigorous embraces for one enriching confrontation.

The closing Night Fraternity is cored by the sound of bikes as they speed off into the horizon with the song gripping their tails with eager riffs and hungry rhythms. It is a simple but wholly effective attack which has a punk growl to its incessant drive and a metal aggression to its sinews. An excellent acidic groove makes its play mid song to complete the impressive temptation of what is the best song on the release.

When Full Throttle gets to make that second album there will be plenty eagerly waiting to climb on board with it thanks to the Roads Of Life EP, us for one.

Read Full Throttle’s Interview with Kostya Aronberg @ http://ringmasterreviewintroduces.wordpress.com/2013/04/12/exhausting-speed-an-interview-with-full-throttle-by/

7.5/10

RingMaster 21/05/2013

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Trucker Diablo – Songs of Iron

If The Devil Rhythm, the debut album from Northern Ireland rockers Trucker Diablo set your passions racing, than hold onto your gear sticks as the juggernaut has returned with second album Songs of Iron. Cut from the same template and loaded with the same high grade fuel of rock ‘n’ roll as its predecessor, the new fourteen track release burns another riveting expanse of intensive rubber on to the road The Devil Rhythm left ablaze for another irresistible contagious fury of rebellious rock.

Since forming in 2008, Trucker Diablo has been on an accelerated rise, the band consisting of four friends who united to unleash music they have a full passion for whilst employing experiences gained in the ranks of Joyrider and TILTED to full potency, making deep lingering marks by the day. It was not long after starting that the band was reaping acclaim and support with their live performances, the likes of Ricky Warwick, Ginger Wildheart, Joe Elliot, Damon Johnson, and Cormac Neeson endorsing their rising presence. Supporting and playing alongside bands such as Foo Fighters, Terrorvision, Anthrax, and Thin Lizzy in shows and festival as well as their own intensive touring has only reinforced their stature with The Devil Rhythm marking another impressive statement in their ascent last year.

Released through Ripple Music, Songs of Iron explodes from its very first second never letting up through to its final sizzling lick ofenergy. Red Light On opens up the brawl with heated riffs and concussive beats beckoning the ear around the snarling temptation offered with intimidating power by bassist Glenn Harrison. It is an immediate hook to the senses and lays an inviting canvas for the impressive vocals spread and shared between guitarists Tom Harte and Simon Haddock. Thumping rhythms and big boned riffs seize the air with strong craft and energy to taking the listener on a contagious and commanding ride, a charge which makes no demands but incites a full involvement with its muscular intent. With melodies and barbed hooks, not forgetting the scintillating solo, as striking as the rippling sinews framing them the song is a pleasing start soon surpassed by the excellent Year Of The Truck.

From the first note the song gnaws in the ear with savage rapacious hunger, the riffs iron clad and as intrusive as any Meshuggah or Mastodon could conjure and lying somewhere in between the two in voice, ensnaring the passions with intensive persuasion whilst the drums of Terry Crawford cage all with crisp and potent invention. It is again the bass growl of Harrison which seals the ardour in tight, one of the highlights of the last album just as riveting and viciously seductive this time around in nothing but impressive attributes offered by all members on  Songs of Iron. Virulently anthemic and catchy, the track launches an irresistible call on voice and limbs for a full involvement and contribution towards its gasoline burn up, though all the songs have that power in varying degrees.

The southern rock toned stance of passion and enterprise, The Rebel steps up next to leave further irresistible inducement working on the passions. Loud whispers of ZZ Top and Black Label Society add their rich vapours to the track and single from the release, a song which with ease accelerates the heart rate, and beyond safety levels one suspects such its epidemic call. It is a staggering start to the album which is continued now into the heart of the release through the likes of Drive, the outstanding Not So Superstar and its dirty brew of scorching rock ‘n’ roll, and the melodic hard rock honed The Streets Run Red, whilst others such as the muscle bruising Lie to Me and the emotive ballad Maybe You’re the One bring further variety and depth forward. Admittedly not all the tracks ignite the same heights of passion as others but there is never a moment where satisfaction is left half-filled or the stirring skill and invention of the band not openly there to be hailed.

Further especially enriching highlights come through the crushing Bulldozer, where again that bass rips the senses to tattered remnants of their former self aided by corrosively greedy riffs and rhythms whilst the anthem bearing chorus and group harmonies light a melodic fire to sear the wounds, When’s it Gonna Rain with its seriously chunky riffs and southern heat, and best track on the album Shame On You. The last of these three has a swagger which like it’s delicious grooves is an addiction of toxic suasion, its lure permanent and deeply entrenched in thought and heart by its end, the delicious addiction cast by devil spawn riffs and rabid rhythms wrapped in a sonic furnace.

Completed by the excellent I Want To Party With You, a song giving you exactly what it desires, Songs of Iron is an exceptional slab of rock ‘n’ roll, all songs mentioned and left for your discovery pure adrenaline raising pleasure. There is no boundary breaking going on here just riotous rampage within what is one of the most exhilarating albums this year so far, and that is more than good enough for us.

https://www.facebook.com/TRUCKERDIABLO

9/10

RingMaster 14/05/2013

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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

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The Memphis 77 – Get Alive!

Raw adrenaline soaked rock ‘n’ roll coated in a dirty feisty embrace is never a sound to ignore and the new release from Finnish rockers The Memphis 77 is certainly no exception. Consisting of four riotous blazes of energetic, bruising, guitar sculpted fire, the new EP Get Alive! is a richly satisfying encounter. Released digitally and as a 7” vinyl via Secret Entertainment, the record is a high intensity explosion of energy and raw infectious sounds and a release to put The Memphis 77 on the map of wide awareness.

Hailing from Lappeenranta, The Memphis 77 was started in 2009 by guitarists Jimmy Scissors and Rodney Pistoléro, the aim to create and play real rock n’ roll music, something which was absent in the previous  projects and was not rewarding artistically the energy and time given. Recruiting long-time friends in bassist Paul Graven and drummer J. Slider as well as vocalist Pete South, the band worked on their sound and songs with the last weeks of the year seeing the release of debut EP Born in a Body Bag. Following release the Licks to Please EP was recorded the next year with its release to strong responses and acclaim coming in April of 2011. The seven track release put the band on the radar of a great many but was followed by changes in the line-up with the departure of Pistoléro and Slider. South took over second guitar in addition to his vocal duties and after an intensive search the band found Sammy Lee to take over the sticks. The latter part of last year saw the band record Get Alive! and a video for the lead track, and as the impact of the EP is surely set to reach out to even more eager ears, the band has a schedule of touring and writing songs for their first album planned.

The mentioned lead song from the EP is Small Time Lovers, the first track on the impressive release. A crisp clump of beats sets up the instantaneous onslaught of gripping riff and an equally immediate contagious groove. The song is into its stride within seconds gripping the ear with fiery sonic inducement and anthemic temptation from the squalling tones of South and the incendiary beats of Lee. The song rampages with mere swifts breaths quickly taken within the direct attack for any kind of respite from its flaming energy and persuasive confrontation. It is a sweaty dirt clad gem of a song which recruits the primal energy and passion of the listener with relentless ease.

The following No, Buddy has a slight dip in its intensity without reducing its muscular force and effect, the hooked melodic persuasion an addict forming tease and the thumping rhythms a spiteful conspirator to further raise the ardour of the already enthralled heart. As across the release there is nothing strikingly new going on within the song, but for two minutes plus it is just honest, undiluted rock ‘n’ roll at its hungry best.

The other two brawls are just as impressive and greedily devoured by the senses and passions; both Get a Life (and Fucking Die) and Back to Where It Started punk ‘n’ roll encounters which ignite the appetite further for the band and their mighty sound. The bass of Graven is especially throaty and compelling within the first of the two whilst the vocals of South supported by the rest of the band, and the contagious groove and swagger of the song, leave only a heightened craving for their debut full-length effort. The final song slaps the senses with even more potent sinews and synapse carving guitar craft for a closing storm of pleasing and invigorating pleasure. Arguably the weakest song on the release it is still a formidable and fully persuasive pull into the heart of The Memphis 77 and their incendiary sound.

Get Alive! is an outstanding EP and for some of us the very welcome introduction to a band which will be lighting up our days with further glories one suspects.

http://www.thememphis77.com

http://fi-fi.facebook.com/pages/The-Memphis-77/84722386427

9/10

RingMaster 19/04/2013

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Black Tie Vendetta‏ – Length Of An Ocean

     

    Length Of An Ocean is an album which is as intriguing as it is pleasing, a release which without breaking down new musical doors still plays with and denies expectations with a collection of songs oozing diversity and imagination. Unleashed by Dallas rock band Black Tie Vendetta, the album shifts continually from heavy and thunderous to melodic and seductive, often combining the two for engaging and riotous experiences, and though it does not completely maintain the fiercest fire of a response to its offerings the flames do burn brightly with each magnetic track.

Consisting of vocalist Brandon Callies, guitarists Dustin Morrison and Dustin Baugh, bassist Joe Bandy, and Johnny Sillers on drums, Black Tie Vendetta has over the years forged a strong name and presence across their local scene and further afield. Latest release Length of an Ocean has energised that stature with its invigorating enterprise and sounds, and though it has still not quite found a place in the widest array of ears yet, listening to its deeply satisfying songs you can only feel the promise of the band is close to the fullest awareness, if not for this album for future creativity.

The album explodes into view with the bulging rhythms and rampaging energy of Armed And Ready. Immediately the song is carving up the senses with carnivorous riffs and firmly punching drums whilst the vocals of Callies ride the track with expression and potency. With the infectiousness of a Foo Fighters and the sinews of a Hell Yeah, the track ignites the passions with ease and sets the adrenaline firing for the rest of the album, its uncompromising yet familiar stance a virulent persuasion for release and band.

From the heavy rock charge of the opener the band switch to an alternative rock voice for the following Carries Me Away, though again the bass snarls and rhythms cage with the same intensity and power. The immense force of beats from Sillers and the growling resonance of Bandy’s bass offer intimidation and predatory hunger whilst the heavy duty riffs add their own formidable menace for a stirring and impacting encounter but alongside them the melodic coaxing of the vocals and guitar imagination tempers the onslaught with inviting and inventive caresses. The song continues the impressive start with ease, but things stall slightly with next up Under The Same Sky. The potently crafted song is a melodic ballad with the vocals of Callies emotive and passionate to warm the ear alongside equally impassioned sounds and there is no doubting the quality and appeal of the song, but it does break the charge of the album and feel a little out of place despite its fine voice.

Things are back in swing with the likes of Through A Whisper and In The Eyes, the first another melodic rock song with a core of heavy duty temptation and an aggressive prowl within the resourceful and melodic textures of the song. The additional female vocals bring a sirenesque charm to the warm atmosphere of its quietest moment to further stretch the vision and magnetic lure of the track. The second of the pair again fuses the rugged side of the band with its mesmeric melodic entrapment for a fury of a song with accomplished restraint and barbed hooks as loud as the contemptuous aural tones, the excellent result akin to a cross between Green Day and Sick Puppies.

Alongside the first track another two of the album’s greatest pinnacles come with the hypnotic The Burning Sea and the riotous Caught In A Crowd. The first is another emotive piece of ingenuity, the flaming ambience with a slightly destructive whisper a sweltering embrace to wrap the outstanding vocal display from not only Callies but the re-appearance of the female vocals. Whereas the earlier ballad felt lost amidst the other songs as does in some ways the following Keeps Me There, this stands tall, potent and vibrant, its addition an instinctive instigator to the evolving sound and flavour of the album. It is an excellent and lingering treat which along with many other songs gives rise to anticipation as to how great this band could be. Caught In A Crowd is a punk infused storm of caustic guitar strokes, greedy rhythms, and ferocious energy all led by the again impressive vocals alongside flames of melodic venom and vindictive insistence from the might guitars of Bough and Morrison. An anthem for the passions as well as the voice, the track is another thrilling slab of variety from album and band.

The release closes on the acoustic ballad The Raging Storm, another which is well devised and presented but for personal tastes an anti-climax after what came before. Length Of An Ocean is a very appetising and exciting album overall though and Black Tie Vendetta a band sure to enthral a great many given the chance.

https://www.facebook.com/pages/Black-Tie-Vendetta/151500488227846

8/10

RingMaster 13/04/2013

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X-Ray Life: Self Titled

    Formed in 2011 by vocalist Mattia Briggi, Italian rockers X-Ray Life merge an appealing blend of hard rock, grunge, and blues into a release which captures the imagination and leaves behind strong satisfaction. Their self-titled debut album is an enthused and accomplished slab of rock which though it does not set any major fires burning certainly holds its own with skill and enterprise.

From Venezia, the quintet of Briggi, guitarists Corrado Ricucci and Giovanni Zanardo, bassist Matteo Rugliancic, and drummer Matteo Boranga, since forming has made steady progress within their homeland with their live performances winning many competitions and providing a song for a few compilation albums. Bringing essences from alternative rock and grunge to their own intent the band has a sound and style which combines nineties bands from Seattle and modern hard rock. Released via Atomic Stuff Records, their album has all the weaponry to further the presence of the band within Europe and beyond, its eleven songs keen and finely crafted slabs of honest rock n roll.

The punchy Machine Gun Kelly starts things off on the album with a combative edge to its energy and a fiery groove which engages immediately within the infection of grazing sound. The vocals also carry a boisterousness to match the sounds and though at moments their delivery is weaker than in other parts, The Stone Temple Pilots feel of the track allows the discrepancy to pass by and makes for a good start to the release.

The following Everyone is A Star and Coma Like A Dream soon raise levels with their compelling sounds. The first is a prowling taunt upon the ear with a sturdy attitude coated bass and a mischievously teasing groove whilst the second is a contagious stomp of irresistible bulging rhythms and choppy agitated riffs. Both tracks are flush with impressive musicianship and hypnotic lures which are irresistible in their raw and uncluttered form with Coma Like A Dream one of the stand out invitations upon the album, and since forming has been the first track to initiate bringing attention to the band. Hey is a further pinnacle on the album, its absorbing intimidating groove and rasping effect coated vocals a snarl within the riot tempting rhythms and guitar abrasion. It is an excellent track which can be described as Velvet Revolver meets Temple of the Dog with a core of punk to its deliberate aggressive intent.

The sizzling blues/stoner wash of Lay On You and the classic rock/garage edge to Devil On Earth both offer decisive variety within the album and though they do not reach the levels of passion as inspired by earlier songs they are full of enjoyable invention and energy. With also tracks like Sad and 665 Inside, the album does dip in from its initial height in its middle, though each track is still a rewarding encounter, but regains its rung with the excellent Charlie The Shepherd. The song is a brawling furnace of acidic melodies soaked up by adrenaline fuelled storms of riffs, guitar lashes, and rhythmic intensity; dirty and insatiable the track is a bruising rock n roll stampede of energy.

Though it ends with its weakest track The Last Song, the album is a thoroughly enjoyable and satisfying release with plenty of strong rewards, including a great cover of the Creedence Clearwater Revival song, Susie Q. X-Ray Life is a band who knows how to create potent rock sounds and how to use them for an exciting time, an experience we all have a liking for.

www.xraylife.com

7.5/10

RingMaster 05/03/2013

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Pigeon Lake : I: Mindrape EP

    The I: Mindrape EP from Norwegian band Pigeon Lake is one of those releases which you instantly take a shine to, its initial persuasion rich and strong enough to declare a lasting friendship with, its impressive sounds a given temptation. This immediacy also generally means a brooding greater passion the more time spent in the company of the instigator and this release is certainly no exception.

The quartet from Oslo brew up a textured sound which continually evolves through hard rock and metal, mixing the two and further open flavouring for an equally bruising and alluring encounter with strong magnetism and open passion. Made up of seven tracks, the EP is a thoughtful and superbly crafted with a mutual involvement of aggression and seduction in its intent. The line-up of Christopher Schackt, Magnus Engemoen, Andreas Prestby, and Anders Børresen, are not arguably forging new horizons on their debut but for an introduction it is undoubtedly compelling and deeply promising whilst leaving a level of satisfaction some bands can only dream of.

The Intro to the release is a heavy thrust of doom soaked resonance with a snarl and hunger to it which is transferred through its savage rhythms and rabid riffs, not to mention the exhausting ravenous voice the band employs. It is a tremendous start which deceives in many ways as despite some brief melodic veining the instrumental holds a primal intensity to the fore. The following Unnamed though immediately caresses the ear with strong melodic guitar invitation whilst a mellow ambience stirs its head before launching into a sturdy gait of energy and sound. Into its stride the track steps into a mesmeric charm of soft vocals, a whispered sonic blistering, and continually thumping rhythms, and soon is a delicious ride of diversity, its stance at any moment fuelled from stoner, melodic rock, grunge, and nu metal. It is an exceptional piece of creativity with a welcome familiarity but all new freshness which leaves one enthralled.

D-Day is a feast of impossibly infectious grooves and finely sculpted melodic enterprise which again is like an old friend taking you on a boisterous and invigorating ride. It is revelry of rock n roll where limbs and voice take their own decision to join in the fun whilst the band still keeps you slightly guarded with predatory riffs and prowling intimidation from the ever broody bass. With an air of Life Of Agony meets Soundgarden to it, the song offers variety and expanse to sound and heart with each song on the release to date individual in presence and character.

This continuing twist of invention and imagination continues through the blues rock I’m Pulsive and Hunter. The first is an emotive encounter with teasing flaming grooves and expressive melodic spirals of guitar within muscular walls and energy. Once more the bass has a gnarly side which is irresistible and offers compelling shadows to the brighter sounds surrounding it. The second is a cover song though apologies for not being able to tell you whose. It is a strong and satisfying song but like its companion fails to match the earlier heights and the song itself the weakest on the EP which shows the strength of the songwriting of the band.

The release is completed by the hard rock antagonism of Wifebeater and the outstanding Sacred (feat. Einar Grønbekk).  Whilst the first slaps the senses with striking sinews and great melodic fury it is the other which leaves one of the lasting impressions from the EP. Opening with a smouldering rub of guitar and gentle coaxing vocals the song tenderly engages thoughts and emotions whilst adding an edge of chilled shadows from the bass. As it evolves its heart and length, the song is a splendour of progressive rock with psychedelic blues heat and intensive groove metal aggression scoring its edges. It is a song impossible to truly express its stature here, something only the ear can appreciate, but the song is an exploration which reveals the band has much more to investigate and offer ahead.

I: Mindrape EP is an enthralling and rewarding release which declares Pigeon Lake as a band with a strong future and even greater vision. If melodic invention in either rock or metal tempts than this band is ripe for your investigation.

https://www.facebook.com/PigeonLakeMusic

8/10

RingMaster 01/03/2013

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Faster Pussycat: The Power & The Glory Hole

    The Power & The Glory Hole is the first release of new material from Hollywood sleaze rockers Faster Pussycat since its return in 2001, and a release which despite its flaws just leads to mischievous satisfaction. The band is one which for many is a love or hate relationship whilst for others like us their earlier presence largely was ignored due to a lack of connection with their glam/sleaze flavoured hard rock. The new album though finds the band evolved into a heavily spiced industrial rock n roll which points to the likes of Dope and Marilyn Manson, and on certain points on the album, Jane’s Addiction.

Formed in 1985 and taking its name from the Russ Meyer cult film Faster Pussycat! Kill! Kill!, the quintet of Taime Downe (vocals), Greg Steele, (guitar), Brent Muscat (guitar), Kelly Nickels (bass), and Mark Michaels (drums), soon grabbed attention with their self-titled album of 1987 and two years later gold album, Wake Me When It’s Over. The band subsequently split in 1992 with Downe forming the Newlydeads. In 2001 though he resurrected Faster Pussycat with a more rock driven sound and the band soon released Between The Valley Of The Ultra Pussy, a collection of industrial remixes of the  early songs produced by Downe, and spent the next years touring and thrilling audiences. With a line-up now of Downe, Xristian Simon (guitar), Ace Von Johnson (guitar), and ex- L.A. Guns members Danny Nordahl (bass) and Chad Stewart (drums, percussion), the band has stepped forward with further evolved material and sound and it has to be said it is quite a blast.

Released via Full Effect Records in the US and City Of Lights Records in Europe, The Power & The Glory Hole takes no time in making a convincing persuasion with opener Number 1 with a Bullet. The track introduces itself with bulging rhythms and scything sonics from the guitars which immediately lures an interest in its offering. Settling into a sinewy gait and fiery energy, the vocals of Downe dance over the ear with a gruff devilment whilst riffs and basslines tease and incite boisterous responses. Wholly infectious with its acidic groove and undemanding chorus, the song is easy meat for the ear to revel in, recognisable rascality which is irresistible. That also about sums up the album, there is nothing new or adventurous to it just sounds and ideas plenty of others have exploited but Faster Pussycat make it an aural shenanigan you do not want to avoid.

From the terrific start the equally addictive Gotta Love It with its repetitive pawing riffs and cyclonic grooves continues to excite the senses, the tempting chorus and unbound flurry of hooks virulent and again impossible to resist adding voice and agitated limbs to. Two songs in and there is not much more convincing needed to make the album one which will make many returns before the ear and even though it does ebb and flow in success across its twelve tracks, there are no actual disasters waiting to loom into view. The following slowly strolling Useless is one of the moments though where things hit a lull, the admittedly easily assessable and enjoyable track failing to hold or ignite any fire with its presence. It is arguably the most industrial toned track on the album and wins on variety and intent but just does not spark like some of the other tracks.

Something the songs Sex Drugs & Rock ‘n’ Roll and Hey You do not have a problem with achieving.  The first is one which brings rich essences of Jane’s Addiction to a hard rock swagger for another transmittable aural contagion whilst the second rampages with a grinding abrasion and snarl to its energy, riffs, and baselines whilst the drums create a frame of jabs and crisp uppercuts any middleweight would be proud of. The guitar flames add extra heat and transfixing persuasion to the song and again it is hard to tear oneself away from its eager and easily satisfying clutches. Splitting the pair Disintegrate and a cover of These Boots Were Made for Walking play nice without again raising any temperatures but are still decent enough songs to catch a lingering stay.

Completed by the wanton blistered seduction of Porn Star, the biting title track, a fiery cover of the Betty Blowtorch song Shut Up & Fuck, and a closing tribute to the late Bianca Butthole, a close friend of Downe, called Bye Bye Bianca, the album makes for a dirty brawl of a party, a sonic binge you are welcome and will want to gate-crash. For sure The Power & The Glory Hole takes easy familiar routes in songs for the main and lacks uniqueness but it still makes a more than appetising encounter which gives voice, feet, and mischief an excuse to riot.

www.fasterpussycat.com

7/10

Ringmaster 26/02/2013

Copyright RingMaster: MyFreeCopyright

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The Unripes: This Is Not America

    This Is Not America is an album which wraps hard rock, punk, and sleaze up into a pleasing ball of energetic rock n roll which easily captures the imagination, a release which knows what it is good at and presents those elements with a confidence and swagger which is quite magnetic. Released by Italian rockers The Unripes, the Street Symphonies Records released album has all you wish for in a rock album brought with style and accomplished craft.

Formed in 2005, the Modena based band made strong impressions locally early on and though The Unripes went through line-ups changes as a young band has continued to evolve into an impressive and accomplished band. The quartet of original members vocalist AxiA and guitarist Mike Pelillo alongside new members bassist Uncle Sappa (Midnite Sun and Sutuana), and drummer Sevens (a.k.a. Luke Setti of Trick Or Treat), have delivered a debut album which is bursting with hungry rhythms, assertive riffs, and infectious melodies and hooks which light up the ear.

Opener Track No. 1 is the immediate proof as it instantly engages on its appearance through an electronic breath and shadowed vocals which pull one into the following storm of energy and passion. Into its full stride the song is a thumping stomp of fiery riffs and vociferous vocals over firm beats from Sevens. Its chorus is as anthemic and catchy as you could ask for and the bass of Uncle Sappa a growling beast which is impossible not to be fully enamoured with. It is a straight forward song but like the album knows how to make the strongest persuasion and give a comprehensive pleasure.

Next up Reload is the biggest highlight on the album, an impossible to refuse contagious lure to voice and limbs to join its aggressive and energy driven feast of sound and passion. The lead track from the album which also was chosen as the official soundtrack to the 2012 main event of Italian wrestling company IWC, the song is a fiery charge of rampant riffs and sonic flames upon firmly jabbing rhythms and a real muscular treat to party with.

Arguably the strength of the song ensures that the following songs like Get On This Rollercoaster and You Are The One fail to reach its heady heights but to dismiss them or any song on the album would be irresponsible as all are potent and highly agreeable slabs of rock n roll. The first of this pair is a feast of sturdy riffs and raptorial basslines behind strong vocal harmonies and inspiring melodic craft whilst the second is a power ballad which shows an emotive depth and diversity to band and the fine vocals of AxiA. Again the cantankerous bass sound steals the show but every aspect of the song is highly satisfying.

Throughout the album there are loud whispers of bands such as Motley Crue, Steel Panther, Black Stone Cherry, Zakk Wylde, and more and if there is any real negative about the album it is a lack of a distinct and unique voice to the obvious creative craft and invention of the band, not that it makes the enjoyment of the album suffer. With further highlights coming with songs like the voracious My Muse Is Called Rock’n'Roll, the sinewy  Damned Electric with its open heart and enterprise, and the irresistible Scream If You Wanna Go Faster, easily one of the favourites on the album, This Is Not America hits the right spot from start to finish.

The Italians are a band on the move and their debut album the perfect way to join their ascending rise. The release offers honest prime rock n roll for the masses courtesy of a band you will hear more of, The Unripes.

http://www.facebook.com/theunripes

7/10

RingMaster 07/02/2013

Copyright RingMaster: MyFreeCopyright

Audrey Horne: Youngblood

   

    With their third self-titled album, Norwegian rock band Audrey Horne made an explosive and triumphant climax to their journey as a band, the release placing the hard rockers into the higher echelons of the genre with critical media and fan acclaim to match. Even for those like us who have only a passing affection for their chosen genre it was impossible not to take note and offer a solid appreciation for its craft and sounds. Such its response and creativity it was not difficult to wonder if they could follow up the release with the same strength and invention. New album Youngblood more than answers the questions with its impressive and thrilling contents.

Formed in 2002, Audrey Horne has been on an accelerated and energetic ride ever since with a continually impressing  evolution in sound and rewards coming through the earning of a tremendous reputation for their live shows, a series of releases which captured the imagination reaching a crescendo with the self-titled release, and winning a Norwegian Grammy in 2006. Youngblood feels like the beginning of the next passage of the band, the album bringing all the riches of the previous one with another fresh twist of invention on top. Released through Napalm Records, the album is a rich slice of classic and hard rock at its most impassioned and stylish with an equal imagination and craft. It also sees the Bergen band as a quintet for the first time with bassist Espen Lien now a full time member alongside vocalist Toschie, guitarists Ice Dale and Thomas Tofthagen, and drummer Kjetil Greve.

Redemption Blues opens up the album with an eager and accomplished brew of keen to please rock n roll. It takes its time to fully engage all its charms with a lingering teasing entrance but into full swing it is a vibrant riot of enticing riffs, a wonderfully grouchy yet mischievous bassline, and sizzling sonic accomplishment. It is one of those songs which recruits the passions with ease and takes them on an energetic ride too impossible to resist. Not for the first time on the album, the bass of Lien is sensational, a mesmeric predator, whilst the guitar invention and craft is just delicious, an incendiary pleasure to fire up the heart.

Across the keen rampage of Straight Into Your Grave, a song which reminds of Napalm Records, at times with the great vocals of Toschie and its straight forward intent to ignite the energies within its recipients, and into the magnetic title track the album continues to leave a deep satisfaction and endeavour to bask in. The second of the two is an easy going tenderly crafted slice of melodic rock at its finest bringing further diversity to the album and heated elegance.

Well into its stride Youngblood breaks out its finest moments starting with the wonderful sirenesque There Goes A Lady, a song which lures one in like the mythical enchantresses musically, lyrically and in its personal theme. One of the highlights of the album is the lyrical content of songs, and the avoidance of the band to offer the routine predictable premises of others. The words employed by the Norwegians are thoughtfully crafted, constantly intriguing, and evocative pictures upon the musical canvas and no more potent than on this excellent track.

Further highlights exalting the senses are offered in the latter half of the album, a release which arguably can be said to be the strongest in the closing stretch of its aural charge. Cards With The Devil is a wonderfully heated thrill with flames of blues and classic rock smouldering away within its progressively melodic whispers and fully inviting breath. It is a mesmeric piece of songwriting and realisation but surpassed by the following Pretty Little Sunshine, the best song on the album. The track is a continually moving flow of beckoning riffs, anthemic vocals, and infectious energy which hits all the right spots. As the album does persistently, the track treats the ear and heart to the finest vintage spices soaked into an inventive imagination and fire borne solely of Audrey Horne.

The closing pair of tracks This Ends Here and The King Is Dead leaves the listener on a high of impressive melodic craft and exceptional musical vision, both as the album itself, rock n roll to devour with a passion. Youngblood is an exceptional release which has plenty for everyone, even those like us without that instinctive ardour for hard rock. A definite must introduce yourselves to release.

http://www.audreyhornemusic.com/

7.5/10

RingMaster 01/02/2013

Copyright RingMaster: MyFreeCopyright