Anti Clone – Hands Sewn Together

anti clone

If you thought nu-metal was a redundant flavour then hold on to your floral panties boys and girls because it is not only alive and viciously kicking but it has been twisted into a whole new glorious personality by UK geniuses Anti Clone. Genius is just what the Lincolnshire quintet is for not only has the band reaped the most flavoursome and essential essences of the genre and fused them with a healthy dose of varied other spices, they have bred those inspirations and accompanying familiarities into a fresh and new dawning. It is not the forging of a brand new ground-breaking exploit but without doubt the beginnings of a template destined to spark a fire in others.

Formed in 2011, the Boston band like so many went through a tempestuous time line-up wise before the two sets of brothers in Peter (lead vocals) and Drew Moore (drums/ programming) alongside Conor (guitar) and Liam Richardson (guitar) alongside Fraser Burch (bass) came together. The band from there were soon earning a powerful reputation for their live performances and sound locally which was emulated as Anti Clone spread their musical fury across the UK starting with a tour alongside Eridium last year. Since then the band has graced stages with the likes of American Head Charge, Sworn Amongst, ESO, Maplerun, Evil Scarecrow, and Bloodshot Dawn. Following the success of debut single 1984, the band’s Matt Hyde (Machine Head, Trivium, Fightstar, As I Lay Dying and Slipknot) produced Hands Sewn Together gets its national release and it is hard to see the British metal scene being the same ever again.

It only takes the first few moments of opener Take This Pill to turn attention and imagination on their heads and lay down bait which sets the seeds to a lingering ardour soaked reaction. Coarsely surfaced riffs size up ears first; their CDHSTSACtouch a rough rub before scythes of sonic enticement sears the senses through the guitars. With controlled yet punchy rhythms punctuating the initial lure to equally appealing success, Peter unveils his outstanding vocal expression, his deliver subsequently shown to be as inventive and varied as the sounds around him. The track continues to twist and flirt with the imagination and passions, elements of Korn making strong hints though maybe more so the song plays like a mix of Mudvayne and Fuckshovel with a rich dose of Drowning Pool incitement. That too is only a spice as Anti Clone proceeds to sculpt an antagonistic seduction which oozes originality and mouth-watering invention.

The simply outstanding start alone would be enough to wax lyrical about the promise of the band, but that potential is shown to be far more than just a future possibility by the following Here Comes The Flood. As different in character as it is similar in its creative alchemy, the second song completes the persuasion that release and band is something special. Charging from the blocks like Usain Bolt caught short, muscles and attitude bulging with every beat and note, the track is a carnivorous tempest of sinew driven temptation coursing with a (Hed) PE like anger and contagion. It is a riveting swipe at the senses which only intensifies its might and coaxing with an insatiable torrent of rhythms from Drew which in turn inspires guitars, bass, and vocals to collide in a breath-taking brawl of ingenuity. To be quite honest if there has been a better track unleashed this year it will have been something really sensational.

The furious drama of the track is equalled by that of 1984 though it comes as a more reserved proposition. The slow courting of vocals and drums stabs skirted by the excellent dark throat of the bass is another irresistible lure from the band. Behind it a seeping breath of portentous atmosphere is released but it is also a slow brew which hints and taunts before the guitars begin to stretch their presence and narrative with melodic enticing amidst a similar rising of passionate energy vocally. Eventually taking big strides rhythmically with potent hues of guitar enterprise on board, the song swells with an American Head Charge seeded adventure before repeating its magnetic sequence but with a fuller weight and evocative dexterity. Glorious in its harmonious reflection and raw in its impassioned protest, the track is a masterful.

The following System, which also features John Knight of Synaptik, makes a more controlled entrance like its predecessor but this time within an openly voracious frame of sound and intent. There is an intimidation to the track from its first breath though which ignites a sudden twist as the song escapes its compelling rein to surge with inventive nostril flaring into a riveting stomp of crusading rhythms and sonic tenacity. As all tracks it is also as unpredictable as they come, playing like an aural jigsaw which is unafraid to let its moves make rude and clunky interruptions to enhance further an already thrilling beast.

The EP ends with its most hostile offering, vocals and grooves from the first syllable and note a raw abrasion which develops its own infection soaked enticing. The Usurper is a brute of an encounter, a hostile and uncompromising protagonist which deceptively loads up with hooks and squealing grooves to seduce as it gnaws on the senses. Again it is another facet to the sound and presence of Anti Clone, no two songs on the EP sharing a whisper of ideation and undeniably none as ferocious and unrelentingly invasive as the closer.

Hands Sewn Together is pure joy, an encounter which leaves the majority of releases this year standing in its shadow whilst as declared earlier making for a standard setting proposition. Even though Anti Clone has only just started redesigning and warping British metal, it is impossible not to get truly excited about the band.

The Hands Sewn Together EP is available now @ http://www.anticlonehq.com/

www.AntiCloneHQ.com

10/10

RingMaster 25/08/2014

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No Sin Evades His Gaze – Age Of Sedation

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Introductions from emerging bands obviously come in many shapes, sizes, and with varying success, but few leave as rich a hunger and lustful an ardour as inspired by UK metallers No Sin Evades His Gaze and their debut album Age Of Sedation. A riveting maelstrom of styles and flavours honed into a dramatically imposing and scintillating tempest, their release is an extraordinary entrance from a band young in years but mature in creativity and craft. There has been a loud buzz brewing around the quintet for a few months now and it is obvious as to why now.

No Sin Evades His Gaze was founded in the middle of 2013 by vocalist James Denton (ex-Ravenface). Completed by guitarists Kevin Pearson and Dan Thornton, bassist Matthew “Moat” Lowe (ex- Bleeding Oath), and drummer Theo Harvey (ex-Ravenface), the band gripped attention with the release of the single Age Of Sedation in May of this year, the track soon earning critical acclaim and media attention to match the appetite of the band’s growing fans. It was a potent hint of things to come, a rich suggestion of their new album but still merely a teaser to its blistering presence and might. Forging a ravenous and fluid web of everything from metalcore to technical and groove metal, progressive to death metal, the album is a raw and brutal hostility brought with the most elegant of touches and intensity of adventure. Not all songs startle as rigorously as others but each dramatically impresses with insatiable aggressive invention and rapier like imagination. Age Of Sedation may not top best album lists come December but it will be high in the majority of candidates.

A Crack In The Looking Glass is the opening intro to the album; it’s coaxing a thought challenging vocal sample surrounded by a melodic fanfare fuelled by a portentous breath. It is not a dramatic entrance but certainly awakens 10514663_279269198932257_7855588474433333182_nattention and intrigue which the following title track swiftly exploits with its masterful provocation. Continuing the brewing almost epic ambience of the first piece, riffs are immediately rubbing on the senses as a climate of change and volatile intent boils up around them. Percussive incitement and heavy bass tempting soon add to the fascination embracing ears with the guttural growl of Denton a savage provocation in their midst. The track in full stride is a beast, tight melodic veining and caustic riffery aligning to violently antagonistic rhythms from Harvey and the ravenous intensity of the basslines. There is also an intimidating swagger to it with teasing grooves simply igniting the senses. It is obvious to see why the song set greedy anticipation in motion for the band’s album and it is only the start of something special.

     Motionless In Obedience instantly sets out its own contagious bait as drums and guitars unite for an initial canvas of temptation which brews up into a magnetically layered and impressively textured weave of ideation and sound. Orchestral whispers and sultry melodic colours permeate the intensive pressure and intent of the track whilst grooves and hooks offer a barbed lure which slips comfortably into the agitated depths of the encounter. As with all songs, each moment is a passing twist in a growing picture, the aggressive growls of Denton evolving into an outstanding clean delivery with the frontman impressive in each extreme, and the overcast menace of the song finding a clearer melodic air to seduce through. Like a mix of Meshuggah and TesseracT merged into another of Between the Buried and Me and Sepultura, but still only part of the sound, the track continues the immense start of the album.

The sonic enticement of Filth makes a transfixing lure to a bordering on carnivorous onslaught, essences of Korn and Mudvayne flirting with the industrial hints and barbarous maze of the song’s invention. It is an addictively compelling provocation, much like the album, which uses every note, chord, and pestilential syllable to assault and inspire. Its apocalyptic presence evolves into a sense of awakening as it fades away with crystalline charm before air and ears are baited by another unpredictable threat of tenacious riffing and rhythmic athleticism which sizzles with spite and ingenuity. Vocally as its predecessor, the blend of roaring rancor and melodic enticing is as masterful and rewarding as the seamless merging of vicious intensity and creative rabidity.

Both the predatory Roll Up The Royalty and Debris strikingly feed a hungry appetite. The first is a bruising fury of raptorial grooves and scarring riffs caged by inventively pounding rhythms off set by the again excellent vocal mix courted by the cantankerous charm of the bass and a mystique wrapped sonic exploration. Its successor sees the bass of Lowe offering another predacious character of sound and rugged contempt whilst over him vocals scowl and croon entwining venom and harmonious enticement. At its heart the track is a toxic treat with scything beats and scorched grooves sculpting a scintillating net of creative resources and bewitching imagination.

Age Of Sedation continues to abuse and ignite the senses with its enthralling tapestry of sound and inventiveness, The Cycle Resets an incendiary blaze of sonic poise courted by a twisted fight of rhythmic brilliance whilst the next up Biometric Alchemy laces its vigorous terrain with industrial strains of tempting and potently evocative flames of sinister melodic radiance. It is another glorious pinnacle in the album; the song’s first half a towering oppression of carnal malevolence which evolves into a stunning progressively seeded fire of melodic expression and vocal brilliance. Think Soilwork meets Fates Warning to give some kind of idea to its excellence.

The release is completed by firstly the infection dripping enmity of The Guillotine Blade, a creative war for the senses and template for the imagination to immerse in. Its every turn oozes ingenious challenges and stirring provocation cored by an infestation of enslaving grooves and sonic tempting. Its triumph is matched by closing track Affinity, the most aggressively mellow proposition on the album but still littered with rhythmic animosity and stabbing riffs. It is the swarming flames of melodies and warm vocals which steal the passions though, their beauty an absorbing caress in the final creative and ravenous blitz of the release.

The song is a richly flavoursome end to a stunning debut from No Sin Evades His Gaze. The fact that Age Of Sedation just gets more powerful and enthralling with each listen, not forgetting exciting, suggest that the UK has a band to set the metal world ablaze if not now within near horizons.

Age Of Sedation is available digitally and on Ltd Ed CD now @ http://nosinevadeshisgaze.bandcamp.com/album/age-of-sedation-2014

http://nosinevadeshisgaze.com/

9/10

RingMaster 21/08/2014

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MANUMIT goes ‘Digital & Hostile’, from 1st September‏

Manumit Online Promo Shot

Welsh solo artist Manumit is poised to unveil his explosive debut album, Digital & Hostile on 1st September, through Lost Generation Records, a release which be an anthem for anyone looking for originality.

In an increasingly over saturated market, every fan, record label, radio station, music channel and magazine are screaming for something new. Manumit is certainly that. Spawned in 2012 and coming at you from Bridgend, South Wales (home to the likes of Bullet For My Valentine and Funeral For A Friend), Manumit has strived to bond genres whilst sculpting  genuinely distinctive songs that pull you in from their first breath.  Taking from a plethora of influences, ranging from Alexisonfire and Paramore, to Nine Inch Nails, Pendulum and Nero, whilst drawing from the fundamentals of dubstep, drum n bass, and electro and fusing them with cutting edge rock, metal, and post-hardcore, Manumit has amassed a sound that packs pulsating rock riffs with thoughtful melodic vocal and synth vocal work, all broken up by brutal digital breakdowns. The end result is an original onslaught of contagious, anthemic tracks that are loaded throughout with intricate dynamics.

Mamumit hit the ground running with the release of both his debut EP ‘F**k Genres, Love Music’ and his first music video for the track ‘Walk Away’; people across the world couldn’t help but take note. Turning industry heads, ‘Walk Away’ made it to the Top 10 Fresh New Videos on Scuzz TV, coming in at No. 2 ahead of Bullet For My Valentine, Biffy Clyro and Limp Bizkit, among others. Following this, Manumit went on to release two other singles and videos for ‘Can You Hear Us?’ and ‘Afterglow’, all of which were extremely well-received and also featured on Scuzz TV.

On September 1st 2014, Manumit will nationally unveil his hugely anticipated debut album ‘Digital & Hostile’ through independent imprint ‘Lost Generation Records’. A DVD featuring all music videos, interviews and live performances is also available alongside the album, which consists of ten killer slabs stemming from past singles ‘Walk Away’, ‘Can You Hear Us?’ and Afterglow’, as well as seven new tracks. The album takes you on a breathtaking and formidable journey, and it’s destined to break Manumit into the national sphere.

- MANUMIT RELEASES ‘DIGITAL & HOSTILE’ OUT ON MONDAY 1st SEPTEMBER THROUGH ALL GOOD STORES -

Manumit Cover Artwork

https://www.facebook.com/manumitofficial    https://www.youtube.com/manumitofficial

Mutagenocide – Devolve EP

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If UK metallers Mutagenocide have not reached your neck of the woods or gaze yet never fear they are coming with their ferocious and feverishly flavoured sound, certainly if new EP Devolve gets the breaks and attention it deserves. Made up of seven voracious onslaughts which rage and stampede with pure metal aggression, the release unleashes an unpredictability which is as compelling as the invention and array of styles which fuels its adventure. The band has been making a stir across the metal underground in the UK and now Devolve suggests the time is ripe for the quintet to find a wider intensive attention.

Oxford based, Mutagenocide showed their intent and brewing depth of sound with a self-titled debut in 2012, the four track EP a potent reinforcement of their already keenly followed and recognised live performances. Now the line-up of vocalist Jay Taylor, guitarists Pat Scott and Paul Clayton, bassist Tom Greenway, and drummer Ben Wilsker pounce with a provocation which suggests they are ready to stir up a countrywide hunger with the potential to fuel attention much further afield.

From the first swipe of sonic belligerence over a persistently winding flume of guitar, opener Hysteria has ears and appetite wide awake. It is a dramatic entrance which is soon twisted into a tempestuous charge of thrash bred antagonistic DEVOLVE COVERriffing and vicious rhythmic hostility, this ridden by the caustic vocal squalls of Taylor. But as is a constant across the whole release, it is merely a moment in an evolving landscape, grooves and addictive hooks as well as subsequent progressively seeded ideation, veining and working its way into the heart of the fierce and impressive incitement.

The immense start is swiftly emulated and surpassed by the title track, it also an immediate fury and explosive assault through ears. A melodic and progressive teasing plays within the demanding surge before merging into an addictive web of tenacious grooving and venomous melodic metal coaxing. It is a blistering mix which again seems to find a new avenue to investigate and contagious bait to expel within the unrelenting voracity of the song. It is a brilliant encounter which is full of drama and intrigue, incendiary craft and seductive predation, but most of all sheer compelling invention.

     Entombed and Swallowed makes a reserved entrance next, a guitar painting an emotive hue into an evocative atmosphere which carries no threat yet has an air of foreboding to it. It is the same as a melodic wind of progressive rock spicing opens up its narrative, guitars impressing with every expressive note but the darker shadows of the bass ensures a portentous tempering is lurking. That darkness seeps into the growing weight and punch of the rhythms before fuelling a corrosive maelstrom of acidic sonic endeavour, acutely jagged riffery, and an increasing spite to the commanding swings of Wilsker. Like a brawl instigated by Lamb of God and Sybreed with thoughts of Cambion also making their hints, but an aggressor with the poise and exploratory expression of melodic metal and the emprise of post metal, the track is a riveting blaze of adversarial emprise. It is soon outshone though by the similarly cultured but rigorously individual Half-Born, it’s closing seduction before a corrosive finale alone passion firing but as a whole proposition the song is a startling and ruggedly imposing and shifting triumph.

     Remeron Nightmares with its stomping thrash sculpted entrance and Wretched bring the release to a mighty conclusion. The first proceeds to spin a malevolent web of precision crafted inhospitable toxicity encased in a simultaneously intimidating and alluring storm, its presence as primal as it is intensively honed. Equipped with a familiar swagger, a sonic invention which leaves lips licked, and a primal virulence the track is a monstrous treat. The same which can almost be said about its successor, a final enthralling furnace of raw and hellacious enterprise which whilst lacking the stature and uniqueness of its predecessors, is still a mighty end to an outstanding triumph.

There is very little to put up against the Stu Mckay (Malevolence, Desolated, Ingested, Annotations Of An Autopsy, Eternal Lord) recorded and Tim Turan (Nuclear Blast, Candlelight Records) mastered release though a bit more variety to the admittedly excellent vocal delivery of Taylor would be welcome and interesting. It is a minor thing in a big thrilling step from Mutagenocide, a band you can expect to hear and see a lot more of ahead.

The Devolve EP is available now @ http://www.mutagenocide.bandcamp.com

https://www.facebook.com/mutagenocide

9/10

RingMaster 15/08/2014

Copyright RingMaster: MyFreeCopyright

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Cole Childers – Aurora EP

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Providing an intriguing and seriously captivating blend of hard and alternative rock with also a slight tendency for metal, the Aurora EP is one of those potential soaked treats which catches you by surprise and opens up a certain appetite for more. The debut solo release from Cole Childers, the impressive six track encounter is a bed of drama and evocative enterprise which roars and seduces with equal potency. It is not a proposition to explore new avenues for fiery melodic rock but certainly one making a tasty addition to its ranks whilst marking Childers out as a striking presence to contemplate and keep a keen eye on ahead.

The Bainbridge Island, Washington hailing, now Seattle based musician brings his experiences from being a member of the United States Navy since 2000, as well as other personal moments and insights into his songwriting, lyrically and in sound songs gaining a dark and often challenging texture to their incitement. Returning from a six month deployment in 2006, Childers formed rock band Chasing Corona which released the critically acclaimed album Black Eye and Candlelight as well as going on to share stages with artists such as Motley Crue, George Clinton, Creed, and Joan Jett. In 2010 he left the band and also since leaving the military, found in his words that “I was able to move back to where it all began, with new purpose and clear direction.”

As soon as the opening track from Aurora embraces ears there is recognition of that passion you sense in the man running through the release in sound and vocal delivery. Save Me straight away casts a wall of demanding riffs and ImageProxy.mvcrhythmic swipes which awaken attention and imagination instantly. It is a feisty entrance by the song which is soon entwining senses in taught grooves before relaxing into a melodic and emotive caress clasped by evocative shadows. It is a fiery relaxation though which is soon aflame as the rigorous chorus erupts with similar vocal causticity from Childers. It all combines for a gloriously magnetic lure aided by the great throaty prowl of the bass and those firm swinging rhythms which punctuate every twist and emotional expulsion of the song. As lyrically gripping as it is in sound, the song is like a mix of Johnny Wore Black and Sick Puppies, and a scintillating start to the release which alone fires up a hungry appetite for more in the passions.

Childers latest single comes next to continue the immense presence of the EP, Fall With Me also entangling the senses in raw and strongly imposing scythes of guitars at first before Childers begins unveiling the emotively striking and stirring premise of the song. It along with an accompanying video, potently tries to portray the turmoil and sacrifice in war which goes unrecognised or certainly felt by those on the outside. It has a metal edge which makes for a predatory essence whilst a 3 Days Grace like angst and expression adds further rich hues to the incendiary and thrilling encounter. There is equally a skill and poise to the musicianship of Childers which hones the emotion and aggressive flavours that drive the heart of the song into a thought sparking proposition.

The evocative balladry of Addict is next, keys and voice making a captivating embrace which flourishes further as Childers explores a flowing harmonious presence whilst embraced by shadow kissed strings. An electronic agitation adds its resonance across the brewing climate of the song, a whisper of Linkin Park spicing up a Pearl Jam/Breaking Benjamin like croon. It is a mesmeric blaze of dramatic enticement which makes way for the tempestuous air and energy of Run Away. Again Sick Puppies comes to mind as hooks sparkle and riffs rub their captivating bait on ears whilst a raw energy colours the song’s emotional bellow. As with all the tracks, there is an inescapable contagion and ferocious beauty which wraps and ignites the imagination whilst forming a lingering lure in the passions.

The EP is completed by firstly the heavy rock fuelled Impossible, a track which lacks the spark of its predecessors yet still has plenty to ensnare and draw back eager attention, especially the potent and increasingly impressing vocals and expression of Childers. It is followed by the title track to being things to a potent close. The acoustically cast track looking at a broken relationship and its twist, is a smouldering caress of a song where vocally Childers again shines and melodically is an evocatively flaming sunset of sonic richness and emotive endeavour. It is an excellent finale to an outstanding release which just gets better with every listen. As mentioned at the start, Aurora is not setting new plateaus to emulate but definitely provides one captivating promise drenched adventure which suggests to expect big things from Cole Childers ahead.

The Aurora EP is available now via Vanity Digital Music on iTunes, Amazon, Google Music and other digital download sites.

colechilders.com

8.5/10

RingMaster 13/08/2014

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Grifter – Return Of The Bearded Brethren

Pic SarahStygall

Pic SarahStygall

Almost three years after the release of their very appetising, riff stocked debut album, UK rockers Grifter return with another mighty slab of muscular temptation in the form of second album Return Of The Bearded Brethren. The successor to their acclaimed self-titled full-length which delivered eleven slices of unbridled dirty rock ‘n’ roll, the new proposition finds the trio building on all the essences which made the last release a formidable triumph. With greater maturity and style raging through the songwriting and increased devilment to their sound, Return Of The Bearded Brethren is a seductive beast of a release with grooves, hooks, and riffs all honed to an irresistible stature. It is fair to say that the album is again not exactly creating new templates for heavy rock but definitely the band is giving another very healthy and thrilling stomp to greedily devour.

Released as their 2011 debut on Ripple Music, Return Of The Bearded Brethren sees the threesome of vocalist/guitarist Ollie Stygall, bassist Phil Harris, and drummer/backing vocalist Foz Foster finding a tighter ruggedness in their sound as well as a keener and equally potent adventure. Formed in 2003 Grifter, as shown by their High Unholy Mighty Rollin’ and The Simplicity of the Riff is Key EPs in 2008 and 2010 respectively, has never been slow in barging through ears with the meatiest attack of contagious big boned riffery and spicy grooves. Their first album set a new plateau for the band with its collection of songs crafted over the years leading up to its release, a base which the Rich Robinson produced blaze of The Return Of The Bearded Brethren has embraced whilst breeding its own dirt encrusted and invigorating character. Spawning songs themed by tales of “Guinness, ’70s sex symbols, drinking regrets, religious folly, and more”, the weighty treat of heavy rock revelry is one of those encounters which turns a party into a riot, a raucous gathering into an orgy of unbridled debauchery, and leaves all concerned exhausted and blissfully wasted.

As soon as the album hits the ears with opener Black Gold you know things are going to get filthy and lustful, especially with the following She Mountain backing it up with a similarly lusty seduction of infectiousness and sinew driven RIPPLE_2393energy. The first track primes ears with punchy beats before unleashing the most delicious of contagion drenched grooves. The bass riffing of Harris sets a throaty spine to which the swinging rhythms of Foster provides irresistible bait, but it is once the excellent vocal lure of Stygall alongside his increasingly tempting string play that the song becomes an inescapable slave master to feet and emotions. With hints of blues fire and imagination entangling sonic enterprise across its narrative, the track continues to bind body and soul tightly whilst its swagger and relentless stride of vocals and sound is the purest anthemic enticement. Its successor is similarly commanding and insatiable in recruiting senses and passions. A stronger whisper of blues flirtation makes its touch known but primarily the song is again an anthem of heavy boned rhythms, saucy grooves, and antagonistic riffs which converge into one blaze of addictiveness.

To be honest such the majesty of the first pair of songs that the album never manages to reach the same pinnacle again but that is no slight on the rest of the impressive encounter. The sultry Southern rock twang of Paranoiac Blues immediately feeds the greedy appetite already triggered by the album with its flavoursome flame of blues angst and spicy sonic endeavour. Like Seasick Steve does ZZ Top with the weight of Orange Goblin behind it, the track winds around the imagination with a glorious invention and melodic flaming before making way for Princess Leia. Guitars and bass are immediately prowling ears, appearing its slower stride with bursts of catchy urgency, whilst the rhythmic taunting of Foster ignites a tension of aggression in the again impossibly infectious proposition. With it also having a video for it, the track looks like the lead into the album which is understandable though you do also wonder why the might of the first two tracks were overlooked.

The outstanding Bow Down To The Monkey adds its bear like prowl and smouldering enticing to the album next, vocals and grooves as magnetic as the jabbing rhythms and carnivorous tone of the bass are predatory. The song wraps itself lasciviously around ears with an open flirtatious enterprise to add another creative twist to the album, as does Braggard’s Boast with its raunchy riffing and acidic grooves within a bar room brawl of heavy rock meets classic metal. It is not a track which grips as potently as others upon the release but still has body and emotions leaping eagerly, making a great appetiser for the bluesy rampancy of It’s Not Me, It’s You. As with many of the songs on the album there is a familiarity to some of the twists and essences within the track yet it only brews up a stronger link between the release and passions for the main. At times storming with all cylinders ablaze and in others smouldering with a smooch of a coaxing, the track is a riveting evocation of old and modern rock ‘n’ roll, something Grifter are very adept at fusing.

Both Fire Water and the title track keep the juices of the album and reactions flowing keenly, the first an old school seeded rocker with a sauntering and mischievous gait to its infection soaked endeavour, especially around an addictive chorus, whilst the second is prime sonic enticing which again feels more like an old returning friend than a new acquaintance but is still as fresh and inspiring to limbs and voice as you could wish for. Its rigorous success is followed by album closer Fairies Wear Boots, a cover of the Black Sabbath track which hits all the right notes and sweet spot with a raw and caustically graced Grifter unique stroll. It is a fine end to a mouth-watering release from the band. The Return Of The Bearded Brethren is not a awe inspiring triumph or maybe one to squash all expectations but it is one to bring one of the most enjoyable and compelling rock ‘n’ roll treats this year and that is more than enough to get excited over.

Return Of The Bearded Brethren is available via Ripple Music in North America now and in Europe on the 18th August on CD, limited Vinyl, and Digitally and at http://grifter.bigcartel.com/product/the-return-of-the-bearded-brethren-cd-album

http://www.grifterrock.co.uk

8.5/10

RingMaster 13/08/2014

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