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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Dirty Dishes – Thank You Come Again

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A smouldering seduction of fiery sonic tenacity and vocal charm, US band Dirty Dishes has been a gripping proposition for quite a while through their attention grabbing releases and senses scorching sound but the band have laid down their most potent and thrilling marker with new single Thank You Come Again. Entwining grunge, punk, and noise rock in one raw and spellbinding wash, the band’s new release ignites an instinctive hunger in ears and emotions with consummate ease and skill.

Hailing out of Boston, Massachusetts, the now Los Angeles based band is the brain child of Jenny Tuite (guitar/vocals) and Alex Molini (synth/bass), the pair initially meeting at a party before subsequently uniting their creative craft and vision in the feisty shape of Dirty Dishes. It took little time for the pair to spark eager attention and appetites for their sound and presence, the band going on to play over the years with the likes of Passion Pit, Autolux, Speedy Ortiz, Trail of Dead, Best Coast, and Weezer. Both their self-titled EP of 2010 and the following The Most Tarnished Birds EP two years later drew acclaim but it is easy to suggest their contents were mere appetisers for the deepest inventive majesty of the band to be discovered, starting with Thank You Come Again. The single is a new twist in the noisy invention of the band, a loftier peak of contagious yet uncompromising sonic devilry which is quite scintillating.

A swift and brief blaze of guitar bred noise opens up the gates for a heavier breath of sonic intensity to escape the song, before it relaxes into a gentle caress of excellent vocal temptation from Tuite. Her voice mesmerises from the first note, its beauty courted by a dulled bass tone and jabbing beats before the returning caustic flame of energy and sound returns to ignite the senses. The song continues to revolve and merge both aspects of its raucous and transfixing beauty, the track enslaving thoughts like a mix of The Pixies, Sonic Youth, and Belly.

     Thank You Come Again is a sensational sweet abrasion on ears, a rigorous examination which flirts poetically whilst searing the senses. An introduction for some to Dirty Dishes and a continuation for others of their already impressive presence, the single is a gripping next step in the rise of a band destined to breach a global spotlight.

Thank You Come Again is available from September 29th @ http://dirtydishes.bandcamp.com

http://facebook.com/thedirtydishes

RingMaster 28/09/2014

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Kobadelta – Remain Distracted EP

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Having been enthralled by their rousing EP, The Hidden Door earlier this year, there was keen anticipation waiting for the release of its successor Remain Distracted. Both EPs come from the creative minds and resourceful imagination of UK band Kobadelta, and each provides a fascinating climate of sound and excitement to greedily immerse within. Remain Distracted takes the strengths and potency of its predecessor into new emotive and adventurous sonic flights, pushing the potential and emerging presence of the band into riveting and sultry landscapes. In some ways it is a slow burner compared to the last release but through a quartet of fiery and seductive songs, sets down the most potent and heady pinnacle from the band yet.

The release of Remain Distracted comes in a potent year for the Newcastle quintet which has seen them chosen to play Newcastle’s Evolution Emerging festival, as well as Stockton Weekender (with Happy Mondays and Public Enemy headlining) and Split Festival (with Maximo Park, The Cribs and Dizzee Rascal). Added to that there has also been a live session for BBC Introducing as well as numerous successful shows with bands like Allusondrugs. The new release adds another strong moment in the band’s year and one more irresistible enticement to develop a rich hunger over.

As soon as the sultry stroke of guitar from Alex Malliris opens up first track Siam, there is a potent temptation at work, its smouldering yet ripe lure a swift caress and announcement of the dark psychedelic invention the band is already acclaimed for. Another breath sees the hypnotic throaty basslines of Jon Marley join the evolving enticement of the guitar and the enterprising rhythmic framing of Chris Malliris. It is a glorious flame brought further to life by the mellow yet nicely raw tones of vocalist Dom Noble, all this against the already tantalising weave of melodic expression cast by the keys of Jordan Robson. It is a stunning track, elements of The Doors colluding with other whispers of bands like early The Horrors, 13th Floor Elevators, and Thee Exciters in an original fire of sound equipped with infectiously imposing hooks and grooves.

Repetition steps up next and instantly finds a heavier growl to its riffs, though that weight is not quite transferred to the crisp beats and elegant bassline. That restraint on some aspects and the mix of dark and light within the song works kobadelta epa treat all the same; its steady but feisty canter evolving through a sultry slow flight of immersive keys before breaking back with increasing tenacity in energy and attack. The Birthday Party like song is an intriguing shadow blessed proposition, not as dramatically gripping as its predecessor but growing into another absorbing and incendiary involvement of the imagination and emotions.

Its successor is less slow in gripping the passions, They Can’t Hurt Me floating in on another delicious almost sinister bassline. Its dark tone inspires a haunting essence to the minimalistic melody of the guitar and vocal croon of Noble, the merger offering a noir wrapped sultriness in presence and sound. There is a definite Cramps essence to the song as well as that of Jim Morrison and co, as well as hints of Damn Vandals and The Dropper’s Neck, but with an ingenious addiction sparking bait from bass and guitar aligned to similarly anthemic beats, the track is a slice of brilliance distinct to Kobadelta and their greatest song yet since forming.

The EP is closed by The Heretic, a sizzling sway of sonic causticity and melodic temptation driven by a swaggering rhythmic and riff crafted enterprise. As in other songs there is a prime hook which is inescapable for ears and passions, its coaxing leading the senses into the scorching haze of guitar and atmospheric heat of the keys. With the delivery of Noble again parading the song’s narrative with an unfussy but magnetically expressive texture, the song is a mesmeric consumption of the senses and a fine end to another impressive release from Kobadelta.

The band just gets better and better as evidenced by Remain Distracted ensuring whatever comes next from Kobadelta will be met with greedy anticipation.

The Remain Distracted EP is available from September 26th @ http://kobadelta.bandcamp.com/

https://www.facebook.com/Kobadelta/

RingMaster 26/09/2014

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Rise Of The Northstar – Welcame

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Like being bitch slapped by Godzilla, Welcame the debut album from French thrashers Rise Of The Northstar shows little respect and the utmost hostility yet still charms the frilly panties off the passions. Swiftly instilling itself as one of our lustful favourite releases of 2014, the release is an unrelenting brawl on the senses. Mixing thrash, hardcore, and varied strains of metal aggression in a binding of manga and Japanese cultural inspiration, sound and album is an exhausting thrill which violently bruises and angrily seduces at every turn.

Consisting of vocalist Vithia, guitarists Eva-B and Air One, bassist Fabulous Fab, and drummer Hokuto No Kev, Rise Of The Northstar go straight for the jugular on their Repression Records release full-length and soon has defences willing to be split and devoured by the hellacious fury of ‘manga-core’. Opener What The Fuck tears the senses from their comfort zone, the maniacal glint in the eye of the whole album swiftly and ruthlessly seizing ears once the first song emerges from its deceptive melodic coaxing, guitars opening up with a radiant lure veined by sonic enterprise. When it comes, the colossal wall of sound expelled by the track is a tsunami of spite and intensity. Riffs savage air and senses whilst beats pummel everything in sight. It is a vicious assault and quite irresistible especially as a death metal like malevolence aligns itself with rap cultured vocals and a charging thrash voracity. Everything about the song is raw, vocals and lyrics to riffs and rhythms all looming over the senses like a mix of Slipknot, Bad Brains, and Toxic Holocaust. Its open hostility is also equipped with a sonic temptation which rather than temper the raging seems to ignite it further.

The staggering start is matched within seconds by the predatory Welcame (Furyo State Of Mind), the track from its first breath stalking its victim. A Stuck Mojo like animosity rages in the midst of the storm whilst Cypress Hill like WELCAMEartsonic slithers adds a tease to the incendiary and contagious confrontation. That original slow crawl in attack eventually explodes in primal urgency to incinerate the climate of the song before relaxing back into its insidious stroll. The track is as uncompromising as it is addictive and followed by an equally ferocious and merciless assault in The New Path. Again ears and emotions feel like they are being hunted down by the intensive weight and fury of the track but also just as forcibly find themselves being serenaded by group harmonies and anthemic tenacity. It is a scintillating and pleasingly unpredictable incitement setting a new strain of hunger in motion ready for the excellent Samurai Spirit.

The album’s fourth song casts caustic sonic swirls and a bass probing to tenderise thoughts at first before vocals spew malice and spite with every syllable forced through clenched teeth. Riffs and chords hang around the song with intimidating effect whilst beats slap with increasing tenacity and muscle the further the track challenges the senses. Again though there is a vocal union which demands allegiance, another anthem emerging to push the heights of the album further.

Both Dressed All In Black and Again And Again keep things furiously compelling, the first a belligerent riot of craft and invention which uses every twist of its imagination to unleash another exciting and adversarial predation. It equally sets a web of sonic enterprise to captivate as it spills blood before its successor takes a music box simplicity and naivety into an imposingly rugged and jaundiced landscape. Though neither quite matches the brilliance of those before them, each impresses as they add new character and invigorating variety to the album just like the next up Tyson. A cloud of haunting ambience and sinister atmosphere smothers ears first before riffs erupt in carnivorous voice and intent. Hardcore driven vocals then fly at ears angrily from within in the brewing tempest around them. An infectious stride breaks out next, dragging thoughts and passions with its easily accessible yet nasty resourcefulness. The track matches its title in weight, strength, and menace, again not setting a raging fire in emotions but stirring them up to lively satisfaction all the same.

The ridiculously addictive Bosozoku uncages another storming treat; grooves and riffs in league as they bind ears and passions in their riveting anthemic bait to which rhythms administer their welcome brutality as vocals roar with rebellious relish. It is a blistering slab of rock ‘n’ roll pushing Welcame back to its highest plateau, a level maintained by the following cover of the Pharoahe Monch track Simon Says. Possibly the most brutal and imposing rap track you will hear this year, the band turns it into a storm of antagonistic destruction. There is no peace at its eye either, just more full-blooded voracity and malevolent intent.

The album is brought to a potent end through the fusion of rapcore and thrash infused hardcore uncaged by Authentic and the adrenaline fuelled thrash savagery of Blast ‘Em All, both tracks enthralling debilitating anthems no one could be unwilling to offer their bodies to. They complete a roaring triumph of a release, our introduction to Rise Of The Northstar, despite them apparently having a couple of EPs already loose on the world, and the start of a lustful friendship we suspect.

Welcame is available now on Repression Records.

http://www.riseofthenorthstar.com

RingMaster 23/09/2014

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Damn Vandals – Too Lazy To Die Too Stoned To Live/Cities Of A Plastic World

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Providing another irresistible taster and invitation to their widely acclaimed, album of the year contender Rocket Out Of London, UK psyche rockers Damn Vandals are unleashing a new double A-sided single. Comprised of two tracks distinctly different but deviously united in stealing the passions, the release is a ridiculously contagious and venomously caustic stomp. Both Too Lazy To Die Too Stoned To Live and Cities Of A Plastic World worm under the skin with compelling ingenuity and voracious enterprise, offering another inescapable temptation bred from a riveting brawl of garage punk infused with psyche and stoner rock from the London band. Quite simply it is punk infused rock ‘n’ roll at its most rigorously captivating and addictive.

Damn Vandals first gripped the passions with their Beautiful Mind EP, itself surpassed by debut album Done For Desire in 2012. Earlier this year the Julian Simmons (Midlake, Ed Sheeran, Guillemots, Goldheart Assembly) DE Ade Mulgrewproduced Rocket Out Of London set a new plateau for the band and template for emerging garage punk bands, the new single brings a stirring reminder with its sonic and deranged alchemy.

Both songs on the single provide a startling and magnetic scourge of unique sound and invention. Too Lazy To Die Too Stoned To Live makes an early vocal declaration before the track slips into a sultry and feverish stroll of melodic acidity and sonic expression. There is a sweet and sour twang to every slither of guitar incitement cast by Frank Pick whilst the bass of Adam Kilemore Gardens provides a throaty temptation which flirts with ears and imagination. Driven by the vibrant sinews of Chris Christianson’s beats and lorded over by the deliciously unique tones of Jack Kansas, the song finds a higher gear as it unleashes a captivating canter to its discord licked persuasion. Like Fatima Mansions meets Queens Of The Stone Age, with a flavoursome side dish of Engerica, the song is a glorious haunting of ears and passions.

   Cities Of A Plastic World breeds its own distinct veining of warped endeavour, a web of drama drenched sonic intrigue from the guitars aligning with jabbing beats for a delicious nagging on the senses and thoughts. A mischievous intimidation comes with the bass lures whilst vocally Kansas again parades the lyrical narrative with devious and raw expression whilst pure virulence soaks the dynamics and discord fuelled breath of the song. Complete with psychotic imagination to its rebellious nature, the track is one of the band’s finest moments to date.

If Damn Vandals has managed to escape the clutches of your attention then getting your teeth into the infectious heart of their new single is a must. Theirs is a sound which seduces and infests body relentlessly right through to emotions for the richest long lasting rewards; the twin temptation Too Lazy To Die Too Stoned To Live/Cities Of A Plastic World the perfect vehicle for their corruption of your soul.

Too Lazy To Die Too Stoned To Live/Cities Of A Plastic World is available on CD and digitally on iTunes and all major download sites from 22nd September.

www.damnvandals.co.uk

RingMaster 21/09/2014

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Black Sachbak – No Pay No Gain

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Strapping on a tank full of punk to their trash fuelled juggernaut of sound, Israeli metallers Black Sachbak is one of those wonderfully intrusive treats which it is impossible not to develop a lustful hunger for. Theirs is thrash metal at its most mischievous and antagonistic, a sound which most likely along with the band’s antics and attitude has led them to earn the title of or make a self-declaration that they are “the most hated band in Israel!”

Imagine the devilish thrash ferocity of Municipal Waste with the hardcore flavoured metal viciousness of Suicidal Tendencies and the punk hostility of Biohazard, and you get somewhere around the uncompromising onslaughts of Black Sachbak. The Petah Tiqua hailing and 2010 formed quartet offers a warped uniqueness which given the chance is a seriously rewarding and impressive bitch slap to ears and senses. Though originally released last year, No Pay No Gain, the band’s debut album was re-released recently through Stormspell Records on CD and Tridroid Records on cassette. It has given the world another opportunity to discover a thoroughly compelling band, one certainly all thrash fans should seize with both hands.

No Pay No Gain takes barely seconds to induce full attention with an extra lick of the lips as the opening rock ‘n’ roll fanfare of Haircut I Never Got sets the fury in motion. Swiftly heavy handed thumps of beats from drummer Noam Chizo Salingre descend on the senses alongside the gruff vocal resourcefulness of vocalist Eliran Balely. Their potent bait is enhanced by the sonic endeavour from the guitar of Dor HaShamen Plaut and the meaty bass prods of Lidor Sharaby. It is a demanding entrance which just as forcibly twists into a heavy striding ferocity, riffs and rhythms almost goading ears and vocals. It is a glorious rage which is unafraid to juggle the pace of its attack and throw some wrong-footing twists into its tempestuous presence.

The outstanding start is followed by the slightly less astounding force of The IMF. It is only a dip because of the brilliance of its predecessor, the track a raucous brawl of compelling riffs and antagonistic beats speared by a virulently contagious groove. Also loaded with excellent guitar craft and enterprise with a sweet solo, the track provides another rugged inescapable trap for the passions before making way for the brief punk assault of Dubstep Sucks. Picking on the target in its title, the track roars and snarls with sonic hostility and vocal unpredictability to provide three highlights out of three for the album.

Both Marx Was Right and Beer Law keep the levels high and appetite greedy, the first flying from the traps with voracious riffs and similarly greedy rhythms ridden by the lyrically caustic and vocally savage tones of Balely. As anthemic as they come on the album, the song flirts with and barracks ears from start to finish with prime thrash ferocity equipped with a healthy strain of punk and heavy metal tenacity. Its successor provides more of the same but also takes a slower, at times stalking approach to ears. Riffs gnaw feverishly on the senses throughout whilst rhythms swing with unbridled sinews but in other moments both shift almost 180 degrees in their attack to again bring an intriguing turn of events.

     Next comes a cover of a song by an Israeli artist called Tamir Gal. Having no idea of its creator or the original, it is still safe to say that Black Sachbak has pillaged, maimed, and reinvented Soher in their own chaotic likeness. The track is pure bedlam, vocals deranged and sound disturbed into a sonic haze so that it is hard to know how to take the track. Yet it brings a broad satisfied smile before the excellent Capitalist Zombies goes for the jugular. It is a wonderful irritant, riffs and beats a hellacious ravaging whilst singular and group vocals rouse and graze the passions eagerly. Punk thrash at its best, the track is another insatiable slab of irresistible toxic and thrilling creative rabidity.

A matching blaze of voracity drives Fuck Your Law, a torrent of anger drenched vocals and riffs emulated in spite by the hostile swing of beats. Short and to the point, the track blisters ears and psyche before TV unleashes its infectious and malicious frenzy. Spiked with stabs of delicious grooves and hordes of addictive riffs, the track is a stormy treat which seduces as it batters, leaving the listener sore but blissful. Its certain triumph leads to the closing Smoke Hash, a final blitz which evolves into a scorching haze of heavy metal prowess and thrash savagery.

It is a great end to No Pay No Gain, which itself is the entrance into an exciting proposition in Black Sachbak, who surely will not be for much longer a secret to the thrash scene. The band and associated labels have given us all another chance to get in at the ground floor on their rise with No Pay No Gain; it would be rude not to take a look.

No Pay No Gain is available now via Stormspell and Tridroid Records, and @ https://blacksachbak1.bandcamp.com/album/no-pay-no-gain-3

https://www.facebook.com/BlackSachbak

RingMaster 19/09/2014

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(Hed)p.e. – Evolution

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From the first striking and forceful raw incitements of tracks like Firsty, Tired of Sleep, and P.O.S., on their self-titled debut album, (Hed)p.e. has been a lustful follow for us at The RingMaster Review. Certainly their subsequent albums have ebbed and flowed in success but each hitting the personal sweet spot to some degree or other. So new release Evolution had a head start with thoughts but also faced a more demanding appetite after eight highly persuasive previous studio full-lengths. The questions and hopes placed before it were swiftly swept aside by a release which lives up to its title musically as well as in theme. It is a thrilling proposition which maybe does not show its new shift in ideation and sound as loudly in some tracks as in others but provides a tantalising brawl of intent and enterprise which should ignite even the emotions of those not quite as enamoured as ourselves.

Evolution is the quartet’s first release with Pavement Entertainment and sees the Huntington Beach hailing band grab inspiration from their heavier roots; sinews and heavyweight riffs challenging the senses as grippingly as the cast of flavours and imaginative ideation more expected from a (Hed)p.e. incitement. Just stepping into their third decade, the band has almost regrouped their ideas and thoughts with Evolution, starting a new chapter with the cream of the essences which took them to this point in time and entwining them with new adventures. As mentioned the album does not persistently roar with its new intent but there are equally times where new twists inspires the tingles first felt when discovering the eclectic enticement of the band way back in 1997 through their first album three years after founding.

The opening slap of tom toms announcing opener No Turning Back instantly grabs attention, their easy coaxing leading ears into a fiery wall of intensive riffs and forcibly crisp rhythms. It is a potent slap on the senses with the sonic HedPE_Evolution_Covergrowl expected of the band. Veins of melodic acidity add drama and intrigue to the proposal before the distinctive vocals of Jared Gomes surge into view with the lyrical confrontation and antagonism again firmly assumed of the band. With climactic shadows and imposing intensity, the track is a scintillating start, an infectious rage to set things off. The bass of Mark ‘Mawk’ Young is a throaty predator throughout whilst the melodic flames of guitarist Jackson ‘Jaxon’ Benge sparks the imagination to run with even more urgency into the accusations of Gomez.

The outstanding encounter is swiftly matched by Lost In Babylon, the track a blaze of metallic intent and hardcore passion. Again guitars craft a web of unpredictable and incendiary bait punctuated by the mighty rhythmic swings of drummer Jeremiah ‘Trauma’ Stratton whilst the bass stalks the senses with a belligerent yet addictive voice. Gomez flings notes and intent at thoughts with his accomplished and unique style whilst the chorus is pure (Hed)p.e. infectious persuasion, an anthemic bellow to ignite body and emotions.

A Rage Against The Machine like groove opens up Jump The Fence, its lure evolving into a progressive caress which in turn moves into scenery of jagged riffs and expressive grooves within a firm rhythmic caging. Stood over and incited by the great variation in the vocals of Gomez, the song strides with an agonistic swagger which again easily seduces for an inescapable anthem, a staple lure in a (Hed)p.e. provocation as shown by 2 Many Games in its slower flowing emotive expanse. Stirring imposing riffs strike through ears as a melodic weave of enterprise wraps the sturdy pace of the track, its emotive elegance and sonic narrative a colourful wash to the muscular core. It is not a rampaging offering but a thickly involved and imaginative suggestiveness with just as potent a temptation as the more rousing elements of other tracks.

The heavy rock canvas of No Tomorrow brings further diversity to the album, rigorously snarling vocals stalking predacious riffs and barbarous hooks for a tenaciously appetising provocation. Commandingly catchy with a vicious essence to its gripping breath, the track puts a militant spark into the passions before making way for the flavoursome venture of Let It Rain. From agitated and argumentative textures, the song seamlessly flows through immersive harmonies and scorching melodies, though everything is courted by a formidable intimidation and oppressive intensity. It is a riveting expanse of songwriting and evocative sound which is surpassed by the pugnacious One More Body, the band unleashing its most hostile weight and energy yet. It comes with another dose of infectious virulence too, another enslaving anthem for thoughts and emotions to get their teeth into.

From the more even tempered suasion of Never Alone, a strong and eventful song which just misses the spark of its predecessors yet enlists the full of the listener, the album moves through the unexpected meditative shadow of The Higher Crown to venture into its reggae seeded finale of tracks. The short ambience fuelled instrumental is an intro which sort of works though to be honest the haste to get to the excellent Nowhere To Go means it gets passed over more often than not. The next song is a delicious stroll of hazy melodies and mellow rhythms bound in a richer soaking of the reggae crafted charm the band has never been unafraid to explore. A tool for body and mind to work with, the song casts a spellbinding tempting which is emulated by the sultry tones and radiance of Let It Burn. Keys and guitars flirt with the senses whilst a dub spicery walks hand in hand with the vibrant vocal and staggered riffs, all combining for one of the most contagious and addictive songs likely to be heard this or any year.

The album closes with the smouldering presence of Hold On, the last of the reggae seeded encounters which is here courted by r&b soulfulness. Without lighting the fires of the previous two tracks it is still a fine end to a thrilling encounter, a triumph with only for personal tastes the fact that the closing trio of songs were seemingly segregated from the rest rather than scattered across the heart of the album slightly out of place . It is the only flimsy niggle to be found in Evolution though, a release which may or may not be the greatest (Hed)p.e. to date but is certainly the most eclectic and flavoursome proposition from the band yet.

Evolution is available now on Pavement Entertainment @ http://www.pavementmusic.com/product/hedp-e-evolution-cd/

http://www.hedperocks.com

Check out our interview with Hed)p.e. guitarist Jackson Benge @ http://ringmasterreviewintroduces.wordpress.com/2014/09/18/shifting-fights-and-battle-cries-an-interview-with-jackson-benge-of-hedp-e/

RingMaster 18/09/2014

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