Rhyme: The Seed And The Sewage

Bring to the boil a strong measure of nineties metal, a heavy dose of hard rock, and a liberal helping of varied classic spices, whisk it all up with imagination and enterprise and  what emerges is a thoroughly satisfying slice of sinew rippling rock n roll, or more specifically The Seed And The Sewage, the second album from Italian rockers Rhyme. Whether the release offers anything distinctly new is debatable but its ability to excite and please is beyond question, the band unleashing a stomping confrontation of high grade attention grabbing muscle which leaves deep satisfaction.

Released through Bakerteam Records, the release builds on the already strong reputation garnered by the Milan quartet through debut album Fi(r)st and their impressive live performances. Since forming in 2008, the band has taken no time in grabbing attention, their first EP, Rhyme2009 drawing strong responses and play from radio shows across Italy and the US. With a new and settled line-up set the following year, the band recorded their debut album which upon its release January of 2011 received eager responses and acclaim. Combined with successful tours with Papa Roach and Misfits in Europe, an impressive appearance at the Rocklahoma 2011 festival alongside the likes of Staind, Seether, Whitesnake, Motley Crue and Black Label Society, and a multitude of their own energetic shows around Italy, Rhyme has built a formidable reputation which The Seed And The Sewage does nothing to diminish.

Consisting of eleven well-crafted and pleasing slices of passionate rock, the album takes one on an easy to digest but thrilling ride of energy and invention. At times the band walk well-worn paths as many others but never without bringing a fresh and vibrant presence and ability to the landscape to bring an endeavour which is honest and impacting. It is also a release which the more time you spend with the more it unveils and persuades the passions, ultimately an experience which inspires participation physically and emotionally.

Opener Manimal steps up to the ear with open riffs and senses caging rhythms but a less than forceful breath, though the energy of the song is muscular enough. The guitar of Matteo Magni is immediately a fiery and enthralling proposition which never relinquishes its magnetic appeal from first note to last whilst the beats of Vinny Brando thump with aggression yet restraint. The bass of Riccardo Canato at times has to be sought but is a constant predatory presence within song and album bringing depth and intimidation alongside Brando. Vocalist Gabriele Gozzi completes the line-up with a delivery which is impressive and engaging, his Chris Cornell like tones a mix of might and melodic skill to match the sounds perfectly.

The great start is soon built upon by the equally powerful tracks The Hangman and Blind Dog. The first is a furious encounter which leaves an abrasion upon the ear and heat in the heart, riffs and rhythms a senses raging thrill veined by compelling sonic skill from the guitars. Lyrically the album is inspired by world and social issues, the intent brought with an array of inciting emotions, and none as potent as within this track. Musically the band match the anger and strength of the words to deliver an uncompromising and rage inspiring statement. The second of the two songs opens up deeper shadows to bring a heavier emotive engagement which though not quite finding the impact of the first two is a provoking pleasure. Influences for the band include Audioslave, Deftones, Stone Sour, and Soundgarden, and where other tracks have essences of say classic metal and rock bands this track is distinctly inspired by the former names.

In an album which is of a strong level throughout other extra highlights come with the outstanding Slayer To The System, a track which throws you in a brawl of scorching energy and riotous musicianship brought with open imagination, Party Right a song which says what it is on the label, and Brand New Jesus. The last of the three is a delicious slab of metallic soaked rock n roll which leaves one breathless and smiling.

Closing with an impressive cover of the Depeche Mode song Wrong, The Seed And The Sewage is an excellent release which offers plenty for fans from all areas of rock and melodic metal. It does not lay out a new road for rock music but interprets and improves on existing directions with accomplished skill and infectious enterprise.

https://www.facebook.com/rhymeband

RingMaster 03/12/2012

Copyright RingMaster: MyFreeCopyright

Feud: The Singles

Since having the pleasure of reviewing their first album Waterdog, rock band Feud has held a captivation for us ensuring a constant    engagement with their fine release and earlier EP, Out From The Inside. So there was great anticipation and excitement when the band approached with a release of three new singles to check out. Released together mere days ago, the songs retain all the essences and qualities which make the band one of the more thrilling in the UK right now but elevates them into a stronger punching storm of muscular and infectious sounds. If you thought Feud could capture the imagination and heart with the best of them before they have returned to show previous outings were mere teasings and that now they have the ammunition to succumb any rock n roll heart.

Originally founded by South African brothers Greg (vocals/guitar) and Guy (drums/vocals) Combrinck, the band truly became a forceful entity with the relocation of the men to the UK and the joining up with Ian Harper (guitars/vocals) and Tom Syrett (bass/vocals). As well as the aforementioned acclaim releases the High Wycombe based quarter has matched the likes of Cancer Bats, Young Guns, Jettblack and Days In December whilst sharing stages with them, getting stronger and more inventive with every moment of their four years of existence. The band has always brewed a feisty mix of rock with heavy grunge essences and the new songs are no different though all explore new and even more incendiary aspects of their sound and songwriting making for three original and stirring slabs of essential music.

Floater opens with a crystalline tangle of sharply noted guitar coaxing, the lure an immediate tingle which takes one back initially to the likes of Mighty Lemon Drops and House Of Love. The track though as expected was not going to tenderly stroke the ear for long and soon brings in thumping rhythms and a delicious velvety deep bass sound. There is still a controlled restraint to the track even with its elevated pace and intensity but eventually it cannot stop fiery crescendos of sound and chorus from breaking out. It is a staggering track which plays like an emotive riot within the heart and raging fire in the ear brought from a union of Nirvana, Foo Fighters, and Sick Puppies. From the pulsating bass and incisive drums through to the enthralling melodic flames of guitars and vocals, the track is immense and declares alone that Feud is back, bigger and, better than ever.

With instantly infectious drums laying a hypnotic cage for an unleashing of its adrenaline soaked energy, Medicine stomps through the ear for a meaty thrill of punk n roll. With rampant intent and a Green Day like soaking of the ear, the track chews and romps with classy sonic enterprise and bruising urgency for an irresistible punk rock classic. Though the American trio is unmistakable as a spice to the song, there are elements which would grace any Stone Sour or Gruntruck track but distinct only to Feud and impossible not to devour with greed. Again every member of the band brings a contagious breath to their skilled and imaginative contributions, which only goes to make for a song which leaves the heart raging in ardour.

The final single is the less intense Miles Away, though that is in its attack and not passion, the heart of the song as insatiable and unrelenting as the other pair of triumphs. From another strolling start of rhythms and guitar behind the expressive vocals, the song hits its stride to create a furnace of scorching sonic riffing and barbed hungry hooks. With its arguably less tenacious assault the song offers a diversity of sound to the other two which touches on the likes of Seether, Stone Temple Pilots, and Bush. It is another tasty bite which enflames the appetite for much more from the band which will evolve into no doubt impatience the longer the wait for more new impressive tempests of excellence is.

If this foursome has yet to spark up your passion than any if not all of these wonderful singles will leave you a breathless and exhilarated bundle of fully satisfied energy. Feud creates high energy quality rock music and as Floater, Medicine, and Miles away show, this is a band which just get better and better.

Get the singles @ http://www.feudmusic.com

RingMaster 19/11/2012

Copyright RingMaster: MyFreeCopyright

Zeroking: Kings Of Self Destruction

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

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

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

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

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

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

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

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

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

https://www.facebook.com/Zerokingfans

Ringmaster 04/07/2012

Copyright RingMaster: MyFreeCopyright

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Trucker Diablo: The Devil Rhythm

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

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

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

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

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

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

RingMaster 02/04/2012

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