Tombstone Highway: Ruralizer

    Ruralizer is one of those unexpected gems which come out of nowhere awareness wise, to thrill and invigorate the emotions and ear. Unleashed by Italian band Tombstone Highway, the album is an immensely satisfying encounter of stoner rock, blues, and southern rock all soaked in the sinews of doom metal. Refreshing in its imaginative use of existing formulas within the above genres all captivatingly transformed into something distinct to the band, the Agonia Records released album leaves an insatiable appetite for much more from and strong passion for Tombstone Highway.

The band comprises of duo H.M Outlaw (vocals, guitars, banjo) and Emilio Sobacchi (drums), and has its beginnings back in 1999 with the pair inspired by the likes of Black Sabbath, Lynyrd Skynyrd, traditional Root Blues, and Bluegrass emerging as Leaf Season Death. Employing the heavy shadows of low-tuned guitars and bass to their ideas, the band failed to take off through the lack finding additional members to create their invention. The duo moved into other bands soon after but then 2006 saw them join up again and begin writing new material, with bassist Mike B. of Viscera brought in to the line-up.  Debut EP Padus River Graveyard Blues followed the next year and received strong responses to its limited release. Another hiatus for the band followed with Mike B. leaving but in 2011 the Piacenza pair united again to write and record their first album, the mighty creation Ruralizer.

The album combines the heaviness of a Corrosion of Conformity and Down to the southern fires of Lynyrd Skynyrd and ZZ Top before immerses them in the heavy metal power of Black Sabbath. It is an inspirational result which is soaked in the rural and folklore essences of its homeland to further ignite the flames of all its other fires of sound. Outlaw and Sobacchi also brought in additional musicians in the shape of Mario Percudani (HungryHeart), one of the very best rock guitarists in Italy, guitarist Razor SK (Forgotten Tomb), and Paolo Apollo Negri whose Hammond keys bring another flavoursome persuasion to the album.

Opening track Old Blood is a sensational invitation to the album, the weighty lure of the riffs and basslines veined by irresistible banjo teases to immediate intrigue and please. The track strolls through the ear with purpose and a sure hunger which with ease demands eager attention whilst leaving a depth of pleasure which is immeasurable. The guitars carved a place in the passions with skill and enterprise whilst the rhythms without unleashing their full venom cage it all with craft and intensity.

From the startling beginning the album piles on the thrills with firstly Acid Overlord, a track with grooves as addictively sour and sharp as you could wish within its snarling insatiable presence, the sweltering Graveyard Blues which has whispers of Soundgarden within its Orange Goblin coated furnace, and the outstanding Hellfire Rodeo. The last of the trio is a virulently infectious romp with riffs and sonic taunting causing an epidemic of ardour within the emotions. As in all songs vocally Outlaw has a dust coated growl which ignites the whisky fumes of the music into another hot wind of satisfying enterprise, the union of all aspects within the band and songwriting forging something new and inspiring within a familiar context.

The title track employs that irrepressible banjo sound again within more searing sonic mastery, its swagger and muscular gait an imposing yet deeply stimulating instigator to feet and passions. Up to this point every track ignites the fullest hunger for their contents and the same can be said for Bite The Dust (and bleed) and At The Bitter End though both despite their quality and energy fail to quite match up to what came before. The two songs do not quite find that something to step forward into their own unique spotlight but nevertheless cannot be offered any real negatives.

Completed by a strong and inviting cover of the Mountain track Mississippi Queen and the excellent closing inventive maul of the ear Hangman’s Friend, Tombstone Highway has brought the world an album which is rock at its most rousing and bracing. If references mentioned above work for you than Old Bones is a real awaiting treat.

https://www.facebook.com/Tombstone.Highway

9/10

RingMaster 15/03/2013

Copyright RingMaster: MyFreeCopyright

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Southern Badass: Born In Mud

     Hailing from Perpignan in France, Southern Badass is a band which in Born In Mud has released an album as intriguing as it is pleasing. With a core of southern/stoner rock and other added spices such as doom and heavy metal, the release is an imaginative and engaging album, it is not always as successful as it could be but is continually brewing up pleasure and positivity to its enterprising encounters.

The project of multi-instrumentalist Arno Bechet, Southern Badass brings essences of artists such as Kyuss, Down, and Corrosion Of Conformity into a healthy and inspiring brew with flavourings from others like Metallica and Black Sabbath. It is a mix which gives the album a good variety across its length as well as making individual songs unpredictable and captivating for the most.

From the instrumental At The Gates the album takes a grip on the thoughts with Wrath Temptation, a pulsating piece of sizzling stoner rock with a heavyweight presence through the excellent bass work and snapping rhythms. The guitar is a fiery creature throughout which adds extra spice to a captured imagination. As with the album as a whole, arguably there is not a lot of open originality on show but with the enjoyment given for the main it is hard to really care. The vocals of Bechet have a near perfect American drawl which belies the mother tongue of the man and just add to the authentic heated breath of the track.

From the very strong start the album shuffles things up through the dirty blues tinged furnace of Call Of New Orleans and the cruising gait of Nowhere Man. The first of the pair sparks with tight melodic flames and a raw acidic energy and continues the impressive start whilst the second is simply a rock n roll party for the road which gets the job done without firing up any extra passion its way.  Both songs, as the album too, are slow burners, tracks which reveal their persuasion over several plays rather than in one union with the ear. It is a release which needs focused attention but rewards the time given.

Further highlights come with The Witch and its grumbling bone shaking basslines, Back To Where I Want, another song where the bass growls to offer a deeper textured snarl, and Voodoo Girl. The first pair of songs are feisty riots of southern grit and towering stoner touching sludge might to agitate and provoke the senses and emotions into a strongly receptive stance whilst the latter is a smoky southern croon to soundtrack a whisky drinking session and seductive wanton encounter. All three songs leave an appetite to keep a keen eye on the project in the future whilst making many returns to the release in the now.

Closing with the outstanding pulsating instrumental Sons Of The Sun, the album is one all stoner fans should take a look at. It is not perfect, the production at times offering a cloudy surface upon a sound from a genre which already is thick with intensity, whilst there are a couple of songs and other moments where the ideas feel either forced or given too much rope. Overall though Born In Mud is a highly enjoyable release which just needs time to state its case.

http://southernbadass.bandcamp.com/

RingMaster 07/01/2013

Copyright RingMaster: MyFreeCopyright

Yellowtooth: Disgust

Disgust the debut album from US rock band Yellowtooth, is one of those companions you know you are going to have great fun with but will come out of any shared mischievous escapade with plenty of deep bruising. The release is a collection of ten songs which instigates wounds as rewarding and deep as the mighty sounds on offer. It comes with no pretence just an honesty of what it is and what it wants to achieve, which is to unleash a booze soaked feast of low slung, heart borne, heavy weight sounds.

From Michigan City, Indiana, the trio of Henry McGinnis (guitar/vocals), Ed Kribs (percussion) and Peter Clemens (bass/vocals), bring a formidable blend of metal and rock swarming with the best essences of Southern rock, sludge, doom, groove, and thrash metal plus much more. It combines for a brawling stew of raw and dirty energies brought through down tuned riffs, exploitive rhythms, and snarling passion. Not always the easiest experience, its caustic breath bringing a stripping of the ear as sonically searing as a blow torch, but it is a permanent captivation which one cannot or wants to escape.

Though the band is relatively new its members has stalked senses from the nineties through numerous impressive bands such as Invasion, Skullview, Chronic Disorder, Sea Of Tranquillity, Shades Of Grey and Nocturnal Torment. That accomplished skill of experience is rife throughout the album, each song a storming fire in their distinct identities, of stirring and impressive skill from guitars and rhythms.

From the opening Wizard Dust through to the closing might of 11th Hour, the album entwines its listener in an abrasive and compulsive rampage which whether a song offers an oppressive heavy crawl or a boisterous aggressive assault upon the senses, only fully involves and engages. The first track once in its full height bitch slaps the ear with heavy treading riffs and combative rhythms alongside destructive vocal growls. The unrelenting snarl of the bass behind the excellently crafted and mesmeric grooves brings a balance and threat to the song which is outstanding. The song despite its bullying intensity is almost subtle in its unique elements and their appearance, though there is clarity when paying attention which makes their absorption easy.

Track by track the album offers no intention to take it easy on senses, the likes of the malevolent and vicious Soulstalker, the glorious ’75 Black Pontiac with its steaming red hot rock n roll passion, and the rabid Prophetic Ramblings, making every second in their company a dangerous and aurally churning onslaught as pleasurable as could wish for.

The vocals throughout take gruff into new realms and there are moments where one might have cared for some greater diversity to match that offered by the guitars but it is a mere quibble when their coarse texture work off the scorching disharmonic fires as well as they ultimately do.

Further tracks like On The Trail of Lewis Medlock and Decaying From Within ensure one is bustled down darker and weightier avenues before the release ends with the striking maelstrom of sound which is 11th Hour. The track has everything within its boundaries and all seamlessly linked, veins of classic metal, thrash, and death metal locked in triumphant union with black and doom strains of the genre. With explosive solos and yet more impressive bass sounds, the biggest highlight of the whole album, the song brings a memorable and towering end to the satisfying corruption.

The band has probably not quite created an album of the year contender with Disgust but certainly has unleashed a bear of an album which is openly inspiring and a certainty to capture vast amount of imaginations for all things Yellowtooth.

https://www.facebook.com/pages/Yellowtooth/216048345074088

RingMaster 11/09/2011

Copyright RingMaster: MyFreeCopyright

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Need To Breathe: The Reckoning

It is fair to say that even if US rock band Need To Breathe does not send your senses into raptures or even enthused passion, they are a band one can easily appreciate in regard to their qualities and skilled craft. The same can be said about their fourth album The Reckoning, a release full of excellently crafted and delivered songs brought with passion and heart dealt energy. We cannot say the release left us excited and soaked in any lingering presence due to personal tastes but it certainly was a decent listen throughout with its southern rock invention and in a couple of moments a more than satisfying companion.

     The Reckoning gets its UK release September 10^th and seems sure to follow the great success it had back home upon its arrival last November. The South Carolina quartet has already made a mark through their previous releases and hearty rock sounds, which bring essences of the newer Kings of Leon music and Mumford & Sons into their own climactic stadium rock sounds. Just off of a six month tour of the US, the foursome of brothers Bear and Bo Rinehart (vocals, guitar, piano and guitar, backing vocals respectively), Seth Bolt (bass, backing vocals), and Joe Stillwell (drums, backing vocals), follow up their acclaimed previous album of 2009 The Outsiders, with fourteen big boned sky filling songs which persistently drip with soulful and emotive imagination. Yes for us the style does not light raging fires but for those loving the earthy American drama of a Springsteen and arguably Tom Petty as well as those previously mentioned Need To Breathe and The Reckoning will have their ardour sparking greedily.

Easily the best track on the album opens things up and it is a song which instantly captivates. From its initial dulled melody and emotive vocals Oohs And Ahhs has the ear in close attendance and mesmerised, but when the chorus breaks loose to sizzle upon the senses passions, for arguably the only time on the album, go soaring. In to its stride the track is a hearty forceful rock song to leave anyone breathless and caught up in the moment. Midway in the song take a brief respite before rekindling its energy and building up to a fiery crescendo which has grins breaking out everywhere. The mischievous track then repeats the event though this time the stride towards the flaming ending is tinged with stirring brass and discord driven keys. It is simply a stunning track which the album for personal tastes fails to repeat again.

The following White Fences and Drive All Night stretch their melodic wings to bring expressive depths to their soulful breaths, both finding an energy and tension which evokes thoughts and feelings. The songs of Need To Breathe are not necessarily faith driven but do bring a moral touch to their strong lyrical content though importantly it can also be interpreted into the lives of all.

Songs like Slumber, Maybe They’re On To Us, and Wanted Man, as well as the title track, all wrap around the heart with rousing and in their individual gaits, stomping anthemic majesty. As we said at the start there is no missing the quality and accomplished invention of the band let alone their ability to wring every emotion and passion out of every note and line, and for those receptive to their Americana/Southern rock songs it is hard to imagine anything other than deep pleasure gained from The Reckoning.

The other big highlight for us came with the newest single Keep Your Eyes Open, a song which takes inspirational and stirring sounds and songwriting to their fullest expansive heights. You can argue how original the song is with nothing openly surprising going on but it is hard to recall any rock song which has sparked the heart into reflective and eager life as potently.

If Southern rock/Americana is your brew to hungrily feast upon than The Reckoning will leave you full to the brim, and to be honest even if it is not your preference, the album and Need To Breathe is still worth an hour of your time to be sure.

http://needtobreathe.net/

RingMaster 08/09/2012

Copyright RingMaster: MyFreeCopyright

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Mighty High: Legalize Tre Bags

With enough references to and celebration of weed to make The Kottonmouth Kings appear like The Osmonds the eagerly awaited second album from Brooklyn rockers Mighty High is let loose June 12^th through Ripple Music. Fully mischievous, completely fired up and an unbridled dust bowl of sonic rampage and energetic guitar infestation, Legalize Tre Bags leaves thrilled and welcomingly assaulted. It carries no pretence, it is what it is and the band does not give two flying nuns on a day trip to a candle factory what anyone thinks. Most of all it is insatiable rock n roll, a posse of exuberant songs set on senses rustling.

Legalize Tre Bags follows up 2008 debut album …In Drug City which with the following Drops A Deuce 7″ single in 2009 and a 7” split with Stone Axe gathered strong acclaim. The release also marks the tenth anniversary of Mighty High and sees the quartet of Woody (vocals, guitar), Kevin Overdose (lead guitar), LaBatts Santoro (bass, vocals), and Jesse D’Stills (drums) as able as ever to raise hell and live high and vice versa as they return with an album sure to incite further shouts and puffs of praise.

With the title referencing the once available $3 bag that could be scored at all the best dope spots in the Bronx, Legalize Tre Bags hits the sweet spot from the off with I Don’t Wanna Listen To Yes, a Ramones toned ear puncturing of punk rock. With barely enough time to take a breath it splatters the senses with attitude drenched rock n roll to wake up and ignite attention for the excellent following Mooche. With a hypnotic bassline the track roughs up the ear with a Beastie Boys meets Black Flag attack punctured with scorched veins of classic metal to add extra electrified heat to its mesmeric swagger.

The great start is continued with the stoner fuelled The Ram, its smoked cloud of scuzzed guitars and enveloping energy an all pervading mesmeric wrap lighting up more than the senses. It is a track like many on the album which in its simplicity still twists and turns to great and infectious effect. There is nothing trying to open new musical doors or set down unique markers within song and album as a whole, but Mighty High still stand relatively alone with their irrepressible and carefree sounds.

With tracks like the outstanding contagious Tokin’ N Strokin’, a song about the life and death of David Carradine, and Southern rock saunter Cheep Beer, Dirt Weed the album ignites the urge to become one with the release in any way one feels fit. Add the Dead Kennedys like Drug War and the tour of all 5 boroughs of New York City with Come On! I’m Holdin’, not to mention the slightly schizophrenic Chemical Warpigs and there is nothing but fun and good times to be have each and every minute of the release. The last of these songs brings a Motorhead, Suicidal Tendencies, and Sabbath like mesh into a psychedelic blistering of the synapses.

Legalize Tre Bags is a raucous feast of punk, weed, and middle finger attitude, most of all it is a deeply satisfying slab of rousing rock n roll. It offers nothing particularly new nor tries to inspire an unexpected awe but it is still one of the most fun and gratifying albums out this year. Mighty High are lighting up with an aural invitation to share.

RingMaster 07/06/2012

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Royal Thunder: CVI

Going blind in to the debut album from Atlanta rock band Royal Thunder there were many whispers in the ear that their self titled EP of 2010 was rather tasty and that this new album should be great. Well the news is that great does not cut it for CVI is simply a triumphant feast of rock music for every taste. It is fuelled with such stunning creativity and hypnotic lingering sounds it finds a place in each and every heart.

Released may 22^nd via Relapse Records, CVI is a sweltering array of classic rock, southern tinged blues, and progressive artistry with more than a liberal dose of metal and stoner thrown in for extra spice. It is an unpredictable release that twists and turns with glee to leave one persistently surprised, continually eager, and always fully satisfied. Drawn from a well deep with essences of the likes of Black Sabbath, Led Zeppelin, Cradle, Electric Wizard and Black Tusk to name a few, the album is an invigorating and consuming insatiable mass of splendour which leaves one enveloped in an immersive smog of aural grandeur.

The album opens with Parsonz Curse and within this song alone you know all you need to know about the album in sound, creativity, and quality. Seven minutes of pulsating mesmeric ingenuity the song is an expansive hard/progressive rock driven explosion of colourful sounds, heated melodies, and imaginative invention. The guitars of Josh Weaver and Josh Coleman bring dazzling weaves of melodic sonic blistering to the senses with white hot radiance whilst Lee Smith with his rhythms and the bass teasing of Mlny Parsonz add deeper shadows and darkened energy. It is amazing stuff and alone is undeniably impressive but it is the vocals of Parsonz bringing another fiery torch within the songs that the ignition of passions find their fullest flame. Her tones spread from searing the ear with scorched passion to mesmeric beauty and whatever the varied path she brings to each song she is irresistible.

Whispering World follows and inflames thought and heart with flurries of stout dominate beats and compulsive riffs. Together they lead one unerringly into the magnetic beauty within its passions and emotive force majestic. At one point the song may have you swaying within its siren glow and the very next it is inciting aggressive urges. It is as all tracks on CVI a bustling forever evolving maelstrom of invention.

Though every song deserves attention time and space is a greedy beast so as we bring some songs to light take those we do mention as read for those not. CVI is deeply diverse, an ever amazing collection of songs which draw you back into their irresistible charms like an aural addict. The one consistent that does pervade every track though is quality, not once is there a dip or lull in the sheer awe inspiring imagination. You can pick the likes of the anthemic express that is No Good, the sensational Blue with its wonderful evocative instrumental first part, or the haunting prowl of South Of Somewhere, and find alongside their glories something else totally unique but equally astounding. Blue is as contagious as any new virus, its soul and breath breeding a pure addiction whilst the craft and songwriting is from wizardry borne conjurations whilst South Of Somewhere is a seemingly chilled yet unsettling entity, its initial presence disentangled from its surroundings but ultimately it reveals itself as a wanton tease. Drawing one in with a slight sinister allure and remote emotive atmosphere it slowly weaves its devious charms to explode with fury of punk attitude and metal intensity. Though it is near impossible to choose a standout track all so impressive, this pair ignites the biggest fire of all.

CVI is an easy contender for album of the year and it is hard to imagine many will rise alongside it let alone surpass its brilliance and magnitude of imagination. Royal Thunder has made those initial whispers rather inadequate and very under estimating.

RingMaster 17/05/2012

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Defy All Reason: Shake it

A strong and eager rock song can be one of the best flavours to lose oneself within to simply forget the trials and tribulations of any day. The new single from North Wales band Defy All Reason, is a fine example and a track which sets the band up as one to watch closely over the months ahead. Shake It is a muscular and confident slab of heavy rock with essences of blues seeping into its keen veins of Southern rock, and a song that easily inspires eagerness to hear more from the band.

Formed in the closing months of 2011, the Wrexham quartet of Gavin Jones (vocalist/guitar), Darren Jones (guitar), Lee Shenton (bass), and James Radhi (drums), rose from the ashes of local bands. They were four friends who came together to put their experience and mutual musical vision, drive and determination into a new exciting band and sound. Recently signed to Teesside based independent record label Satellite Records the band releases Shake It their debut single on July 2^nd

Shake It bustles in on groove loaded riffs that rile up the heart rate and a melodic rock energy wrapped tightly around them. The vocals harmonies are nicely raw whilst the infectious heart of the song expands the further it rumbles through the ear. With a touch of Trucker Diablo and Black Stone Cherry to it the song is a fully satisfying and pleasing slab of rock n roll.

The band is working on their debut EP for later in the year and after Shake it the anticipation is sure to be high. Possibly the band have yet to find the final definition to their sound but the single suggests that is well in hand  and the future is vibrant for Defy all Reasons.

www.facebook.com/defyallreason

RingMaster 12/05/2012

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Horseback: Half Blood

The new album from North Carolina band Horseback is a deeply provocative and evocative creation, a release that explores and expands into the senses like a dawning idea or emotion. From an initial spark it grows into a consuming and emotive experience which leaves a distinct and pleasurable aftermath to contemplate. Half Blood melds numerous essences of diverse metal styles into a seamless and provoking journey which challenges, mesmerises, and leaves a discerning rapture in its wake.

Horseback is the brainchild of guitarist, vocalist, and producer Jenks Miller, and across previous releases he has shown not only the capability but the imaginative and inspiring skill of bringing as mentioned an array of flavours and styles across the metal genres into creations which leave a lasting and deep impression. Half Blood is no different, its stunning and impressive chapters bringing a maelstrom of drone, psychedelic rock, doom, black metal, post-rock and more into a layered and textured trial for the ear and journey for the emotions. It is not a release that holds your hand from the start and leads you easily into its midst though neither is it cold or hard to climb on board with, but it asks for and requires a continued union and persistent interaction for its full and striking rewards to come forth.

The album is the third release with Relapse Records though the first original album with the previous releases being reissues of Forbidden Planet and the debut Impale Golden Horn. Through these and the acclaimed album The Invisible Mountain, releases with Voltigeurs, Locrian, and Pyramids either as splits or collaborations, plus more, Miller has written unique and impressively skilled sounds and compositions to form a continuing and startling aural vision that involves every one of senses, the mind, and heart. The music is thoughtful and inventive with a passion and emotional embrace which harsh or warm is.

Now I am not going to claim knowledge or understanding of the mythology, hermeticism and western mystical traditions which theme or inspire the music on Half Blood and it is not important as the music finds and gives its own meaning as it engages mentally and emotionally. Half Blood is in the words of Miller “a meditation on hybridity, impurity and evolution”, and that second word is the key, meditation. Throughout its movements of dark and light, with intrusive and caressing opposites side by side, the whole experience is meditative. At times the music scrapes the senses and in others it leads them through a caustic dark into enveloping acidic warmth, but it is never less than mesmeric of hypnotic.

The opening Mithras with its beckoning muscular bass and smiling keys draws one into the album immediately, the seventies progressive guitar and keys forming a groove that lies easily with the dark rasping out of place but firmly linked vocals. The track shimmers and glistens within the ear whilst its darkened pulse and dissident energy prowls behind. This is followed by the excellent drone grooved Ahriman. The song wraps the senses with a wash of warm melodies, Southern rock stoner tones, and infectious guitar manipulations. The track is a heated atmosphere of light though again with a watching dark presence and with a lightened drone quality that is fully hypnotic. The two opening songs are for want of a better term, traditionally structured songs which engage with a captivation and out stretched hand.

      Inheritance (The Changeling) takes the journey into a different direction. The track is a twisting and impactful mesh of church organ, littered sonic violations, and resonating intrusive discord. The track scrapes with a salt in the wound intent whilst locking a mesmeric hold that brings it all into a testing and rewarding sinister event.

Returning to the similarly driven style of the opening songs Ajuna offers a great persistent mix of thoughtful guitar and heavy resonance that continues the great quality offered by the album. It is with the closing three parts under the title of Hallucigenia that the album finds the deepest connection especially the third track. The first two parts Hermetic Gifts and Spiritual Junk open up the senses with sounds and intensity which coaxes the thoughts and emotions into welcoming the slightly draining drone and sure unrelenting meditative wave. As part two enters the drama and intrusion works deeper, but as with its predecessor they are the gateways to the stunning The Emerald Tab. The guitar drone like a bagpipe with a singular note, winds around every aspect of the senses. It verges on painful, leaves one with ringing ears, and takes the emotions through uncertain but decisive feelings, but it is deeply hypnotic. It is a harsh meditation but a cleansing laced with sonic light and reserved melodic additives. It is not a track that will work for all one suspects but as with the album it offers remarkable rewards.

Half Blood is outstanding but does need a concentrated effort to fully appreciate all of its wonders. Miller and Horseback ensure music is not just a brief excursion for the ear but a wholly deep experience.

RingMaster 02/05/2012

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Anton Mink: Outside The Lines

Anton Mink is a band that wraps itself around the ear like a balmy summer night, their sounds a sultry and sexy mesmeric pleasure that teases and inflames leaving one a little bit sweaty and more than a touch excited. Their latest album Outside The Lines is a temptress, a wanton fusion of sirenesque melodies and vibrant warmth borne from sex, drugs and rock ‘n’ roll. It leaves one with a glow, an inner tingle that can only be appeased by diving right back into the refreshing light and hazy sounds that caused the problem in the first place.

Already previously hooked by the track Beer On The Floor, a song repeatedly on a consistent rotation here the prospect of reviewing the album unleashed an impatient anticipation and eagerness before it even found its way into the ear. Outside The Lines does not disappoint as the ten songs within offer a varied and completely rewarding treat for the senses. From the opener through to the closing notes the album is a fiesta for the heart and a mischievous pleasure for the soul.

Louisville, Kentucky quartet Anton Mink came to be when punk bassist Curtis Flame (Anton Z) started a project to combine distinct creativity and individuality. An initial advert in a local paper led the talented electronic inspired singer Chloa and her wonderfully unique vocals to answer his call, and already the band taking an inventive form. After a harder search the duo found a drummer off a post on a music shop wall and guitarist Andy Jack via an ad in a local school of music. A small tour followed as well as their self titled debut album in 2007. With the follow up Outside The Lines unveiled in the latter months of last year and a new drummer in Clinton added through craiglist, Anton Mink are set to make a striking and naughty mark during 2012 with the album taking the lead.

The album opens with Watchman, colourful melodic notes spotting the ear as drums hustle eagerly in preparation for the glory ahead. Flame’s bass pulsates with a beckoning glee whilst the jazzy play of Jack dazzles without blinding. Immediately Chloa joins all attention veers towards her enthused and distinctive tones. She offers a teasing vibrancy and intriguing delivery that captivates and leads one by the hand like a seductress. The quality of the songwriting allows her to shine, hard to stop really but uses her irrepressible style as a focus to wrap its equally inventive and infectious ingenuity around.

Shysty swaggers in next moving from the jazz funk leanings of its predecessor into a rock n roll based song with a soulful feel to it that blends perfectly with the keen stomp that veins the track. The song is like that legendary tart with a heart, its flow enticing like an exotic dancer and its emotion touching.

As mentioned the sounds are diverse and unpredictable, the likes of the excellent classic progressive rock/pink spiced My God which gives a thought of this is how The Pixies would have sounded if around in the late sixties, Pristine Chapel with its southern rock/country infusion, and the sizzling burn up of Volcanic Vacation where the band venture into the harder electrified rock of a Blood Ceremony, all offering something strikingly different and fully compulsive.

The best moments on the album lie side by side starting with the delicious Chronic with its reggae/Caribbean driven flourishes and hypnotic pulse beat. With Chloa adding an extra lit to her irresistible vocals so she reminds a little of Asa, the song is a hot cruise for the heart, a party to revel in, and an addiction impossible not to be hooked by. This is followed by the previously mentioned Beer On The Floor, a lustful song of drunken mischief with a tinge of regret but at the same time musically sounding quite proud of itself despite the words Chloa expresses, she cannot fool us.

Outside The Lines is pure pleasure from start to finish, an unassuming release that inspires and offers something new persistently. If you have not heard of Anton Mink, start right here and be prepared for that cold shower you might need right after.

http://antonmink.com/

RingMaster 29/03/2012

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Dirty Crawlers – Southern Headlines

UK rock band Dirty Crawlers has always had a confidence and swagger about them and their sound which made the band mischievously engaging and irrepressible. Their soiled and enthused rhythm and blues flavoured rock songs y found their way to the heart with an honesty and eagerness which was refreshing and impossible not to be drawn into. Now to what will be a loud chorus of excited voices from their ever increasing following is unleashed their debut album Southern Headlines. With a revamp of favourites and a collection of startlingly pleasing new tunes the album finally announces   Dirty Crawlers upon a bigger platform and already they appear to own it.

Made up of vocalist and guitarist Luke Wallin, bassist Nick Feltham, drummer Darren Parsons, and lead guitarist Kris Hutton, Dirty Crawlers simply rock the speakers with their new release. Twelve songs which play like old boozy friends but brought forth with energy and vibrancy that makes everything sound like virgin sounds. Whilst there was definite promise and pleasure in the previous singles which led to impatient anticipation for more, Southern Headlines exceeds expectations which were already high. The quartet from Staines has simply given a feast of straight forward uncluttered rock ‘n’ roll for the ear to devour and body to let loose to.

The album opens with Gonna Be Right and immediately sets out their stall. The song grips the ear taking it into realms of rock that never fail to light up the energy and need to participate. The flavours the band offer in their music is varied influence wise and the opener wants to reveal them all. With essences of the likes of Small Faces and The Who alongside the eagerness of the likes of Purple Hearts and The Creation the band sets the album off to a fine start.

A firm start is soon eclipsed by the following Second Touch, a song that takes one by the scruff of the neck with hypnotic rhythms, expressive vocals, and guitars as caustic as they are dripping filth caked melodies. It is gritty and totally unfussed about brushing off the dirt to be the clean boy your mother would love. The song does what all good rock songs should do, party in the ear and leave one breathless.

As mentioned a few tracks have been given an updating which actually kind of leaves one slightly undecided about them as in the case of the brilliant song Victim Of Love. With a 2011 remix the song is just as stunning and infectious as ever, inviting and probably regretting the need for some listeners to join is at the top of their voices, sorry boys. The indecision comes in the fact that this and others also revamped have a cleaner and more incisive mix which really does do them justice and elevates them onto another platform, but there is still a small feeling of loss for the rawer grungier sound. Nothing can deny the power and quality of the song and though and it is another excellent track to add to the growing list on the album.

The reworked These Few Nights, the insatiable bluesy Black & White (like Casablanca), and Spaces a song dripping emotive vocals and melodies continue the fine sounds and well crafted songs. Dirty Crawlers songs are quite deceptive, on the surface they just seem like simple wholehearted slices of rock but there is a depth and skill to them which reveal s the thought and heart that goes into the music. The Top Cat remix of Bottleneck is a perfect example; it taunts and plays with the ear like a kid with a new toy, swinging chords and melodies before the senses whilst stomping on them with robust rhythms. Initially it looks easy and without effort but the song is concisely created to engage, mesmerise and then command which it does with consummate ease.

Completed by songs like southern twanged Nine Day Wonder, a great new version of another crowd favourite Looks Like Love, and the heartfelt When She’s Gone, the album is a real joy. It does not venture into directions that break down the walls of invention but chooses to stay in pasture which ignite and deeply satisfy the heart. Dirty Crawlers have kept us waiting for this but time dissipates into a distant memory when it sounds this good.

RingMaster 06/03/2012

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