Skinny Girl Diet – Ideal Woman

Ever since the release of their striking and plaudit grabbing debut album of 2016, there has been an instinctive anticipation for a great many for the Skinny Girl Diet follow-up and not just for their sound but the rage, irritability, and bold attacks on life and values it is fuelled by. They are verbal trespasses feeling increasingly rare in modern music surrounded in a sound just as full of dissonance and unapologetic displeasure but it all giving the opposite. It is a combination easily ensuring Ideal Woman as suggested was eagerly awaited and now here destined to be declared one of the truly stirring encounters of this year.

Since the release of the acclaimed Heavy Flow, London hailing Skinny Girl Diet has reduced from three down to the founding duo of Delilah and Ursula Holiday, vocals/guitar and drums respectively. It is a move which has done nothing to quench the hunger and anger in their music; a proposition bred from the voracious attitude drenched essences of punk, grunge and dirty rock ‘n’ roll but not truly settling into any particular bed of sound. Ideal Woman is a richer palette of that mix; bolder in imagination, songwriting and flavouring as it impressively builds on the potent potential of its predecessor.

If noise annoys, then Skinny Girl Diet will be winding up a great many but it is a creative clamour nurtured on invention, passion, and honesty. As much as it pours scorn on the parade of ills inflicted upon modern society Ideal Woman is just as harsh and abrasive on the apathy around them while musically it just sung on the senses and appetite with matching imagination, instantly making a strong and alluring start with opener La Sirena. From its initial doomy prowl of guitar and slowly rolling beats, the track crawled over the senses, Delilah’s swiftly joining vocals harmonic but carrying an instinctive and never far from the surface snarl.  A slice of untamed rock ‘n’ roll, it is primal flirtation and an irresistible introduction to the organic tension and enterprise of Ideal Woman.

Witch Of The Waste follows bringing a bluesy sigh and subsequent swing to bear on ears and a quickly embracing appetite. As with the first, there is a predacious hue to the track even as it dances with grooves and toxic melodies, fully captivating before making way for the similarly voracious if more controlled Shed Your Skin. Though not exactly in sound, there is something of a mix of The Slits and The Raincoats to the song aligning with its own individual and devilish lo-fi grooving and devious hookery.

There is no denying that the opening trio had us hooked but a snare ensuring full slavery with the album’s title track. It is a delicious slice of soulful temptation and melodic indie pop intimation boiling up to a fuzz pool of rock ‘n’ roll as unpredictable as it is enthralling. The best track within Ideal Woman, the song was pure captivation though quickly rivalled by the capricious drama and exploits of Human Zoo. Seduction and trespass collude across its equally absorbing trespass, the new adventure in the Skinny Girl Diet composing and sound in full blossom within both tracks and indeed next up, Starfucker. It too makes a calm yet slightly unnerving entrance; a tinge of portentousness lining the melody of guitar and Ursula’s mercurially edged rhythms. Delilah’s voice similarly has a volatile lining which breaks ranks rather than erupts across another rich highlight of the release.

Through the vacillating scuzz soaked saunter of Western Civilisation and the post punk teasing antics of the outstanding Outsider, satisfaction and pleasure continued to draw lusty returns while Timing and Golden with their respective Au Pairs-esque seducing turning rowing with the senses and instinctive volatility pretty much left a want for nothing.

The closing stretch of the album ensures it bows out as potently as it burst in; Warrior Queens leading off in confrontational style with defiance soaking word and the soiled causticity of its ear rapping sound. Its full cacophony is followed by the just as sonically and emotionally dissenting White Man where a Distillers like vehemence adds to its inherent pull.

Clickbait concludes the pleasure, preying on the listener with carnivorous beats and wolfish chords then breaking into a rabid punk grunge assault enhanced by Delilah’s ever alluring blend of harmonic coaxing and snarling tetchiness.

It is a rousing end to a release which just grows more stirring and impressive by the listen. Ideal Woman is prickly and fractious rock ‘n’ roll wrapped in a weave of imagination which has no interest in being anything other than honest and unique incitement all should risk infection by.

Ideal Woman is available now digitally and on vinyl through HHBTM Records.

https://www.facebook.com/skinnygirldiet/     https://twitter.com/skinnygirldiett/

Pete RingMaster 12/02/2019

Copyright RingMaster: MyFreeCopyright

Tullycraft – The Railway Prince Hotel

Despite new album The Railway Prince Hotel being their seventh, US indie popsters Tullycraft has been a name rather than musical presence on our radar here and it has pretty much been the same with global recognition and attention. It is an outfit though which is said to have been “one of the forefathers of the American twee pop movement”, indeed one of the biggest influences on so many bands emerging over recent times within the indie pop underground and beyond. On the evidence of their new offering it just might be the time they themselves step out into the biggest spotlights as The Railway Prince Hotel is simply one irresistible slice of cute pop contagion.

Tullycraft emerged back in 1995 and a swift hindsight listen in the wake of The Railway Prince Hotel shows they have been the source of a host of delicious pop songs and releases which reveal why they have been a potent inspiration to so many. The new album though is a new twist in their songwriting and sound, a collection of hungrily lively pop songs with their own individual bounce and mischief to what has come before. The riveting union of lead vocals from bassist Sean Tollefson and Jenny Mears is one of the most potent lures to the Seattle band’s music but no more so than the instinctive hooks and radiant melodies which tease and inspire attention. Listening to their new release we quickly found ourselves thinking back to the organic and viral pop of seventies/eighties bands like The Freshies, The Farmers Boys and to a slightly lesser degree Weekend and The Chefs; alluring and no doubt coincidental tinges in the openly individual character of the Tullycraft sound.

It is fair to say that The Railway Prince Hotel had us hooked and licking lips with simply its first three tracks; songs which no matter what was to follow ensured our full recommendation was lining up. Midi Midinette starts things off, its summery flames of brass and energetic bounce instantly burrowing deep as too the rising union of harmonic vocal lures. Soulful and whimsical in all the right ways, the song provides a joyous stroll which hips and vocal chords just could not resist, both soon manipulated to matching effort by the following pair of Passing Observations and We Couldn’t Dance To Billy Joel.

From its opening bait of bass, the first of the pair had the body swinging; its temptation instantly escalated by the vocal collaboration of Mears and band around Tollefson‘s lone and as potent lines. The guitars of Chris Munford and Corianton Hale again almost tease as they melodically entice but it is Mear’s melodic cries which made for the greatest seduction in a song and particularly chorus which made for increasingly mischievous aural manna. Its successor with its jovial jangle and frisky rhythms allowed for no relaxation of feet and body swerves, its flirtatious vocals and melodies a pleasing mix of comforting warmth and playful unpredictability.

Goldie And The Gingerbreads is next up sharing another bassline which just hooked the appetite. From there the skittish beats and coy but bold melodic clang of guitar escalated its hold on ears while harmonies suggest the echoing lures of bands such as The Shangri-Las and The Crystals make a natural pleasure for the band itself.

We could not say that either Has Your Boyfriend Lost His Flavor On The Bedpost Overnight? or Beginners At Best quite sparked the same unreserved reactions of their predecessors but both with their particular creative essences and enterprise left us bouncing along with a wholly satisfied smile while It’s Not Explained, It’s Delaware with its reserved country twang brought its own healthy amount of and easy to take pleasure.

The brief electro pop saunter of Lost Our Friends To Heavy Metal was another which took longer to take too even if hips unapologetically defied that sloth like appreciation while Hearts At The Sound straight after ignited another round of eager bouncing with its rowdier pop ‘n’ roll before The Cat’s Miaow In A Spacesuit had us hooked with its bass swing alone, closing the trap with vocal and melody erudition. The latter pair emerged to test the opening threesome for best song honours, a choice never settled on even through numerous listens.

The album closes out with firstly its title track, a spirited influential proposal lying somewhere between old school pop punk/power pop and brass flamed indie rock and lastly the carefree pop rock stroll of Vacaville. Each leaves a greed for more behind with the final treat another vying for the album’s finest moment.

We can only feel we have missed out on years of enjoyment listening to Tullycraft but as we feel sure so many more newcomers will do, we are making up for it with The Railway Prince Hotel, one of the year’s early and real pleasures.

 The Railway Prince Hotel is out now @ https://tullycraft.bandcamp.com/album/the-railway-prince-hotel and available on vinyl via HHBTM Records.

https://tullycraft.com/   https://www.facebook.com/TullycraftBand

 Pete RingMaster 12/02/2019

Copyright RingMaster: MyFreeCopyright

Leaving in words On Better Terms

On Better Terms is a band based out of Dallas, TX fusing groovy melodies, and jazzy-driven rhythms with harsh yells and spoken word vocals. It is a fresh voice bringing unique vibe to not only their local but increasingly the national scene. We had the pleasure to find out more about the rising roar of On Better Terms exploring its beginnings, musical intent, their great new album and more…

Hi all and thanks for taking time out to talk with us.

Can you first introduce the band and tell us about its origins?

We are On Better Terms and we got started when vocalist Andrew brought his lyrics to guitarist Alex who began writing songs while Andrew was still in college. We got together to write and record when we could and once Andrew graduated we added a bassist and drummer and started writing even more and practicing a set. We’ve been playing shows and releasing music ever since.

Have you been or are involved in other bands? If so has that experience had any impact on what you are doing within On Better Terms?

Most of us have been or are currently involved in other projects of all different genres including pop punk, jazz, metalcore and southern rock. I wouldn’t say that these projects have inspired a change in direction but they are definitely evident in the way we write and the natural evolution of our sound.

What inspired the band name?

We originally started out as capital but decided against after a few months and Andrew eventually came up with On Better Terms. It just seemed to encompass our ideas and attitude; always trying to make the best of our experiences and relationships with ourselves, others and the world around us.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

We really started it as more of a release than anything; we needed it to purge our emotions from daily life. Of course we have bands that influence our sound but we ultimately just wanted to be ourselves and allow listeners to feel and think what we were and hopefully relate to it in some way.

And the same things still drive the band or have they evolved over time?

We definitely started it for fun and as a release but now that we’ve been around for some time we definitely have aspirations to play more shows in more cities to more people. We’ll always write the music we want and that itself will drive us but we want to continue to grow our brand and as musicians.

Since those early days, how would you say your sound has grown?

Well we’ve all gotten better at what we do and the rotating members we’ve had have contributed different aspects to our music. We have always tried to do something a little different with each release; recently we’ve add more clean vocals and gotten more creative and collaborative with how the guitars and drums work together.

So it been more of an organic movement of sound or more the band deliberately wanting to try new things?

I would definitely say organic. You can say you want to change your sound but ultimately everyone has their style and we just have to try things and see what comes together.

You mentioned there are bands which have influenced your sound; are there any in particular which have impacted keenly not only on the band’s music but equally your personal approach and ideas to creating and playing music?

Absolutely!

Is there a general process to the band’s songwriting?

Typically, Alex will write some riffs on his own and show them to the rest of the group. We’ll jam it and start to build around it, if we dig it then we’ll continue to develop it and add details as well as start writing lyrics for it, if we don’t then we scratch it and try again.

And where do you, more often than not, draw the inspirations to the lyrical side of songs?

Our lyrics span several topics but depression, existential anxiety, and the desire to break these cycles and experience happiness and personal success are often underlying themes in a lot of our songs. On the flip side we write about our hope for love towards ourselves, others and the planet.

Would you give us some background to your latest release?

We just released our first full length record called Waves. It’s something we’ve been working on for a long time and are very proud to release. It’s the culmination of all our hard work and it’s the best thing we’ve ever put out in terms of writing as well as production.

Give us some insight to the themes and premise behind it and its songs.

Waves is all about the cycles that we experience on a global and personal level. It covers the trajectory of mankind, the evolution of cyclical depression, losing loved ones, and the attempt to cope with all of this while being plagued with nihilistic apathy.

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

A little bit of both. We usually have most of the songs ready to record as is but sometimes we like to collaborate on the spot with each other as well as with input from our producer Brandon Sanders. Sometimes the songs can sound quite different once they’re done than what we came in with.

Tell us about the live side to the band, presumably a favourite aspect of the band.

We like to think that our live show is the best feature of our band. We try to bring as much energy and emotion to our live set as possible. The guitar tones and lyrics seem to hit so much harder in person. We also have a light show rigged up to sync with our music that definitely contributes to our aesthetic.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?

Yeah definitely. Dallas is an extremely saturated market and there’s a show of some kind almost every night but there’s also a lot of niche scenes that tend to crossover and collaborate. It’s for sure hard to stand out but there are a ton of great bands that push each other to be better and more creative and there are some really impressive bands that have culminated a local and regional following.

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

If you have a good answer on how to maximize our potential on social media, let us know! We use it constantly trying to reach as many potential fans as possible but it’s hard to say if it helps or hinders what we’re trying to do. You could argue it’s both a positive avenue to spread the word but negative in the sense that there are so many bands doing the same thing on social media. You really have to get creative to get people engaging in your content.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

We plan to tour a lot and play some new cities this year so keep an eye out and go jam our new record!

 

Discover more about and from On Better Terms at…

https://www.facebook.com/onbetterterms/   https://twitter.com/onbetterterms   https://onbetterterms.bandcamp.com/

Pete RingMaster 15/02/2019

Copyright RingMaster: MyFreeCopyright

Warish – Self Titled EP

Like a crawling yet animated pestilence, comes a sound and aural ruin which infests the senses like a carnivorous scourge; a sonic trespass which within the debut release from US outfit Warish rises up as one highly fascinating and seriously enticing affair.

Formed by guitarist/vocalist Riley Hawk and drummer Bruce McDonnell, the 2018 emerging SoCal based band has seen a bit of a buzz brewing around it and it is easy to hear why across the five tracks making up the first Warish EP. It is a ravenously malignant and carnally caliginous invasion as visceral as it is fearsomely compelling; a raw gripping trespass bred from a fusion of raw horror punk, sludge infested grunge and feral noise punk.

The EP took a mere breath to assault and stir ears and appetite through opener Bones, its initial riff struck bait the first thick lure in a voracious tide of punk ‘n’ roll. The effect tampered vocals only add to the already persuasive hell spawned temptation immersing track and listener, the threat and nag of rhythms escalating the insurgent swing and sonic infestation of the song’s slavery. Akin to a feral mix of The Scaners and The Hangmen in league with The Horrors and Misfits both in their formative years, the track effortlessly enslaved as too its successor which rises up from the sonic bridge between the two.

Riding in on a manipulative tide of rhythms, Voices quickly took control with its untamed groove and concussive attack easily sparking another round of lust with its inhuman exploits before Fight brings its own magnetic personality to proceedings. There is a mutual bedevilment and nightmare to the first pair of tracks even in their individuality but their successor reveals a whole fresh aspect to the Warish sound and adventure with melodic and psych rock imagination. It still has the punk and metal nurtured hues but entangled in a broader flavouring of styles and twisted enterprise.

The final pair of Human Being and Shivers similarly adds their own particular differences; the first seemingly fed on the riffs of Black Sabbath and the second seeded in old school punk subsequently soaked in the hellacious corrosiveness of stoner rock, heavy metal, and surf punk. Neither quite exploited the passions as the first trio of tracks but both easily escalated the lure and enjoyment of the debut Warish EP; and joined all in inspiring a hunger for plenty more from the rather exciting, potential strapped band.

The Warish EP is out now on 7” vinyl and download through RidingEasy; available @ https://www.ridingeasyrecs.com/product/warish-7/ and https://warish.bandcamp.com/releases

 

https://www.facebook.com/Warishband/

Pete RingMaster 12/02/2019

Copyright RingMaster: MyFreeCopyright

Anticipating Days To Come

Blending pop-styled vocal melodies with heavier, intricate instrumentation, Georgia, US based hard rock band Days To Come has increasingly made a mark on attention and success since emerging in 2014. We recently had the pleasure to get to the heart of the band exploring its origins, growth, latest release and more…

 Hello and thanks for taking time out to talk with us.

Can you first introduce the band and give us some background to how it all started?

Justin – My name is Justin Goodson and I’m the vocalist for the Georgia based hard rock band Days To Come. Brandon Rix is our guitarist and Jalen Hall is our drummer. We try to blend pop-styles vocal melodies over heavier, intricate music.

The band officially formed in 2014. I met Brandon at a local music store one afternoon before a gig and we hit it off pretty quickly. Jalen joined us in early 2018. We’ve had a few line-up changes over the years but we feel pretty confident in the team we currently have.

Is Days To Come your first venture in music or have you been involved in other bands before?

Jalen – Nope, this is my first band.

What inspired the band name?

Justin – I thought of the name Days To Come one day while I was at my day job. I was frustrated because we had all of the pieces to form a band except for a drummer and it is always so difficult finding a drummer! I knew that we would eventually find one and everything would work out in the future, but that moment of frustration gave birth to the name.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

Justin – I started playing the guitar when I was 17 and I started to take singing seriously in my 20s. I knew then that I wanted to be in a band. I played solo acoustic gigs for years trying to find a band or form one. Nothing really worked out until Days, which I’m thankful for.

I would like us to continue to blend clean, pop styled vocal melodies with heavier music. I don’t hear a lot of that being done in modern rock and I hope that it will help separate us (in a good way).

Do the same things still drive the band when it was fresh-faced or have they evolved over time?

Brandon – I would think so. One of the main goals is to get the band to become successful enough for it to sustain itself. That’s been one of our goals since day one.

How would you say your sound has evolved since the band’s early days?

Brandon – The sound of the band overtime has become more unified with the “song first” mentality. I remember my tone used to be whatever sounded good for me, and my solos were pure wankery. Now I believe I’m more meshed with the band, and my solos are more in line with the song.

Has it been more of an organic movement of sound or more the band deliberately trying out new things?

Justin – Definitely an organic growth… Brandon and I have been working together since 2013 and, I feel like, we’ve finally settled into what we’re pursuing, sonically speaking. Earlier on, we would write and “whatever happened just happened”. Now, we have a clearer vision of what we’re chasing with these new songs.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

Justin – Alter Bridge is one of my biggest musical influences. They’ve helped shape me as an artist so much. However, like most artists, I found myself emulating my heroes with my writing. I learned a lot through this, but it’s taken a long time to find “my voice”. I wanna use what I’ve learned to better my songwriting, not just write songs that sound like theirs.

Is there a particular process to the band’s songwriting?

Justin – Typically, Brandon and I will get together with a few acoustic guitars and work out the skeleton of the song. I’ll either have lyrics already written or will write some to go with the music. Sometimes they come really quickly and other times they’ll take weeks to finish.

Where do you, more often than not, draw the inspirations to that lyrical side?

Justin – I love melodies and stories. I started writing my first song when I was around 9 years old. I didn’t think it was very good, so I threw it in the trash. I didn’t start writing again until I was around 19…Pretty crazy how life works out.

I grew up in a military household and had the opportunity to move and experience a lot of cultures as a kid and teenager. I’m sure these experiences helped shape and influence my songwriting.

The lyrics are typically about the struggle of choice and doing the right thing in any given situation. Lyrically, I seem to continue to run back to that theme. I enjoy not necessarily having a definitive resolution in the story of the lyrics. I feel like this gives the listener the freedom to come up with his or her own conclusion and it’ll make the song more personal for them.

Give us some background to your latest release. 

Brandon – Our latest release is our new single Siren (released January 25th). We’re always trying to expanding on what the Days To Come “sound” is and, when we were working on Siren, everything clicked. We knew that the feel of Siren was what we were after and what we would continue to chase in future songs. Siren is punchy, melodic, musical, and memorable. We hope that our fans enjoy it!

Could you give us some insight to the theme and premise behind Siren?

Justin – Siren is about a toxic relationship. The individual in the story continues to crawl back to what he/she knows is ultimately bad for them.

 Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

Brandon – We try to go to the studio with the final ideas established. However, we always tend to change parts of the songs for the better as we evolve. I can’t tell you how many times after we recorded Color we said, “Hey, wait. This sounds nifty. Let’s do this.” And we recorded Color years ago.

Tell us about the live side to the band, presumably one of the favourite aspects of being in the band?

Jalen – There’s just so much energy on stage that never falters. That’s by far my favorite thing about the band.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands?

Justin – I believe there is always an opportunity to make a mark. It just depends on how hard and how long the artist is willing to put in the work. No one is gonna hand it to you. Like everything in life, if it was easy, everyone would be doing it.

How has the internet and social media impacted on the band to date?

Justin – Social media is such a wonderful tool – especially for indie artists and bands. We live in the golden age of indie artists. For the first time, indie artists are able to produce, distribute, and market their work completely DIY and without a major label.

This is huge.

Social media and the connection it brings just help that cause. Artists should take the time to learn how to use social media to better grow and connect with their audience.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Jalen – We’re so thankful for all of the support we’re given. We can’t wait to get out on the road and support our single Siren.

Check out Days To Come further @…

https://daystocomemusic.com   https://www.facebook.com/daystocomemusic/  https://twitter.com/daystocomemusic

Pete RingMaster 15/02/2019

Copyright RingMaster: MyFreeCopyright

Altitudes and Attitude – Get It Out

Just the thought of two of metal’s finest most influential bassists linking up whets the appetite; indeed a potential pleasure which pretty much inflamed said optimism with the release of an EP five years back. That teaser though has just become a full on feast of hard rock ’n’ roll pleasure with the release of Get It Out the debut album from Altitudes & Attitude.

For those yet to discover the outfit, Altitudes & Attitude is the creative union of Anthrax’s Frank Bello and Megadeth’s David Ellefson. It was a partnership sparked when the pair started touring together to lead bass clinics for the amp manufacturer Hartke in 2010.To provide backing tracks to support their demonstrations the pair began writing songs, this leading four years later to the unveiling of a three track EP. Now the link-up has brought us Get It Out and thirteen tracks which pretty much rock the life of the majority of hard rock offerings of recent times. You might say that the album is not the most unique, it openly embracing assumedly some of the hues of the pair’s own musical likes and pleasures over time, yet it has a freshness and individual character which uses such flavours rather than relies on them. At times it has a definite John Bush led Anthrax meets Foo Fighters roar but from start to finish stomps with its own voice and gait to relentlessly thrill.

Produced by Jay Ruston (Anthrax, Steel Panther, Stone Sour) and with drummer Jeff Friedl (A Perfect Circle, Ashes Divide, Filter) unleashing the driving rhythms throughout, Get It Out sees a host of guitarists guesting alongside the bass and rhythm guitar sharing of Ellefson and Bello, the latter providing the vocals and lyrical prowess. Among them is the familiar craft of Ace Frehley, Gus G (Firewind), Jon Donais (Shadows Fall/Anthrax) and Christian Martucci (Stone Sour); with all musicians involved adding to its magnetic lure.

The album opens with its title track and swiftly and easily had attention gripped as guitar bred wires entangled ears; their nagging increasingly compelling before riffs and rhythms add their persistence to the baiting of the senses. Bello’s vocals are just as potent as the track erupts into that Foo Fighters tinged roar which sweeps across the album at times. It is an outstanding track and start quickly matched by the similarly stirring and vigorous Late. The second track is less forceful in its initial tempting, almost teasing ears before hitting its muscular stride with Friedl’s beats a crisp trespass alongside the melodic caress of guitar. With a Verni like hue to its infectiousness and controlled holler, the song also effortlessly hit the spot with its multi-flavoured rock ‘n’ roll.

Lyrically, the album sees Bello open up to personal experiences and the intimate turbulence which have been part of his life; explorations just as intriguing as the sounds around them and fuelling further quick success in the likes of Out Here and Part Of Me. The first shares a delicious groove aligned to mountainous rhythms, their captivating unity matched by the harmonic call of vocals and guitar while the second is pure incitement from its gnarly bassline to thumping beats and hook springing virulence. Both tracks leave little to be desired but the latter with its imposing but galvanic trespasses was rock ‘n’ roll manna to personal tastes with a guitar solo to lap up.

The irresistible Slip ventures into a more indie rock lined hard rock stroll, vocals and melodies as infectious and manipulative as a virus while next up Talk To Me provides a relatively calmer but no less persuasive canter draped with a great Julian Cope-esque feel in voice and sound. Both tracks add to the already lofty heights of the release with creative and hearty relish before Leviathan shares more classic and heavy/progressive metal strains of enterprise. The instrumental is a magnetic detour from the thrust of the album so far adding another aspect to its increasingly varied landscape.

Cold shares some of its predecessor’s colouring within its own heavily satisfying melodic rock ‘n’ rumble with Another Day returning to shades of Dave Grohl and co with its controlled yet fiery saunter.    It was a song which maybe did not have us bouncing as lustfully as others but its magnetism was inescapable as too its hungry hooks and lures; coaxing just as thick and even more compelling within the emotively atmospheric and revealing All There Is where melodic droning and vocal intimacy blossoms.

The album concludes with bonus cuts of the songs which made up that first EP; all three remixed and re-mastered. Booze And Cigarettes has a great feral edge to its rock clamour, Tell The World a melodic almost poppy instinct to its catchiness, while Here Again is as much punk as it is heavy and hard rock bred; all three showing why Altitudes & Attitude had so many excited a few years back and anticipation for the album, they now thrillingly end, so keen.

A record which will appeal to a vast array of metal and rock fans, Get It Out is rock ‘n’ roll at its hearty best, so no more words needed just your soon to be hungrily happy ears.

Get It Out is out now through Megaforce Records.

https://www.facebook.com/altitudesandattitude/   http://www.altitudesandattitude.com/

Pete RingMaster 12/02/2019

Copyright RingMaster: MyFreeCopyright

AM Taxi – Shiver by Me

As much as craft and imagination guides our choice of musical pleasures and favourites it is instinct and organic connections which truly steer reactions and loves, both fully behind our swift and unconditional ardour for Shiver by Me. Not that the creative invention and agility of AM Taxi and their release falls short, it all going to make for one rousing slab of punk ‘n’ roll, but quite simply it is an album which just knows what our personal wants and pleasures are and feed all with tenacity.

The successor to We Don’t Stand A Chance, the Chicago band’s well-received 2010 Virgin Records released debut, Shiver by Me provides a romping, stomping fusion of old school punk and alternative rock with modern pop instincts. It snarls as it bounces, reeking defiance as it unleashes virulent catchiness across eleven boisterous encounters, all the while leaving ears and appetite greedy for more. It bursts into life with a bang and never leaves a want for anything thereon in.

Saint Jane provides that explosive beginning, cavorting rhythms linking up with a teasing guitar jangle as vocals wait to add their lively energy. Hitting full swing as guitarist Adam Krier adds his lead tones, the track is an insatiable pop punk temptation springing seventies punk with indie pop feverishness. There was no escaping its manipulation of body and vocal chords nor the swift ardour sparked and carried on by the following Harpoon. Echoing its predecessor, the track is just as persuasive and irresistible vocally as it is musically, Krier and the band’s backing effortlessly getting under the skin just as the swinging beats of Chris Smith, the brooding but eager grumble of Jason Schultejann’s bass and the melodic shenanigans of Jay Marino’s guitar alongside those of Krier. With devious hooks at every twist and turn, the track is viral contagion to which personal hollering was inevitable.

Next up Movie About Your Life proved to be no less of a puppeteer either, its acoustic strum and persuasive handclaps teasing to the great vocal snaring quickly in tow with melodic intimations lining the captivation as it bubbles up while Swim Before You Sink (Short Time on Earth) straight after uncages bold imagination brewed rock ‘n’ roll which fed every want in the personal book. Both tracks are simply outstanding continuing the impressively rousing roar of the album already in full flow.

Fighting in Cars is relatively calmer but still a spirited proposition with its lithe rhythms and melodic web while L’ Patron provides an ear romancing saunter with a fire in its belly and passion in its heart. Each of the pair hit the spot with their openly individual proposals; success fully matched by the indie rock hued punk pop canter of Stuck Around. The hook springing and vocal prowess of the band, let alone an inexhaustible rhythmic agility, is persistent across each track within the release and no more tantalising than here.

Through the Clash kissed Brandy Don’t Let Me Down and the reflective and skilfully dramatic Minute Alone, the album is as compelling and striking as ever, both slices of pleasure matched in creative kind by the soul nurtured Shaken Over You. Sam Cooke is named by the band as one of their influences, an inspiration breeding this treat, a song elevated further by a Jam-esque whiff.

The album closes with Warsaw Blues, a gentle slice of melodic intimacy which maybe did not inflame the passions as those before but left a certain pleasure and appetite for more of its almost smouldering temptation.

Shiver by Me is one riveting adventure from start to finish and AM Taxi a band no punk or rock ‘n’ roll fan should skip by without giving at least a curious listen.

Shiver by Me is out now @ https://amtaximusic.bandcamp.com/album/shiver-by-me and also available on limited vinyl this April through Mutant League Records.

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Pete RingMaster 11/02/2019

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