The Ghost Wolves – Man, Woman, Beast

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Rock duos have never been an absent feature of rock ‘n’ roll across the decades, the likes of The Everleys, The Carpenters, and alongside all those which spring to your mind right now The White Stripes all notable irresistible protagonists. It feels right now though that there is a real wealth and strength in depth to two-pronged innovative rock bands. The UK has the caustic garage punk/rock ‘n’ rollers The Creeping Ivies, Canada the raw and sonically insatiable might of The Black Frame Spectacle, whilst the US can offer up the country punk of The Barnyard Stompers and the blues punk fire of In The Whale. These are just four of the savagely potent enticements within the underground to which you can forcibly add The Ghost Wolves.

Hailing from Austin, TX, the duo of husband and wife Carley and Jonathan Wolf create a delta blues/garage rock inspired storm which stirs up the imagination and steals the passions like a fully loaded dose of sonic moonshine. Its raw and addictive recipe is irresistibly unleashed in a diverse mix of flavours within the band’s debut album Man, Woman, Beast. It is a rugged yet fuzzily seductive stomp of an encounter which leaves senses sore, bloated, and desperate for more.

Formed in 2011, The Ghost Wolves has spent the years since garnering more and more acclaim and support as well as a feistily growing fan base. Released on Nashville’s Plowboy Records, Man, Woman, Beast follows the success of the band’s 12” EP In Ya Neck! of 2011 and the following year the 7” single Getchya Hip Thrust, both on Pau Wau Records. The album already acclaimed in their homeland, has all the abrasing charm and enthralling enterprise, not forgetting sheer unruly beauty, to push the band into a wider world bred spotlight,

The first slice of infection is Shotgun Pistol Grip, the opening track an immediate sizzling bait to seduce ears and emotions. The heavy throaty tones of Carley’s guitar ignites ears right away to be joined within a breath or two by the tgw-620x620similarly coaxing crisp beats of Jonathan. There is an almost cantankerous swagger to the track, its rhythmic shoulders and melodic intent as feistily imposing as they are engagingly alluring. It is rapacious bait which steels its sinews to hold is tempting as the mischievously cute and flirtatiously melodic vocals of Carley caress ears, assisted as impressively by hubby. There is also an underlying surf rock breeze to the song which embraces the senses before making way for the fiery Gonna Live. Brewed in a richer distillery of blues, the track is an instinctively alluring prime rock ‘n’ roll canter. Guitars flame and groan with scuzz kissed toxicity whilst the vocals and chorus produce a rock revelry which demands attention from feet and emotions.

The ridiculously potent and thrilling start to the album is continued with Baby Fang Thang, a song which swings its melodic scuzz wrapped hips like a lap dancer from the first sway whilst beats punctuate the seduction with their own distinct potency. As with so many of the songs, verse and build ups are siren-esque especially vocally, but it is the toxicity of the chorus which sparks lustful passion, and in no greater success than on the third song. With a temptation which is like a fusion of Daisy Chainsaw and Karn8, the song licks at the senses with the salacious wickedness of a temptress and naive charm of a sultry breeze.

Both the coarse boned Grave Dollas and Ride The Wolf keep things aflame in quality and ears, the first a anthemic romp of energised rhythms and swinging vocal lures within another squalling blaze of blues lilted guitar colour. Its successor is a slow prowl of salaciously grinning vocals and sonic beckoning, the sultry seductive air of the song again reminding strongly of Karn8 whilst the heavier garage rock predation which equally crawls over the senses has a seventies psychedelic essence which also embraces flavours to be found in artists like Hasil Adkins, The Cramps, The White Stripes, and Morass of Molasses.

I Was Wrong uncages another sinew built stomp, rhythms casting a firm net for the twin vocals and smouldering guitar attack to tease ears with devilish efficiency, before the next up Itch unveils an earthy groove to lose inhibitions to. Whereas the last couple of songs richly pleased but lacked some of the lust breeding power of earlier tracks, this song is another Devil spawned seducing which wakes up the imagination and ardour fuelled passion like popping candy in the mouth, every note and beat a frenetic but fluid croon to set passions of eager edge. A welcome easily exploited by the intoxicating I’m Yo Mudda, its winding and swerving blues filtered grooves pure sonic manna.

The riveting limb enslaving Attack, Attack, Attack hits another pinnacle for the album, its veins pumped with fevered rapaciousness and hungry suasion driven by rhythmic stabs and vocal pokes. It is a sensational stomping which leaves the body breathless and hunger burning as greedily as the passions. Ensuring that the song’s glory is pushed to the final song, Dangerous Moves stands before ears with vocal enticement blazing radiantly within waves of blues toned guitar caressing, both leading to another crazily addictive and wonderfully toxic choruses. The song is a brilliant and pungent furnace of sound and anthemically evocative hues which sums up The Ghost Wolves perfectly.

Now we said these were the last songs and they are on the download version but we suggest going for the CD which comes with an extra trio of songs, tracks recorded live which you do not want to miss. The slow lumbering almost erotic beauty of Lies I Told is alone a treat but White Lily is the big prize, the song a scuzz lined dance of captivating beats and irrepressibly magnetic grooves all under the spell of the dual vocal temptation. The hypnotic rhythmic hex which opens up Mosquito is also a massive draw whilst the song once into its heart lays down a mesh of sonic bruising which ravenously grips an unrelenting appetite for the album.

Man, Woman, Beast is one of the real triumphs and pleasures of the year and The Ghost Wolves, a band to set the primal heart and beast in us all free.

Man, Woman, Beast is available now @ http://theghostwolves.bandcamp.com/album/man-woman-beast-2014 and on CD/vinyl through Plowboy Records! @ http://plowboyrecords.com/store/the-ghost-wolves/

http://www.theghostwolves.com

9/10

RingMaster 14/07/2014

Copyright RingMaster: MyFreeCopyright

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Wraiths – Hollow EP

Wraiths Online Promo Shot

There has been plenty of good words and enthusiasm placed around UK metallers Wraiths over recent times and with their new EP Hollow now ravaging the ears it is easy to see why. Fuelled by a maelstrom of heavy and extreme metal with raging potential veining its every twist and turn, the release is a formidable and gripping protagonist. It is an encounter which makes a slightly underwhelming start but emerges as a titanic fury with potent invention and enthralling enterprise. It is fair to say that the Middlesbrough quartet is nowhere near the finished article yet but has all the promise and armoury to be one compelling and potent force.

Wraiths were conceived in 2012 by four friends with the intent to sculpt and bring something new to deathcore. Swiftly making a strong impression live, supporting the likes of Demoraliser, Brutality Will Prevail, Madball, End Reign, Iced Out, Pay No Respect, Odessa and Destroyer BC since forming, the band also staked a fair claim on attention with their debut self-titled EP in 2012 and a stronger call with the single Hollow Lungs last year. It is easy to suspect that Hollow will open up a greater spotlight and hunger for the band, its bestial body from a decent and concentrated start turning into an adventurous predator with jaws of vitriolic hostility which simply enslaves the imagination.

As mentioned Hollow makes a powerful start but does not start a fire in the belly right away. The first two tracks simmer and definitely light attention but leave an ‘ok that was good but how about impressing me’ feeling, something Wraiths Cover Artworkit undoubtedly does from there on in. Opening track Godslayer rises from a sonic mist to pound ears with vicious swipes of rhythms and carnivorously fired riffs. It is a dramatically imposing start, a stalking crawling pestilential entrance with the vocals of Rae Robinson crawling venomously over every note and percussive incitement. It is certainly a destructively imposing encounter which stands tall and barbaric against the senses, the roaming rhythms of Rick Baker especially enticing against the rugged wall of riffs and spiky grooves conjured by guitarist Daniel Charlton alongside bassist Dale Husband. The track holds focus firm but lacks the spark to ignite emotions or put the band clearly to the side of many other metal/death core propositions.

There is an underlying lure though which ensures thoughts are held rigorously, a successful bait matched in the following Malignation. Its start is similar in many ways to its predecessor but soon casts its own web of predacious provocation and agitated animosity. The two faced guttural squalls of Robinson make a better impression than most frontmen in the scene whilst the lurching rhythms and stalking guitar play of Charlton equally spin an enslaving incitement, yet the track whilst more intriguing than the first again feeds expectations arguably more than defies them. That is something Gravelord soon puts right. The band’s new video single does not move too far from the already familiar start to songs but is soon twisting that canvas into a sinister and almost carnal web of sonic and rhythms animosity coated in a virulent contagion which grips imagination and appetite alike. The vocals find greater ferocity through at times a group delivery whilst the bestial depths and malevolence of the track is like sonic tar, sticking to and inflaming senses and emotions with its burning spite. The track is a brawl to be consumed by and devour greedily, that once missing indefinable element a searing flame of endeavour and inventive rancor.

The impressive track is instantly matched by Devoured, its assault a scything and scornful saw of caustic riffs aligned to vehement rhythms from Baker which in turn are just as acrimoniously assisted by the bile rich tones of Husband’s bass. The track tears chunks from ears before settling into a no less cruel stride but one soaked in an infectiousness which almost makes it seem kinder in manner. The song develops a swagger too which makes the strongest persuasion, deceptively hiding the harsh malignancy of invention and sound at the song’s heart. It is a glorious scourge of torrential savagery, unrelenting in its pillaging and taking of the senses but an embittered tempter too with a deliciously irresistible melodic groove veining its latter flank before a brutal finale.

The release closes with Belial, a track which meanders with composed tenacity through an almost progressive maze of sound and emotive danger within a tsunami of oppressive and addictive violent intensity. The most inventive and diverse track on the Hollow, the track flirts with and gnaws on the psyche from start to finish, its ever increasing malice and bitter enterprise soaking its magnetic again pestilential presence. It is an excellent end to an enthralling and highly pleasing release. Certainly the early enjoyable enticements made a decent impression but from the third track the EP shows itself and the band to be a proposition to get excited about as it rips apart body and soul. There is more to be found within Wraiths to push them into the biggest spotlight but on the evidence of Hollow, they are heading in the right thrilling direction.

The Hollow EP is available now through all digital stores and the Gravelord single as your own chosen price @ http://wraithshc.bandcamp.com/track/gravelord

www.facebook.com/wraithshc

8/10

RingMaster 14/07/2014

Copyright RingMaster: MyFreeCopyright

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TRIVERSE MASSACRE come out ‘With Bared Teeth And Truths’, on 4th August.‏

Triverse Massacre Online Promo Shot

UK DEATH METALLERS TRIVERSE MASSACRE UNLEASH KILLER NEW EP!

 

Wielding a gargantuan passion for fast furious riffs and igniting glowing comparisons to The Black Dahlia Murder, Cannibal Corpse and Slayer, Triverse Massacre spit out a collision of galloping hi-octane metal that will drop you to the floor. The formidable Northern quintet serve up their explosive ‘With Bared Teeth And Truths’ EP through national outlets on Monday 4th August.

 

Born on April 2010, haling from the grim northern city of Carlisle and featuring Liam Clark (Vocals), James Graham (Guitar), Chris Kelsall (Guitar), Dan Fisher (Bass) and Mike Collins (Drums), Triverse Massacre have been causing a stir on the metal underground for the past three years. With a strong gig ethic that has seen the Brit riff monsters rack up the shows, chalking up supports with every one from Aliases and The Sun Explodes to Meta-Stasis, and aided with an impressive creative output, the progressive five-some are destined to make their mark on proceedings.

 

The Carlisle bruisers are now set to stride forward with a reboot of their enticing new EP ‘With Bared Teeth And Truths’. Armed with four brutal slabs of hybrid metal that encompass death, groove and thrash, Triverse Massacre have shaped a record that it is brimming with buoyant intensity.

 

‘With Bared Teeth And Truths’ starts in ferocious fashion with the hammering beatings of ‘Wolves At Your Gates’ before ‘Exhale Betrayal’ grabs you by the scruff of the neck, thrashing and attacking your eardrums. ‘Bullets Kill Beats’ continues in rampant form, packing abrasive riffery with a full frontal vocal assault. And as ‘Torn From The Throne’ hits the speakers with it’s barbarous groove, your senses will be fully laid to waste.

-TRIVERSE MASSACRE RELEASE ‘WITH BARED TEETH AND TRUTHS’ ON 4th AUGUST THROUGH ALL STORES-

Triverse Massacre Cover Artwork

https://www.facebook.com/TriverseMassacre

 

A NEW DAY release Forever Tonight on 4th August‏

A New Day Online Promo Picture

STUNNING NEW RECORD SET LOOSE THIS SUMMER BY UK TUNESTERS A NEW DAY!

 

Ascending Brit-rock foursome, ‘A New Day’, unveil their mouth-watering new EP ‘Forever Tonight’, out Monday 4th August through all national stores.

 

Formed in 2013 and hailing from Basildon in Essex, A New Day are comprised of Chris Tunnicliffe (Vocals & Rhythm Guitar), Glen Hearn (Lead Guitar), Scott Johnson (Backing Vocals & Bass) and Sam Johnson (Drums). The South East tunesmiths supremely merge soaring melodies with up-tempo phrasing and are braced to break the UK this year.

 

Reared on a diet of Blink 182, All Time Low, Simple Plan and Jimmy Eat World, amongst others, A New Day soon chiselled out a sound of their own while embracing their influences. After much time spent in the rehearsal room fine-tuning their set, the quartet began to hit the road and have since played at just about every venue under the sun throughout the South East. Last year the band continued their rise with the release of their debut EP ‘Now It’s Our Turn’, which secured strong support from the underground.

 

Now the stage is set and it’s time for A New Day to strike out to a national audience. With recent praise and support from Kerrang!, the signs are looking very good indeed. The band now also have the perfect tool in the shape of their stunning new EP ‘Forever Tonight’ which includes three highly engaging cuts of up-tempo rock. From the deliciously tuneful opener ‘Boyfriend’, which is sure to light up radio airwaves, to the colossal refrain and anthemic vigour of ‘Faith In Me’ and the enticing hooks of ‘Call You Mine (I Don’t Want To), A New Day have unleashed a record that is a real gem and warrants your attention.

 

++ A NEW DAY RELEASE ‘FOREVER TONIGHT’ ON MONDAY 4th AUGUST THROUGH ALL STORES ++

A New Day Cover Artwork

https://www.facebook.com/ANewDayOfficial

The Hertz Complex – A New Habit EP

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Whilst it is not an encounter to instantly set the emotions on fire or leave the imagination awe struck, the A New Habit EP from The Hertz Complex quietly and relentlessly works away at the psyche to emerge as a rather tasty, potential fuelled proposition. It is a slowly burning but persistently persuasive release which puts the band on the radar with ease whilst brewing up a keen anticipation for the quartet ahead as they evolve and grow further into their enterprising sound. The band’s debut EP is as intriguing as it is deceptively infectious, its songs smouldering rather than blazing within ears but they leave seeds and hooks behind which from nowhere can take a hold of the memory.

Hailing from Cork in Ireland, songwriters Neil O’Keeffe (lead vocals, guitar) and Paul Keane (guitar/vocals) have formed an instinctive creative partnership which brings an organic breath and attraction to their songs as evidenced on the EP. Embracing the inspirations of their Irish roots and of bands such as The Chameleons, Joy Division, Whipping Boy, and Howling Wolf, the pair’s distinct twist of post punk with melodic unpredictability offers healthy bait with an imaginative coaxing. Relocating to the Deptford area of London, the duo linked up with Canadians Benjamin Balan (drums) and Chris Keelan (bass), the compelling rhythmic side to the lure of The Hertz Complex. With their live performances, including festivals and a headlining show at LA’s Whisky A Go Go, constantly drawing more attentive fans and responses, as well as the recent announcement that one of their tracks will be featured in a movie soundtrack, it feels like a big step is being taken in the ascent of The Hertz Complex, something A New Habit adds its persuasive weight to.

Maybe I Know starts things off and takes little time in enticing thoughts and appetite with its chilled but seductive charm. A shimmering sonic coaxing wraps ears first, its touch framed by punchy beats. Before long a guitar weaving 10418167_796654680353242_78278592038508633_nmagnetically flirts with the senses, dripping evocative hues as the bass adds its own dark colour. It is a potent welcome which only increases its pull once settling into a steady canter of crisp rhythms and spiralling sonic endeavour. Infectious melodies equally add their rich enticement to create a gripping canvas upon which the initially monotone kissed plaintive clad tones of O’Keeffe opens the narrative. It is a striking union, elements of Joy Division and at times Modern English swirling within the provocative climate being brewed by the band. Thoughts of Flesh For Lulu also make an appearance as the song increases the strength of its virulent suasion and enterprise. As the EP, it is not a song which explodes and has passions drooling but with its persistent fuzz lined sonic taunting and melodic web it is an encounter which beds deeply into the psyche for a long term friendship.

The great start is followed by the just as appealing and addictive Bassy. From its first breath, guitars are binding ears with entrancing acidic melodies and irresistible hooks, but it is through the shadowed throated tones of Keelan’s bass croon that the appetite is sparked into hungry rapture. There is an indefinable familiarity to the main sonic call of the song too which only works in the song’s favour whilst the slightly off kilter vocals add another intrigue sparking texture to the proposition. The track holds a restrained air to its intent, a hint of explosive incitement promised never realised yet again though it is a song which embeds in an awakened imagination for a lingering and welcome persistent presence.

Next up The Boxer Rebellion brings a broader rock ‘n’ roll intent to its keen gait and suggestive almost sinister breath. The vocals veer to a more strained delivery than elsewhere at times but also breaks into a varied punk kissed antagonism to match the evolving sound and adventure of the track. A song which merges elements of initially post punk with hard and garage rock plus that punk essence, it almost does not know what it wants to be but is still a fluid storm to thoroughly enjoy. It does not match the opening pair of songs but shows another range and depth to the sound and songwriting of the band as does its successor No Control. The song is a delicious croon of vocals and guitar, an evocative smoulder which lures in thoughts and appetite with increasing success as the rest of the band bring with their potent colours. Like the previous song it takes a while to fully seduce but given time makes for a persistence of reserved hooks and gentle melodies which entrench their fascination long term.

The EP is completed by the radio edit of Maybe I Know which is as good as the broader version but over too soon in comparison of course. A New Habit EP is probably not going to send you shouting from the rooftops to be honest but it has all the promise and exciting qualities to make The Hertz Complex a band to keep under close and keen scrutiny.

A New Habit EP is available now!

http://www.thehertzcomplex.com/

8/10

RingMaster 14/07/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Khaøs – After The Silence

Khaos Band 5 (9365 copy4)

Almost two years after the release of their critically acclaimed debut EP Rising, and ahead of new album Risen, Swiss/American melodic/hard rock band Khaøs unveil new single After The Silence. Pushing their accomplished blend of sinew sculpted rock and metal to new evocative expression, the single is a potent and intriguing teaser for the band’s first full-length. It is not a proposition which lit a fire in our belly but definitely offered enough to breed an inquisitive nature for the album.

Consisting of vocalist Chandler Mogel, guitarist Mark Rossi, bassist Nic Angileri, and drummer Trevor Franklin, the band is making its introduction to our ears with their new single, a track which admittedly initially wrong foots expectations and what they were assuming to hear from a name like Khaøs. There is certainly a raw beauty to the Rolf Munkes recorded song but not the aggressive bleakness certainly in sound expected to accost ears. Lyrically the track embraces the premise of “finding one’s self in a war-torn world and bonding together with like-minded people in order to start a peaceful revolution.” This brings cloudy shadows and fiery tension to the heart of the track, a potency which grips attention as much as the equally heated sounds crafted by the band and adds much to the thought evoking presence of the release.

The song opens with a lone guitar casting its evocative narrative around ears before welcoming a slow pulse of rhythms and the shadowed tones of the bass. It is a strong coaxing added to by the fine vocals of Mogel assisted by similarly After the Silence Cover Singleimpressive harmonies. With flames of intensity and melodic endeavour throughout the provocative canvas of the song, it swirls emotionally and creatively across the senses with resourceful imagination and tenacious passion, the guitar of Rossi especially engrossing when given clear scenery to colour.

For personal preferences, After The Silence fails to find the spark which ignites a hungry appetite and over enthused reactions, but as mentioned does have a certain success in raising an interest in the new album. For fans of Khaøs and of imposing passion drenched hard rock, the single with its skilled design and flavour is sure to make Risen a highly anticipated and excitedly awaited proposition.

After The Silence is available via MRRecords digitally worldwide through iTunes, Amazon, Spotify and on all other digital platforms.

www.facebook.com/khaos2012

7/10

RingMaster 14/07/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Circle of Reason and 48 Hours unite for New Breed Of British Rock UK Tour 2014

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    Two of the UK’s finest emerging rock bands join forces this July. Hitting venues across the south of England, pop fused hard rockers 48 Hours unite with alt/rock act Circle Of Reason for a number of live dates. Bringing together two exciting bands, The New Breed Of British Rock Tour shall reach a climax on the 26th July, with two separate shows in one day.Forming in 2012, Kent based trio 48 Hours feature Adam Jerome and Matt Savini (ex Colt 44) and Gary Broughton (ex After The Ordeal). Previously building their reputations through appearances at festivals such as Sonisphere & Hevy and supporting successful artists including The Blackout, Madina Lake, Cancer Bats and We Are The Ocean, 48 Hours bring vast experience to the live stage & studio. Following extensive touring since their inception, 48 Hours have gone from strength to strength in 2014 following the release of their debut album ‘Recovery’ which has garnered early taste-maker support from XFM Rock Show and Kerrang! Radio.Taking in this venture as Part 3 of their own Trilogy Tour, Southampton’s prog tinged alternative rock outfit Circle Of Reason have gained attention and support from the likes of Kerrang!TV & Big Cheese Magazine on the strength of two self-released EP’s. As an endlessly touring band, Circle Of Reason have reached many corners of the UK, appeared at major festivals and opened stages for the likes of InMe, Neck Deep, Marmozets and Feed The Rhino. Taken from their ‘These Hands And This Mind’ EP, their most recent video single ‘Themes Amongst Thieves’ is currently airing on rock channel Scuzz TV.

    48 Hours & Circle Of Reason are represented by Tim Crane Artist Management.

    UK Tour Dates

    18th July – Hellfire Club-Redhill

    22nd July – Poco Loco – Chatham

    23rd July – Bar 42 – Worthing

    24th July – Sanctuary Bar – Basingstoke

    26th July – Leos – Gravesend

    https://www.facebook.com/48hoursrock?fref=ts

    https://twitter.com/48hoursrock

    https://www.youtube.com/watch?v=40XFwkLTmV8

    https://www.facebook.com/circleofreason?fref=ts

    https://twitter.com/Circleofreason

    https://www.youtube.com/watch?v=KX82tM24wDE (Currently on Scuzz TV)