No Way – Sing Praises

Pic  Tony Stanley

Pic Tony Stanley

From sound and presence to voracity and appeal, there is nothing lightweight about the debut release From US band No Way. The four-track Sing Praises EP is a brute of an introduction to the Brooklyn quartet, a compelling and enslaving tempest of noise and invention fusing thick essences of noise and punk rock with those of sludge and heavy melodic rock. Some bands seem to instinctively tune in to the listener’s wants and primal needs, and it is fair to say that No Way certainly fed and intensively satisfied ours.

No Way was formed in 2012, swiftly making their mark on the New York punk scene. Drawing comparisons to the likes of Helmet and Unsane, the band were soon sculpting their own distinct presence and sound, unafraid to infuse varied styles and raw spices into the mix of sound mentioned earlier. Their live reputation has also grown from those early potent days with the foursome sharing stages with bands such as Whores., Fight Amp, Black Tusk, Inter Arma, American Sharks, Cancer Bats, Naam and White Hills. That attention will only be broadened and strengthened by the release of Sing Praises, the Andrew Schneider (Unsane, Pelican, Shrinebuilder) recorded and Carl Saff (Young Widows, Helms Alee, OFF!, Kowloon Walled City, Big Business) mastered proposition an imposing slab of prime sonic and rhythmic beef flavoured with an imagination and a creative intrigue to get the taste buds singing.

The release looms up on ears with opener The Cutting and within a breath is walling them in with bulging riffs and debilitating rhythms. It is an imposing start but only the teaser to greater things as warped sonic scythes from guitars coveradd to the brewing mayhem. Vocalist Chuck Berrett is as a formidable a presence as the song itself, his raw and growling tones an instant lure complimenting and inciting further the rugged turbulence around him. At its heart there is the inventiveness of a Melvins to the song and the caustic beauty of a Cancer Bats whilst the core swagger to grooves is Coal Chamber bred, their swing reminding of the song Sway. It is a merciless seduction gnawing and flirting with thoughts and emotions, an immediate pinnacle matched straight away by Shake the Meat.

The second track makes a less intensive but just as gripping entrance, the guitar of Jordan Melkin coaxing ears and imagination with potent hooks as ripe and pungent beats from drummer Chris Enriquez provide an intimidating cage. Further enhanced and coloured by the throaty bass bait of Dave Maffei alongside the varied and fierce vocals, the track is an unpredictable and insatiable predator threatening and teasing with impassioned aggression and shadow bred, bordering on deranged enterprise. The riveting blaze is followed by the exceptional prowl and creative stalking of War Dance. It is a hypnotic proposition, a lone riff accompanied by this time more restrained tones from Berrett the initial drama; bait subsequently joined by merciless slaps from Enriquez and eventually stoner-esque hues within explosive roars. The song hunts the senses and psyche from start to finish, even its intermittent immersive and invasive sonic squalls a menace which increases the theatre induced by the engrossing single minded slim stalking either side of them

The track is scintillating and leaves the appetite greedier than ever so thankfully closing track Pastures / Abuelas is more than able to feed the hunger. Over eight minutes of imaginative tension, it is a rigorously captivating pursuit of the senses loading with vicious bass growls, savage riffs, and a sprawling thick sonic smog, all punctuated with a rhythmic resourcefulness which leaves ears bruised and emotions raw. There is also a psychedelic smearing to the atmosphere and inventive colour of the track but it is the hellacious and brutal ingenuity of the track, as well as the stoner bred grooves further into its adventure, which lingers longest and the deepest in the psyche. Dark and ravenous with greater menace in its restraint than a full-out assault could achieve, the track is a delicious immersion and challenge as well as another open side to No Way’s sound.

Sing Praises is an exceptional debut from a band with all the potential to be a potent and inspiring force ahead on the evidence of this stunning entrance. No Way seem to know what ears and instincts want in heavy, brutal, and incendiary exploratory sounds, and of course this is only the beginning….

The Sing Praises EP is available now digitally and on cassette @ http://www.nowayny.com

https://www.facebook.com/nowayny

RingMaster 07/11/2014

Copyright RingMaster: MyFreeCopyright

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Black Art – Full Lungs | Empty Words EP

With a roar of an antagonistic sound sitting somewhere between the demised Californian band Red Tape and Brits The Ghost of a Thousand, UK punk ‘n’ rollers Black Art are an emerging proposition with the potential, going by their new EP, to ignite the punk scene. Driven with a melodic hardcore fuelled fury in sound and lyrical confrontation, the band has been stirring up rigorous attention and appetites in recent times and it is easy to hear why with their Full Lungs | Empty Words EP. It is angry and hostile but loaded with an anthemic contagion which makes every track a lingering and thrilling proposition. It is a knack shared by the two bands we mentioned at the start but in the hands of Black Arts seemingly is even more inescapable for imagination and emotions.

The new EP follows a well-received 7” split with Surrender The Coast which was released a couple of months ago. It swiftly reinforces the reputation garnered over the years by the band for their sound and live presence where they have shared stages with bands such as Feed The Rhino, Baby Godzilla, Palm Reader, The Catharsis and many more along the way. It is a release which sees the Forest Of Dean quintet go for the jugular straight away but equally seduce with the first of numerous spicy hooks and infectious melodic enterprise.

That instant bait is provided by opener Life Stalker, coaxing riffs laying the first lure to be immediately joined by heavy swipes of thumping beats from drummer Nathan Davies and a carnivorously gripping bassline cast by Jake Morgan. It is an intimidating and riveting predation which becomes more caustic and challenging with the fierce vocal squalls of Joe Kibble which also initially strike in great singular assaults. The track is soon a maelstrom of voracious incitement and energy, the guitars of Nick Lewis and Oli Bendall blazing away with fiery riffs and tasty grooves to brawl with craft and flavoursome endeavour.

The potent beginning to the EP sets the template for things to come in quality and success, and a little in sound but as the following Duress shows there is a busy heart to all songs which gives them distinct characters. The second song lays 1910160_712588515486444_587585896235052623_ndown a ridiculously addictive and intimidating torrent of riffs bound in sultrily alluring grooves from the start, its brief but powerful presence a corrosive stomp which grips and scars with contagious efficiency. Its excellent tempest is matched by the more inventively sculpted Hold Fast. It is still an uncompromising fury but the guitars twist with a wider heavy rock recipe whilst rhythms carry the punk spirit in every debilitating swipe and throaty bass groan. Though it does not quite match the tracks before it, it is richly satisfying, aggression driven rock ‘n’ roll with little want to get fussy and clutter its raw muscle bound bones with over blown flourishes.

The Endurance has the passions lustful again, the opening flame of sonic grazing enticing the blistering and colourfully hued turbulence to follow. Hooks flare up throughout the rhythmic and sonic animosity, sharing the limelight with heavy rock grooves and an inflamed passion especially expelled through the lungs of Kibble. It is a brute of a rocker but soon in the shadow of the primal rock ‘n’ roll fired Pseudo Sound. Morgan uncages another irresistible grump of a bass temptation whilst the guitars come with venomous designs and toxic expression, all aligning with the merciless swings of Davies for a riotous and compelling storm.

   Full Lungs | Empty Words is completed by the quarrelsome charm of Fool’s Gold, a final bracing bluster of skilled creative assertiveness and impassioned belligerence. Soaked in a fierce scowl amidst a skilful savaging, the song is a fine intrusive close to an EP ripe with promise and accomplished invention. The release provides a very impressive and memorable base from which Black Art with their already plentiful armoury, can spring to truly fire up punk rock far and wide. ‘

The Full Lungs | Empty Words is available now digitally and on CD via White Russian Records @ http://whiterussianrecords.nl/store/index.php/cd/black-art-full-lungs-empty-words.html, CD and Cassette via Let Them Die Records @ http://letthemdierecords.bigcartel.com/product/black-art-full-lungs-empty-words-cassette-cd , and I For Us Records @ http://music.iforusrecords.be/album/full-lungs-empty-words

https://www.facebook.com/Blackartuk

RingMaster 07/11/2014

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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Spookshow Inc. – Visions of the blinded world (pt.1)

 

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A furiously agitated entrapment of industrial, metal, and electro rock, Visions of the blinded world (pt.1) is a fiery embrace to colour the way to an impending apocalypse. Its contagion is bred from the darkest corners of arcane themes taking in elements such as ‘time travel, dreams, out of body experiences and death’, but also there is a rich expression of human failings and frailties, all sculpted with striking imagination and clad in virulently varied sounds cast by Norwegian band Spookshow Inc. Imagine the world cast in imposing ravenous shadows feeding on the psyche and emotional turmoil to a soundtrack bred from a merger of Nine Inch Nails, Apollo 440, The Prodigy, and Skinny Puppy, though this is still a slim-line representation of the adventure abounding the release, and you have the rigorously compelling Visions of the blinded world (pt.1).

Just as enthrallingly veined with middle-eastern sounds too, the album is the result of a journey taking around seven years. The origins of Spookshow Inc. though go back to 2003 when Lucky Spook (guitar, programming, songwriting, producer) and Soltex (vocals) united and began honing a sound described as a mixture of Pink Floyd, Prodigy and Paradise Lost and increasingly influenced by bands such as Rob Zombie, KMFDM, Die Krupps, Skinny Puppy, NIN, Chemical Brothers, and those middle east sounds. Initially a duo hiring in additional musicians for their live shows, the band garnered strong praise as they played numerous festivals and supported The Legendary Pink Dots in 2005 on a leg of their European tour. The pair began working on Visions Of The Blinded World (pt.1) in 2006, being joined by instrumentalist Sharaz on bass and synth for the last songs recorded. Released on the bands own label Thunder Of The Distant World, the album makes a riveting introduction with a gripping invention and originality which is simply an inescapable temptation. Having grown in size with the inclusion of Seba to the line-up, Spookshow Inc. is poised to make a striking mark on electro/industrial rock; that is if anyone is brave enough to share their aural dystopian visions.

A simple resonating clang of twanging guitar is the potent coaxing bringing the imagination and album together, opener Games Of Delusion (art and religion) setting the exploration in motion. Its tone is soon swallowed by portentous caresses of haunting synths and percussive stalking, everything under a heavy air and slowly invasive atmosphere. This in turn is permeated with vocal samples and a warm and patiently waiting blaze of techno revelry. Its fire is given further freedom though still with a rein on its energy as jazz sparks flirt with ears and raw dance rapacity entwines the sturdy spine and enticingly rumbling belly of the song. It is a potent and gripping start, not one which ever explodes as it constantly hints it might but a track setting up a hungry appetite for more, a greed soon fed by New World Crash.

The second song instantly has a darker and more aggressive countenance, sinews driving beats whilst Soltex’s vocals carry a menacing snarl to his melodic persuasion. The sounds conjured by Lucky equally growl and sizzle with hostile coverpredation and electro static, yet as the first track they never quite escape their binds to go for the jugular. It is a hold which works a treat, especially with the Trent Reznor like exploration which searches the darkest corners and elegance of the track. Provocative Middle Eastern spicery adds to the drama and invention of the outstanding proposition before it makes way for the even greater temptation of Scary Dream. Like a collision between KMFDM, Ghost In the Static, and The Prodigy, yet discovering its own identity ultimately, the track is an exhausting and ravenous tempest of energy and imagination, its electro rock tenacity and enslaving infectiousness the making of addictions.

Female hailing whispers and harmonious wails within another Eastern flavoured breeze opens up Falling Down pt.2, darker tones from Soltex swiftly adding encroaching shadows to the mesmeric tempting. It is not long before he turns them into passionate roars to compliment the increasingly evolving and portentous yet radiant landscape of the song. It is a fascinating track, one which has you fully involved and immersed in its spicy energy and adventure but then drifts away to make you feel there is unfinished business. Again it is a twist which actually elevates the song rather than defuses its potency, it seemingly revelling in the adage of ‘leave them wanting more’.

Things taking a chilling turn with Requiem For a Vision, where sinister air colludes with menacing vocal variety for another creative twist to the album. A progressively fuelled slice of intrigue and sonic unpredictability, the song is a slow burning prowl, a thick and sultry seduction which takes longer to get a grip on than other songs but emerges as a web of imagination and sonic trespass before the muscular stomp of Dead Shot Baby unveils its rugged charm and intensive rock ‘n’ roll. As much industrial as it is funky, equally as electronically powered as it is ferociously antagonistic, the track is a swift grudge of a treat before the psychedelically seeded beauty of My Secret Plan. Featuring Matangi Shakti, the song is a feisty shuffle of melodic elegance, Middle Eastern magnetism, and shadowed noir kissed enterprise. It is an imagination firing adventure where drama and bracing emotional espionage flirts relentlessly from every second of the album’s best moment.

The similarly thought exploring Cyberage keeps the creative theatre and engrossing bait of the album at its most incendiary, the song a caustically abrasing and infectiously binding suasion, whilst the next up Map Of The World glides through dank caverns and stark climates in its provocative crawl across the senses. The track is a croon from the darkest nightmares, reminding strongly of Fad Gadget with the gothic predation of Paradise Lost.

The album closes with the evocatively and sonically picturesque Other Side Of Time (Vision Of The Blinded World), flavours and sounds from a global tapestry merging for a tantalising sinister waltz. It is a menacing and thrilling conclusion to an album which gets better and reveals more with every listen. Visions of the blinded world (pt.1) is a labour of love from the band and an increasingly rewarding adventure for the listener, whilst Spookshow Inc. is a potential clad protagonist ready to help see out the end of the world with the embrace of their inimitable invention, an apocalypse sure to get only more colourful with the band’s second instalment of their journey due next year.

Visions of the blinded world (pt.1) is available now digitally and as a Limited edition cd digipak via http://www.spookshowinc.com/music and http://spookshowinc.bandcamp.com/releases

http://www.spookshowinc.com/

RingMaster 07/11/2014

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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The BossHoss – Cowboys From Hell

TBH FOF Bandbild 8

The first full week of November sees German rockers The BossHoss stomping with their inimitable presence and sound as support to Motorhead in a UK tour. To accompany the three date rampage and to commemorate ten years raising rock ‘n’ roll revelry, the Berlin septet has released a UK only compilation album. Cowboys From Hell is a sixteen track rabble-rouser consisting of The BossHoss classics and live staples, a selection of tracks unleashing the full uniqueness, depth, and diversity of the band’s country rock/rock ‘n’ roll voracity.

Listening to the album you are soon stirred up by the thick weave of flavours which make up the band’s propositions. Infused in the styles just mentioned, there are just as rich and healthy blazes of punk, funk, metal, and rock pop involved, and that is still only scratching the first few layers of their contagious enterprise. The band creates rock ‘n’ roll to have fun with, sounds to lose inhibitions to, and insatiable devilry to wreak mischievous havoc to. Like a mix of Volbeat, Gene Vincent, Johnny Cash, and ZZ Top in league with The Damned, Helldorado, James Brown and Faith No More, The BossHoss is an instant provocateur and best friend with songs as evidenced on Cowboys From Hell, which are somehow instantly familiar yet a brand new incitement for ears and body to romp with.

Opening with the bluesy twang and hard rock feistiness of Bullpower, the album swiftly has feet and imagination, not forgetting ears wrapped up in its impending revelling. The multiple and varied vocals of the track, as proven across the album, is a potent lure to match the sounds around them, whilst its straight forward and highly persuasive blaze of old school and modern rock ‘n’ roll united, is one infectious and muscular stomp.

It is a powerful start which never dips below full satisfaction across the release; the following Volbeat seeded contagion of new single Whatever an immediate and richer temptation for ears and passions. Brass flames heat up the busy sonic underbelly of the song whilst heavy rhythmic baiting grips ears with predatory intent. Ultimately though, the song is a party in the ears, its electro swagger and striding urgency an addictive canvassing of thoughts and passions.

Through the hypnotic and lively anthemic prowling of Liberty Of Action, with its sizzling guitars scythes and metronomic beats, and the country spiced rap breeding of the album’s title track, God Loves Cowboys continues to recruit greater submission of body and emotions, the second of the pair an irresistible calling which shares plenty with bands like Hollywood Undead. It is fair to say that The BossHoss is still a relative secret across the UK but already four tracks in they make a potent doorway into their rigorously eventful presence and sound for newcomers and vague acquaintances.

A western twang coaxes in the start of Do It next, but is only the initial spice and lead into the funk fuelled diablerie of the song, keys and brass especially saucy in the sultry Electric Six like seduction before the psychobilly teased Stallion The-BossHoss-God-Loves-CowboysBattalion charges into ears and imagination. Hooks and grooves play with a Queens Of The Stone Age colouring whilst the weighty striding of the track is part Turbonegro and part Tiger Army, and all The BossHoss. Both keep the blood racing through veins and feet locked in an inescapable carousing, the pair straight away backed up in might and infection by the R&B/fifties flavoured rocking that is Shake & Shout. As most tracks it feels as if it is already an old friend on the first play but it does not diminish any of its enticement and unpredictable hues.

As you would expect there are particular pinnacles in any collection of songs and one comes in the mighty presence of Backdoor Man. Smouldering in tone and temptation from the first breath, the song with brass sighs and low key vocals swiftly enthralling, is an instant trap from where rockabilly and heavy rock tenacity with jazzy mischief seals the deal. A heavy and fleet footed shuffle, the track is pure rock alchemy, every twist a primal temptress clad in salacious shadow and aural deviltry. Normally any following song would struggle to live up to such triumph but both the punchy funk loaded Don’t Gimme That and the energetically simmering My Personal Song make an irresistible continuation of great times and lingering seduction. There is no way anyone can avoid swinging their body and voice to the contagion of the first of the two whilst its successor is simply what would emerge if Johnny Cash did funk pop, again the blend of different voices as thrilling as the adventurous yet unfussy sounds themselves.

It is fair to say that certainly in recent times no album involves the listener’s body and voice as mercilessly and relentlessly as Cowboys From Hell, the jumpy enterprise and energy of Keep On Dancing being no different especially as the band craft another chorus which is as incendiary on the listener as it is explosive on the air. There is a spellbinding ingenuity in how the band sculpts such virulent eruptions to enslave their recipients yet never goes for the easy route into and out of what is pure creative toxicity.

Through the hard rock powered My Way with its country rascality and the punkabilly Last Day (Do Or Die) things only continue to inflame the passions whilst Break Free with its mellower fifties pop and melodic rock crooning wrapped in soothing harmonies, incites the imagination again whilst revealing yet another texture in the band’s invention. Each track leaves a licking of appetite’s lips and emotion’s lust before the release closes up with a couple of exhilarating cover songs. First the band takes on Motorhead’s Killers, a twisting of rockabilly/blues rock drama into pure infectiousness and mouth-watering temptation, before they rip up the Cameo classic Word Up, and give it the best make-over heard anywhere. It is rockabilly funk with the blood of cowpunk running through its veins, an addiction which would be topping lists in illegality if a drug.

God Loves Cowboys is The BossHoss’ first official UK album I believe and about time after ten years of tearing up Europe and the world. If the band is new to you then the album is a must, you will never hear a more delicious and devilish slab of epidemic rock ‘n’ roll anywhere.

God Loves Cowboys is available now @ http://www.recordstore.co.uk/recordstore/recordstore/God-Loves-Cowboys/3IJC0000000

http://thebosshoss.com

RingMaster 06/11/2014

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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The Vox Dolomites – Self-Titled

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British punk has been at a feisty high for a couple of years now and just gets more potent which each emerging band and release. At the heart and criminally not getting the attention deserved is The Vox Dolomites, a quartet which turns the seeds of punk rock and ska into lyrically and musically gripping dramas. Their songs and EPs have proven the band has an instinctive knack at inciting feet and thoughts with energy and skill. Just recently the Stockport based band released their self-titled debut album, a release which surely will finally draw the keenest spotlight upon their presence.

Formed in2011, The Vox Dolomites is a tenacious and voracious creative stomp driven by guitarists/vocalists Ant Walsh and Will Farley, bassist/vocalist Chris O’Donnell, and drummer Simon Dunnington. The band soon grabbed attention, including ours, with the release simply called First Demo 2012. Their introduction was a blaze of punk and ska revelry which instantly made with its raw and inventive presence, an instant and lingering impression. It was a success subsequently emulated by tracks like No Split Ends and the Down For Three / Joan & Frank single of 2013. Live too the band has earned a renowned reputation for their ferocity of sound and drive, playing acclaimed shows not only at home but across the globe where especially in Japan, the band is feverishly devoured. This was no more evident than in The Dirty Work Tour 2012 movie which came out last year. Filmed by Chalkman Video it honestly followed the band on tour out East, revealing everything about the connection between band and their fans. Working hard on their first album through the first half of 2014, The Vox Dolomites has now opened the cage to a stomping release which declares that the band has hit their sweet spot creatively and unleashed their most adventurous and eclectic songs yet.

Choppy riffs make an instant potent tempting as opener Backtrack steps forward, their lure accentuated by the stroke of piano which sparks a flavoursome stroll of shadowed bass and keys wrapped in expressive melodies. A breath is swiftly taken before vocals and songs rouse up the imagination with their spicy enterprise and punk tenacity. It is a riveting mix, raw punk and melodic rock colluding for an infectious proposition equipped with essences of Rancid and NOFX for extra flavour. Making a striking start to the album, the richly pleasing track is surpassed by the outstanding Battle Scars, a feisty roar with thicker sinews and predatory intent compared to its predecessor, cored by the gripping throaty bass of O’Donnell amidst an acidic blaze of guitar. One of the band’s early songs which graced a previous EP, the track has been revamped and given a new antagonistic tenacity so it stomps as a new beast

Both Down For 3 and Alone In Mexico keep the adventure and quality of the album flying, the first of the two a ska rock dance with the crisp beats of Dunnington coring a flirtatious bass enticement and the radiant devilry of keys. Vivacious and exhaustive for feet and emotions, the song is a virulent bounce infused with sixties garage rock seduction and insatiable melodic charm. The second of the pair explores a sterner old school punk attitude and sound, the switching of two vocal attacks an alluring graze to compliment the similarly harsh sounds. The song still develops an imposing catchiness though which is as irresistible as the brooding fury within its depths and narrative.

The brilliant No Split Ends comes next, a pop punk provocateur with ferocity to its jangling riffs and punch to its intimidating rhythms. Again the busy energy and intensity of the track is a breath-taking onslaught but also it is ripe with a seriously addictive lure and temptation which snarls as it seduces. As the previous older song, the track has been revitalised and twisted into an even greater slice of punk alchemy to take top song honours and reinforce reasons why those in the know wax lyrical about the band.

As mentioned there is strong and highly pleasing variety to the album as shown by the melodic and hard rock infused 6AM Rain. Fiery but simultaneously a gentler stroll, the track comes with skilled melodic endeavour and blues rock imagination whilst still showing its punk breeding. Whereas the previous song had a sense of Russian punks Biting Elbows and also [Spunge], this whispers a calm Turbonegro and Bad Religion fusion whilst still sounding distinct to the Brits. Without sparking as certainly its predecessor, the track is an intriguing and pleasing different side to the band’s evolving sound, as is the more ruggedly bruising ALA where again heavier rock riffs and that increasingly delicious carnivorous tone of bass bind attention and appetite. The stirring and muscular brawl of punk ‘n’ roll is an inescapable imposing setting up the passions perfectly for the impossible addictive Horrorshow. Ska punk with a growl to vocals and riffs tempered by the melodic seducing of keys, the track is one of those stomps which once infested by never leave thoughts and passions. Bands like Face To Face and Operation Ivy have helped drive the style of music employed, but whether either has crafted a track as potent and irresistible as this is debateable.

I Fought The Lawyer brings us back to old school punk fury with Clash like attitude within raw rock ‘n’ roll whilst the gnarly Kojak With A Kodak with stabbing riffs and a rumbling bass lining, takes ears into yet another new aspect in the band’s punk ingenuity and exploration. A slow burner compared to other songs on the album, even with its eager gait, the track reveals itself to be a fascinating and richly creative persuasion unveiling a little more to its depth and lure with every listen.

The album goes out with a bang through firstly the mouth-watering aggressive stomp of Break Down The Walls, the song another long-term lust in the making, and lastly the ridiculously contagious and body igniting Losing Hands. Punk does not come any better than these last two songs, well apart from the other tracks on this excellent rampage of an album. It seems we are praising The Vox Dolomites more and more with every release and there is no reason to change with this seriously impressive album. They are a band which deserves the keenest spotlight and hopefully now they have found the trigger to such attention and recognition.

The Vox Dolomites is available now via STP Records @ http://www.stprecords.co.uk/page4.htm on CD with a vinyl version scheduled for 2015.

http://www.thevoxdolomites.com

RingMaster 06/11/2014

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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