Tripod – Devil Feeder

artworks-000086306699-r27f7v-t500x500

You just have to like a release which makes a more than solid first impression but then almost sneaks up on you song by song to present itself as one seriously enjoyable and impressive slab of rock ‘n’ roll. This is what Devil Feeder does. Consisting of thirteen stoner and grunge bred roars, the new album from Norwegian metallers Tripod is a sizeable proposition from its first play but over time and as mentioned almost track by track, becomes something irresistible. It is not an encounter stretching boundaries or redesigning templates but it is an album to leaves ears and pleasure full to bursting with its enterprise and inspiring passion.

Formed in 2002, its Nordfjordeid / Trondheim hailing creators have been stirring up appetites and attention for a long time and especially since their Trøndercore Records released debut album Nevermind This Black Album came out in 2008, though it was with its successor Four Coins in 2012 that Tripod awoke even broader awareness of their sound. In saying that though, the quintet did already a successful tour of China under their belts before it’s unveiling. A subsequent remix of the album came next after producer Beau Hill (Warrant, Ratt, Twisted Sister, Alice Cooper) approached the band with that intention, followed by a line-up change which saw guitarist Jørgen Sporsheim Berg link up with vocalist Knut Arne Lillestøl, guitarist Stein-Inge Øien, bassist Espen Bjørnholt, and drummer Åge Solheim. The recording of Devil Feeder began in 2013 and here we are, with one increasingly thrilling and potent release from a band it is easy to suspect will breach even richer attention through it.

The release opens with Safe Place and a gentle inviting stroking of guitar. It is a coaxing soon lifting its restrained skirt to unleash rampant rhythmic kicks and a muscular dance of guitar and great varied vocals. It is an instantly gripping and infectious proposal revealing that Tripod has a sound which embraces both grunge and stoner with the urgency of tenacious rock ‘n’ roll. There is also a melodic charm and enterprise to the song which only captures the imagination as the opener launches the album off in fine and robust style.

The following Love Stake reveals a great predacious tone is lurking within the bass of Bjørnholt and ready to enslave emotions as a blues kissed sonic weave escapes the craft of the guitars. There is a hard rock essence to the song as well as a Stone Temple Pilots blaze to its sonic and emotive textures, two rich spices aligning to the potent vocals of Lillestøl. The song as the first, roars in its own individual way before letting the album’s title track throw some heavy metal ferocity and folk metal like drama into the maelstrom of adventure brewing up within Devil Feeder. The track bewitches with every twist and fusion of those respective fiery and melodic flavours, leaving thoughts and passions engrossed before making way for the more reserved and gentle I Used To. It and the following Possible open up more varied colouring to the album, the first of the two a soulful croon under blues rock shaded gradually tempestuous skies and the second a song venturing into rock pop scenery with rumbling rhythms and also a changeable melodic climate. Both songs lively simmer in the passions compared to the earlier songs, but each still holds attention and appetite for the album firmly in their enterprise.

The next up Zubr is something different again, a bordering on bedlamic swagger of rhythms from drummer Solheim within a tantalising weave of groove metal enticing, immediate incendiary bait for ears and emotions. It is when the song flirts with a System Of The Down like invention and devilry that the track explodes into an even greater breath-taking and thrilling beast. The best track on the album, it leaves ears and desires greedily hungry for more, something not as forcefully provided by Meant to Be, though it’s piano and stringed ballad like beauty is still a pleasure embracing the senses. Breaking out emotional and physical sinews the deeper into its presence it goes, the track reveals yet another facet to the songwriting and imaginative songwriting of Tripod, with increasing enjoyment coming with every listen.

Ride is next and straight away it is stirring the air with raucous riffs and a throaty bassline within a web of jabbing beats. On top of this appealing proposition Lillestøl provides a flame of passionate and lyrical energy but it is the brush of strings and ever shifting landscape of the song which impresses and excites the most. We said earlier that the album does not exactly set new unique markers down but with songs like this and of course Zubr it is a thought challenged at times.

The pair of Inside My Head with its blues rock spiced bellow and All for Granted fascinates and pleases if without rising to the heights of the previous and other songs t. The latter features some magnetic female vocals to rival the strength and range of Lillestøl and easily leaves ears wanting more, a request fed to some degree by the rebellious rock ‘n’ roll of What You Wanted where grunge and rock pop collude to design another contagious success within Devil Feeder.

The excellent We Own the Night stands before ears next with an intensity which is not exactly a brawl in attitude but certainly has a rebellious nature to its muscular flexing and sonic creativity. There are moments like here where Tripod remind of fellow Norwegians Pigeon Lake in the ability to fuse varied styles in one confrontational yet welcoming storm of enterprise, a craft shown again in the closing If I Die, a piece of emotional and melodic melodrama with a beauty and imagination which ignites the imagination and seduces ears.

It is a potent and masterful end to a quite refreshing and inescapably enjoyable album. Rock ‘n’ roll is there to be anthemic, invigorating, and passionate, all things fuelling Devil Feeder with high grade potency. With the additional inventiveness and devilment which Tripod also adds though, it becomes a must search out and enjoy recommendation.

Devil Feeder is available now!

https://www.facebook.com/Tripodofficial

RingMaster 21/01/2015

Copyright RingMaster: MyFreeCopyright

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

http://www.thereputationlabel.today

Kirra – Run Away

1606492_220536854817219_2123838274_o

With the release of their Sounds from an Empty Room EP last year, US rockers band Kirra suggested they were a prospect with the potential to make great strides in the rock world. Now the release of debut album Run Away compounds that theory whilst showing some of the strong evolving steps expected. The twelve track encounter is a seriously accomplished and forcibly solid proposition, aspects alone making Kirra a band to culture an appetite for and the album something to thoroughly enjoy. With moments of inspired invention and explosive imagination on board too though, it also shows a promise and ability to light addictive fires. If you are looking for a hard rock proposition with a freshness and increasingly striking adventure to spark the day, then Run Away is worth a long hard look.

It is fair to say that the Oklahoma City quartet has been healthily feeding an increasing spotlight and growing fan base at home with a live presence which has seen them play across America whilst taking in shows with the likes of 3 Doors Down, Primer 55, Puddle Of Mudd, Kill Devil Hill, Screaming for Silence, and Saving Able along the way. With its seeds coming in the wish of lead guitarist Daxton Page, after leaving a rock school program, to start a band, Kirra began coming together once drummer Zach Stafford was introduced to Page through friends. Subsequently bassist Ryne McNeill was found through an ad, who in turn suggested vocalist and rhythm guitarist Jesse Williamson to the band. With the line-up completed, Kirra worked on songs and released that first EP in 2014, with the single from it, Downfall finding strong acclaim and support from online media and social media fans alike. Run Away is the band’s offering to the bigger picture of the rock scene, and a sizeable nudge on their awareness and attention the self-produced, Ricardo Sasaki mixed is.

The electronic opening of first song Tappy Gilmore instantly livens up ears and imagination, its initial lure soon bolstered by sinew driven rhythms and a strong caress of riffs. It is a bright Kirra_Cover_1600X1600-2opening enhanced again by the vocals of Williamson and a slight Alter Bridge like enticement in the muscular and welcoming proposition. It is also a punchy introduction to the album with great flare-ups of aggression and energy in the melodic landscape of the song.

A darker predatory intimidation comes with Fly next, especially through the great throaty bassline of McNeill and the raw brush of riffs. Swiftly putting the previous song in its shade, it prowls ears as vocals again provide a pleasing if less incendiary colour to the antagonism. With alluring craft and sonic enterprise from Page igniting the imagination and senses as the song relaxes into further inventive temptation, it continues to impress and like the album as whole, gains greater strength and potency over subsequent listens. It is a definite grower much as the following Lies and its successor Lay You Down .The first of the two has a Chevelle spicing to its potent persuasion whilst the second is like a boxer jabbing away from its first breath before building a pungent stroll of darkly tempered and fiery rock ‘n’ roll. Though neither song finds the same level of energy in emotions and praising, each leaves ears fully contented and thoughts hungry for more, a want straight away encouraged by the album’s gentler title track and fed fully by the outstanding stepping forward of Chemicals.

     Run Away the song, is a great croon with another imposing bass sound to match as emotional and sonic flames provide a lingering incitement but it is Chemicals where things catch fire, and for us the album offers it’s seriously stirring and thrilling moments. The song again through the bass, immediately opens up new provocative shadows. It is gripping dramatic bait soon complimented and expanded by the stomping beats of Stafford and an abrasing scrub of riffs. Just as impacting in the triumph though is the continually twisting and riveting ideation which veins the song, guitars and rhythms never staying in one place or offering any particular intent for too long. It helps create a predator of a song with a metal and sonically progressive breeding as flavoursome as its melodic rock enterprise.

This new plateau is continued through the mellower but no less exciting and dramatic Downfall and the sturdier confrontation of Should’ve Been Gone where muscles and textures show as much a threat as they do an inescapable seduction. Both songs reveal new depths and imagination to songwriting and sound, pulling every skill and inventiveness of the band members into enthralling and gripping scenarios. The latter for no obvious reason reminds of Bush at times but both tracks show an originality which lurks in Kirra and shows itself in varying strengths across the album.

Drown and Stay keep satisfaction and enjoyment high, even though neither can quite match the might and exploration of its predecessors despite showing more contagious sounds and courageous invention, especially through the devilish lures of bass and guitars. As in all songs the lyrical narrative comes packed with emotion and reflection on the two tracks, as evidenced again by the mellower and increasingly magnetic balladry of Forgive Me. The song ebbs and flows in its power a little, but with a chorus which just feel bigger and bolder with every roar it is another memorable pleasure from Kirra.

Completed by the brash energy and invigorating creativity of Too Far Gone, the album is a mightily promising and exciting full introduction to the band. It shows a few wrinkles which should naturally iron out in the band’s organic evolution, like the excellent vocals of Williamson lacking a rawer spark or snarl at times to match the more rugged sounds around him. There are songs too which never explode as they hint they might, and you wish they would, but all are things easy to expect being worked out as the band grows into the force their album suggests is in the making. Most importantly Run Away leaves nothing but fattening satisfaction and enjoyment in its wake, and a want to hear much more from Kirra.

Run Away is available from January 21st @ https://itunes.apple.com/us/album/run-away/id956087310

http://www.kirramusic.com/

RingMaster 21/01/2015

Copyright RingMaster: MyFreeCopyright

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

http://www.thereputationlabel.today

 

North Seasons – Eyes For The Blind EP

Photo: Luke Million

Photo: Luke Million

Even with the post and melodic hardcore scene being as vibrant as ever, with some impressive bands releasing similarly potent propositions over certainly 2014, personal tastes have come to a point where they need something more than just great angst harsh vocal roars and skilfully emotive atmospheric sounds to stand out and ignite the emotions. There is want of real inventiveness and rigorous unpredictability making demands on the genre and its exponents, a requirement UK band North Seasons and their Eyes For The Blind satisfies with ease. Their debut EP is a blistering and striking adventure which never allows expectations a footing or attention to develop wander lust as it unveils its web of fascinating ideation and sonic hostility. It is not the perfect proposition either which such its strengths and imagination, only breeds an excited anticipation for the growth and evolution of the band ahead.

Newcastle upon Tyne hailing, North Seasons consists of five members said to have come together from very different musical backgrounds to “breathe new life into a rather tired scene.” That diversity would certainly explain and inspires the exploration fuelling each track on Eyes For The Blind, a release recorded in one of the band’s bedroom, to the angst of their neighbours you suspect such its force and roar. Released via LA based record label Kill/ Hurt Recordings, who the quintet recently signed to, the EP is a fresh and intriguing voice in a lively melodic hardcore scene.

A haunting and heavily shadowed ambience provides a brief intro to the release, luring ears and thoughts into the following tempest of Silhouettes. Also a recent single for the band, the song is 1476090_379723218852764_6836217005933357258_na swiftly imposing and threatening stroll of predacious rhythms and corrosive riffs squalled over by the raging tones of vocalist Harvey Tuck. It is an impressive start but arguably one you might expect in texture, though already there is a feel of adventure and daring to the song. With great clean vocals from guitarist Mattie Turner tempering the threat of Tuck and riffs, the song is soon a maelstrom of endeavour and provocative twists. Meshuggah kissed riffs and spicy grooves add to the increasing drama of the song but just as potent is the slip into calmer waters where the outstanding dark bass bait of George Collings and equally predatory beats from Kris Quinn are giving clarity to cast their gripping coaxing before the guitars of Turner and Elias Jamous return alongside Tuck’s raw passion and turn up the earlier furnace of sound and emotion.

The song is breath-taking and attention binding, powerfully backed by the following A New World Order. The second song is straight away raging under an initial restrained breath, a protestation given the floor on the back of a tide of hungry riffs and rhythmic intimidation. Tuck spills animosity with every caustic syllable he shreds but with a canvas of staggered beats and guitar thrown hostility, there is a different shade shown to the conflict bringing immediate variety to the release. Though the song lacks the startling uniqueness of its predecessor, the song is a pleasing protagonist setting up the turbulence of Bitter perfectly. This is a song which took time to convince and still lies uneasily in places but it is sculpted in an imagination and invention which can only be applauded and admired. Opening with an electronic seeded emotional wasteland of sound over which Tuck vents with a more spoken word delivery, the track seeps into cavernous shadows and emotional turmoil sound-tracked by stalking rhythms and guitar causticity. It is a challenge which only adds to the EP’s weight but not yet as persuasive as the earlier songs and next up Good News. Clean vocals bring this into view on a sonic caress before it all develops a rawer edge as both singers unite to shape and colour the melodic landscape of the song. It is scenery soon slipping its restraint and stomping with metallic ferocity and rugged enterprise, though it still embraces the charm and radiance which ignited the initial tempestuous thrust of the track.

The final pair of songs re-ignites some of the ingenuity that marked out Silhouettes before. Never Forget This is first, merging a melodic croon and bloodthirsty intensity as it ignites air and ears with creative fury and atmospheric soulfulness. Vocally, the track is not as strong and impacting as elsewhere but with more fluid twists than a maze in its invention, it makes a pleasing and tantalising proposal before the EPs title track provides its impassioned fury of uncompromising aggression and mouth-watering invention. Getting imaginatively wilder and more bedlamic as it reaches its biggest triumph in the blaze of its finale, the track is an excellent and compelling end to a similarly impressing release.

Eyes For The Blind is a thoroughly enjoyable and powerful platform for North Seasons to dig deeper into the invention and brave songwriting which you just sense is there waiting inside them. Not faultless but undeniably impressive it declares exciting times ahead for them and us.

Eyes For The Blind is available now via Kill/Hurt Records and for free. For info go to www.facebook.com/northseasonsuk

http://www.northseasons.co.uk/

RingMaster 21/01/2015

Copyright RingMaster: MyFreeCopyright

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

http://www.thereputationlabel.today