The Graveltones – Love Lies Dying

The Graveltones _Reputation Radio/RingMaster Review

If the Devil had his own band it would definitely be The Graveltones, though we suspect the horned one has his dark seduction running through the band’s new hellacious slab of dark rock ‘n’ roll posing as new album Love Lies Dying anyway. The thirteen track hex on ears and passions is the most virulent and incendiary roar of devilish blues rock and dirt clad rock you are likely to hear this, last, or next year, a satanic bargain promising not its but your soul to the dark side.

In a time of some exceptional rock duos, The Graveltones stand boldly to the fore thanks to the creative and musical union of the Australian bred, UK based pair of vocalist/guitarist Jimmy O. and drummer Mikey Sorbello. The band emerged in late 2011, a subsequent adventure resulting from their meeting in London’s Tin Pan Alley and a mutual love of artists as diverse as Captain Beefheart, Howlin Wolf, John Lee Hooker and Queen Of The Stone Age. 2013 debut album Don’t Wait Down stirred up greedy attention and a new wave of lustful fans for their fiery and unique sound whilst live the band was soon sharing tours and stages with the likes of Rival Sons, The Temperance Movement, Boss Hoss, Monster Truck, and Cadillac Three, as well as playing a seriously successful slot at that year’s Download. As impressive as the album was, it was just the first step to the majestic rock alchemy that is Love Lies Dying, an encounter revealing the band and its sound as the inescapable real deal.

The devilment opens with World On A String, a track emerging with a heavy stride of rhythms and a thick blues soaking of riffs. From the first breath it also has a punk belligerence to its character, an attitude which fuels vocals and adds edge to the wine of grooves igniting its anthemic canvas. Like Rocket From The Crypt meets The Black Keys at a salacious stomp hosted by US duo In The Whale, a description which closest fits the whole of Love Lies Dying, the track is pure addictive rock ‘n’ roll setting the whole intoxicating riot off in contagious style.

love-lies-dying_Reputation Radio/RingMaster Review   The invigorating revelry continues just as masterfully in the following Fancy Things, its rhythmic bones bordering on predatory as they bounce on the senses as the guitar sprays flames of melodic spicing. With vocals emulating both aspects with a mix of both intimidating rapacity and infectious temptation, the song brews up an irrepressible stomp around the tangiest of grooves; a template emulated in This Love Is Gonna Break, though the song with colourful keys provided by Carl Hudson walks a more sixties garage rock kind of landscape. It is just as much punk and rock pop too, its cauldron of merciless temptation and a chorus even the dead would be unable to refuse, simply irresistible.

Things take on a slightly more shadowy turn with Running To You next, its scuzzy blues hues and catchy rhythmic bait something close to a stalking of ears, though with a mischief in those same beats and the great vocal dynamics, the song is as vivaciously light as it is menacingly toned. Once more imagination and appetite are inflamed, and four songs in it is fair to say that lustful greed is in the equation too, all swiftly encouraged and fed further by both Never Gonna Let You Go and Can’t Tell A Man. The first of the two is the band’s current single and a little fuzz pit of riffs and searing grooves badgered by another vital rhythmic trap. The song is stirring up major attention for the band and album right now and easy to see why as its creative agitation and frenetic enterprise is just punk ’n’ roll slavery. It pounds the senses as it embroils thoughts and emotions in inventive mayhem, leaving the listener exhausted and alive. Its successor is more of a smoulder in comparison; its fiery blues melodies bourbon running around jabbing beats and the ever expressive and increasingly magnetic tones of Jimmy. It is a barroom croon, sweat and liquor fumes as pungent as the emotive hues of voice and guitar, and just addictive.

In The Throes is of a similar proposal to the previous song, but less dirty and more restrained as it flirts with ears through acidic grooves and rebellious beats. Both songs bring strong variety to the album too, another good essence within Love Lies Dying, and indeed within this track alone things are a perpetual evolution as it gets heavier and darker before making way for the outstanding I’m A Ghost. Like The Stones reincarnated as Th’ Legendary Shack Shakers, the track is a maze of hypnotic beats and vocal incitement but flush with delicious surf punk imagination and garage rock resourcefulness. The song is exceptional, one of numerous pinnacles within the album but another which is sure fire manna for new ears as an introduction to release and band.

Surf seduction reeks in the haunting croon of Back To You too, the mesmeric dark balladry carrying a Nick Cave like hue to its melancholic embrace whilst Kiss And Fuck Off is psychotic brilliance shaped as a psyche/noise rock predation. Ripe with deranged imagination and masterful discordance, not forgetting rhythmic disturbance, the song forcibly hits the sweet spot which Come And Find Me stirs up even more with its aggressive and commanding rumble. Riffs snarl with alluring causticity whilst beats with a more controlled purpose prowl fuzzy air, contrasting elements uniting perfectly as the song twists and turns through varied creative scenery, including a passage of QOTSA like grooving.

Upcoming single Big Money steps forward next, slowly crawling over ears and imagination with boozy melodic vines with vocals from Jimmy to match. The relaxed percussive courting of Mikey is just as enticing, becoming punchier when the song erupts in a furnace of intensity and impassioned energy from time to time. It is not maybe the most obvious of single, compared to others within the album, but its smoulder is intensive and persuasion a lingering potency so that the song joins the major peaks of Love Lies Dying.

Together Again brings everything to a close, its low key melancholic finale a blues rock hug to drift off with until the urge to start the album all over again, which to be honest is a matter of seconds. Someone elsewhere said that The Graveltones have come of age with Love Lies Dying and you can only agree as the album song by song establishes itself as one of the thrilling irresistible proposals of 2015. There is still the feeling though that this, like its predecessor, is only a step towards even greater glories, an excitement as powerful as that bred by the album itself.

Love Lies Dying and latest single Never Gonna Let You Go are out now via Lagoon Dog Records @ https://itunes.apple.com/gb/album/love-lies-dying/id978331780. New single Big Money will be released in July.

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

RingMaster 11/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Titans Eve – Chasing The Devil

Titans Finals print-1_Reputation Radio/RingMaster Review

Photo Credit : Shimon Karmel

Not only reinforcing an already potent reputation, Chasing The Devil from Canadian metallers Titans Eve pushes their presence and sound powerfully forward whilst sharing the open declaration of this is who we are, this is what we have for you, enjoy! Fusing a broad flavouring of metal with a thrash bred heart, sure enough it is a hard to resist offer but also a proposition which ignites the imagination and emotions to giving modern metal a very good name.

Hailing from Vancouver, Titan’s Eve emerged in 2008 having been formed by lead vocalist/guitarist Brian Gamblin and his guitarist/vocalist brother Kyle; drummer Casey Ory joining them straight away and bassist Jesse Hord subsequently completing the line-up. Taking their time honing their sound and lighting up a local fan base, the quartet really began waking up the Canadian metal scene around 2009/2010 with a tour across Western Canada followed by debut album The Divine Equal. Extremely well-received and acclaimed, the release also led the band to recognition further afield and a two month tour across North America in 2011. Their strong emergence continued the following year, starting with supporting Korn and the creation and release of second album Life Apocalypse, which in turn was followed by playing with Anvil, touring with Kill Devil Hill, and supporting Arch Enemy on their European Khaos tour. The album followed its predecessor in luring strong praise and attention upon Titans Eve, something Chasing The Devil now will definitely replicate and most likely take to new levels. Recorded with producer and engineer Eric Mosher, and mastered by Jeff Waters of Annihilator, Chasing The Devil takes the expected aggressive and uncompromising sound of the band and ignites it with arguably their most melodic and creative spicing yet…the result one gripping and thoroughly enjoyable tempest.

Titans Eve-Chasing The Devil_Reputation Radio/RingMaster Review     Opener We Defy drives in from a distance first, healthily brewing riffs closing in before upon arrival triggering punchy rhythms and a highly flavoursome guitar enterprise. Once united it all settles into a muscular stride driven by crisply landed beats and a dark hearted bassline, the guitars spinning a web of thrash riffery bound in melodic and groove metal imagination. It is a pungent blend with the final potent ingredient being the snarling delivery of Brian’s vocals, his tones more sandy than gravelly but a great texture and attack for this and all songs. The album starter continues to grow and expand in invention and sound as its proceeds, never relinquishing its core anthemic contagion and blatant aggressiveness but filling ears with potent persuasion.

The immense start is continued by War Path. The second track is similar in style initially but soon unloading uncompromising beats and a surge of hungry torrential riffs, though they both pale against the excellent predatory bassline which really begins stalking ears after an early blaze of band vocals. There are essences of bands like Exodus and Testament to the song, as in many, but equally a weave of nu, groove, and heavy metal which only helps turn the encounter into one of the pinnacles of the album. The song is a benchmark for the release emulated with regularity starting with the following No Kingdom. A melodic caress draws in ears and appetite first before things get intensive and antagonistic, the drums unleashing a barrage of thunderous bait as the guitars drive ferociously and seduce melodically through another persistently shifting design. It is a fascinating proposition though it never goes far enough in its hostile voracity or sonic ingenuity for personal tastes, something which could be said of the whole album. It is as if the band is trying too hard to balance the opposites instead of giving them their reins, but nevertheless the song just hits the sweet spot as its successor.

Another Day is the most bestial song on the album yet, vocals and its sonic nature a barbarous confronting of the senses in turn coloured by the raw and bracing alignment of caustic riffing and imposing rhythms. A fiery solo sows seeds for further melodic endeavour as well as the tenacious, almost punk metal like surge of incitement which flares up. It is a song ensuring ears and appetite only get greedier for sound and album, a hunger equally inspired by the title track and in turn The Grind. The song Chasing The Devil brews a rich old school character from its tantalising and evocative melodic opening, the track weaving a tapestry of classic and heavy metal strands into a canvas of darker bred and fuelled flavouring. Thoughts of Judas Priest meets Machine Head are prompted as the track continues to ignite ears and imagination, through its more modern enterprise hints of Mudvayne too. They are all alluring hues colluding for another peak of the release instantly equalled by the second of the pair which from the initial carnivorous tone of bass, is simply a primal tempting sparking lustful attention. With its prowling voracious persuasion of sound, the song easily lives up to its name, its riffs a ravenous persistence on the senses and the swings of Ory an unrelenting intimidation. There is no lack of addictive grooves and sonic colour either, each lining the incitement with irresistible hooks as the encounter steals the whole show.

The album is completed by firstly the bewitching instrumental Stranded, where harsh cold and melancholic emotions are lit and conjured by a seduction of acoustic expression, melodic reflection, and stringed beauty. Dark shadows and keys crafted elegance only add to the mesmeric narrative before The Endless Light steps forward to bring the album to a fine close. The track is a maelstrom of sounds and skilled resourcefulness as raw and magnetic metal collude in a thrash powered and diversely cultured storm of dark hearted and captivating fury.

Chasing The Devil is a treat of a proposal, further evidence of the exciting craft and might of Titans Eve with only the suggestion that it was not as bold as it could or at times suggested it might have been a passing thought. It certainly provides a seriously enjoyable adventure for metal in 2015 and that in our book is a big success all should take a punt on.

Chasing The Devil is available from June 12th @ https://titanseve.bandcamp.com/album/chasing-the-devil-2

http://www.titanseve.com/   https://www.facebook.com/pages/Titans-Eve/53568260495?fref=ts

RingMaster 12/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Graveyard Shifters – High Heels & Broken Bones

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Aggressive devilry and riotous adrenaline is the order of the day as Finnish crossover punks Graveyard Shifters unleash the follow-up to their well-received debut EP of last year. Their new brawling punk ‘n’ roll stomp comes in the hellacious shape of first album High Heels & Broken Bones, a tempest of punk, metal, and raw rock ‘n’ roll with the intent of taking the world on a tour of bone crushing, senses devouring partying. At the same time band and release storm through the explosive highs and lows of life, dragging out the belligerent animal in us all for a non-stop ride of fury and fierce revelry.

Bursting out of Kerava Graveyard Shifters began in 2013, taking little time to make a thick impression with their imposing sound and similarly impacting live presence. Within six months the Brainwashed by Moonshine EP was uncaged to rouse up attention and eager support, its release last year the seed to the broad recognition now being forcibly nudged by High Heels & Broken Bones. Their new ten track protagonist demands you take notice, insists you take part, and leads the listener on a unassailable rampage of bad mannered, virulently contagious rock ‘n’ roll. It might not be the most original incitement, but as the thoroughly enjoyable trigger to mischievous deeds and thrills, it is a job superbly done.

High Heels & Broken Bones opens up with its title track and an immediate rage of rowdy riffs and thumping rhythms stirred up by the antagonistic scowls of vocalist J. Matilainen. Infectious hooks and anthemic band calls proceed to litter the insatiable call to party arms, the track like a mix of Kvelertak and Turbonegro with the punk devilment of a Black Flag as the guitars of V. Vainionpää and H. Kansonen kick up a sonic storm around voice and rhythms.

With a slightly more merciful start, the following Tearvomitor keeps things blazing intensely, its initial lure of riffs and sonic enterprise a rich spice against the exploding beats of drummer A. Salmenoja and the predacious tones of J. Sumkin’s bass. The song is soon an eyeballing, energy igniting punk roar equipped with seriously enticing hooks and again great vocal chants from across the band. Once more you can argue there are few surprises with it yet the song is a memorable and seriously potent stirring of emotions and appetite swiftly backed by the just as hostile and magnetic Buy Low, Sell High. The metal seeding of the guitar’s invention is a compelling lure caged again by a bruising conflict of attitude and confrontation rooted in vocals and rhythms, the combination a keen and flavoursome riling of ear and air.

Love On The Rocks strolls in next with a hard rock swagger and potent catchiness, its early invitation a friendly, almost poppy persuasion but just the lure into another ferocious uproar. Except this time this outburst is just one evolving moment in the imagination and sound of the song, mellow vocals and spicy hard rock tenacity revolving with aggressive and infectious elements. The most adventurous and striking track on the album so far, it is a highly pleasing, expectations defying proposal quickly emulated by both the stylish rancor of Bender with its great tempting of piano amidst rousing vocals and melodic metal guitar flames, and in turn the grizzled temperament of Pocket Puppet Show. The first of the two moves from a bright and almost cheery antagonism into a death metal bled rancor whilst the second is part hardcore and part extreme metal inhospitality with just the right amount of rock ‘n’ roll wantonness, and equally one compelling threat.

A melodic caress emerges from the ire of the song, serenading ears until the inflammatory sounds of Firestarter burn the senses and atmosphere alike. There is nothing especially dramatic and stand out about the track, or so you think, but by its seriously satisfying end it is a lingering incitement, though to be fair quickly overshadowed by the outstanding dark charm of Doomsdaydreaming. Gothic in its climate, caustic in tone, the song is a thick blackened detonation of metal virulence and punk bad blood, like Andrew W.K. and Agnostic Front in an unrestrained dust-up.

Beerserker is a similar type of ravishment, though more metal driven in its character around a furious punk heart, and another making a stronger and more potent impression than first thought, a success echoed by the closing Finnish animosity of Kyynelyökkönen. The last track bellows and incites with ease, riffs and rhythms the gripping web for bitter toned vocals and sonic trespasses to spring from.

It is a fine end to a mightily enjoyable encounter, and for us introduction to Graveyard Shifters. High Heels & Broken Bones is maybe not an album to change your world but undoubtedly will be a hefty nudge to change your listening habits.

High Heels & Broken Bones is available from June 12th on Eternal Sound on CD and digitally.

http://www.graveyardshifters.fi  http://www.facebook.com/GraveyardShifters

RingMaster 12/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

 

Tyranny Is Tyranny – The Rise Of Disaster Capitalism

TyrannyShout_credit_Bronson_Karaff_Reputation Radio/RingMaster Review

The time between 2013 debut album Let It Come From Whom It May and its successor The Rise Of Disaster Capitalism has certainly seen no change or lessening in the ferocious incriminations and outrage at the current world and its masters from its creators. Musically though, Tyranny Is Tyranny has used it to evolve and explore bolder and more expansive sonic landscapes and ideation. The US post noise rock band has openly grown in songwriting and sound without losing any of the compelling turbulence and ire which sparked within their first pleasing offering. Indeed the Madison quartet has possibly turned their anger into an even more corrosive and uncomfortable trespass this time around but woven it into sparser yet intimately imposing, and inescapably immersive soundscapes clad in caustic and emotionally stark atmospheres. It is another imposing confrontation which will scare as many as it seduces, and further evidence of Tyranny Is Tyranny emerging as one of rock’s exciting uncompromising challenges.

Inspirations to Tyranny Is Tyranny comes from the likes of Neurosis, Explosions In The Sky, and Fall of Efrafa, essences once again laying as clear seeds in the tempest of The Rise Of Disaster Capitalism, whilst lyrically and emotionally the unjust, corruptive landscape governing our lives is again the influential cancer. Opener Or Does It Explode?, brings swift evidence that musically we are into new territory evolved from the band’s previous successes. The guitars of Jason Jensen and Russell Emerson Hall cast the first descriptive hue, chords a cold and ominous lure as well as the spark to an infectious canter of rolling rhythms and dark yet inviting riffs. Shadows drape every aspect of the lively encounter, coating the raw tones of the Hall’s vocals and fuelling the magnetic post punk bred bassline offered by M. Guy Ficcioto. The song fluidly moves through slow, doomy elegance and raucously aggravated energy across its provocative terrain with the rhythms of drummer Jonathan Brown a perpetual incitement. It is a heavy and welcoming, explosive and fearsome journey for song and ears, an adventure which never settles into one scenic provocation for long and has emotions and imagination riveted from start to finish.

DisasterCover_Reputation Radio/RingMaster Review   The following She Who Struggles is an instantly sombre affair, guitars and vocals a low key coaxing of emotive unrest courted by punchier rhythms. As it opens up its narrative and nature a surf spiced tang colours sonic endeavour whilst an agitated and emotionally unbalanced raging overwhelms vocals and riffs. Soon song and listener is in a dark place but there is a constant light and escape through the sultry craft and imagination of the guitars. The bewitching nature of the encounter is ravaged and pulled this way and that across the seven minutes of tempestuous imagination, but never gives way or loses its potency as the album continues its impressive start.

Pillar Of Cloud, Pillar Of Fire makes a similar proposal but with the smouldering enticement of Ficcioto’s trumpet a swift success and enthralling lure in a cauldron of volatile textures and emotions, the song is soon sculpting its own unique and extensive questioning. Brown is the protagonist crafting and roaming a tenaciously unpredictable canvas, the guitars and vocals the rich unsettling passion, but it is even in brief moments, the coaxing of trumpet which tugs on thoughts and emotions with the strongest toxicity.

The album’s best track twists and bellows next, Kabuki Snuff Theater a post punk expulsion of creative drama and raw emotional disquiet. It is glorious, bass and drums building an inescapable rhythmic trap which shards of guitar and sonic causticity shape and colour with even more virulent temptation. For all of its easy contagiousness though, there is a ferocity and abrasive challenge to it igniting the passions and setting up the listener perfectly for the closing epic fifteen minute conflict of Victory Will Defeat You. The final song takes ears and thoughts from a raw calm through an emotional and vocal confrontation before luring them into a severely restless and ireful cyclone with a creative turbulence to match. Though finding it slightly too long, the track is a massive and stirring finale to one simply excellent encounter.

The Tyranny Is Tyranny sound has grown up, not come of age as you sense there is still plenty more within band and song writing to develop, but evolved into something masterful and dynamically striking. That has resulted in an uncomfortable and richly enjoyable new offering which will undoubtedly reward the brave.

The Rise Of Disaster Capitalism is available from June 13th via Phratry Records digitally and on CD and vinyl and @ https://tyrannyistyranny.bandcamp.com/

http://tyrannyistyranny.com/   https://www.facebook.com/TyrannyIsTyranny

RingMaster 12/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

My Baby – Shamanaid

Pic Bart Heemskerk

Pic Bart Heemskerk

A few weeks back, preparing to be stirred up by the ever compelling dishevelled gentleman of blues, Seasick Steve at London Apollo Hammersmith, a majestic and fiery blues hex descended on ears and emotions in the shape of My Baby. Hailing from the Netherlands, the trio of Cato van Dyck, Joost (Sheik) van Dyck, and Daniel (Da Freez) Johnston were the announced support but unexpected intoxication infesting body and imagination with their delta blues seeded, rousing funk fuelled prowess. Fair to say My Baby rocked the walls and all between that night and sparked hungry attention on their just as recently released second album, Shamanaid. It has proven to be a proposition which more than lives up to the promise and anticipation bred through the forty minutes or so of their company that evening whilst revealing much more of the depth and adventure in the My Baby sound.

With its members bred in a Dutch and New Zealand climate, My Baby came together with a mutual lust for “fingerpickin’ guitars, voodoo, roots, funk, gospel and Southern swampy blues”. 2013 saw the release of debut album My Baby Loves Voodoo! via Embrace Recordings, its emergence greedily received and devoured and the spark to a global tour and shows from Texas to Tokyo, London to Lichtenvoorde, and Vienna to Wellington. My Baby also found itself embraced by radio stations and invited to support Henny Vrienten, as well as play on his latest release. The recent tour with Seasick Steve has enveloped the unveiling of Shamanaid, My Baby nudging the broadest fevered attention yet for their psyche inciting sound through said live adventure and even more potently with the provocative shamanic lures of the album.

The exceptional Seeing Red sets the spellbinding experience in motion, its first touch enslaving bait alone as dulled but pungent beats escort a spicy strum of guitar. Their combined lure embraces the magnetic tones of Cato next; her delivery and syllables dancing on the strands of rhythmic and acoustic coaxing like a temptress. The repetitious core of the song proceeds to bounce like a metronome inside ears and head, trapping both as melodies flirt with thoughts through their picturesque craft. The Louisiana air of the band’s sound is just as spicy as the enterprise if breeds, the song increasingly binding the listener in inescapable charm and seduction whilst it’s infectious shuffle, well that has the body enthralled from its first moment.

01_front_digipack_Reputation Radio/RingMaster Review   The thrilling start is matched by the calmer but sultrier melodic waters of Meet Me At The Wishing Well. From the first moment a bewitching hook shines from within another minimalistic but pungent rhythmic and riffs lined stroll. Whereas live the band roared like a lioness, the record sees My Baby explore more their acoustic imagination and skills, the second song a radiant affair for ears and emotions. The shimmer of sound and richness of vocals make for a reflective hug which has body swerves and foot taps as eager as ears and thoughts are at the hands of the lyrical and vocal painting.

Variety and potency is kept ablaze by Uprising next, its blues flaming and dub infused tenacity an incendiary proposal which whether the song swims on a melodic breeze or erupts in an impassioned furnace, only intensifies and incites with blues alchemy. The track has been a thick lure into the album, an easy to see success such the unstoppable and fierce mesmerism on ears and emotions fuelling every aspect and twist of its triumph.

A mellower but no less tempting kiss comes next with The Doors Of Your Mind, its smouldering air and reflective blend of words and vocals a tantalising croon which simply slips under the skin. Offering more evidence that My Baby is as skilled and poetic laying a gentle evocative hand on ears as they are stirring up blood and energy, the song makes way for the similarly delicate Mary Morgan. There is a livelier vivacity to the richly hued encounter but matches its predecessor in vocal adventure as well as brewing a melodic tonic as colourful as the lyrical tale exposed by Cato.

Remedy flirts with an initial spatial coaxing next, rhythms adding alluring shadows as Cato’s harmonies inflame the air. Eventually a slight but definite tribalistic tenacity merges with a fascinating web of blues expression created by guitars; the slide version a lip smacking tangy seducing against the darker hues of bass and the ever anthemic rhythms. There is an intensive varying of styles and persuasion across the album, far more than found in the band’s first full-length; all songs making fascinating and empowering propositions, and especially here providing an unrelenting lifting of spirit and energy for the listener before the poetic elegance of Hidden From Time lies down beside ears and envelops them in its beauty.

The rhythmic saunter and sonic temptation of 6X2 slips in next, voice and guitar entwining with a blend of gospel and blues rooted serenading. As ever there is an edge to it all though, a raw and uncorrupted essence taken from the roots of all flavours woven into song and album. Once again musical hypnotism is at work as, like all songs within Shamanaid, it removes the listener from the real world for an instant or two before handing them over to the just as potent escape of Marching. With a relaxed but inescapable swing and an anthemic might to its seductive chorus, the track is a puppeteer to body and soul, only releasing its lingering grip when the closing Panggajo brings its worldly mystique and spirit to arrest ears and imagination.

The song is an enchanting end to a treat of an encounter more than living up to hopes seeded seeing My Baby live. Shamanaid does not have the fierce roar and volatile energy of their live show but ventures into a just as thrilling and gripping acoustic/melody exploration. It also shows a big leap in sound and imagination from its highly pleasing predecessor. My Baby is aural voodoo indeed with the sweetest toxicity.

Shamanaid is out now via Embrace Recordings @ https://mybaby.bandcamp.com/album/shamanaid

http://www.mybabywashere.com https://www.facebook.com/MYBABYMUSIC

RingMaster 11/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

https://www.youtube.com/watch?v=LkXLLpT2OSY&feature=youtu.be&a