The Kreoles – Psycho

the_kreoles_RingMasterReview

Psycho is the new album from Italian melodic metal/ alternative rock quartet The Kreoles, a release which makes a highly enjoyable first impression but continues to sneak up on the imagination as each track passes with diversity and inventive fun; the result an encounter very easy to get rather excited about.

The Kreoles emerged in 2011, the realisation of an idea by founder Ivan McSimon, a Como-based producer, songwriter, and guitar player who previously played with Dyve. The new project was born from the intent to explore new creative paths and subsequently saw McSimon linking up with vocalist Valentina Merlo, bassist Marco Francesco D’Elia, and drummer Davide Piccolo. 2014 saw the release of their well-received debut album Touch The Sun, the potent base from which Psycho now blossoms from with even greater adventures.

Released through Sliptrick Records, Psycho makes a strong and steady start with opener The Last Man. Coaxing attention with its initial country scented melodic jangle, the track soon breaks into a muscular stride with swinging rhythms, an irritably steely bassline, and the fiery roar of guitar. In the midst of it all, the instantly engaging and impressive voice of Merlo lures with siren-esque quality drawing ears even deeper into the rousing heart of the song. Slips into melody rich emotively calmer passages only adds to the alluring drama of the encounter, McSimon scorching the senses with his volcanic melodic tapestry as the album roars into life.

Disease takes over with the same kind of imposing but welcoming intensity to its body, more classic metal hues colluding with the band’s enterprising canvas of textures and sounds. Again there is an instinctive nagging snarl to the underbelly of the song driving the melodic fire consuming and pleasing the senses; Merlo enticing and the open individual prowess of the band uniting in a similarly explosive and anthemic proposal.

With exotic keys to the fore, Empty steps forward next, that early charm soon entwined and vocal in a web of sonic and rhythmic rapacity embraced by an Animal Alpha like character of song. Infectiously irresistible and a fierce flame of melody and tenacious energy, the track stirs the spirit before making way for the equally creatively hungry and energetically dynamic Too Fast To Live, Too Young To Die. Breeding a great punk pop essence recalling seventies bands like The Photos and The Adult Net whilst infusing it in a tapestry of heavy rock/melodic metal enterprise, the song similarly catches attention with swift ease and potency, only increasing its hold minute by minute.

Though just as heated, a calmer climate embraces next up Don’t You Know, a Pretenders spiced offering with more of the southern hues which the band skilfully infuse in many of their songs. With the vocal beauty and expression of Merlo sheer magnetism, the song boisterously smoulders, its touch a burning seduction as catchy as anything upon the album.

Through Obsession with its rhythmic irritability and melodically metallic confrontation and the tempestuous confrontation of Like A Scream, The Kreoles keep enjoyment high even if neither song ignites the appetite as imposingly as their predecessors. Both tracks are missing the same kind of surprises lighting up those around them but ensure there is no wandering of attention before Dolomites installs itself as our favourite moment. A rolling contagion of country punk pop as inescapably infectious as the flu but a hell of lot more fun, the song just cannot fail to place a smile on the face and in the heart with its virulent exploits.

Black Star’s Night is another which weaves familiar essences into its own creative domain to forcibly satisfy without turning emotions lusty before the album’s title track brings things to a thrilling close. There is cantankerousness to the rhythmic enticement of the song, a predatory edge lining riffs too as among them Merlo beckons with every syllable shared. Its eventful presence though is also a haven for melodic imagination and an evolving intensity as unpredictable as it is scintillating.

Psycho, song and album, is a masterful enslavement of ears and imagination from a band destined to real and eager recognition ahead and if their new enticement has its deserved way, beginning right now.

Psycho is out now through Sliptrick Records across most online stores.

http://thekreoles.com/    https://www.facebook.com/TheKreoles/    https://twitter.com/thekreoles

Pete RingMaster22/11/2016

Copyright RingMaster: MyFreeCopyright

WEAK13 – They Live

photography-by-squishflash-images

photography-by-squishflash-images

WEAK13 is a band which demands attention; through their in your face DIY attitude and a creative attack driving a sound, which in the shape of their first album, is most likely to have you rocking like a dog before a bitch in heat. Three years in the making, They Live is a prime slab of the British band’s raw and rousing rock ‘n’ roll, a lyrical and physical confrontation which takes no prisoners while confirming the Kidderminster trio as one of the most striking and creatively honest outfits within the UK underground scene.

Founded in 1999 by vocalist/guitarist/songwriter Nick J. Townsend, WEAK13 has been a constant nagging of the establishment, world and musical, backed by a multi-flavoured brew of sound as aggressively punk as it is dirtily grungy and uncompromisingly rock ‘n’ roll. With the current line-up of bassist Wesley Smith, drummer Neel Parmar, and Townsend together from 2010, WEAK13 has constantly stirred things up and continue to with a first album which infests body and spirit.

Produced by John Stewart (Eight Great Fears) and mastered by Henry Smithson (Foo Fighters, 2 Unlimited, Stereophonics), They Live opens up with the irritable My Last Summer With You, a track which seems to have a distinct crabbiness running through its creative veins. As riffs and rhythms assault and pound as Townsend plaintively roars, the song makes for a potent and steady start to the album. Things swiftly kick up a gear though as Down On Me quickly begins the trend of inescapable hooks and anthemic rhythms which continue to blossom across the album. In no time Parmar’s beats and Smith’s cantankerous basslines grip ears and appetite, being more than matched by the rebellious air of riffs and Townsend’s magnetic vocal presence; a combination creating a gripping slice of punk ‘n’ roll.

Its success is more than matched by that of Joke, the song sharing its own web of imaginative wiry hooks and grouchy riffs aligned to another great crotchety rhythmic incitement. Breeding further inventive enterprise and rousing twists, the track is pure addictive manna for a rock ‘n’ roll heart which like its predecessor lingers and returns in thought whenever it wishes.

weak13art_RingMasterReviewThe equally outstanding Sex Pest is more of the same temptation, casting its own individual creative baiting of ears and attention with a prowling stance and a character carrying a touch of Amen to itself. The predacious air of the song in word and music is as infectious as the instinctive twists and turns spun by Townsend’s songwriting and the threesome’s prowess at wringing every last tempting ill-tempered note and slap from their creative weapons. Closing with Nirvana-esque calm before a final rousing roar, the track makes way for the melodically spun Ashes In Autumn, a track just as much of a raw snarl as anything before it but showing the warmer if still invasive musical hues the band also has in its arsenal.

By now it is fair to say that band and album are in full compelling flow, the ‘poppier’ exploits of Closure coming next with its grunge spiced infectiousness to again engage and inflame an already eager appetite for the release while its successor Cameras Are Everywhere soon surrounds and trespasses the listener with its cyber toned touches and predatory manner within a more restrained stroll. Both tracks reveal more of the great variety shaping the album and the WEAK13 sound with the rhythmic imagination and virulence of Smith and Parmar as addictively riveting as the invention escaping Townsend’s throat and sonic endeavour.

The song is yet another highlight of They Live swiftly backed by the infectious quarrel of Here Come The Drones but subsequently eclipsed by the mighty persuasion of The Happiest Undertaker. The first of the pair swings and growls from the start, only increasing in potency with every passing magnetic minute while the second, strolls along with a knowing swagger which alone ensures increasingly eager ears. Fuller participation is drawn by another chorus which just lures vocal chords as rhythms take care of boisterous hips and neck muscles. Another track which seems to just become creatively broader, physically heavier, and more predatory through its bold body, it just whips up thicker pleasure in the album.

It is a pleasure which is only ignited again by the melodically bewitching, infection carrying Loyal Coward. With acoustic guitar and great harmonies arm in arm with tenacious rhythms and a bass tone bordering on bestial against the funk enterprise of the guitars, the track is sheer magnetism.

They Live closes with the fractious might and invention of Obey The Slave, the song as much of a brawl as a calling for ears and emotion, and a great end to one stirring and increasingly impressing encounter. The album shows that WEAK13 have no qualm about going for the jugular in attitude and sound yet breed something which is as catchy and galvanic as you could wish for; a release very easy to recommend.

They Live is out now and available only through http://weak13official.com/

https://www.facebook.com/weak13fanpage/

https://twitter.com/weak13

Pete RingMaster22/11/2016

Copyright RingMaster: MyFreeCopyright