Hitman – The Offering: Side 1

With their sights unerringly on giving heavy rock and metal fans a rousing sound to erupt with, Canada’s Hitman release their third EP in the shape of The Offering: Side 1. With Side 2 scheduled for release next year, the first four track encounter is an attention grabbing slab of stoner metal ferocity blended with classic and fresh essences of rock and metal. It is a mixture which has a familiarity as potent as the individuality it breeds and most of all a concoction which incites thick enjoyment as neck muscles keeps busy and the body bounces.

Hailing out of Halifax, Nova Scotia, Hitman emerged in 2011 and has earned a fine reputation for their sound, releases, and a voracious live presence.  The band was the brainchild of drummer Sylvain Coderre who linked up with long-time friend and vocalist Jordan Rose initially before the duo were joined by bassist Andrew Coutts. Subsequently the line-up was completed by guitarist Corey Norman. 2013 saw the release of debut EP, Whiskey Downfall; its successor, The Preacher, dropping the following year and sparking even greater awareness and praise of the band with a re-release in 2015. All the while gigs and festival appearances escalated their reputation; headlining the Maritime Metal and Hard Rock Fest in Nova Scotia and playing the Warped Tour in New York in 2016 major highlights. Now the band is aiming for broader attention with The Offering; intent easy to see breeding success.

 Their inspirations are said to include the likes of Black Sabbath, Corrosion of Conformity, Clutch, Pantera, and Down; influences you could maybe guess listening to the new EP. They are spices though which adds to its potency rather than defusing its individuality. You can debate whether it makes for a sound which is unique enough to make a truly major impact but as release opener Curtain Call proves it all makes for one seriously appetising proposal commanding attention. The first track initially unleashes a defined rally of beats which swiftly sparks grooved tendrils and rapacious riffs aligned to a great bass grumble. There is equally a grainy growl to the vocals of Rose which in turn ignites an even more potent snarl to the already captivating proposition. Short but a sweet snare of rock ‘’n’ roll with a sludge hued spicing to its stoner liquor, the track quickly and increasingly had ears and appetite gripped

There is no dismissing those Pantera/Down essences to the track though in some ways its heavy rock drawl reminds of now demised Northern Irish band Triggerman while the following Under The Weight openly wears its Sabbath influence especially when it makes its punchy entrance, rich riffs to the fore. Intoxicating grooves are swiftly woven as beats land with creative zeal, the track a magnetic web of enterprise where maybe surprises are understated but the freshness of sonic and melodic endeavour is all 80% proof fresh.

Next up, Nero is grooved entangled rock ‘n’ roll also proving very easy to be hooked upon, the track an inescapable lure of flaming guitar, bass predation, and vocal enticement. Its blues lining and sonic sighs add sonic firewater to magnetic rhythmic temptation, tempting escalated by the smouldering grizzled grouch of the bass and Coderre’s irrepressible exploits.

Enchanted Wizard/ Hail The Outro bring things to a close, its wiry tendrils leading to a hellacious outcry before once more grooves simply entwine and seduce ears. Classic metal instincts dance on the senses before the band springs a stoner bred canter, all the while embracing and evolving things with those initial essences and perpetually lighting up the imagination and the intensity of the pleasure found in the exhilarating tapestry.

It maybe only four tracks but side 1 of The Offering is a rich and thick morsel of rock ‘n’ roll. It may not be overtly unique but it is mightily damn good and we for one always have a hankering for that kind of sonic intoxicant.

The Offering: Side 1 is out now, available @ https://hitmanhalifax.bandcamp.com/

https://www.facebook.com/Hitmantheband   http://www.twitter.com/hitmanhalifax

 Pete RingMaster 24/09/2018

Copyright RingMaster: MyFreeCopyright

The Alive – We are Rock and Roll

It is hard to think of too many bands which perfectly sum up their spirit, energy and intent as well as sound through name and the title of their debut album. The Alive certainly do so with their moniker and first full-length, We are Rock and Roll, its title echoing simply what the band does, create instinctive rock ‘n’ roll and there is no denying it was an encounter which truly got under the skin.

Leaping out of Fort Smith, Arkansas, The Alive consists of vocalist/guitarist Taylor Glasgow, guitarist David Bateman, bassist Curtis Kennedy, and drummer Tracy Duty. From the off the quartet “knew they wanted to create fun, high energy music that you could feel deep in your bones and shake your soul making you stomp your hands and clap your feet before you even knew you were.” Additionally, according to the album’s press release, the band equally “wanted to write music that pays tribute to their influences.” We are Rock and Roll proves their success at both. The latter aim has maybe led to the band’s sound not being the most unique but it is as fresh and rousing as a hurricane and often hits with the same impact.

Signing with Eternal Sound Records this past February for the release of their Kyle Simpson produced debut, The Alive immediately set the scene and tone with album opener This Is Rock And Roll. The groove cast by the bass to set things off is pure intimation of things to come and instantly has hips swinging. A sonic trespass of guitar triggers the track’s eager stroll, Glasgow’s potent vocals quickly adding to the boisterousness flooding ears. Blues hues only add to the temptation, a slice of creative nagging which had the body bouncing and vocal chords tuning up in no time.

The excellent start only continues through the following Where Are My Animals, the track alternative rock with a classic rock nature and equally as manipulative as its predecessor. Duty’s rumbling rhythms drive song and reactions as guitar and bass incite and encourage further participation. Glasgow’s vocals again impress and incite involvement, the track captivatingly galvanic rock ’n’ roll.

If I Could Save You and Its Hard Enough So Why Do You Wanna Be Alone Tonight quickly shows that The Alive can also write tracks with calmer control and thicker emotion. Another easy to devour offering, the first of the two certainly has an eager swing to its gait and energy in its heart but reined in with enterprise which does not defuse its inherent catchiness. A slight Sick Puppies scent does it no harm either while the second is an evocative ballad which grew more compelling by the listen if without quite reaching the heights of its earlier companions.

Through the melodic canter of Mad World and the tenacious All The Way To Babylon enjoyment is only concentrated, both tracks the kind of contagion which welcomingly lingers. Even so each is eclipsed by the darker prowl of All My Friends Are Vampires, a hard rock infused proposal with a predacious edge to its emotive declaration.

While next up Lemon Crush could not evoke the same lusty reactions as other songs, it had the body bouncing and ears firmly keen in its lure before Perfect Plastic brought yet another flavour to the release with its grungy holler. Winding around ears with its rich grooves as a dirty lining merges with the flames of keys, the track seductively saunters but all the time intimating a volatility which never escapes but magnetically simmers across the excellent track.

Closing with firstly the blues rock kissed croon of City In The Sky and finally a cover of Aerosmith track Dream On as a bonus, both songs leaving thick satisfaction in their wake, We are Rock n Roll is one of those encounters so easy to spend time with and to give plenty to whilst announcing The Alive as a rather promising proposition on the international rock scene.

We are Rock and Roll is out now via Eternal Sound Records across most major online stores.

https://www.facebook.com/thealiverocks/

Pete RingMaster 25/09/2018

Copyright RingMaster: MyFreeCopyright

Rolled Up Sleeves – Pointless

Pointless is the debut EP from Danish outfit Rolled Up Sleeves and is being recommended to fans of bands such as The Strokes and Arctic Monkeys. Whilst you can understand the comparison to some degree it does cover the real to the imitable breath and individual prowess of the quartet’s sound. Creating rock ‘n’ roll bred on the instincts of punk, garage, and more old school rock, the band unleashes a rousing roar which certainly within Pointless is eagerly contagious.

Hailing from Århus, Rolled Up Sleeves is a young band in presence and individual ages consisting of Christian Askehave, Magnus Krag Nielsen, Oliver Alexander Landgren, and Søren Schroll Rasmussen. Apparently they have been kicking up some real attention in their homeland and it is easy to hear why through their new four track release. Receiving its international release through Mighty Music, Pointless immediately gets down to business with opener Happy And Alone. Straight away beats rap at the senses, stabs of guitar swiftly joining their baiting presence with spicy grooves in close quarter. Once hitting its infectious stride, the track stomps along with attitude in vocals and swagger as hooks work their devious intent. It has a bit of an old friend feel to its character but the song is as fresh as anything heard this year and all addictive contagion to our ears with a bit of a Escobar meets The Senton Bombs scent added pleasure.

The rousing start is only continued by next up Junkie In Disguise. Its opening lure, a single seductive guitar invitation ensures intrigue was rife, the subsequent burst of sound feeding that interest whilst sparking greater urgency in track and reaction. Of all four songs, the second is easiest to recognise those earlier mentioned references within but again individuality is soon riding high amongst its boisterous rock ‘n’ roll. Bold and tenacious with a great raw edge to its sonic and melodic enterprise, the track equally hit the spot before Sell My Soul revels in the band’s calmer side. From vocals to melodic shimmer, the song is sheer temptation; sultry and suggestive at every turn with a low key but inescapable catchiness in its presence and somnambulistic sway.  Yet there is a fire in its belly which catches flame from time to time, heat which gives even greater temptation to song and ears.

The EP’s title track closes the encounter up, Pointless a muscular attitude loaded offering alive with tenacious grooves and invasive hooks amongst biting beats. The dirty grumble of the bass is just as enticing as the lustily roaring vocals; a combined web of enterprise creating one rousing roar ending one thickly satisfying release.

It might be fair to say that Rolled Up Sleeves have yet to breed major uniqueness in their sound but again we can only say that it is as fresh and exciting as anything around right now; Pointless the proof.

The Pointless EP is out now via Mighty Music.

https://www.facebook.com/RolledUpSleevesMusic/

Pete RingMaster 22/09/2018

Copyright RingMaster: MyFreeCopyright

The Primals – All Love Is True Love

The outcome of a collision between the raw essences of crust lined garage punk and pop infused grunge accosted by noise baiting metal, All Love Is True Love is the fierce new album from LA based rockers The Primals. Though it bears hungry ferocity it is equally as infectious and catchy as it is invasive; it all making for one of the year’s most irresistible debuts.

The Primals is a trio made up of Darkest Hour vocalist/guitarist John Henry, former Dead To Fall member in bassist Chad Fjerstad, and drummer Andrew Black who previously was part of The Explosion, and Title Tracks. Exploits within those outfits has meant anticipation once The Primals’ first release was announced has been keen among a great many and we can say that though there have been a fair few introductions this year which have simply ignited attention and excitement with plaudits in close quarter, All Love Is True Love is ahead of most of the field.

Produced by John Reis (Rocket From The Crypt, Drive Like Jehu, Hot Snakes), All Love Is True Love immediately descends on ears with Hello Cruel World. Instantly a guitar gnaws on the senses, in turn triggering a caustic wave of noise as contagious as it is a visceral trespass. Even in its carnal insurgence there is an instant catchiness of pop sensibility which surges through the confrontation, vocals riding that temptation with a melodic snarl. Similarly soliciting is the predacious quality the band’s sound carries, one which permeates the whole album to compelling effect.

It is an outstanding rousing start as potently backed by the relatively gentler antics of Dead Predators. A web of noise fuelled clamour, earthy bass led swing, and sonic enterprise, the track quickly beguiles and tempts hips and imagination into an animated collusion before Another World To Call Your Own launches its own untamed will upon the listener. Across the three tracks alone there is no escaping a strong whiff of bands such as Nirvana and The Pixies, a breeze teasing throughout the release yet already there is a distinct character and presence which is all Primals as epitomised by their latest single which is next up.

Pity City saunters in on a rhythmic swing; flames of guitar crossing its lure as the melodic calm of vocals add infectious charm. The track simply becomes an insistent radiance spilling invitation where contrasting textures unite in imagination; a pop song in its rawest most accessible state before Fortune & Sons shares its punk ‘n’ roll animation with rapacious relish. It too has an inherent infectiousness which borders the viral and an equally belligerent breath which growls discontent as easily as it brews seduction.

Next up The Wayward Impaler is untamed pop rock which similarly melodically tempts as it shares sonic agitation while It’s Personal saunters in straight after with a heavy drawl and shadowed intentions before unveiling its own pop natured virulence within those persistent trespasses. Both tracks swiftly get under the skin, the latter especially laying a mighty hand on best track honours before Together Whatever has its say with its Sonics-esque, old school punk holler. Rhythms stomp and guitars abrase as the track incited body and the passion, another slice of quick addiction with a potent claim on the top dog title.

The album concludes with firstly the slow crawl of Save Me, Baby; a plaintively melancholic croon with rhythmic tempestuousness and lively pop rock animation, and through the rousing grunge punk ferocity of I’m Coming Home. The final track is pure threat and seduction, each in equal measure invading the senses in a “we are united, love you all and fuck the world” like declaration.

It is a stirring and tremendous finale to an album which has all the elements and deeds to re-invigorate already hungry or alternatively any stale appetites for rock music. It is a gem, simple as.

All Love Is True Love is out now via Southern Lord and available @ https://theprimalssl.bandcamp.com/releases

https://www.facebook.com/ThePrimalsLA

Pete RingMaster 24/09/2018

Copyright RingMaster: MyFreeCopyright

Watch Rome Burn – Vox Heretic

Seattle has been one of the most refreshing conveyor belts of musical pleasures over the decades and shows no signs of slowing down as from its dirtiest grunge punk depths it brings us the inimitable sound of Watch Rome Burn. The two brother outfit has just uncaged their new album and it has swiftly become something we for one cannot get enough of.

Last year the pair of guitarist/vocalist Drew and drummer Jestyn Cummings lured eager plaudits with Now on VHS, an attention grabbing encounter laying the seeds for the rapacious roar of its successor Vox Heretic. The new release escalates the dirty crust-esque punk aspect of its predecessor but equally embroils itself in the grunge and alternative rock side of that first proposition but drawing on the rawest breath and predacious intent of both to leave the former laying in its dust.

Vox Heretic immediately had ears and imagination hooked as a sonic drawl brought opener Consumed into view. Its broiled shimmer in turn triggered a rhythmic prowl aligned to an equally skulking vocal prowess, all the time that sonic dissonance pulsating. Never particularly deviating from its initial intent but rich in intimation, the track is superb; pure creative devilry setting up the promise and adventure of things to come.

The following Thief is soon into its carnal swing, its unapologetically raw air and flesh instantly magnetic and bawling away with proto punk causticity. As with the first, there is an inherent catchiness which had the body bouncing even when tempered by the song’s feral garage rock belligerence. Abrasive and bracing, the track just hit the spot as too unerringly did next up Motley. Like a mix of a proto punk Queens Of the Stone Age meets the hungry rock ‘n’ roll of The Sea, the song is another predatory trespass which simply aroused body and spirit.

On The March flares up with an industrial hue next but is soon into a rock ‘n’ roll stride with Jestyn’s rhythms manipulating song and listener as Drew further incites both with his electric intrusion and vocal dexterity. Imagine a punk ‘n’ roll Therapy? and you get a whiff of the outstanding stomp.

The duo showed they can glow with undiluted melodic enterprise too, though Crystallized straight after equally has a fried haze to its coruscating glow while with Be What You Want they caused inescapable addiction. Its caped crusader tinted swing instantly got under the skin, vocal enticement adding to the potency as similarly the wired almost uptight grooves which escape the strings of Drew’s guitar.

The release is brought to a delicious close by firstly War Blues, a track surely bred from illicit blues stills hidden in the shadows of the band’s home city. Its melodic liquor is intoxicating punk blues soaked in the contagion which flavours every track within Vox Heretic; a blend which had the body worked like a puppet before things are finally concluded by the melodic seduction of Up Here. Uncluttered but as rich in flavour as you would wish, the song is a captivating sundown on the album, a final surf kissed glow and sigh which only lures ears right back into the release.

Vox Heretic is Watch Rome Burn knocking on major attention, a door which surely cannot stay closed much longer against the indisputable roar and often corrosive but ever alluring raw charm of their sound.

Vox Heretic is out now and available @ https://watchromeburn.bandcamp.com/releases

https://www.facebook.com/jointheburnlegion/

 Pete RingMaster 22/09/2018

Copyright RingMaster: MyFreeCopyright

Downpour – Self Titled

It has been waiting for its chance to explode on the metal scene for three years and now uncaged, the debut album from US outfit Downpour, is not going to let a little matter of a lengthy delay stop it making a very potent impact. Groove rich, rhythmically merciless, and built on individual craft which commands attention, the self-titled release is a declaration of creative power and intent.

Boston based, Downpour began as a project with no particular expectations and possibly aims except the simple desire to create music; indeed they were “instrumental jam nights among the members [which] offered a respite from real life – things like 9 to 5s, crumbling relationships, bills, and beyond. Their sessions were akin to therapy sessions and the music became increasingly heavy.” As things progressed drummer Derek Kerswill (Unearth) contacted Brian Fair former band mate in and vocalist for Shadows Fall. With its line-up completed by guitarist Matt LeBreton and bassist Pete Gelles, and itself a proposition which could not be denied, Downpour recorded this debut full-length in 2015. The quartet though decided to sit on it until the time was right and everything was in place for the album to be unveiled which thankfully is now.

Musically the album embraces a tapestry of metal bred flavours. Senses brutal groove metal could possibly be said to be at its heart yet in any given moment it can spring forth with progressive imagination or extreme metal predation. It swiftly proves an unpredictable and fluidly evolving encounter indeed which quite simply is metal at its most instinctive and style embracing best emerging with a voice openly individual to its creators.

The Serpent’s Tongue opens up the album, predatory riffs and Kerswill’s rapier swing to the fore but equally strands of citric endeavour entangle the trespass which in turn is accentuated by the familiar and ever magnetic tones of Fair and an increasingly antagonism in that rhythmic antipathy. Savage yet firmly galvanic, the track is superb; hues of bands like Pantera adding to an almost spiteful character but a grudge which invites deeper and greedier investigation as individual flair and prowess inspires a united enterprise.

It is an imagination though which is only broadened across the following Truth In Suffering, a song which immediately weaves a melodically crafted but volatility lined landscape of shadow cloaked intimation and portentousness. Physical and suggestive extremes collide and collude within its captivating body, vocals too aligning raw and melodic dexterity in an encounter which lyrically and emotionally reveals an intimacy to its roar.

Though you could apply certain names as reference to the pleasures with the album by these two tracks and successor Astral Projection there is no denying the distinct personality and endeavours of the Downpour sound and release. The third track has a relatively calmer and warmer presence than its predecessors but again there is an inherent volatility and tempestuousness which keeps expectations guessing and ears fascinated; that and the ever compelling imagination of songwriting and craft that breeds them.

Through the likes of darkly lit and siren-esque Still Waiting and the irritable enmity that is Without The Fear, the album simply continues beguiling and ravaging the senses. The first is pure seduction with Eastern hues to its adventure soaked landscape built upon rolling rhythms and intrigue casting guitar manipulation. It is superb, easily our favourite track within the album where virtually every note brings fresh mystery and adventure with that essence of danger and invasive reprisals, though neither are realised but always lurking. The second rises from its own inviting lure into a wiry entanglement of grooves, riffs, and voracity fuelled rhythms but a mercurial proposition tempered by the melodic toxins and harmonic caresses which rise up. Though eclipsed by the track before, it feels like the former’s dark side in many ways and was just as greedily devoured before Beautiful Nothing had the appetite licking its lips once more through its rancorous virulence and imagination embroiling exploits.

Mountain completes the release, another track which just stole ears and passions with ease. From the vocal prowess of Fair, the album surely one of his finest moments ever, through the rhythmic manipulation and suggestion of Gelles and Kerswill to the sonic weaving of LeBreton, the song, echoing the whole encounter, enthralled and aroused.

Anticipation for Downfall’s debut has been long and keen across media and fans alike and it is easy to expect all to feel the wait has been more than worthwhile, the album basically another of the year’s major highlights.

The Downpour album is out now via Noize in the Attic Records through all major digital platforms and @ https://downpourmetal.bandcamp.com/album/downpour

https://www.facebook.com/downpourmetal   https://twitter.com/downpourmetal

Pete RingMaster 22/09/2018

Copyright RingMaster: MyFreeCopyright

Icarus Dive – Among The Thorns

Radiating out from their home town of Guildford, there is a buzz around British alternative rock outfit Icarus Dive that simply teases attention. It is suggestiveness though which will become a demand if they continue to offer and grow even more potent from new release, Among The Thorns. Four tracks of creative adventure aligned to mischievous imagination, the EP is a joy to ears and unpredictability providing plenty to be truly excited by.

The release is headed in order and irresistibility by Hydra, a track which is pure creative theatre. Zooming in on a sonic wave as a vocal barker announces its and the band’s arrival, the song swiftly strolls through ears with a gait as much a sinister prowl as a celebratory saunter. Grooves immediately wrap around ears, seducing as the rapier swings of drummer Louis Nanke-Mannell slice through the moody lines cast by Harry Crowe’s bass. The equally captivating lead vocals of guitarist Joe Crook trigger a new swagger of sound flooded with drama as too is its accompanying harmonic backing. There is a definite Muse like spicing to the moment but as throughout the track, Icarus Dive breeds their own individuality to lure ears and appetite like a moth to a seductive beacon. The track is superb, twisting and turning with zeal to perpetually surprise and captivate.

Such its dynamic craft the following trio of tracks are simply eclipsed for personal tastes but starting with Murder and Lies, each offers their own fiercely enjoyable and compelling adventure. The second track coaxes ears with a simple niggle of guitar which is quickly joined by the ever alluring tones of Crook. It is a low key but gripping coaxing that escalates in animation to entice darker hues from the bass alongside the crisp dancing beats of Nanke-Mannell. As within its predecessor, melodic craft and rhythmic verve sparks expectations squashing vitality, the track constantly a fire of adventure and imagination further ablaze with almost vaudeville like drama aligned to boisterous energy and fun.

Mesmerised is next revealing harsher wiring in its initial encroachment before springing into an emotive glide with a whiff of bands like KingBathmat and Zedi Forder to it. Whereas the first pair of songs made an immediate compulsion for ears and lust, their successor took its time to truly blossom but time which only ensured success as the band’s ideation and individual prowess united in another flame of aural temptation.

The EP ends with The New Gods, another relative slow burner in comparison to those before it but quickly a web of magnetic enticement nurtured by the snare of guitar wires alongside inviting but almost predatory rhythms. Crook’s vocals just escalate the trap of fascination and contagion as the song completes a thoroughly striking and richly enjoyable encounter.

 Among The Thorns is the introduction of one thickly promising and already strongly impressing band to national attention though it is easy to think recognition and praise is not going to stop there.

Among The Thorns is out now across most major stores and @ https://icarusdive.bandcamp.com/

 https://www.icarusdive.com/    https://www.facebook.com/icarusdive/   https://twitter.com/IcarusDiveUK

Pete RingMaster 24/09/2018

Copyright RingMaster: MyFreeCopyright

U-Foes – No More No More

Live @ Fru Lundgreen, Trondheim, Norway

It may say No More No More but ears swiftly demanded the opposite once falling under the sonic hail and brimstone of the new single from Norwegian outfit U-Foes. The track is an insatiable slice of noise punk infested hardcore which batters and tempts with increasing rigour; nagging, harassing, and pleasing in equal measure.

Rising from the ashes of hardcore outfit Silence the Foe, Oslo hailing U-Foes is the trio of made up of guitarist Marcus Forsgren (The Lionheart Brothers, Jaga Jazzist, Bror Forsgren), drummer Peter Rudolfsen (The Lionheart Brothers), and long-time friend of The RR, vocalist Anders Voldrønning (Shevils). Embracing aspects of their earlier work together and on-going projects, the threesome have twisted all elements into a whole new trespass of sound with plenty more fresh and creative animosity loaded craft involved.

A teaser of the band’s debut album due for release in November, No More No More is a carnal assault of sound; a track as primal and feral as it is skilfully manipulated and manipulative. It scowls with contempt from the first caustic surge of guitar, its sound a scuzzy yet precise blur inciting just as irritable intent from senses harrying rhythms. Voldrønning’s familiar roar intensifies the antipathy of sound and emotion, sharing greater toxicity to the wounds already incurred from the band’s raucous enterprise. Even so there is an infectious side to it all which quickly had hips swinging and limbs punching with zeal.

However you drape the track, it is rock ‘n’ roll rock at its primal best; punk rock to arouse the senses and spirit and the sign of big exciting thing to come from that impending album and we suspect for the band itself in its wake.

Check out the video for No More No More on our Video Selector page, the single available now on Marw Melodee Music.

https://www.facebook.com/ufoesofficial/   http://u-foes.com/

Pete RingMaster 24/09/2018

Copyright RingMaster: MyFreeCopyright

Teksti-TV 666 – Aidattu Tulevaisuus

Hailing from Finland, Teksti-TV 666 creates a sound which is quite simply a web of entrapment, every strand bred from an individual flavour but all colluding in a compelling and inescapably contagious proposition called Aidattu Tulevaisuus. Simultaneously, the album is as punk and garage rock as it is shoegaze, metal, and psych rock bred with plenty more ingredients involved. Yet tagging it is easy, pure temptation.

The Facebook page for Teksti-TV 666 lists band members at eight, the press release for the their new encounter says six; a line-up which consists of four sometimes five electric guitars. Whoever is involved, how many strings are manipulated, what is easy to establish is that the band knows how to get under the skin with songs which dance with the imagination whilst toying with the senses. As evidenced by Aidattu Tulevaisuus, each track springs a multi-layered incitement whether a sonic roar or a calm bred intimation and all evolving in the ear with deception, craft, and imagination.

Aidattu Tulevaisuus opens with Turbo-Mondeo, the song emerging like sonic steam from a hidden pipe; coming closer until in engulfs the senses and that swiftly enterprising bond of guitars begin weaving their captivating tapestry. It is an assault though which is a blend of mellow and forcefulness, brewing a more volatile state as vocals and harmonies entice with a raw siren-esque hue. Already the variation in flavour and texture is uncaged, the track unveiling its tempestuousness in between unpredictable serenity for a perpetually infectious trespass.

The album’s track follows and immediately winds something akin to My Bloody Valentine, The Jesus and Mary Chain, and a punk nurtured Asylums round ears. That inherent catchiness surging through the first track is as hungry in the second, as too another entanglement of styles within a mercurial climate of intensity and creative rabidity before Rauhankone in turn spreads post punk toxins. Chilled and chilling with its industrial lining, the track saunters along like a garage punk honed Leitmotiv merged with a noise pop engaged Sex Gang Children; again a rich and intricately built palette of hues embroiled in its inimitable and unique contagion.

Serverny swings in next on a Nintendo core deceit, a devious lure soon unleashing a sonic turbulence which in turn breeds its own drone cast contagion. Its incessant nagging is tempered by ever warm vocals tones and the surf sighs of a guitar but always there boasting its own cyclonic lure. It’s repetitious but never predictable invention, qualities matched within closing track Katko. From its first breath, the song is a thrilling trespass with its eager groove and crisply landing beats, the brooding throb of bass just as enjoyably niggly and irresistible within the rousingly hypnotic post punk/ noise/psych rock integrated majesty.

It is all superb stuff, every track an inescapable joy which will, given the chance, surely devour vastly more than passions beyond ours. Sung in the language of their homeland we cannot not give a clue to the lyrical themes involved but it matters little as Aidattu Tulevaisuus is a true highlight of the year and Teksti-TV 666 a band which deserves all the attention possible.

Aidattu Tulevaisuus is out now via Svart Records.

https://www.facebook.com/tekstitv666/

Pete RingMaster 21/09/2018

Copyright RingMaster: MyFreeCopyright

Ace Mafia – Self Titled EP

Without doubt for The RR one of the year’s surprises and exciting events has been the return of UK rockers Ace Mafia from a six year hiatus. Unexpected, it instantly raised anticipation, eager questions, and intrigue now fed by the release of a new self-titled EP. Offering up four slices of the band’s rousing hard/melodic rock, the release took us back to the days when we first discovered the London hailing band as if they had never been away.

Emerging in 2007, the beginnings of Ace Mafia were pretty much sown when Argentinian born bassist Geos Letona relocated to the UK and subsequently met guitarist Richie Faulkner. Writing and recording demos together, the pair in time enlisted drummer/producer Bruno Agra and vocalist/rhythm guitarist Kay Ghibli. With the line-up in place, Ace Mafia was officially uncaged and soon luring praise and attention with 2009 debut album Vicious Circle. Faulkner was already a well sought after guitarist and due to touring commitments with Lauren Harris stepped back leading to the band bringing in Ben Lundy. Faulkner’s eventual return brought the band to a quintet with the emigration the following year of Agra seeing drummer Jerry Sadowski added to the line-up. Even with their reputation ever growing though, the band eventually went on a temporary hiatus after Faulkner was recruited by Judas Priest.

Now Ace Mafia is back, a quartet of Letona, Lundy, Ghibli, and Sadowski though the new EP also features the craft and invention of Faulkner on lead and rhythm guitar. It took mere seconds to find the band rocking as boldly and enterprisingly as ever, the EP opening up with new single Snakes ‘nʼ Ladders. Its first breath unleashes a trespass of predacious riffs and intrusively imposing rhythms yet with a contagiousness which is only escalated by the distinctive tones of Ghibli. A great Stone Temple Pilots hue adds to the track’s instinctive and flavoursome hard rock nature, it’s harrying of ears and appetite very easy to swiftly succumb to with guitar imagination icing on the captivating and arousing proposition.

With its tracks seemingly written before the band went away it is maybe no surprise that the EP feels like a continuation of previous releases but as the opener and the following Face To Face alone show there is also a distinct fresh adventure revealed. The second track opens with the gentle but earnest invitation of keys, melancholy lining their charm before its main body rises up. Settling into its weighty but controlled saunter, the song smoulders with emotive and physical intensity; its heat erupting with fiery flames and guitar spun tendrils as emotional intimacy springs its own captivation.

The instantly infectious Stop Loss is a mix of the predatory and contagious, the spring in its grooves and riffs tempered by the formidable swipe of Sadowski’s beats and the brooding bassline of Letona. Grungy in its hard rock exploits, animated in its compelling exploits, the track quickly had ears hooked especially when Faulkner’s web of temptation caught light.

Closing track Breathlessness also has an ominous prowl to its magnetic seduction, instinctively tempting grooves and melodic enterprise matched by vocal and rhythmic prowess. A bouncing body and eager participation was the quick outcome to its eager suggestiveness, the song rivalling the EP’s other book end for best track honours.

Not so much more of the same but certainly more of what Ace Mafia does best their new EP is a welcome joy as is their return. There are also hints of new adventures to come which are just as compelling but just having the band back roaring is one of the year’s major pluses.

The Ace Mafia EP is out September 15th.

https://www.acemafiarock.com/   https://www.facebook.com/acemafiarock   https://twitter.com/AceMafiaBand

Pete RingMaster 14/09/2018

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