Transport League – A Million Volt Scream

The fifteen years since first leaving Lucifer’s fires has not dampened the roar in the heart and throat of Transport League or the voracious swing in their feral enterprise, nor indeed the ravenous virulence of a sound which is always preying on new hellish flavours. The proof is all there in the viscera of their new album, A Million Volt Scream: a release which lures, embraces, and devours the senses with the greatest ravening intent yet from the Swedish outfit so that never has the well-established term upon the band’s music, Boogie From Hell, been more apt.

Emerging in 1994 Transport League embraced the sound of early Clutch with as they say “some hints of Cathedral and Corrosion of Conformity.” Swiftly it established its own ever evolving character and by the 2013 release of fifth album, Boogie From Hell, was the fuel to that enduring moniker. Even as the band has continued to explore new shades and avenues it has remained fitting to that declaration as shown by A Million Volt Scream. It is an encounter bred from a ferocious cauldron of mutually heavy metal and rock with just as healthy and hungry essences of punk, sludge, and alternative trespasses; infernal rock ‘n’ roll if you would.

A Million Volt Scream wasted no time with subtle persuasion, warning sirens allowing a moment to run away before its title track opener stalks with eager rhythmic instincts. That alone proves gripping bait but once the band’s renowned rapacious grooves uncage their swing, entanglement is inescapable. The track hits its stride with a devilish swagger, the vocals of guitarist Tony Jelencovich a masterful scowl within the unappeasable contagion. Rich imagination only adds to the temptation, the track’s Pantera meets Rob Zombie like breath twisted and ignited with industrial lined apocalyptic proclamation.

1200 Goddamned follows, the rhythms of drummer Mattias Starander again a potent and insatiable coaxing before the song uncages its full belly of riffs and grooves, the exploits of Jelencovich  and lead guitarist Peter Hunyadi mercilessly infectious and invasive just as is the former’s great grungy tones. Even with its eager swing, there is a riveting predatory edge to the bass of Dennis Österdal, his lines threat and temptation together much as song and sound around them across the release.

Fair to say with ears and appetite already hooked both only found a lustier attention as next up Monster Human leered in and began stalking their ground. Its menacing bounce and mischievous sonic glints swiftly stole subservience, another Rob Zombie-esque swing this time merged with a Rammstein scented industrial intimidation only adding to the captivation before relief at the departure of its fiendishness is swiftly stolen by the dark deeds and drama of Dawn Of Lucifer. The band’s already multi-flavoured sound is stretched again as the track’s alternative metal breeding reveals the seed of bands similar to Faith No More, Dog Fashion Disco, and Mushroomhead though emerging as inimitable Transport League alchemy. Simply put though, as to be honest applying to all tracks within the album, it is inventively yet instinctively bred rabid rock ‘n’ roll and proved unapologetically irresistible.

Vultures is next up, the song immediately wrapping grooved sonic wires around the senses then manipulating them like a puppeteer to its own carnal swing. Carnivorous in every essence, viral with just as forceful a zeal, the track is another esurient stalking and a major contender for best track honours while Vanished Empire brings its own creative enmity to bear with dissonance carrying craft and again a strain of rabidity to offer its own imposing challenge.

Facedown Bondage might not quite have ignited the same heights of delirium but with its southern rock irritancy and contagion aligned to groove metal embroiled contention it too proved thick pleasure to breed greed for as too Slave In Orbit with its low slung stoner grooves and funk metal intimation. As with all tracks though, it is the perpetual current of imagination which adds the unpredictability and individuality that seals already done deals.

The final pair of Creature Grunts and Rabid Horizon leaves nothing to be desired as A Million Volt Scream departs as impressively as it began. The first is another song which sparks thoughts of Mike Patton and co at certain moments as it hungrily strolls, its severe catchiness spun with intoxicating grooves and rhythms which manage to simultaneously punish and seduce. The final track is basically a slab of untamed rock ‘n’ roll, a beast of intensity and motion which even the dearly departed could not prevent swinging their bones to.

Their sound is indeed boogie from the inferno below though such it’s and specifically the inescapable temptation of A Million Volt Scream it is hard to tell if Transport League work for the Devil or he dances to their tune.

A Million Volt Scream is out now via Mighty Music; available @ http://targetshop.dk/transport-league and https://targetgroup.bandcamp.com/album/a-million-volt-scream-2

 https://www.facebook.com/transportleague/

Pete RingMaster 090/09/2019

Copyright RingMaster: MyFreeCopyright

Dead Shed Jokers – All The Seasons

Across two acclaimed albums Welsh outfit Dead Shed Jokers has already established their sound and songs as something out of the ordinary, openly distinct to most, and perpetually compelling. Add their instinctive nature to push further into their imaginations and you have something which lures keen attention. They are all traits in their music which have collectively escalated in their new album, All The Seasons, an encounter which not only warrants that attention but demands it whilst offering the quintet’s most unique and enthralling moment yet.

Hailing from Aberdare/Merthyr, Dead Shed Jokers first hit our ears and broadly offered praise though debut album Peyote Smile of 2011. After the equally captivating Peculiar Pastimes EP confirmed their potent emergence upon the UK rock scene, the band’s self-titled second album showed even bolder adventure and character in songwriting, sound, and the diversity within both which All The Seasons has managed to not only push on further but open up new avenues of imagination and temptation through.

The Dead Shed Jokers sound is generally described as rock/alternative, an understandably easy option in front of its multi-flavoured and variable tapestry. All The Seasons makes it no easier to define which only adds to the fascination and pleasure of a release immediately unleashing a momentous moment with opener Phantom Pains. Easily the best song to these ears from the band so far, it makes a relatively subdued start but one rich in suggestion and intrigue. Vocal lures add to the track’s quickly growing introduction, each element pure seduction before the swift incitement of Sean Mahoney’s beats sparks a wave of heat courtesy of guitar shimmers alongside a prowling bass. A momentary breath sparks the track’s swinging stroll, the guitars and bass of Nicky Bryant, Kristian Evans and Christopher Metters, all versatile on each across the album, a united flame as Hywel Davies’ ever magnetic tones and delivery open up. As catchy as it is dramatic, the song effortlessly tied up ears and imagination in its thickly flavoured persistently animated rock ‘n’ roll.

All The Seasons never quite reaches those heights again for these ears yet that is only down to the majesty of the first track and no deficits in its successors which proceed with the bluesy holler of Feel Some More. Progressive and indie hues add to its enterprising body, keeping expectations guessing just as the variety in its energy, urgency and emotion. As with its predecessor, there is a theatrical lining in its character and tone, the song like a play for ears and thoughts; a similar essence adding to the prowess of the whole album and next up Dreams of North Korea.  A calm start soon erupts in agitation, the cycle repeated with greater drama and intensity as emotional dissonance rises in its heart and roar as another fully loaded weave of flavour catches aflame across its equally varied gait.

The album’s title track is next, its melancholic croon mesmeric in the arms of expressive melodies and Davies’ riveting presence and delivery, the intimacy of words and emotions soaking the ballad inescapable. Much of the album is said to be borne of personal experiences and issues, and no more powerfully and absorbingly than within this and another major highlight of the release.

Aesopica#15 is a engorged sonic shimmer, a slice of wiry, seared rock ‘n’ roll which wraps around the senses with as much mystery as it does seduction before Feel Today shares its mercurial body of drama and energy, it all veined by fiercely heated melodies and hungry enterprise. Yet there are moments it simply sighs with calm resignation to just as firmly grip. The song is a journey for band and listener, one with, as offered by the album for similar focus, greater rewards by the listen.

The broken hearted reflection of 764 provides a less volatile proposal but one which again draws full curiosity through its craft and heart while You’re a Thief brings a boisterous and striking landscape of daring bordering on audacious enterprise with a palette of sounds and flavours to match. The track is superb, another which almost alone makes the price of admission the biggest bargain.

The album concludes with Spanner in the Works and Enough is as Good as a Feast, two songs featuring the synth prowess of album producer Tim Hamill with the second also welcoming the guest cornett of Victoria Davies. The first embraces the most feral yet skilfully composed moment of the album, the band creating sounds with nostrils flared and casting a tempestuous rock adventure which twists and turns like a frantic fiery kaleidoscope. The final track is its own rotation and reflection of intensity and emotion, sonic and melodic gravity cast with compelling emotion and drama within another canvas of multi-influenced sound; one awash with some familiar hues but embraced and turned into something wholly unique to Dead Shed Jokers.

There are moments of the album which leapt from the speakers but just as many that teased, almost taunted attentiveness with the result the same, an eager and increasingly greedy concentration finding, as mentioned earlier, bigger and greater rewards and pleasure.

All The Seasons Is out now via Pity My Brain Records; available @ https://deadshedjokers.bandcamp.com/?fbclid=IwAR0Skx4dkHPz5tPIEyWT707Iu1ZyXro25mLVk9gcHysW95RkxH2cQQf6YSs

or http://deadshedjokers.bigcartel.com/      

http://facebook.com/DeadShedJokers   

Pete RingMaster 090/09/2019

Copyright RingMaster: MyFreeCopyright