Unmothered – U M B R A

Unmothered_Reputation Radio/RingMaster Review

U M B R A is a predator soaked in doom and sludge but equally draped with essences of black metal, noise, stoner rock, and most likely any other voracious flavour you can imagine. It is also one of the most primal and inventively addictive things heard so far in 2015. The new carnivorous proposition from US band Unmothered, the three track EP proposition brawls through ears, violates the senses, and scars the psyche from start to finish, all the time igniting the passions with its fierce turbulence. There is no escape once it takes hold but no desire to flee its uncompromising trespass either.

Starting their raucous prowl of the senses in 2010, the Austin hailing Unmothered unleashed their self-titled debut EP vinyl in 2012 to acclaiming responses across the underground scene. It brought seven atmospherically ravenous and physically cavernous landscapes to feast on the senses, laying the seeds for the even darker and in many ways more intimate intrusions to be found within the insidious temptation of U M B R A.

cover_ Reputation Radio/RingMaster Review    As its predecessor, the EP is wrapped in the artwork of UK artist Andrew Sloan, its dark toning and organic imagery a first glimpse of the creative tapestry and sonic exploration set to seduce ears and beyond. Opener Magnetar rubs ears with a lone riff to begin within but swiftly revolves and broadens into a predatory canter of imposing rhythms from drummer Matt Moulis and dark throaty bait courtesy of Joseph Barnes’ bass, both entwined in the just as gripping sonic tenacity of guitarist Matt Walker. Alone each sculpts pure drama but together they make aural pestilence whilst additionally conjuring a groove which no matter where it leads or what it twists itself into, is an unrelenting seducing within the carnal ambience and textures around it. The pestilential tones of Walker’s vocals crawl into the psyche too as they hitch a ride on the increasingly contagious grooving and tsunami like hostility swinging its way to the same destination.

If the swagger of the first song is incendiary and contagious, it is light weight compared to that of Scarp and before it Huntress. The second song scythes through ears on a sonic lure before thickening its bait within a musty swamp of noise. It is only building towards the point of greater addictive enterprise though, another flaming acidic groove with a waspish nature flirting within ears as guitars and drums spin a magnetic enslaving web. Equipped with gnarly bass tones which simply inflame the senses, the song offers whispers of bands like Ministry and Morkobot, though equally you would suggest Unsane or a Today is the Day, as many do, as a hint to the ravaging being enjoyed. The track is irresistible, a disembowelling of the senses with riveting rewards in return but quickly over shadowed by the final song.

Scarp from its first breath is a torrent of sonic nagging, Walker’s guitar a primal bee in the psyche which is rapidly matched in primeval temptation by the roguish swipes of Moulis and the throaty dissent of bass. A rhythmic and sonic virulence does not let up even as the raw tones of Walker spill their new narrative of aggression and his guitar skirts over the Killing Joke like rhythmic spine with its caustic and corrosive enterprise. A post rock like calm embraces ears midway through to wrong-foot and bewitch, the drums continuing to roll out a mouth-watering and unrelenting niggle of anthemic beats throughout. It is a mesmeric and meditative passage yet in its air, lurking in the shadows there is an intimidation and menace which bides its time before exploding in one hellacious climax of one outstanding incitement.

The track is a brilliant; a gripping end to a glorious slab of noise fuelled contagion posing as U M B R A. Letting greed have its say there is no doubting that the EP is over too soon but with the adage ‘leave them wanting more’ surely in its thoughts, U M B R A and Unmothered have opened up a vat of anticipation for something bigger and you suspect even more threateningly bolder.

U M B R A is available from May 26th via Crowquill Records. For details see http://crowquillrecords.limitedrun.com/artists/unmothered

http://unmothered.com/   https://www.facebook.com/Unmothered

RingMaster 26/05/2015

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

Masamune -Tension & Resolution

Masamune Promo Shot

Tension & Resolution is the devilish encounter introducing UK alternative rockers Masamune to their broadest audience yet, five tracks which just get under the skin in an attention grabbing debut on first hearing to become even more dramatically compelling over time. The release also shows there is still plenty of scope for the band to evolve and build even more virulent persuasions, and that alone just breeds healthy anticipation.

Hailing from Sunderland, Masamune began in the autumn of 2009 when guitarist Steven Kane, bassist James Wallace, and drummer Jack Johnson came together musically for the first time. Crossing each other’s path via the internet, the band’s founders were soon creating their own songs and performing across the North East of England before in 2012, the trio decided to push things to another level and recruited vocalist Neil Anthony in the year’s closing weeks to complete the line-up. The years have seen the band play alongside the likes of Fearless Vampire Killers, Fort Hope, and Ashestoangels as well as taking part in a Channel 4 television show with comedian Al Murray as their roadie. Musically they have drawn references to the likes of Muse, Red Hot Chili Peppers, and Queens of The Stone Age, all understandable suggestions especially the first of the three, but as the EP’s first song shows there is much more fresh body and flavouring to the Masamune sound.

Masamune Cover Artwork     Tension & Resolution opens with The Bloodlines and a tangy guitar melody. Its lure is soon backed by a rolling persuasion of drums and in turn an instantly captivating bass groove amidst richer guitar enterprise. Things relax for the entrance of Anthony, his expressive tones courted by a dark bassline and crispy beats whilst a flirtatious almost smiling tease of guitar contrasts the darker emotion of the moment. It is a beguiling passage slowly increasing in drama and intensity and eventually erupting in a feistier blaze of riffs aligned to potent harmonies from Anthony and Wallace. More tantalising temptations, like hooks and grooves from across the band, continue to play with the imagination and feed a growing appetite as the song provides a strong start to the release.

The following Silhouettes opens with just as rich bait as its predecessor began with; a single seduction of guitar cast in a familiar yet indefinable suggestiveness the lead into an increasingly busy and fuzzy web of enterprise. That Muse essence is an open breeze across the song, colouring nicely the original and flowing ideation of Masamune. It is another offering which ebbs and flows in energy, though it provides a livelier and more infectious bounty for ears and thoughts to eagerly embrace. The catchy beats of Johnson are deceptively anthemic and matched by the alluring bass coaxing sculpted by Wallace whilst around both, the guitar of Kane and the increasingly impressing vocals of Anthony sparkle and entice.

     Run & Hide saunters in next on a thick bassline and a welcoming shuffle of beats before opening up into a harmony loaded stroll of melodic rock with evocative expression around an infectious swing. Steely bursts of riffs add to the captivation, as do the spidery strands of guitar endeavour, it all aligning for another gripping and enjoyable persuasion before making way for the melancholic charm of The Song About Ghosts. Though it carries imposing shadows in its body there is also plenty of radiance through melodies and harmonies, an inventive rhythmic tempting, and in the chorus a Brit pop hue to twist things up. The track maybe does not quite match up to the last couple of songs yet it too is an unpredictable and resourcefully engaging encounter which persistently draws ears back.

The EP is concluded by House Of Mirrors, a highly enjoyable finish with its snarling riffs and magnetic sonic tenacity. Once again rich inescapable hooks snare ears and the imagination whilst the ever enslaving basslines of Wallace add their addictive qualities to the mix. The song is enthralling and an invigorating close to a fine first encounter with Masamune.

Though some songs within Tension & Resolution just fall short of finding the spark to elevate them to even higher stature, the band seemingly holding back at times rather than taking a step into the creative ‘unknown’, there is no denying that the EP is one seriously satisfying debut and that the future of Masamune is looking very exciting.

The Tension & Resolution EP is available now through all stores and via http://masamune.bigcartel.com/product/masamune-tension-resolution-ep

https://www.facebook.com/masamunemu         http://www.masamunemusic.com/

RingMaster 26/05/2015

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

 

Calling Apollo – Hunter |Gatherer

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Though not a slow burner, the five track encounter making a potent impression first time around, it is fair to say that Hunter |Gatherer from UK quintet Calling Apollo just gets bigger and more impressive over each and every listen. It is a proposition which suggests that its creators is still a band evolving and discovering their ultimate sound but powerfully hinting that when they do it will be something to get very excited over. To be honest Hunter |Gatherer is already an attention grabbing proposal which whips up a keen appetite and anticipation in return for its mix of familiarity and fresh invention; the EP a potent step in the full emergence of one very promising band.

Rising from Cardiff towards the end of 2012 as a quartet, the band spent time creating and honing their sound inspire by artists such as Deftones, The Cure, Funeral For A Friend, Thrice, The Doors to Kings Of Leon, Nine Inch Nails, and Muse amongst many. Vocalist Christian James Neale was recruited early the following year before the five-piece hit the live scene, starting with a show in Newport which earned rave reviews. This was followed by the release of the band’s debut EP Vessels; an encounter self-recorded in a tiny box bedroom in Barry and released as a free download to great responses. In 2014, Calling Apollo ventured into the studio for the first time, recording the Clone City/1945 single. It was a greedily received offering by fans and underground media alike, a success easy to see repeated and more by Hunter |Gatherer.

Picture 133   The release opens with the meaty tones of Hunter, riffs and rhythms a pungent proposal from the off entwined with inviting melodic strands of guitar. Though there is a recognisable air to the song quite early, its busy enterprise and imagination means there is a strong unpredictability to the encounter. The vocals of Neale instantly hold attention, his presence with a melodic embrace around him bringing a Placebo essence to wrap the robust rhythms of drummer Zak Woolf and bassist Luke Walters. The pair in turn provide an anthemic but also tempestuous canvas for the guitars of Kevin Williams and Dan Hughes to colour and spiral from whilst rawer backing vocals compliment Neale to good effect. The song does not leap out at the imagination and emotions as maybe it should have given its creative endeavour, but it certainly awakens keen interest which is more heavily inspired as each subsequent song comes forward.

The following In This City makes a gentle guitar caress on ears initially, its melodic romance swiftly reinforced by the mellow tones of Neale. As it entices, the pairing breeds a rising intensity which erupts in a controlled but tempestuous stroll of agitated rhythms and sonic tenacity. Once in full swing the track is a captivating contagion of emotive expression, revealing the one reference which dominates all when describing the band’s sound. Though there is a great variety to the music, it is Billy Talent which this and following songs most remind of, Calling Apollo sculpting the same impassioned, hook loaded adventure the Canadian band is so adept at

The outstanding encounter makes way for Chemical Breaker, a song which also makes a restrained entrance equipped with radiant melodies and stirring rhythms before boiling up into a more turbulent and engrossing proposal. Though it does not constantly have the same dramatic spark as its predecessor, it is a track which becomes more volatile and fascinating minute by minute and over time, setting up emotions and a now hungrier appetite nicely for the closing pair of richly enticing songs.

Monsters has moments where its potency is more diluted than in other instances within its body but when bounding along with boisterous and dynamically striking enterprise it is a mouth-watering exploit. Even its less fiery essences provide an enthralling incitement to be held firmly by. Melodies and vocals never lack emotive energy whilst the more controlled aspects of the song where the band for personal tastes could have pushed themselves into darker more unpredictable waters, do not hang around long enough to defuse the aggression and voracity of sound and song.

Enjoyable as it is though, Gatherer quickly outshines its predecessor, its opening breeze of melodic coaxing around a shadow kissed bassline tantalising. The lure only thickens as floating harmonies and the voice of Neale open up the narrative, bringing one irresistible hook in voice alone to the chorus. The absorbing song continues to hug the web of guitar intrigue and craft wrapping ears, its reflective elegance a warm breeze eventually heading into a more rugged wind of energy and intensity to bring even greater pleasure. The track is a fine end to a thoroughly engaging release.

Produced by Romesh Dodangoda (Kids In Glass Houses/Funeral For A Friend), Hunter |Gatherer is a highly satisfying next step for Calling Apollo. It comes loaded with potential and a hope that the band really kicks on and boldly explores their already quite individual sound. Those hints of uniqueness within the release, combined with more familiar yet potent influences, makes EP and band a must check out recommendation.

Hunter |Gatherer is available now via Signal and the Noise Records via https://callingapollo.bandcamp.com/album/hunter-gatherer

https://www.facebook.com/CallingApollo

RingMaster 26/05/2015

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

Yes Sunshine – No No No

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What could be better than a high octane pop song sculpted on a punk bred guitar clang, devilishly anthemic rhythms, and a spicy dose of discord to make your toes curl? On the evidence of No No No, the new single from UK quintet Yes Sunshine not a lot. The song is a virulent stomp, an insatiable temptation which has feet as quickly alert and active as ears. There is a buzz brewing up around the Coventry hailing band and right now easy to see why thanks to No No No.

11082558_766870466741612_8200293885106745004_n     Yes Sunshine began back in the spring of 2013, Michael McCann, Mark Fazakarley, Jord Harrold, Declan McCann, and Chris Feltwell musically uniting to commemorate the passing of a close friend. They were soon hitting and enlivening the local live scene before spreading their sound and performances just as quickly across the UK and Ireland. Their first year alone saw the band playing venues such as The Dublin Castle, The Shed, and a headline show at The 100 Club as well as an appearance at Manchester’s Ethihad Stadium and two packed out shows at The Great Escape Festival. Yes Sunshine has supported the likes of with Pete Doherty, Royal Blood, Zane Lowe, Yuck, The Enemy, and The View along the way too whilst their debut single in 2014 courted the attention of BBC Radio 1, XFM, and Amazing Radio amongst many. The beginning of this year saw the successful release of the single Because of You, a fiery marker for the band which No No No has taken to another level.

The band’s sound is a volatile weave of indie, rock, and punk honed into one rebellious pop roar, and swiftly infecting ears as No No No opens with a jangle of guitar chords before flicking the switch to an agitated, tenaciously lively stroll. The vocals are just as energised and infectious as they jump into the revelry whilst a thick juicy bassline invigorates the already rampant tempting on offer further. It is the discord soaked enterprise of the guitars which is the most compelling component in the song though, acidic noise oozing from every note whilst conjuring a pop romp to get nothing less than fully involved with. Early Strokes has been suggested as a comparison to the band’s sound, we say though add some Asylums and eighties band Fire Engines and you get a bigger hint of No No No.

People are claiming big things for Yes Sunshine and after No No No you will get little disagreement here.

No No No is out now via Mint 400 Records @ https://itun.es/gb/sC076

http://www.yes-sunshine.co.uk   https://www.facebook.com/YesSunshine

RingMaster 26/05/2015

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

 

Frazer – Two Hands

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Formed in 2011, UK alternative rock band Frazer has earned a potent reputation and an increasingly growing loyal fan base for their live presence. Now the band is trying to awaken broader national attention with their debut single Two Hands, and it is fair to say that the band probably could not have made a more engaging and enjoyable fist of it. The song is a lively bounce of virulent infectiousness and creative enterprise but equally it has a drama to it which just as quickly involves the imagination as it does ears and feet. It is simply a wake-up call destined to earn the band the attention they deserve.

Picture 1    The Sheffield quintet of vocalist Ashley Clarke, guitarist Harvey Fletcher, bassist Andrew Battey, drummer Alex Owen, and Matt Marsh on keys brought Frazer to life in 2011 and since their emergence has continually honed their sound and invention through writing, recording, and playing live. References to the likes of Arctic Monkeys, Kings of Leon, and The Black Keys have been offered for their stage tenacity, often in glowing reviews and acclaim. Now we have Two Hands to give the rest of us yet to discover that joy a clue as what the fuss is all about and though only one song, it is easy to make early assumptions that the reports of their potential and qualities are right on the money.

The track opens up with a juicy groove right out of the Queens Of The Stone Age songbook and is right away courted by thumping rhythms and an equally tangy tempting from the keys. Things relax a touch as Clarke enters the scene, the spicy flames of guitar dropping to a lively simmer as the singer impresses alongside a just as magnetic and thrilling throaty bassline. The early hook soon appears again for a swift seducing before another calmer moment leads the listener towards a raucously catchy and tempestuous crescendo from which the cycle starts again. Openly though there is no essence of predictability to the rotating passage of the song or its increasingly gripping and anthemic riot of melodic, bluesy, and rhythmic revelry.

The song is a thrill a note and syllable, an encounter which lingers long past its physical departure and backs up the acclaim offered the band before. Completed by the fiery I Openly Admit and the Arctic Monkeys like Take Her Out, two songs showing there is good variety to the Frazer songwriting and sound, the single is a potent full introduction for the UK indie scene to the band and their song Two Hands, the show stopper.

Two Hands is available now digitally at https://itunes.apple.com/gb/album/two-hands-single/id997766708 and on CD via https://frazerofficial.bandcamp.com/merch/signed-two-hands-cd

http://www.frazerofficial.com/   https://www.facebook.com/FrazerOfficial

RingMaster 26/05/2015

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

Defeat – You Know What You Are EP

Defeat pic

And so it continues, the emotion twisting sounds of Defeat have returned to voraciously crawl through ears and into the psyche. The UK duo have already increasingly trespassed into and seduced the senses through their previous encounters, each bringing evolution to their music and breaching new creative plateaus whilst suggesting there is more to come. The band’s new EP, You Know What You Are, is the realisation of much of this promise yet in turn it gives the feeling that they have still come nowhere to exhausting their potential, even though it sets the loftiest marker yet for the band in sound and invention.

Hertfordshire hailing union consists of vocalist Anthony Matthews and the master of synthetics Gary Walker, two school friends who have continually played together through previous guises from those days onwards. Each exploit has been a stepping stone to Defeat, and the breeding of a sound inspired by the likes of Nitzer Ebb, Depeche Mode, NIN, Front 242, Front Line Assembly, and Skinny Puppy. As Defeat, the pair swiftly lit attention with the release of their Outbursts! EP in 2012. Its emergence around a year after Matthews and Walker were truly able to concentrate on Defeat, lured an increasingly number of eager ears and appetites, backed by a subsequent remix EP entitled simply Defeat Remixed. It was debut album [Seek Help] in 2013 that pushed the band most forcibly onto the European EBM/ electro-industrial map though with its raw and magnetic atmospheres around angst soaked explorations. It was challenging and infectious, a fusion of dark climates and virulent electro pop digging now taken to even more experimental and striking depths with You Know What You Are. There is still that expected and inescapable catchiness, each track whipping up vivacious energies and anthemic temptation but equally they devour the most imposing and darkest corners of emotion and life.

YKWYA_cover     The EP opens with Want and instantly has ears intrigued and hungry as pulsating bassy electronics rap on the senses before being joined by a fiery melodic coaxing, It is a restrained but pungent start, rhythms quickly building up a head of intent and steam leading to a purposeful stride where the always expressive tones of Matthews invite and provoke. His delivery is part monotone, part dour, and all thick persuasion, the perfect temper and compliment to the bubbling electronic tenacity and haunting shadows respectively. As with previous encounters, the band’s sound stirs up welcome thoughts of Fad Gadget, the fusion of light and dark, invasive tempting and compelling contagion similar as Defeat sculpt their own unique incitement of dark pop.

The following Twist is just as dynamically gripping and texture entwining. Theatrical, gothic kissed keys spark the imagination first, the lure never relinquishing attention as a more caustic electro breeze joins the play. In no time the song is sauntering along with thickly jabbing beats, fizzy electronic tempting, and the narrative shaping delivery of Matthews. Things only blossom further as Walker infuses a great blistering of guitar, its presence adding to the sinister ambience evoked and fuelling the encounter. As its predecessor, there are moments of clear pop within the hazy almost portentous embrace of the track, those enticements boldly seeded in the eighties electro/synth pop which has also been a ripe influence on the band’s sound and songwriting.

Resist comes next and dares you to comply with its title, but to no avail as a Numan-esque smog wraps ears first before volatile electro sounds and rhythms rigorously simmer in an expanding provocative landscape of sour melodic tension and vocal prowling. There is always drama to the sound and narratives of Defeat, but possibly this song is their most incendiary on ears and imagination yet, thoughts especially running with its rich persuasion to create their own dark exploits alongside that of the song. It is a transfixing proposition matched by the outstanding Attention Seeker. This is a predator of a track, every beat carrying menace and each syllable a spiteful leer whilst synths cast a web of diverse colour and enterprise; even its addictive swing and spicy melodies seem to have a carnivorous grin to their tenacity.

The song is an invigorating and intoxicating anthem contrasted impressively by the next up Care For Me, a track uniquely individual but a match in magnetism and invention. Whereas Attention Seeker was open in its antagonistic charm, its successor embroils itself in another intriguing imposing caress of sound and reflective exploration. Spatial melodies seep from keys whilst guitars bring a raw fiery texture to the immersive croon, and within it all Matthews slowly releases deep rooted angst and emotional torment in the dark intimate tale.

The industrial air of Goodbye is an early hook which only thickens its bait as the song and vocals create an aural dystopia within an increasingly more rugged and inflammatory infection soaked stomp. It forces its dance upon feet and emotions, chaining their submissive enlistment into its ferocious staging of riveting sound and menacing intent. The track is a pulsating gem, at its heart pure slice of rock ‘n’ roll and in its increasingly psychotic character, pure inventive, belligerent devilry.

You Know What You Are is completed by a quartet of mixes, Ruinizer bringing the Bye Motherfucker Bye Mix of Goodbye, Paresis offering the Blackened Mix of Want, and Cease2Xist casting their Self Loathing Mix of How Pathetic, a track from the band’s Outbursts! EP. The cream of an enjoyable quartet though is the Shaken Not Stirred Mix by X-KiN of Twist, which features the exceptional vocals of Veronick. It is a gloriously fresh slant on the song with the lady’s voice enthralling as it takes centre stage.

Defeat have returned with yet another impressive step in their songwriting and sound whilst, as suggested earlier, implying that there is plenty more still to be unearthed in their imaginations and creativity. So whilst enjoyment boils over with You Know What You Are, anticipation is already on the rise again.

The You Know What You Are EP is available now digitally and on CD @ https://defeatmusic.bandcamp.com/album/you-know-what-you-are

https://www.facebook.com/Defeatmusic     http://www.defeatmusic.com/

RingMaster 23/05/2015

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

 

Grumpynators – Wonderland

Grumpynators_Reputation Radio/RingMaster Review

Two years can seem like a very long time when you are excitedly anticipating something. Certainly the wait for the debut album from Grumpynators has felt like a life time after being hooked by their previous releases. Once arrived and there waiting to explode from the speakers, thoughts turn to pondering if it will now live up to probably over demanding expectations and hopes. The Danish quartet’s self-titled motorbilly has been one of the few fresh sounds to really ignite ears and emotions over recent years and yes the band has forged another landmark in their ascent with Wonderland. The band’s mix of hard rock, psychobilly, punk, metal, and old school rock ‘n’ roll is maybe not over fuelled with major originality yet the way the band hone and twist the blend, it emerges as something distinct and specific to Grumpynators whilst providing a healthy and rousing option for fans of anyone from Motorhead to Metallica, The Damned to Volbeat, Mad Sin to Tiger Army. So it is again with Wonderland, a slab of ferocious rock ‘n’ roll pushing the band’s voracious sound and our passions to new heights.

The Copenhagen band was formed in 2011 by former band members and crew from Taggy Tones and Volbeat. Their first rampage on stage came that year at the Danish underground festival Barnyard Rumble in Denmark, the opening riot in an ever increasing and feverish attention following the band thereon in. Across the years the band has on shows and tours shared stages with the likes of Magtens Korridorer and Volbeat amongst a great many. A self-titled demo EP in 2011 just as potently awoke ears and appetites, though arguably it was the 666 RPM EP two years later which was the major spark to trigger a much further spread awareness. Wonderland is a bigger, bolder beast standing before us all now with the potential to break the band into the keenest spotlight possible.

The album opens up with its title track, and instantly has ears and imagination intrigued and enthralled by a thirty second kaleidoscope of haunting sounds and evocative textures. From its sinister coaxing, a flash of guitar opens the door for a predatory lure from the double bass of Jakob Øelund to immediately seduce an appetite always open to that kind of bait. Scything beats from Per Fisker equally adds to the brewing drama of the song whilst the guitars of Christian Nørgaard and Emil Øelund stir up air and senses with their belligerent persuasions. It is a fiery mix only increasing in energy and intensity as the song expands to its full height, the at times Lemmy like tones of Emil a magnetic roar in the midst of the infectious tempest. The encounter is equipped with the distinctive Grumpynators sound but already show a new adventure and creative theatre in the band’s invention and tenacity, hooks and swinging rhythms as mischievous as they are predatory whilst a guitar solo simply sizzles on the senses.

Wonderland cover _Reputation Radio/RingMaster Review   The stunning start is matched by both Walking in the Night and Burning in the Snow, the first dangling before the listener a spicy groove from its first breath, subsequently wheeling it in and using it to core the spinning of a feisty web of psychobilly contagion and hard rock devilry. The stomp just increases its attraction as vocals and another incendiary bass tempting fills its rampant prowl. Like a flirtation happy to brawl at any given moment, the track has ears and body leaping to its puppetry before making way for the similarly irresistible lures of its successor. The third track is a more even tempered stroll with restraint to its energy but even more virulence to its rockabilly meets punk ‘n’ roll devilment. Things do get over excited in its chorus but the band always pulls it back for a pungent croon of a seduction around the verses, led by Emil who is as ever impressively backed by calls across the band.

Walked Away winks with a dulled country twang initially before launching its own individual and tenaciously striding heavy rock persuasion. Of course as with all songs, it is a maelstrom of flavours colouring its anthemic canvas and tearing through ears, a thick flavoursome mix of rock infusing varied textures and spices soon emulated in The Calling. The track is a predator, prowling ears with an intimidating bassline and imposing grooves carolled by the excellently switching twin attack of the vocals. Track and band show you do not have to go hell for leather to create an inescapable anthem with the song, its character and potency a lingering thrilling threat. The short number of tracks in previous EPs generally meant each song bordered on a major highlight, the cream of that crop of songs so to speak, and it is easy to say that Wonderland follows suit, this point in the album already offering five dead on Grumpynator classics.

The Stalker steps forward next, this a lighter hued cantor despite its title but lock ‘n’ loaded with more addiction forging grooves and nagging hooks cast with a swagger and smiling contagion. As all offerings, it defies the listener not to join in with its epidemic of persuasion, poking the thought does rock ‘n’ roll get any better? Maybe not but it can be equalled as shown by Speeding #2, a reworking/recording of a track from their demo EP. It is does not venture too far from its first outing but provides a fresh and magnetic nature to an already established fan favourite.

The carnivorous This Is My Life growls next, its grouchy presence delving into more metallic scenery whilst laying down one pure rock ‘n’ roll groove through the forever masterful string plucks of Jakob. The guitars of Emil and Christian spread sultry strands of sonic endeavour around the instinctive catchiness of the proposal too, and driven by the forceful commanding swings of Per, yet another highlight is forged and soon matched by the voracious Pray For Your Life. It is a bruising antagonistic affair that, with its sterner caustic attitude, only captivates as its spreads its heavy and hard rock invention.

Both songs though are outshone by the steamy Mama No, probably the most diverse track on the album in that every strain of sound found on Wonderland is embroiled in the hectic and irresistible punk metal ‘n’ roll rampaging. Every riff and groove comes with a thick splattering of those flavours to their colour, an impressive feat and success driven by rabid rhythms and the rousing tones of Emil. The track is the perfect end to the album but the band knows better and closes things off with A Life Without You, an acoustic seducing of guitar and vocals embraced in the melancholic beauty of cello provided by Richard Krug. The song is a dark romance in ears, one sparking a tingle in the senses and a sigh of satisfaction by its, and Wonderland’s end.

It is fair to say that Grumpynators had a head start on raising the passions thanks to their excellent previous EPs but that also led to greater, greedier demands on Wonderland, something tossed aside with ease. As declared a little earlier, rock ‘n’ roll does not get much better than this.

Wonderland is out now via Target through most online stores

http://www.grumpynators.dk/ https://www.facebook.com/grumpynators

RingMaster 21/05/2015

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