Nosebleed – Scratching Circles On The Dancefloor

The last four years has seen British trio, Nosebleed establish and declare their voracious presence on the UK live scene; time which equally has seen their sound honed and reputation built, it all leading up to the moment they launch themselves at nationwide recognition. That time is now with the release of their debut album, Scratching Circles On The Dancefloor. It is a brief but relentless stomp of garage punk nurtured devilry allowing no time for a breath but giving a wealth of insatiable moments to breed instinctive lust for.

Thirteen virulent songs over twenty and a small handful of minutes, Scratching Circles On The Dancefloor flies from the speakers flinging song to song hooks like confetti and springing inventive twists like a mad professor. It is a rock ‘n’ roll dervish but with a devious control and scheme which sees feet, hips, and the imagination merciless to its manipulation.

Recorded live across one weekend alongside producer Andy Hawkins (Hawk Eyes, The Pigeon Detectives), Scratching Circles on the Dancefloor sets its intent with its first lungful of breaths. The initial guitar lure of opener I’m Okay wags an inviting finger before being quickly joined by hungry rhythms and the vocal mischief of guitarist Eliott Verity and bassist Ben Hannah. For fifty odd seconds the song rigorously hops around, Dicky Riddims’ beats setting the tone for the punk infested romp.

As the excellent start lays its last jab, its successor I’m Shaking is in the starting blocks, loco grooves teasing away as the track bursts into manic life. As rhythms pounce and hooks infest, the song sinks its mania into the imagination like a fusion of King salami and The Mobbs; teasing and fingering the psyche with its viral appetite and character. Superb does not quite cut its magnificence; a height of bliss eagerly backed by the addictive antics of Time And Time Again which quickly entangles the listener in its swinging grooves and excitable rhythms.

The voracious design of the album simply continues with the next pair of Wrong and Start Again. Not for the first or last time across the album, there is a whiff of seventies punk band The Cortinas especially in the first of these two with its sharp almost spiky hooks and instinctive catchiness while the second uncages a riot of bullish rock ‘n’ roll as punk as it is fifties scented honed into another irresistible and individual Nosebleed infestation.

As soon as the rhythmic rumble of Everybody breaks the momentary silence between songs, body and greed was sparked here; the track trapping an easy submission with its web of grooves and hooks let alone vocal incitement while Slow Down does the complete opposite as it had hips swinging and limbs flying with its dirt stained rock ‘n’ roll. Both tracks not only get under the skin but deep into the blood taking over spirit and soul simultaneously yet still get outshone by Scratching Circles. Like a puppeteer, the song dictated movement and energy; its Stones kissed heat and tenacious enterprise delicious spice in its creative irritancy and riveting manipulation.

Can’t Stay Here harasses like a child which will not take no for an answer to what it wants, the song bouncing around with its eyes firmly on the prize before Psycho grabs best track honours with its psychobilly hued rascality. Like the bad kid your mother warned you to stay away from, the track leads to wicked habits and salacious antics and boy does it reward for going astray.

A sixties garage rock hue lines the attitude soaked Kick Me When I’m Down next; swinging grooves and agitated rhythms gripping attention from its first touch, flames of melodic seduction from the guitar adding to its rich lure while I Can’t Tell You Anything creates a maze of hooks and grooves impossible to escape from, not that you will want to; an intent which is seeded in the album’s first note and only intensified thereon in.

It all comes to a close with What You Have Done, a ravenous collusion of grumbling filth lined bass, intrusive beats, and predacious riffs all linked by the band’s persistently anthemic vocals. It too has rockabilly/psychobilly infested fuel to its roar as well as a mouth-watering Misfits seeded glaze bringing the album to a close in majestic but certainly rampantly salacious style.

There are encounters which just inflame the individual instincts of us all, Scratching Circles On The Dancefloor is one for us, a release leading us to drooling ardour. We will not be alone as quite simply the album is a garage punk classic, indeed a rock ‘n’ roll masterclass from a band surely about to take national attention by the scruff of its neck.

Scratching Circles On The Dancefloor is out now through TNS Records and available @ https://tnsrecords.bandcamp.com/album/scratching-circles-on-the-dancefloor

https://www.facebook.com/nosebleedband/

Pete RingMaster 11/04/2018

Copyright RingMaster: MyFreeCopyright

Sharone and The Wind – Enchiridion of Nightmares

Like a series of dark fairy tales, Enchiridion of Nightmares the new album from dark rockers Sharone and The Wind captivates, seduces, and haunts. Each of its notes, let alone songs, comes with a shadow to their beauty, melancholy to their light, and intimacy to their grandeur  with it all colluding in an adventure which just steals the imagination from everyday reality.

Hailing from Denver and emerging from the solo project of vocalist/songwriter Sharone (Borick), Sharone and The Wind is one of those propositions impossible to ignore or forget however their similarly striking songs appeal to personal tastes. Enchiridion of Nightmares is the successor to their well-received 2017 album Storm but sees an almost completely new line-up alongside Sharone. It was an emotionally traumatic time for the songwriter; the departure of her band inspiration within the new album fuelled by the emotions she became embroiled in; Sharone admitting “Writing this album was therapeutic to say the least. Before I began writing, I had just gone through one of the most difficult changes of my life and I felt more alone than ever. I felt angry, scared, and hurt, and I took everything I could from the experience as a lesson that allowed me to grow as a person as well as a songwriter.

There is a rich cinematic and theatre-esque feel to Enchiridion of Nightmares which equally adds to its captivation; indeed its songs entwine an influence of horror movies, vintage and modern, into their personal nightmares. With just as richly layered and dramatic sounds to its exploration, the album is a persistent unveiling of new twists and shadows listen by listen. On our first meeting intrigue soaked the pleasure, through a couple more captivation, each subsequent listen leading to the inescapable bewitchment these words spring from.

The album’s piano nurtured atmospherically chilling Intro sets the tone alongside Sharone’s painting of words; its poetic scene setting the portal into the dark charms and cold breath of the following Graveyard. Once more the piano of Michelle Bailey captures ears and imagination as richly as the powerful and imposingly graceful tones of Sharone, both aligned to the infectious rhythmic manipulation of bassist Zach Barerra and drummer Anthony Hester. With sonic flames from the strings of guitarist Alex Goldsmith adding to the captivation, the outstanding track immerses the listener in dark magnetic theatre where whether calm and seductive or aroused and burning the senses, it engulfs the senses and imagination.

It is a rich success repeated across the release the following Haunted House instantly transporting ears and thoughts into its foreboding setting, anticipation looking through its piano built windows to find the melodic and infectious weaving of the band dancing to the song’s rhythmic swing. Again fluid passages of energy and emotional intensity flow through ears, the band’s multi-flavoured rock simultaneously gothic, symphonic, and melodic woven into another entrapment of creative suggestion and emotional release.

The initially punchier presence of Demons lures the listener into even darker depths and self-exploration, to places we have all felt in degrees. It is an intimate proposal with broad arms, an invasive entrapment of seduction and agitation brought with real craft and creative animation before managing to still be eclipsed by the gorgeous Music Box. An innocence lined melody caresses ears first with unsurprisingly intimation lining its charm before piano and guitar set their individual threads to the song’s vocal and musical reflection.

Elegant smoulders and fiery flames arouse the haunting might of Mirror Ghost next, emotive intensity and melodic drama soaking successor Zombie, both songs creatively and emotionally enveloping body and mind masterfully while Fire twists and bursts like its namesake within its dark carousel of temptation and seduction. The track is like a mercurial lover, coaxing and seducing before igniting in primal intensity and quite superb as it provides the inimitable pinnacle of Enchiridion of Nightmares.

Throughout the album the whole band simply impresses, spinning a web of dark fantasy and close to home intimation with the dexterous fingers of Bailey and the vocal prowess and majesty of Sharone steering the creative emprise, the power ballad Cursed another basking in the songwriting imagination and the quintet’s invention.

The final pair of Exorcist and Death of a Clown brings their own cabaret of invention; the first, featuring guest vocals by Hannah Maddox, an instinctively catchy yet thickly dramatic maze of shadow woven enterprise and macabre kissed seduction, its successor a melancholy spun serenade with beguiles as it haunts. Both leave ears captivated and the imagination engrossed and as the album just getting further under the skin by the play.

A unique tapestry of varied shadow bred rock, Enchiridion of Nightmares is a one of a kind adventure and tempting awash with emotional turbulence turned into cathartic beauty as compelling as it is magnificent.

Enchiridion of Nightmares is released via Syndicol Music on April 13th, pre-ordering now available @

https://sharoneandthewind.bandcamp.com/album/enchiridion-of-nightmares

https://sharoneandthewind.com/    https://www.facebook.com/sharoneandthewind/    https://twitter.com/sharone_thewind/

Pete RingMaster 11/04/2018

Copyright RingMaster: MyFreeCopyright

The Kut – Valley of Thorns

The Kut by Canz Rickman

There is no doubt that the recent release of new single Mind Games stirred up a fresh hunger in an already in place appetite for the eagerly anticipated debut album from The Kut, in us and a great many others. Truth is we had already been hooked on the band’s contagious punk grumble ’n’ roll through their previous EPs but the new track’s fresh adventure and imagination brought fresh intrigue and pleasure to devour. It ensured that Valley of Thorns was leapt upon with rude eagerness and the fuse to further pleasure lit.

The album brings live favourites, some of which already known from those previous encounters, and brand new creative provocations; a union providing one rousing and increasingly impressive, dare we say essential slab of rock ‘n’ roll. Within its striking body it roars and seduces, attacks and coaxes, all the time infesting and manipulating ears, body, and imagination in a way which reminds of punk rock in its seventies prime but is all modern fire and attitude.

The Kut is the alter-ego of multi-instrumentalist Princess Maha and live a sonically ferocious trio completed by the moodily infectious basslines of Stella Vie and the swinging beats of Diana Bartmann. With their reputation growing by the year since emerging in 2010, The Kut has exploded upon venues across the UK and Europe and earned rich praise playing festivals such as Download, Camden Rocks, Nice N Sleazy, Rebellion, Hard Rock Hell, Glastonbudget, and Strummercamp. Support and acclaim has been rife across the media, radio and written press alike, and last year saw the band become a finalist in the Rock category of the UK Songwriting Contest 2017 as well as being a current Semi-Finalist of the International Songwriting Competition. It has been a busy and successful time which the release of Valley of Thorns can not only escalate but nurture The Kut as a household name.

Produced by James LeRock Loughrey (Skindred, White Zombie, My Vitriol, Bjork, Def Leppard), Valley of Thorns kicks off with its lead single, Mind Games teasing the senses with its sonic mist before boldly strolling through ears with a Deftones meets Spinnerette like captivation. There is a haunting air and emotive depth to the song yet it has a virulent swing to its gait and rhythmic persuasion which has the body swaying and appetite greedy in no time. A track epitomising the seductive persuasion and nagging irritability in The Kut’s sound, it is pure mesmerism which has become stronger and more striking across multiple plays.

The album’s stirring start continues with the rebellious rock ‘n’ roll of Hollywood Rock N Roll, a virulent slice of anthemic temptation which had us bouncing and roaring in no time with its Babes In Toyland/ Spinnerette-esque stomp. The latter of the two is a band which often frequents thoughts across the album, its snarls and instinctive catchiness reminding of the band even in a sound which is pretty much distinct to The Kut.

The following No Trace swings in like a predatory temptress, grooves writhing around ears with an almost salacious touch as dark hues of bass growl and beats firmly strike. It is a scuzzy affair, the songs body a muggy grunge trespass contrasted by Princess Maha’s harmonic vocal caresses which offer their one lining of danger. It too has a haunted sigh to its croon which just enslaved attention before I Want You Maniac grips ears with initially a gorgeous low slung hook and subsequently its infection loaded swing. A tinge of L7 lines its tenacious enterprise, a whiff of Hole its encroaching shadows; the song a volatile sonically visceral encroachment just impossible to have too much of.

The blossoming diversity within The Kut’s sound is superbly shown in next up Love In The Rush Hour, the song a collusion of harmonic kisses and predacious intent. It strolls with the inherent swing which effortlessly springs from the band’s invention but aligned to a caustic glaze of guitar amid fuzz twisted riffs; an entangling of contrasts which is as compelling as Princess Maha’s vocal temptation who at times can be described as being like the UK Brody Dalle.

I Am Vain is dirty rock ‘n’ roll with attitude flowing from every pore but as naturally infectious as anything within the album; its punchy nature spawning its own unique hooks and skilled enterprise while the mellower climate of Alekhine’s Gun breeds a prowling volatility which erupts in sonic flames and vocal abrasions; its irritations and discontent erupting and spewing rancor before simmering down back into the song’s relative calm. Though neither track quite match the heights of those before them each leaves ears and appetite greedy for more whilst revealing new shades in The Kut’s adventure.

A calmer air is brought by X-Ray Eyes too though unsurprisingly it has an inbred growl which fuels bold rhythms and its suggestive character plus an increasingly addictive catchiness which has song and the body bouncing as the first contemplates and the second submits to its moody enslavement. Its success though is soon eclipsed by that of Bad Man. A multi-flavoured rock ‘n’ roll virulence, the track is like a boiling cauldron spiced by the punk juices of Bikini Kill, the dark rock ‘n’ roll of  Jess and the Ancients Ones, and the infectious agility of Sleater-Kinney; it all brewing up into another individual Kut intoxication.

The album is completed by Mario, a raw pop ‘n’ rock encounter as beguiling as it is aggressive. Throughout the album another band which at times comes to mind is seventies outfit The Photos through the pop hues open within The Kut’s sound. Here alone there are coincidental echoes in its infectious traits which only add to the fun.

Being already hooked by their earlier releases, we were always likely to head into Valley of Thorns with a favourable disposition but swiftly it outshone anticipation heights, the new songs alone suggesting The Kut is ready to grab attention from the biggest names in attitude soaked rock ‘n roll.

Valley of Thorns is released via Cargo Records / Criminal Records on 13th April in the UK and Europe and May 18th in the US.

Forthcoming Tour Dates

TBA April Album Launch Party, London

26.05 Strummercamp Festival, Oldham

27.05 Nice n Sleazy Festival, Morcambe

02.06 Camden Rocks Festival, London – 2pm The Monarch

30.06 Rat InFESTation 2, Facebar, Reading

06.07 Amplified Festival, Gloucestershire

07.07 The Cotswold Inn, Cheltenham

14.07 Wemstock Festival, Wem

22.07 Tramlines Fringe, The Royal Standard, Sheffield

2/3/4/5 August: Rebellion Festival, Blackpool

http://thekut.co.uk    http://facebook.com/thekut   http://twitter.com/thekutgirlsrock   http://instagram.com/thekutofficial

Pete RingMaster 04/04/2018

Dirt Box Disco – Immortals

UK punksters Dirt Box Disco have this enviable knack of unleashing something inescapably fresh with every record whilst retaining a trademark sound which makes the band one of punk’s most individual propositions. It is a success which is not only repeated with their new album but escalated for their finest moment to date.

Immortals is the sixth studio album from the Midlands hailing quintet and comes with more twists and turns than a swatter hunted fly in a cream cake shop. From song to song it romps with various shades in the spectrum of punk and rock ‘n’ roll; pop, old school, hardcore, and many more voracious hues embraced and given the DBD creative deviancy. It has proven near to impossible to settle on our favourite thirty DBD songs to date let alone choose a top ten but right now you can expect plenty from Immortals to feature in both.

Album opener Ready Or Not is a declaration of their return, though their ravenous live hunger ensures they are never far from a town near you and that they have more of the goodness and madness which has made the band one of punk’s essentials. It’s opening rally of beats and string of la-la-las signal prime DBD is here and eager to get us all bouncing and roaring. Manipulative catchiness has always been swift enslavement in the band’s sound and simply virulent within the first throes of the first song. The rousing incitement of vocalist WEAB.I.AM quickly works its persuasion, its ‘lock up your daughters ‘n’ hide the loot’ message a warning and promise of their insatiable sound and intent.

Its irresistible punk ‘n’ roll is followed by the just as ravenous pop punk lusting of Teenage Lovestruck Blues; a wonderful confusion of sixties, seventies, and modern punk and power pop honed into one swinging stomp ripe with riffs and hooks uncaged by Spunk Volcano and Danny Fingerz in collusion with a tangle of vocals and harmonies. As its predecessor, it unerringly hit the spot as too the melodic seducing of You’re The Only One For Me. It opens with the nervousness of a first date before hitting a confident stroll with the beats of Maff Fazzo the pump to its instinctive excitement of song and romance. Deadbeat Chris’ growling bass is a perfect contrast to the infectious double prong vocal lure, the song sharing gentle incitement fuelled caresses to stir eager involvement from those around and indeed listening.

A whiff of old school lines next up Caveman.com, the excellent feral stomp something akin to The Vibrators meets Turbonegro but distinctly DBD while Stop Shouting similarly taps into seventies punk for its core hook and riffery, draping it in the band’s inimitable anthemic rock ‘n’ roll instincts. Only the deaf could evade its physical and persuasive holler though even Fazzo’s incisive rhythms could probably stir their senses. Both tracks get body and spirit bouncing though maybe not as hungrily as 11th May or the following Mummy’s Boy. The first jabs and harries with beats and riffs, vocals commanding participation as the body throws itself around to the sounds while its successor flies through ears with seventies punk ferocity and DIY aggression to stir even greater involvement.

Done & Dusted is the kind of arousal you might expect The Pirates to come up with if starting out now, their own style of punk and rock ‘n’ roll an echo past of the contagion DBD seemingly effortlessly conjure. Like so many tracks it steps in, lays an instant creative glove on ears and has the body dancing to its whims before leaving at its height of temptation.

Box Of Tapes mixes hard rock and metal with its punk heart, the track a raucous compulsion for ears and appetite before Mirror Mirror shares its reflective croon with energy and tenacity, again hooks spun recalling some of punk’s glory days but revelling in their creator’s own modern uniqueness.

Rock ‘n’ roll comes no more masterful and incendiary than in the riotous charge of Box Set Addict; its raw urgency and attack infused with one delicious bassline and riveting sonic enterprise. The track is superb but still eclipsed by the album’s finest moment, Joyce’s Voices. The initial lure of haunted guitar is a tease of the unpredictable from which melodic infection winds around ears as WEAB.I.AM introduces the spirit guesting world of Joyce. Everything about the song is captivation, rock music which has body, voice, and appetite wrapped around its inventive fingers whilst reminding of people we have all come across in presence or legend.

Immortals leaves as sonically vociferous and rowdy as it began with firstly Pint Kamikaze Jaeger Smash, a sing-a-long bruising and stomping, and lastly through the attitude hurling Shut The Fuckin’ Door. The pair just epitomise the adventure and addiction brewed by the album, the first a lung bursting incitement with its companion a middle finger raising riot woven from various thick threads of rock ‘n’ roll and both reasons alone why DBD are so revered and greedily followed.

With every release Dirt Box Disco evolve, uncaging something new each and every time yet they never deviate from their insatiable honest sound. It is a skill and craft which sets them apart, keeping fans deliriously stomping and the band at the head table of punk rock.

Immortals is released April 27th via STP Records with an Ltd Ed vinyl version released July 28th.

http://www.dirtboxdisco.co.uk    http://www.facebook.com/pages/DIRT-BOX-DISCO/129060477115572    http://twitter.com/dirtboxdisco

Pete RingMaster 30/03/2018

Copyright RingMaster: MyFreeCopyright

The Tuesday Club – Art Is Magic

Trials and turbulences are no strangers to most bands but few as acute as that which impacted on British outfit The Tuesday Club and almost brought it to an end. Now though they are poised to release “unlikely album 3” in the shape of Art Is Magic, a slab of multi-flavoured rock ‘n’ roll which certainly gets under the skin in no time but an itch which just gets more delicious and addictive by the listen. It is their finest moment built across ten bold devilish tracks embracing old and new sounds with a unique imagination and their inimitable touch.

Formed in 2011 in Walmington-on-Sea, the renowned setting for British legendary comedy Dad’s Army, The Tuesday Club was an eight piece extravaganza of sound and creative revelry embracing the sights and mischief of their home town’s TV heritage. Their sound blossomed with the punk nurtured DIY attitude and inspiring sounds of the late seventies yet from day one cast its own aural image as proven by debut album See You Next Tuesday in 2013. It was a proposition though which was evolving from that first release and in open exploration by the band’s second album which was released as a quadrilogy of four EPs.

Devastation hit after the release of the first EP when drummer Terry Super Cockell tragically died. Though the band completed the album’s unveiling it was obviously without zeal; as they say the following EPs released in a ‘daze’, with the band falling to its knees and closing in on demise as members subsequently left. It was a challenging, life questioning and changing time which was not so obvious to the outside world at the time such the quality of those releases but maybe now best understood by checking out Reverse Family’s current project 365 days of songwriting, the band the solo project of TTC’s founding member Andreas Vanderbraindrain though he goes by Dermot Illogical for it. It is a still on-going colossal collection of tracks written across those times released as an EP a week for a year, many of its songs spawned from the darkness he personally fell into through those times.

TTC did survive though, its remaining members regrouping and finding a new breath and energy, stripping away “much of the old ‘glamour’ replacing it with a new urgency and directness.” Alongside vocalist Vanderbraindrain, the band now consists of guitarist Dave Worm, bassist/keyboardist Rogerio Marauder, and drummer Blairdrick Sharpely. As they suggested, the quartet has stripped back the TTC sound and brought forward its raw breath and instinctive imagination whilst broadening yet honing its creative flavourings and adventure.

Art is Magic opens with its title track, slipping in on a rhythmic coaxing until a lash of sound sparks a post punk lined stroll led by Vanderbraindrain’s distinctive tones. The song prowls the senses, keys simultaneously providing a melancholic yet mystique lined caress; it all uniting in an infectious swing and call to join its arcane devilry. Captivation was swift and only escalated as the track tempted and teased with its seventies lent enterprise.

It is a thickly potent start to the album keenly backed by the poppier rock exploits of Always taking things too far. It bounces around like a mix of Athletico Spizz 80 and Mammal Hum, a fusion of new wave and art rock which poked the appetite initially, whetted its lips further before thereon in fully teasing eager greed by the listen. It is a trait of the album as a whole, making an attention grabbing first impression but spawning lustier reactions by the play though some songs like Soulless City Syndrome had us instantly drooling. Its opening noir tinted intimation simply nurtured intrigue, the following electronic and tenacious punk ‘n’ roll of the song sparking the passions as it cantered lustfully through ears. The best track on Art is Magic, it twists and lures like an Adicts meets Zanti Misfits inspired dervish wearing a cape woven with threads of The Monochrome Set for one unique and gorgeous encounter.

It is a hard task to follow such a pinnacle yet Fruit Salad Girl with its spiky pop rock makes relatively light work of it, the infection loaded romp a nagging rock ‘n’ roll roar which had the body bouncing and vocal chords blaring in no time before Drowning My Sorrows allowed a breath to be taken with its folk pop saunter. Not that it is a dormant on the catchiness, its easy going but boisterous swing leading feet and hips away like a collusion of The Farmer Boys and Swell Maps.

Put your Faith in what you can control similarly has a laid back but tenaciously catchy gait and demeanour, again the band’s lo-fi instincts breeding a richly appetising temptation as rhythmically persuasive as it is melodically and lyrically sharp. Thus eager involvement was swift and as forcibly recruited by the bolder rousing punk ‘n’ roll of We are the Team, a song which is the band announcing they are undefeated and returning with new vigour and invention whilst creating a personal declaration for all to embrace.

It would be a shock not to have the scent of early Adam and The Ants somewhere within a TTC encounter, Let the kids run the country the irresistible moment within Art Is Magic as the band source their own earlier traits and another influences’ for a greed brewing slice of aural virulence before the darker tone and shadows of Rock and Roll’s not a science infests ears and psyche like a viral infection you cannot shake off, or in this case want to. The song reminded of short lived Welsh punks The Table at times but again TTC spin a web of sound and addiction all their own.

The album concludes with Who and youz army, a rhythmically tenacious and infectiously barbed slice of punk rock which would have aroused air punching crowds back in the day just as now. Its hooks are familiar yet inescapable and its character old school with the irritability of today; ingredients ensuring Art Is Magic goes out on a major high.

Listening to their album just hits home what we would be missing without The Tuesday Club and how lucky newcomers will be now discovering them through such a glorious romp.

Art Is Magic is released May 6th with its launch party the same night @ The Lower Red Lion in St. Albans pre-ordering available now @ https://theperfectpopco-op.bandcamp.com/album/art-is-magic

http://thisisthetuesdayclub.co.uk/    https://www.facebook.com/thisisthetuesdayclub/   https://twitter.com/thetuesdayclub1    https://twitter.com/Vnderbraindrain

Pete RingMaster 30/03/2018

Copyright RingMaster: MyFreeCopyright

Nale – Death, Skulls, Satan

Driven by infection loaded scowls, hungrily rousing sounds, and rock ‘n’ roll roars, Death, Skulls, Satan is one of those encounters you not only want but need to set the day swinging. The second album from Swedish outfit Nale, it is a rowdily explosive, physically manipulative stomp echoing by all accounts the band’s renowned live energy and prowess.

Formed in 2007, Stockholm hailing Nale released their self-titled debut EP that first year with its successor, From Shit to Salvation uncaged two years later. Critical acclaim met the band’s first album in 2012, Ghost Road Blues recorded with producer Lawrence Mackrory (F.K.Ü, Darkane). The Zombieland EP since has only pushed their growing reputation as too a potent live presence which has seen the band playing the likes of the Getaway Rock Festival, Sabaton Open Air Festival, and Wacken Open Air as well as headlining their own tour in India. Death, Skulls, Satan is Nale’s fusion of rock and metal in full holler and at a whole new level of adventure and persuasion, one of those encounters you just cannot tuck away and move away from.

Slither kicks things off, immediately gnawing and inflaming the senses with its instinctive swing and prowl. Voracious rock and grooved metal unite, riffs harrying and rhythms biting as the track rips through ears. There is a great Static X essence to the Pantera meets King Hiss like song, more so from the vocal contagion of Mathias Blom and a flavouring which pursues the appetite across the multi-hued release. The track continued to writhe and trespass, quickly getting under the skin and thereon worming itself deeper by the second.

The excellent start is forcibly backed by the raw and concussive antics of Filth, the track a predacious confrontation crawling across the senses with ill-intent in its devilry. A touch of Devildriver lines the beast, the song almost leering and drooling over the listener with its nagging riffs and salacious grooves; guitarist Tomas Åkvik laying down sonic pheromones. Its primal temptation moves over for the blues lilted, stoner dusted Dead Man’s Song. As its predecessors, it is a web of grooved and rhythmic tenacity merging the familiar with wholly fresh imagination and invention. It did feel the least original proposition within the album yet it certainly emerged as one of the most captivating.

The album’s title track is contagion, feral rock ‘n’ roll as irritable as it is virulent with Blom a rascal ringleader to the inescapable rhythmic swing of drummer Anders Ljung and the snarling mischievous bassline of Johan Risberg. With Åkvik similarly whipping up spirit and imagination, the track is superb leaving the body breathless and spirit elevated ready for the heavy weighted arousal cast by Exit. Ljung pounds the senses like there is no tomorrow but with purpose and craft whilst Risberg’s bass growls with carnivorous intent. Riffs in turn match its antipathy as Blom crawls over the damage caused; the united proposition another fiercely catchy intrusion with a tinge of Powerman 5000.

Blues and muscle strung hard rock colour the following No Escape, it another adrenaline driven, inventively woven escapade while for fifty odd seconds Drive power drills into the senses with punk discontent and grooved metal toxicity. It is a glorious assault just far too short though its lack of length is more than compensated by the ear entangling, groove twisting seduction of The Black. Dark and sinister, the track writhes over the listener fingering every weak spot until submission like a flirtatious grim reaper.

Hell’s Wrath has the body back bouncing within seconds after, rhythms and grooves alone enough to spark eager participation with Smasher after leading the imagination into dark contemplation. The first just barrels through ears with its voracious rock ‘n’ roll whilst the second takes a more considered attack weaving an array of flavours into its tapestry of temptation.

Final track Pigs mixes both assaults, flying at the senses at times and stalking ears in between but all the time teasing and inflaming an appetite for bruising rock ‘n’ roll. It is a fiery conclusion to an album which ok maybe lacks true uniqueness at times but excites ears and ignites the spirit from start to finish.

Death, Skulls, Satan is out now via Black Lodge.

http://www.naleband.com/   https://www.facebook.com/naleofficial/   https://twitter.com/naleofficial/

Pete RingMaster 29/03/2018

Copyright RingMaster: MyFreeCopyright

StormWolf – Howling Wrath

StormWolf is a band from Italy who has just released their debut album in the shape of Howling Wrath. Though formed in 2014, the release will be the first real introduction to the Genoa heavy metallers for most and makes one powerful statement even for those of us without a natural infinity for their chosen genre.

Starting out as a studio project formed by vocalist Elena Ventura and guitarist/principal songwriter Francesco Natale, StormWolf eventually found its way to current line-up of bassist Francesco Gaetani, guitarist Dave Passarelli and newest member in drummer Tiziana Cotella alongside the founding pair, the latter joining the band last year. Fusing classic and fresh heavy metal with essences of the blues and their own individual imagination, the band released Swordwind in 2015, an encounter primarily destined just for labels, radio, fanzines etc. It was a well-received encounter followed by StormWolf earning the opportunity to open for to Lacuna Coil and Necrodeath among their live successes the following year. With their current line-up in place, the band set about creating their official debut, Howling Wrath last year with its release coming through Italian label Red Cat Records.

It opens with The Phoenix, the track rising up through stirring winds with immediate sonic flames and enterprise. Ventura swiftly commands attention and impresses with her vocals, though the amount of words she tries to get into certain lines of the chorus is maybe too much a mouthful but no issue, while Natale and Passarelli weave a similarly magnetic web of sound and craft around her. With firm rhythms creating a thick and alluring spine and Natale further conjuring on his guitar, the track gets the album off to a potent and captivating start.

Winter of the Wolf is just as eager to engage the listener, riffs and rhythms climbing and rapping upon the senses driven by the rapacious energy inspired by the guitars. There is a caustic edge to the track too which only adds to its quick appeal but tempered by the melodic tendrils and twists which bring an array of worldly spices. As it marches through ears or tenaciously smoulders on the senses, the song seals keen attention with Ventura again escalating the persuasion.

Next up, old school hues line Marathon, band inspirations such as Van Halen and Judas Priest an easy guess as the song boldly strolls with familiar flavours and blossoms around them with StormWolf’s own imagination while Fear of the Past mixes up its attack and adventure with zeal and invention. Both tracks hit the spot though maybe not as fully as Swordwind which throughout had bodies bouncing and vocal chords indulging as its anthemic battlefield unfolded.  An unexpected slip into calm and melodic elegance only added to its success, that and the already notable prowess of Ventura, Natale and co.

Through the blues scented, hard rock lined Lightcrusher and the riveting instrumental weaving of Thasaidon, the album only tightened its hold, the second of the two especially outstanding while Soulblighter brings a feral almost primal graining to its part predacious fully compelling trespass. Though not quite matching the heights of many before it, the track offers moments of real magnetism.

The final trio of All We Are, One False Move, and Me Against the World unleash their own highly agreeable lures, the first a Maiden-esque fuelled anthem, its successors respectively a melancholic romance of a ballad moving in a funereal march and a ballsy rock ‘n’ roll romp. The latter pair both are bonus tracks upon Howling Wrath and each a Lizzy Borden cover, the penultimate song one of the major highlights of the album.

It is easy to hear why StormWolf is beginning to draw broader acclaim and attention their way with more surely to follow through Howling Wrath. As mentioned, heavy metal especially classic does not exactly spark real excitement here but the Italian’s album was full enjoyment from its first to last breath which says it all.

Howling Wrath is out now via Red Cat Records /7hard Records.

 https://www.facebook.com/Stormwolf.it/

Pete RingMaster 29/03/2018

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