Death & The Penguin – Anomie

Four years ago contemplating and feasting on their introduction via the Accidents Happen EP, we readily declared it “one of the most exciting entrances in a long time”, further intimating that “Death and the Penguin is the next big and important thing within British rock music.”  Even with the release of the Eine Kleine Granatenmusik EP two years later that emergence turning into national attention has seemingly stalled. You can sense though a busy band they are not ones to rush things or just release something unless it is exactly at its prime. That is why their highly anticipated debut album, Anomie has brought intrigue and fears. Extended time can diminish the potency of even the finest things but certainly not in the case of the imagination and sound of the UK outfit.

Described as “off-kilter alternative rock from London”, Death & The Penguin has a sound which teases but never accepts real tagging. At times it is avant-garde in its nature, in others experimental alternative/indie rock akin to a blend of Young Knives and Baddies. In other moments it blazes with an At The Drive In like dissonance yet as proven across the twelve compelling tracks of Anomie it is only unique to the quartet of Tobias Smith (vocals/guitar), Andy Acred (bass/vocals/keys/electronics), Chris Olsen (guitar/vocals/keys), and Phil Gadsden (drums).

The fascinating radiance of Hospital Song opens things up the song a wistful embrace of melancholy and haunting beauty shared by keys and voice within a more inharmonious breeze. It is a startling start to the release, bold and brave but undoubtedly magnetic as it leads to the waiting hands of The Calving Shuffle. Simply sensational, the track has ears and appetite on board immediately with its rhythmic shuffle, guitars weaving their suggestive threads in turn as the darker pulse of the bass groans while its political scything gives extra edge to vocals and its tone, as too more post punk hued sonic scrapes and the gang arousals.

A major highlight of the album, it is quickly rivalled by the angular twists of Kill Saatchi where warm melodies and enticing harmonies wrap its more untamed dynamics. Addressing the insidiousness of adverts and subservience to them, the track firmly nudges the imagination as it coaxes the body with its mercurial presence before Space 1998 has both rocking. One of two tracks taken from that first EP, and it has to be said both thoroughly welcomed and deserving of their place with the new offerings, the song is a spatial serenade with flirtation in its melodic web and tenacious energy in its spiral of craft and enterprise. Having a vocal hook-line which is just irresistible only adds to its majesty.

Colour In Me is next, its initial shimmer punctured by the rhythmic dexterity of Gadsden is coaxing of the richest order and soon backed by just as magnetic tendrils of guitar and Smith’s always gripping vocals. For all its virulent contagiousness volatility simmers in its depths, rising up with restraint from time to time to bring a great contrasting grittiness to the track while Misha Lives presents its magnetism through a slow but catchy stroll amidst electronic teasing and atmospheric drama. The song is a collage of flavours but all merged without clear definition into its post rock/electro/pop croon.

The folk gentleness of Driftwood (God Loves a Bird of Prey) has thoughts slipping away on its evocatively elegant breath, an acoustic flight brought back to earth by the ever addictive roar of Strange Times. The second from Accidents Happen, the song just grips from its first rapacious moment. With post hardcore hinting discord erupting across its melodic cacophony and those previously mentioned Young Knives essences colouring its character, the track continues to be manna to our ears.

Just as potent though is the truly manipulative Abyssinia. Rhythmically and harmonically it lured subservience to its suggestive heart and prowess within moments, tightening its persuasive hold by the second and each creative turn as at its core a wonderfully dark nagging bassline drives and stirs all of the adventure.

The final trio of tracks ensure the lofty heights of the album never the dip, the first of the trio, Leatherface, setting a peak of its own as sonic threat and rhythmic predation colludes with instinctive catchiness and lyrical trespass of emotive scars. Being suggested as a future single, the track is glorious epitomising the individual alchemy of the band’s songwriting, imagination, and adventurous sound.

Was It Kindness? takes on the challenge of following such a gem with its own untethered imagination where keys and voice tempt and taunt throughout as an inner crescendo bubbles up and eases, eventually bursting into a relatively calm pasture of enterprise and not the rousing romp expected; a deceit which works a treat leaving the evocative ballad of Bones to enjoyably conclude one thrilling release.

In some ways such the excellence of Accidents Happen, the quality and adventure within Anomie is not a surprise but everything about the album is bigger, bolder, and so much more irresistibly unpredictable…Another of the year’s truly essential explorations for us.

Anomie is out now and available @ https://datpmusic.bandcamp.com/

 

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Pete RingMaster 15/08/2018

Copyright RingMaster: MyFreeCopyright

K-Man & The 45s – Self Titled

Pic DannyDonnovan @bucketlistmr

This month sees the new romping stomping album from Canadian outfit K-Man & The 45s uncaged, a release which had the body bouncing and spirit roaring like a teenage boy after his first sexual adventure. The band creates a contagious proposition from a fusion of ska and rockabilly spiced classic rock ‘n’ roll with plenty more involved, a recipe providing their finest feast of sound yet within their self-titled full-length.

Hailing from Montreal, K-Man & The 45s has been a constant and acclaimed presence on the Canadian music scene; their records luring keen praise and support and live presence just as rich plaudits and a matching reputation. The band has shared stages with the likes of The Slackers, Big D and The Kids Table, The Satellites, The Original Wailers , The Planet Smashers, The Brains and so many more as well as graced and ignite a host of festivals across their homeland over the years. It is easy to suggest that their new album is their greatest moment yet and even easier to eagerly push it towards the attention of ska, punk and rock ‘n’ roll fans alike with the band embracing the inspirations of bands such as The Specials, The Beat, The Ramones, and The Cramps among their influences though it is fair to say K-Man and co have successfully nurtured their own individual character of sound as in thick evidence across the new record now getting its deserved push via Stomp Records.

Opener They Gotta Know had us hooked with its first breath, a classic rock ‘n roll guitar lure entangling ears and appetite before the song leaps into its punk rock swing. The jangle of Kman’s guitar flirts as the beats of Brian Smith arouse against the melodic dance of an organ; a potent enticement only enhanced by the dancing flames of Josh Michaud’s trombone and the trumpet of Seb Fournier. Bouncing along to the track’s body and stroll is inevitable, we can testify to that, as the song gets the album off to a rousing start.

The following Poppy’s Back In Town is just as manipulative, its rowdier rock colluding with the animated canter of keys and guitar with, as in its predecessor and every song, Kman’s vocal mischief leading the fun. Lively melodies and lustful hooks line its boisterous stroll before I Don’t Mind wheels in with an instantly appealing breeze easily reminding of The Beat. The band soon adds its own distinct colour to the song, adding a vocal backing in which participation is simply unavoidable. Smith’s clipping beats just get under the skin too, the brass n turn into the passions as the track lustily manipulates body and spirit.

Rudy Don’t Smoke equally had the body dangling from its virulent strands of sound and enterprise; its ska and punk collusion a devilish puppeteer with a glint in the eye of its imagination before Piece Of The Action bursts in with drama and intrigue which would not be out of place in the theme to a sixties TV spy/private detective show. With a Department S-esque hue to its theatre, the song is more than a match for the lofty heights of its predecessors as too the cosmic adventure of Space Thriller. Bringing the atmospheric prowess of The Specials into a surf rock spiced ska saunter the track has the same level of drama and intimation as the last song, its story a sultry seduction of lust and danger descriptively shaped by brass led enterprise.

Through the punk ‘n’ roll/ska bred stomp of Road Rage Randy and the fifties rock ‘n’ roll seeded ska spin of This Moment, pleasure only escalates with the album, each adding a new shade of sound and mischief to its party before a great cover of The Kingpins’ Party in Ja joins the fun. Giving its reggae nurtured catchiness a Ruts like dub makeover the track pulsates on the senses as again the body is lost to an instinctive bounce.

Next up is Johnny Thumbs a track which maybe did not inflame the passions as others around it but still made for the most enjoyable playmate before the outstanding Far Away Eyes Come Home simply became a love affair with ears. From its revolving hooks and melodic enticement to vocal and rhythmic invitation, the song devoured inhibitions.

The album finishes with another gem in What’s Inside A Girl, a glorious garage punk and rockabilly spun tease with a healthy psychobilly and surf rock glaze led by yet another delicious bassline among so many across the album from Frankie amidst the perpetual rhythmic incitement of Smith. The song epitomises the craft, sound, and contagious exploits of K-Man & The 45s perfectly whilst at the same time sealing its best track moment though that is debated with each and every listen.

K-Man & The 45s is a band which deserves the biggest attention within the ska, punk, and simply great rock ‘n’ roll world; all the reasons are in their new album so no hanging around go have fun.

Recently the sad news that drummer Brian Smith has terminal pancreatic cancer was announced and a Go Fund Me page set up to support him and his family. To help out this great musician and friend to so many go to https://gofundme.com/support-brian-our-brother

The K-Man & The 45s album is out digitally and on vinyl now @ https://k-manthe45s.bandcamp.com/album/k-man-the-45s

 https://www.facebook.com/kman45/   https://twitter.com/kmanandthe45s

Pete RingMaster 14/08/2018

Copyright RingMaster: MyFreeCopyright

From Ashes Reborn – Existence Exiled

An introduction which is little short of striking, Existence Exiled is the debut album from German melodic death metallers From Ashes Reborn. Its eight dark yet sonically dynamic tracks is the announcement of a new emerging force in the extreme metal realm, a band which if surprisingly not now will surely lure major plaudits and attention whilst building on this richly potent first album.

With its members coming together from across Germany, the Wittlich based quintet emerged last year. Creating and honing their Scandinavian spiced melodic death metal bred sound, the band eventually entered Klangschmiede Studio E with producer Markus Stock (Empyrium, The Vision Bleak, Sun Of The Sleepless) to record Existence Exiled. They have come out with a release which embraces the familiar course of the genre from its early days but more so breeds its own invention and individuality within a rousing trespass further ignited by ravenous blastbeats within a rhythmic attack which savages as it incites. Add to that provocative melodic enterprise and intimation alongside a web of hooks which greedily linger and you have an encounter which commands attention.

Existence Exiled opens with the brief instrumental intro of The Onerous Truth, a piece from its initial lure of keys amidst a dark portentous air that easily lured anticipation and the imagination into its and the following depths of the release. With rich emotive strings adding to its lure, the track leads straight into the rapacious jaws of Fight For The Light. The guitars of Dirk and Sebastian create a wind of invasive temptation as the rhythmic touch of bassist Tobias and drummer Thomas growl and bite respectively. To this swiftly compelling surge, Ronni’s vocal growl provides its own invasive potency, his bearish tones a blend of persuasion and threat. Evolving its melodic and adventurous landscape, the song leaves predictability at the door, its calmer eye of the storm as magnetic as its surging inhospitable winds.

An array of varied flavours adds to the creative drama, blackened hues joining death and melodic endeavour; a feisty mix across the album which is just as compelling within next up Follow The Rising. Grooves spiral across its turbulence, their net of temptation easy bait for keen attention as too the melodic weave which shapes the track’s expanding invention. The craft of the individuals within From Ashes Reborn is also impressive magnetism with the solo touch of Dirk a rousing flame against the harsher but equally as potent draw of voice and rhythmic intrusion.

Across the stirring presence of The Essence Of Emptiness, with its opening melodic seduction as powerful a coaxing as anything within the album before voracious ferocity descends upon its engaging enterprise, and the carnal animus of Infected, the album strengthened its thick hold on ears and appetite. Both tracks are a captivating fusion of raw hostilities and melodically lined temptation with the second especially rampant in its blend of the familiar and new.

Suspense soaks every note and moment within the release and especially tracks like its title track which follows, the guitars stealing the adventurous limelight but skilfully and imaginatively backed by its rhythmic drama and the inhospitable yet enticing scourge of vocals while Homicidal Rampage has a bloodlust to its contagion which left us wondering whether to run or feverishly embrace its creative and emotional rancor; the latter winning out.

Completed by the melancholy fuelled, tension lined beauty of The Splendid Path, an instrumental which sets up a whole new adventure for the imagination whilst concluding the album’s own, Existence Exiled impresses from start to finish. At times it does not offer the most unique moments but among others which openly are, but every one, each twist and turn is an enthralling and challenging pleasure from a band which has all the weapons of imagination and craft to make a big impact.

Existence Exiled is out now @ https://thesplendidpath.bandcamp.com/releases

https://thesplendidpath   https://www.facebook.com/thesplendidpath/   https://twitter.com/splendidpath

Pete RingMaster 14/08/2018

Copyright RingMaster: MyFreeCopyright

Smash Fashion – Rompous Pompous

With a mere but rather tasty single in between, it has been a long wait for the successor to their highly enjoyable and highly praised third album Big Cat Love but finally US rockers Smash Fashion have unleashed its successor in the shape of Rompous Pompous and a devilishly mischievous and captivating proposition it is.

Eagerly anticipated, the album lives up to its excellent title with eleven slices of multi-flavoured rock ‘n’ roll which romp and stomp in a way only the La quartet can. As ever the band feeds on rich rock essences from across the decades; everything from fifties rock ‘n’ roll, sixties mod and psychedelia through to seventies punk/new wave aligned to eighties glam and hard rock going to flavour a sound just as spiced by subsequent years and modern enterprise. As its predecessor, Rompous Pompous is an adventurous and lustily fun stomp with the band but with even keener diversity and a sharper definition to its writing, performance, and character.

It opens up with Can’t Take You Anywhere and straight away a potent hook with something more than familiar to it keenly entices. It is just a lure though into the song’s own invention with the vocals of guitarist and band founder Roger Deering swiftly to the fore. Its classic rock breeding is littered with new wave and seventies pop rock flirtation, the tenacious rhythms of bassist Scarlet Rowe and drummer Reijo “Repo” Kauppila driving its boisterous stroll as lead guitarist Lloyd Stuart Casson weaves real temptation within the just as magnetic tease of keys.

It is a potent start to the release ensuring attention is firmly on board and equally strong as the following Soft As A Rock (Helium Head) takes its place with an air of Cheap Trick meets The Motors to it. Its infectiousness is swift and eager as hooks join grooves in casting a net of catchy enterprise around Deering’s ever alluring presence while within the album’s following title track the band pulls the listener in with a fifties rock ‘n’ roll nurtured saunter with a delicious B52’s-esque lilt to its blossoming revelry. The track is superb also hinting at the respective glam/art and hard rock of bands like Sparks and The Tubes as it caught ears and imagination.

Wolves Of Wonderland brings a blues flavouring with its steady hard rock canter next with not for the first time just a sniff of Queens Of The Stone Age to the melodic graining while Teenage Demon is a punk ‘n’ roll courting holler with a garage rock lining which swiftly had feet and neck muscles rocking. Again there is no missing a seventies/eighties seeded nature to the excellent track; a regular ingredient in the increasingly individual Smash Fashion sound.

Another putting a firm hand on best track honours is the Bolan-esque Proper Way To Eat A Muffin, its flirtatious almost salacious swing aligned to classic rock ‘n’ roll equipped with power pop boisterousness and lyrical devilment. Quickly and unerringly hitting the spot it had the body eagerly swinging before Runs In The Family adds further diversity to the release with its pop, punk and melodic rock collusion with a great resemblance to The Vapors to it. It too is one of the major highlights within Rompous Pompous closely matched by the Bowie kissed Tender Was The Hook, a song also embracing a sixties tone with a Hollies like scent to it.

Through the likes of the blues rock sprung Ugly Thugly and Gentle Hand with its slightly dirty melodic radiance around one irresistible hook, the album continued to light up ears even if neither song quite lived up to the heights of those before them. Nevertheless each left thorough enjoyment in their wake leaving the emotive balladry of Smiles & Daggers to bring the album to a fine close. Beginning with drama carrying piano with big shadow clad rhythms in close company, an entrance reminding of a certain Boomtown Rats classic, the song is a magnetic example of the more mature and bolder songwriting within the album. As all songs, deeper into its body you go more the different flavours and twists emerge to please and fascinate.

And that applies to Rompous Pompous as a whole, a release which gets you going from the off and just gets more intoxicating and infamous by the listen, much like Smash Fashion themselves.

Rompus Pompous is out now via Electric Pudding Recordings across most online stores.

 http://www.smashfashionmusic.com/   https://www.facebook.com/smashfashion

Pete RingMaster 14/08/2018

Copyright RingMaster: MyFreeCopyright

Slimboy – Sail On Sailor

Returning from a seven year or so long hiatus n 2017 re-energised and with an even keener touch in writing and sound, Swiss punks rockers Slimboy quickly released their album Sail On Sailor. Now their fifth full-length gets a deserved re-release through Niro Music; a new push sure to draw host of new eager attention the way of the Basel-based trio.

Formed at the start of the millennium, Slimboy has released four praise luring albums, been signed to a major label, toured the world, and strongly hit the charts in their homeland. The band’s break between 2009 and 2016 saw its members busy with other projects but at the same time it seemed to fully refresh and give new energy to their Slimboy heart. Off of a recent tour with The Ataris, the threesome of vocalist/bassist Joel Bader, guitarist Sven Wallwork, and drummer Silvio Spadino has now re-thrust their latest album at ears and the Mike Herrera (MXPX) recorded offering more than warrants the new impetus with its eclectic body and intimately emotive heart; its new outing coinciding with the outfit’s European tour with US pop-punkers, MEST.

Album opener Falling Apart instantly and firmly coaxes ears with the solo lure of Bader’s vocals. In no time though the whole band jumps in with scything rhythms and boisterously enticing hooks and riffs. A cutting response to being wronged, the song continues to attack and roar, every passing half minute bringing new twists and imagination. It is a great start with an air of familiarity which does it no harm and is swiftly backed up and matched by the just as potent Heart’s All Gone. With something of US outfit The Cooters about it, the track immediately hits its prime roar, adrenaline and affirmation of feelings fuelling its thick and bold enterprise.

Inspired by a fan at their first show after returning, Let It Go is an infectious stroll with a web of hooks which just relentlessly hit the spot. Bass and drums create a tasty nagging as persistent as it is mercurial in its attack whilst guitar and vocals colour the heart of the emotion bred encounter. Embracing a weave of rock bred flavours the song makes it easy for ears and personal thoughts to be involved with its presence before the melancholic but uplifting Sorrows fully grabbed attention and fresh plaudits.

With pop nurtured virulence to its lively bounce Whatever had keen reactions animated next while Believe In You shares its own individual pop and rock collage as its acoustic beginnings evolve into a rich holler. The first of the two is a re-recorded track from one of their earlier albums and relishes the new creative colour given to its pop punk. Its successor was inspired by the Beach Boys song Sail On Sailor which also influenced the album’s title and just hooks ears and appetite with its imaginative body and mix of flavours.

Downfall is another simply contagious track which got under the skin to take favourite track status, it too holding a shade of familiarity to its inescapable and memorable persuasion. It was an album highlight easily matched by the more feral blaze of Freak; the song involving metal and hard rock hues in its riveting punk drama.

Concluded by the ferocious Hagfish-esque stomp of So-Called Unity and the personal emotion fuelled Life/Death (Ghost Of You), the album ends on a lofty high. For us it is at its very best across the last quartet of songs but from start to finish the album thoroughly engages and pleasures. If an album was deserving of a second chance at enticing a far bigger audience, this is it.    

Sail on Sailor is available now via Niro Music.

Upcoming Tour Dates with MEST:

August 14 – UK, London, Underworld; 15 – UK, Glasgow, Broadcast; 16 – UK, Scunthorpe, The Lincoln Imp; 17 – UK, Bridgewater, Cobblestones; 18 – UK, Bolton, Alma Inn, 19 – UK Stafford, Redrum; 20 – UK, Sheffield, Corporation.

http://slimboy.ch/   https://www.facebook.com/slimboyband/

Pete RingMaster 13/08/2018

Copyright RingMaster: MyFreeCopyright

Matty T Wall – Sidewinder

It is easy to get the feeling that Matty T Wall is a well-respected and keenly supported artist in his Australian homeland, his new album carrying all the intimation and just as simple to expect its fine body of songs to push the man towards far broader international attention. Sidewinder is an imaginative and inventively accomplished proposition bred in the blues and its roots but Wall is an artist also unafraid to embrace an array of other flavours modern and past. This makes for a release which captivates and surprises with regularity; a record which is a real pleasure to join.

With bassist Stephen Walker and drummer Ric Whittle alongside, Wall creates a tapestry of genres and styles with his openly creative and individual playing. His guitar spins tales as potent as his voice, evidence immediate in album opener Slideride. The instrumental in seconds had ears gripped, the fuzz of guitar and tease of keys provided by Gordon Cant instant devilry inciting body and imagination as the track’s devilish stroll erupted into life. Flames of horns from Steve Searle just added to the manipulation, the song a swinging rousing slice of enterprise kicking the album off in magnificent style.

It is a start kept lively and potent by the album’s following title track. Blues and hard rock unite in a song which swiftly has the body bouncing, Wall’s vocals a rich ingredient in its growing engagement with ears. It has a traditional air to its flavouring but united with bold enterprise from modern imagination providing something unashamedly familiar but keenly fresh.

As suggested earlier, there is an eclectic character to the album no better epitomised than by the following Something Beautiful. A cover of the Troy “Trombone Shorty” Andrews track it is a glorious slice of pop shaped rock which just radiates temptation from the magnetic vocals to the uncomplicated but flirtatious tease of guitar and the understated but potent moody hues of the bass. It is a superb rival to its predecessors for best album song and in turn matched by another cover in Wall’s version of Sam Cooke’s Change Is Gonna Come; itself a firmly captivating take on a great song with the strings of Jonas Petersen an added pleasure.

Can’t Stop Thinking shares its seductive prowess next, the fiery vines of Wall’s guitar compelling heat to the darker stroll of the bass and the crisp raps of Whittle’s beats. Cant’s organ is a link between the shades, a suggestive glaze and temper to the song’s electric jazz fire. From its relative calm, the rock ‘n’ roll of the excellent Shake It had the body bouncing with ease straight after, its blues intoxication a boozy but defined incitement firmly rivalled by Going Down. The latter is a version of the Don Nix classic originally recorded by Moloch in the late sixties. It is a song given numerous outings by an array of acclaimed artists over the years and Wall’s ballsy rendition ranks high among them.

The jazzy flirtation of Aint That The Truth is a mellower but no less enticing turn in the album’s adventure; a song which lured participation in voice and hips as easily as it had ears hungry for more. Its summery swing was unadulterated temptation setting up the appetite perfectly for the rawer antics of Sophia’s Strut. Whether it was or not, the instrumental feels like an improv slice of fun taking the listener into the charged surroundings of an old school blues club, the track rocking out with Wall’s open craft and its inherent devilment.

The groove woven Walk Out The Door is an even more compelling moment in the release with its fusion of funk, jazz, and blues rock a spark to losing inhibitions as another pinnacle within Sidewinder emerged with style and relish. Bred from essences drawn from across the decades, the track swiftly proved addictive on its first listen before compliant ears were just as drawn by the intimate balladry of Leave It All Behind and its delicate melodies, evocative vocals, and the melancholy draped magnetism of strings.

The album concludes with a cover of the Chris Thomas King song Mississippi Kkkrossroads, Wall adding to its hip hop/electric blues credentials with his own rock ‘n’ roll instincts. It is a great end to an album which has increasingly impressed and aroused. Matty T Wall might be a new name to a great many outside of the Australian rock scene but not for much longer if Sidewinder gets the attention it undoubtedly warrants.

Sidewinder is out now via Hipsterdumpster Records across most online stores.

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

Pete RingMaster 13/08/2018

Copyright RingMaster: MyFreeCopyright

Static Fires – Thirteen

Static Fires have a name which seems so familiar that we were sure we had covered them before here but could find no evidence to back up that thought though it still lingers. Similarly their sound has a roar and character which feels like an existing friend but with no definition to exactly why and to be honest neither thing is particularly important anyway as the Welsh outfit has provided one richly enjoyable and enterprising offering in the shape of debut album Thirteen.

Hailing out of Swansea, Static Fires emerged in 2014; formed by old school friends in lead vocalist/guitarist Sam Randles, lead guitarist/vocalist Jack Clements, bassist Tom Gibbins, and drummer/vocalist Jack Piper. Inspired by the likes of Red Hot Chilli Peppers, Foo Fighters, and Kings Of Leon, the foursome create an alternative rock sound which indeed has led to comparisons to those prime influences but as Thirteen shows, it has a certain voice of its very own too.

The album quickly grabbed ears and keen attention with opener Rollercoaster, its opening caress of guitar a calm and suggestive invitation from within which the animated bass of Gibbins strolls bringing equally tenacious riffs and melodies from the guitars. That lining of familiarity to the band’s sound is a quick presence as the song’s swing kicks in but only adds to the enjoyment and rousing prowess of the encounter. Keenly infectious and rhythmically manipulative, the track is a dynamic start to the album, one which is maybe never quite surpassed thereon in but certainly rivalled a fair few times.

New single Black Velvet is one harrying its stature, the track a funk rock infused stroll with muscular linings to its twists and turns. Clements’ vocals, as in the first, impress and entice within an enterprising weave of sound cast over ears. A blues breath adds to its inescapable lure, the song swift and constant magnetism before Hit the Gas revs up and cruises in with thick rhythms and rousing grooves. Within seconds it had us rising to our feet as it proved itself one of those major rivals for best track honours with its virulent adrenaline fuelled, sleekly bodied rock ‘n’ roll.

Return is next, evolving from a mellow almost melancholic suggestion to a raucous blaze though its fire in heart and sound still comes with enterprising restraint while Like the Sun bounces along with a summery air and catchy dynamics. As its predecessor, it is a track which does not quite exploit the hints of lusty adventure it gives but easily gets inspires an appetite for more of the same.

The album’s title track has a steelier edge and tone to its presence, a whiff of early U2 escaping the guitars early on. It too is a song which promises big things especially in its verse and ever sharp hooks but does lose that blade a little once its chorus and roar escapes. Nevertheless, the track is pure magnetism with its devilish imagination

The final pair of Blood Red and Fix Myself complete the highly enjoyable release with their individual romps. The first is a fiery slice of rock ‘n’ roll; a tenacious and ballsy encounter with an emotive flame to its roar which soon established itself as another favourite here. Its successor has its own hearty holler this time aligned to a more ballad bred but lively presence. As all tracks it is a seriously catchy proposition and like the album as a whole one which just grows and impresses more and more by the listen.

Only true uniqueness is lacking from Thirteen yet every minute on offer is fresh and adventurous, maybe more importantly thoroughly enjoyable. It pushes Static Fires towards the biggest national spotlights and you can only sense from their release that they will thrive on the new attention.

Thirteen is available now across most online stores.

https://www.facebook.com/StaticFires/   https://twitter.com/staticfires

Pete RingMaster 12/08/2018

Copyright RingMaster: MyFreeCopyright