MoRkObOt – GoRgO

Photo credit: Muur Studio

Photo credit: Muur Studio

For us there are few bands which produce grooves and unpredictable twists as carnivorous as they are relentlessly addictive and inventive than MoRkObOt, and the creators of rhythmic and grooved entanglements have done it again with fifth album GoRgO, woven a web of psyche twisting trespasses through their twin bass and psychotic drum instrumental alchemy.

The Italian trio of bassists Lin and Lan, and drummer Lon have excavated their most primal yet dynamically and imaginatively inventive maelstrom of sound yet with GoRgO, almost as if their twelve years and previous quartet of releases have been building up to this momentous moment. Recorded by Giulio Ragno Favero (Zu, Teatro degli Orrori, OvO, One Dimensional Man) at Lignum Studio in Italy, the album manages to stir an intimate as well as broadly ravenous incitement across seven slices of aural psychosis. The press release for GoRgO describes the album as “low-end noise rock origami” and from its first crunching breath a folding and twisting of texture and convention is exactly what involves the listener.

Opener Kogromot instantly grabs body and imagination as the opening lure of beats play like a side show barker, inviting attention as the waiting dexterity and rapacity of the bass slung duo stands poised to join in the ensnaring of ears and dismantling of expectations. Quickly the virulence of the track consumes ears; swinging beats and hungry grooves creating a raw festival of cantankerous sound and revelry that preys on the senses as much as it ignites them.

gorgo_RingMasterReviewThe mouth-watering start continues through the darker excitable throes of Kologora, Lon’s jungle of twisted rhythms alone ear and appetite gripping. As ever there is a predatory side to the heavy and the creatively dissentient nature of the MoRkObOt sound, the shadow lingering tone of the first track a growling antagonist in the second and subsequently an invasive almost cancerous infestation in the third. Gorokta takes a less direct approach to stirring up the emotions than its predecessors, their more forceful intrusiveness replaced by a ‘mellower’ and expansive adventure weaving more textural and sonic hues in its head spinning proposal. At times Lon is a blur of sticks and beats whilst Lin and Lan sculpt a calmer but emotionally dangerous landscape of enterprise.

There is no other band like MoRkObOt, their technical craft and distinct imagination blending forms of simplicity with seriously involved imagination, every note as revealed again within the outstanding Ogrog, skilfully and instinctively inventive to send the listener spinning into fresh adventures each and every time shared. Another track which prowls, virtually stalks the senses with rhythmic dexterity to lust over, it makes way for the harmonic discord and heterodoxic Kromot. The track glorious invades and seduces body and spirit, nurturing a creative and renegade instinct within itself and its targets. For some reason steampunk like imagery comes to mind during the track, aural technology and aesthetic designs coming together like a puppeteer which in many ways is what MoRkObOt are; puppeteers of rhythms, riffs, and grooves, not forgetting the psyche.

The album completes the rousing and seducing of the passions with firstly the dark, sinister, and slightly vaudevillian exploits of Krogor and lastly the epic Gorog which takes and accentuates all those elements and more into an otherworldly and deeply cavernous soundscape. Forcibly mesmeric and bewitchingly off-kilter within its shadowy beauty, the track is stunning; a sublime and transfixing exploration growing from its noir almost jazzy emergence into one deceptively raptorial encounter.

There is no denying we have a real soft spot for MoRkObOt but fans or not there is no escaping that GoRgO is the finest entanglement with the band yet and one of the year’s most irresistible offerings.

GoRgO is out now via Supernatural Cat on CD, Vinyl, and digitally.

http://www.morkobot.org   http://www.facebook.com/morkobot   http://morkobot.bandcamp.com

Pete RingMaster 28/09/2016

Copyright RingMaster: MyFreeCopyright

This Dying Hour – Resting Where No Shadows Fall

this-dying-hour-promo-shot_RingMasterReview

In many ways you could say that Resting Where No Shadows Fall, the eagerly anticipated debut album from British metallers This Dying Hour has been ten years in the making. Formed at the beginning of 2006 and swiftly impressing with their debut EP, the High Wycombe outfit has endured a decade littered with setbacks “that were just too great to overcome; everything from death and marriage to money came between the band and its members.” Now they are back and with a release which feels like it carries all the emotions and frustrations felt over that time; an album which ignites ears and imaginations with invention and passion.

That first year of the band produced the Longest Memory From The Shortest Life EP, a well-received and often praised introduction. It was accompanied by tours throughout the UK and Europe as well as shows with the likes of Young Guns, Sylosis, Bury Tomorrow, Malefice, and Exit Ten. The years since, as mentioned, brought This Dying Hour to a standstill until this year when vocalist Dave Pickup and guitarist Ash Whitelock decided to spark the band into life again with the help of “rotating members to fill the void.” Now they have made the wait for the next instalment of This Dying Hour adventure a forgotten moment as Resting Where No Shadows Fall seriously impresses ears and thoughts.

The album opens with its brief title track, an atmospheric instrumental which draws the imagination, leading it into the waiting jaws of War Drums. The second track instantly makes its point with scything riffs and beats, their imposing swipes aligned to a nagging raw melody before things all comes together in a predacious stalking of the senses. The snarling tones of Pickup are soaked in raw emotion and ire, a potency matched by Whitelock’s irritable guitar and the rhythmic antagonism of the track. It not may be the most unique proposal, references to the likes of Lamb Of God and Killswitch Engage valid, yet the song has a freshness which roars in ears and only blossoms further as a cleaner touch invades the vocal incitement.

The impressive start continues as Asleep springs its wiry grooves and vocal hostility next. Swiftly the song shows its distinct and individual character to be a diversity of intensity and energy, all soaked in venom as it seizes attention and a growing appetite for the release. Clean vocals and great dirty harmonies bring stronger drama and quality, as too the enterprising craft of Whitelock as the song bellows and challenges in equal enjoyable measure.

this-dying-hour-cover-artwork_RingMasterReviewPath Of Unknown opens with a melodic atmosphere similar to the opening intro, sunken vocals courting the initial lure before the song opens up into a striking and thrilling encounter. The mellower tones of Pickup predominantly stir the song this time around, luring with the listener alongside spicy melodies into one ridiculously infectious chorus and subsequently a great passage of calm reflection with a touch of Palms to it. One of the biggest highlights among many, the outstanding proposal is followed by the far more hostile climate and sound of Time To Die, though it too is unafraid to cast warm melodies and catchy clean vocals. A rival for best track to match its predecessor, the song completes a first half of Resting Where No Shadows Fall which simply blows most other emerging melodic/groove metallers away.

There is little loosening of attention and pleasure either as first the darker sinister realm of Underworld encloses and encroaches on the senses. Certainly the track is a touch hit and miss, moments which stir the blood and others which lie a touch flat on thoughts but arguably it is the most inventive proposition on the album as it ensnares the imagination while Alive is as accomplished as anything within Resting Where No Shadows Fall at blending the calmer and fiercer emotional and physical exploits of band and songwriting. Though both are lacking the spark of earlier songs, each leaves a real want for more which Priapism feeds with its melody rich charm and fiery temperament.

The album closes on the same kind of explosive sound and impact as it started, Room 108 a volatile and often corrosive encounter with sparkling moments of vocal invention and melodic imagination seemingly inspired by a mix of System Of A Down, Deftones, and In Flames.

It is a great end to an excellent first album from a band making up for lost time in passion and invention. With the potential of bigger and bolder to come, it is very easy to push Resting Where No Shadows Fall as something all should make an acquaintance with.

Resting Where No Shadows Fall is out in stores from Friday 30th September.

https://www.facebook.com/thisdyinghouruk/

Pete RingMaster 28/09/2016

Copyright RingMaster: MyFreeCopyright

Hands Off Gretel – Burn the Beauty Queen

HOG_RingMasterReview

Checking out the ear exciting single One Eyed Girl a few short weeks back, our closing line was “Roll on Burn The Beauty Queen”. That is the title of the debut album from UK grrl punksters Hands Off Gretel, and just a handful of days ago it was unveiled to quench hopes and anticipation for its potential riding on the back of its lead single. Burn the Beauty Queen is glorious, a feast of grunge fuelled punk ‘n’ roll snarling and barracking like a fusion of Die So Fluid, Spinnerette, and The Raincoats. It is an infestation of ears and psyche skilfully weaving recognisable flavours into its own distinctively imaginative exploits and more than fulfilling the promise offered by its first single.

Emerging from an early musical partnership between vocalist/guitarist Lauren Tate and guitarist Sean McAvinue and following the demise of the former’s Lauren Tate Band, Hands Off Gretel quickly started to draw attention with Tate’s ‘frustration songs’ as creative fuel. Late 2015 saw Sam Hobbins invited to play bass and drums on the South Yorkshire band’s album, subsequently become the permanent Hands Off Gretel drummer to join Tate and McAvinue, newest member bassist Joe Scotcher completing the current line-up.

In a year already seeing Hands Off Gretel release the single My Size as well as One Eyed Girl and play Whitby Goth Weekend, Camden Rocks Festival, Rebellion, Kaya Festival, and Isle of Wight Festival, Burn the Beauty Queen is the pinnacle and needs barely two minutes of opener Queen Universe to confirm the fact. Teasing, almost taunting with a lone riff initially, bait swiftly accompanied by the potent tones of Tate, the song is soon a cauldron of imposing rhythms, cantankerous riffs, and spiky hooks with bitchy harmonies adding their great snarl. It is a stunning start quickly reminding of those earlier references yet just as powerfully showing its own character of sound and invention as it stomps over senses and into the passions.

There is no chance of such a powerful bordering on psychotic beginning being followed by an antic-climax either as One Eyed Girl follows to confirm its position of one of the best songs heard this year. Grumbling in ears from its opening bassline, the track is soon aggressively challenging and seducing as Tate’s catchy yet confrontational tones align to the nagging and addictive exploits of McAvinue’s hooks and riffs as rhythms swing with venom. Again there is no escaping a Brody Dalle essence to vocals and indeed the sound but the song bounces around on its own unique terms to feed an already keen appetite for what is on offer.

art_RingMasterReviewBad Egg is next, coaxing ears with a singular hook wearing an early Adam and The Ants scent before things open up with wiry melodies and predacious beats as McAvinue’s guitar spins a web of tangy melodic intrigue. Less ferocious and imposing than its predecessors, the track is dangerously bewitching, leaving a lingering imprint before Teethin’ strolls in like a gunslinger, one hiding its bite behind catchy endeavours but perpetually gnawing away with post and old school punk invention. Its exceptional persuasion is followed by that of Little Man, a haunting ballad-esque canter seemingly as much inspired by the darker explorations of Siouxsie and The Banshees as bands like Hole and 4 Non Blondes, and quite irresistible.

From its dark shadows, Hands Off Gretel go for the jugular with the punk infested and simply brilliant Always Right. It is a rousingly irritable assault, like Bikini Kill meets Au Pairs and also fiercely addictive as its virulent enterprise and piecing hooks take hold before Under The Bed bares its cranky attitude and nature with creative zeal.

Through the barbarous Oh Shit with its predatory bassline and scything riffs and the raging fire of World Against She, Hands Off Gretel prove that even their least unique offerings simply ring true with ears and emotions and set the band well apart from the field whilst tracks like Eating Simon with its Three Imaginary Boys like Cure hooks and enslaving rhythmic rumbling offer evidence that the quartet just might be one of the bands helping steer British rock to new glories ahead.

Then we have Plasters, a superb and slightly deranged piece of imagination which drawls discord, musically and emotionally, whilst casting another highly addictive web of beats and sonic hooks. The song brings seventies punk, eighties new wave, and nineties grunge into the raw and twenty first century invention of Hands Off Gretel for something quite striking.

The dark amble and warning of Push The Girl and the climactic theatre of Awfully Miserable bring Burn the Beauty Queen to a powerful close; the first sublime creative drama in the ear and its successor, from an engrossing low key unleashing, a tempest of scything beats and grumpy basslines littered with electric grooves and spiky hooks as crescendos rise and fall.

It is a great end to one of the year’s most impressive and seriously pleasurable releases of 2016. Hands Off Gretel bring a fresh excitement to music, Burn the Beauty Queen the biggest thrill.

Burn the Beauty Queen is out now and available @ http://www.handsoffgretel.co.uk/_p/prd15/4533789831/product/burn-the-beauty-queen-album

http://www.handsoffgretel.co.uk/   https://www.facebook.com/handsoffgretel/

Pete RingMaster 21/09/2016

Copyright RingMaster: MyFreeCopyright

Dog ‘N’ Style – Pub’s Calling

dognstyle-promo-pubc-3_RingMasterReview

Unleashing a flavoursome dose of rebel and spirit rousing rock ‘n’ roll within its muscular walls, French heavy rockers Dog ‘N’ Style have just released debut album Pub’s Calling. A hungry and virulent roar from start to finish, the ten track encounter revels in the band’s stoner and hard rock shaded rock ‘n’ roll which in turn inspires ears to greedily devour what is maybe not the most unique incitement but certainly one which leaves thick satisfaction.

Formed in 2013, Epinal hailing Dog ‘N’ Style quickly hit their stride live, the following three years seeing the Spinalien quartet play over a hundred shows across France and further afield including tours in Russia, Spain, and Luxemburg. Sharing stages with the likes of No One is Innocent, The Casualties, Tagada Jones, Ultra Vomit, and Burning Heads along the way the band’s melody infused heavy rocking has been increasingly praised while their self-titled debut EP of 2015 introduced the band to a broader attention which Pub’s Calling can only further ignite.

An earthy revving of an engine opens up the album, its growl welcoming the meaty body and sound of The Best of Me. Straight away the song sets the character and intent of sound and release, riffs and rhythms heavy and imposing as fiery flames of guitar and rich melodies collude with an infectious boisterousness. As most songs within Pub’s Calling, there is something familiar about the opener but a recognisable air which wraps the band’s commanding and enterprising songwriting to fine effect.

art_RingMasterReviewThe great start to the album continues with I Did Something Bad, the growl lined vocals of Greg Hal a magnetic essence as swinging riffs and rhythms unite while the guitars of Yan Pierrat and Hal spin a web of sonic and melodic adventure. Like its predecessor, there is an instinctive catchiness to the song which is irresistible even when the bass of Robin Rob’s grooves along on its own. The band lists inspirations as the likes of Black Stone Cherry, Steel Panthers, Red Fang, and Nashville Pussy, and it is those kinds of influences which especially leap around within the album’s second track.

Pretty Fly reveals a grouchier intent in its nature and sound from the off yet again grooves and the inviting tones of Hal are quickly seducing ears as the mighty rhythmic swings of drummer Boub Tchak resonate. A cantankerously toned bassline entangles the warmer but no less intrusive riffs and grooves of the guitars, it all contrasting and mixing masterfully with the melodic and fiery imagination which blossoms across the track before One Day springs its Gruntruck spiced proposal and in turn Bad Motorcycle swaggers in with its hard/classic rock fuelled stomp. Neither track quite live up to the heights of the first trio of songs yet spicy grooves and infectious roars as well as the sonic dexterity offered ensures both leave enjoyment high.

The release hits top gear again with Night Losers, its funk infested basslines alone sparking an already eager appetite as the tendrils of tangy guitar entangle ears. Again vocals and rhythms involve the listener with ease and though originality is maybe limited the imagination is swiftly hooked by the songs inventive twists, turns, and snarling enterprise.

With its southern rock hued melodies, the same applies to the excellent Running Out which swiftly seduces as sultry sonic sighs amidst calmer vocals and energies immerse ears in its smouldering but rhythmically imposing climate. Carrying a fierce snarl in its mellower stroll, the track is outstanding, best track contender which though closely rivalled within the album leaves the moment which lingers longest even as the bruising and thickly catchy rumble of Never Trust An Asshole mightily consumes ears and pleasure next.

The album’s title track is heavy rock ‘n’ roll at it most compelling and rousing, rhythms and riffs enslaving instincts as grooves and almost toxic melodies infest the imagination. It too is a battleground of attitude loaded aggression and energy infused with a tapestry of warm melodic invention and dustily charming harmonies.

Ensuring the album ends on a high similar to how it started, it calls time on the boozy rabble-rousing with the final Couple Of Beers, a track again weaving all the traits and contrasting shades of the Dog ‘N’ Style sound and invention in one exhilarating escapade. It is a fine end to Pub’s Calling, an album which may not be about to change the direction of muscle driven rock ‘n’ roll but certainly gives it something to get lively about.

Pub’s Calling is out now across most online stores.

 

https://www.facebook.com/dognstylemusic   https://twitter.com/dognstyle

Pete RingMaster 21/09/2016

Copyright RingMaster: MyFreeCopyright

Berserkers – Lock & Load

groupe_RingMasterReview]

French rockers Berserkers have a sound it is simply impossible not to find a healthy appetite for. Hard rock in character with captivating and open traces of seventies/eighties bred rock led by the magnetic enterprise of keys; it is a masterfully compelling tapestry of sound and lively adventure flooding the band’s new album Lock & Load.

The Bordeaux band’s sound is certainly at odds with expectations when approaching a proposal called Berserkers and a release titled Lock & Load but swiftly persuades as the 2009 formed outfit entangle ears and imagination in their flavoursome energy and enterprise.  Founded by bassist/vocalist Julien “Julius” Logeais and keyboardist Julien “Judy” Rosello, the band’s original line-up was completed by guitarist Julien “Pix” Lamy, guitarist Arthur Orsini, and drummer Leo Calzetta. 2013 saw the departure of Rosello and the addition of Hammond organ toting Valentin “Val” Sarthou with the debut Berserkers album unveiled the following year. Following its release, the quintet became a quartet with Lamy leaving to concentrate on another project, Lock & Load the first encounter from the foursome and a striking offering it is too.

The album grabs ears from the off, starting with a bang as Outlaw lures attention with a great bait of drums quickly joined by the glorious and distinctive flavour of Sarthou’s Hammond. Swiftly the full flavour of the band and album’s sound is coursing through ears, the songs bluesy and seventies spiced hard rock ‘n’ roll a swirling yet punchy kaleidoscope of sound. It is a dramatic opening to the album which simply captivates body and imagination with ease; virulent and aggressive funk/blues ‘n’ roll rather easy to breed a forceful appetite for.

5-album-lock-load_RingMasterReviewThe following Blind Taste is of the same ilk but instantly revealing its own funky swagger and melodic character led by Logeais’ fine vocals and the ever persuasive enterprise of Sarthou’s keys. A touch more restrained than its predecessor yet with an energy and zeal to its magnetic stroll, Orsini’s guitar adds extra sonic endeavour to the weave of grooves and melodies courted by robust rhythms before the outstanding Vampire Lady teases and taunts with its seventies blues ‘n’ soul hued dance.

The brooding tone of Logeais’ bass is one highly appetising feature of It’s Up To You next; it’s swinging shadowed bound presence even outshining the flavoursome weave of the Hammond and matched by the energetically boisterous swings of Calzetta amidst the flaming exploits of Orsini’s guitar. For personal tastes Lock & Load is at its peak across the first quartet of songs but still providing plenty to be highly pleased by from hereon in starting with The Foolish Man and its almost prowling gait and in turn the feisty romp of Rock Save The World which pretty up lives up to expectations cast by its title. The track is an unrelenting rocker; a powerfully infectious anthemic stomp even if its originality is less apparent than other tracks within the album.

The song’s rousing presence is followed and contrasted by the calmer waters of Heroes Are Back In Town though it too has an eager nature which gives the song real energy as vocals give it catchiness and keys charm. With Orsini’s craft on guitar highlighted in another great solo, the song is another which is thickly enjoyable if not quite matching those earlier tracks while Starlight City shows itself a tenacious and powerfully infectious proposition almost bubbling with the band’s flavoursome rock ‘n’ roll once more richly coloured by the inventive presence of the Hammond.

Completed by the rhythmically enslaving and melodically sultry Hangöverhead, a song bringing the album to an as potent and compelling a close as it started, Lock & Load is thorough and lingering enjoyment across a collection of songs which light ears and imagination. It needs little time to tempt and persuade while suggesting it is just the very tasty appetiser for bigger and bolder things ahead from Berserkers; something to definitely recommend seventies and hard rock fans check out.

Lock & Load is out now across most online stores.

http://www.berserkers.eu/    https://www.facebook.com/berserkersofficial

Pete RingMaster 21/09/2016

Copyright RingMaster: MyFreeCopyright

Tardive Dyskinesia – Harmonic Confusion

td_2_RingMasterReview

With the suggestion that it and its sound sits “somewhere between Meshuggah and The Ocean”, Harmonic Confusion the new album from Greek tech/prog metallers Tardive Dyskinesia instantly has a reputation to live up to. It is a tall order which band and release certainly live up to. The successor to critically acclaimed predecessor Static Apathy in Fast Forward, the fiercely fascinating and creatively imposing Harmonic Confusion has to be considered as Tardive Dyskinesia’s finest moment to date.

Since forming in 2003, the Athens hailing quintet has honed and evolved their sound across three previous albums with Static Apathy in Fast Forward a pinnacle in their rise when released in 2012. The years have also seen the band open for the likes of Mastodon and Meshuggah and play prog-metal festival Euroblast, it all leading to now and the release of Harmonic Confusion. Mastered by Jens Bogren (Opeth, The Ocean, Leprous) and produced by Tardive Dyskinesia themselves, the album is the band’s sound at its most rounded, accomplished, and adventurous; often a raw roar to numb and disorientate the senses but equally a melodic and technical maze of craft and imagination to enthral and excite.

The album opens with the instrumental Insertion, a piece as welcoming as it is technically eventful. It shows a potent restraint though, the band holding its boldest exploits for subsequent tracks while setting the scene and tempestuous atmosphere for the album to come beginning with Fire Red Glass Heart which leaps from its predecessor’s sonic lure. Immediately the winding tendrils of sonic enterprise springs from guitarists Petros Nikiforakis, Steve Lado, and Manthos Stergiou, the latter soon unveiling his clean and alluring vocals too backed by the harmonic tones of Lado. As the song slightly intensifies, a rawer gruffness appears in Stergiou’s delivery, the contrast of his vocals merging perfectly as the song twists and turns through its theatre of enterprise and melody fuelled expression.

The track captivates from its first note to last, a tempest like climate brewing without quite erupting saving itself for the outstanding turbulence of The Electric Sun. Wiry strands of guitar soon collude with ravenous riffs and the heftily swung beats of drummer Nick Argiropoulos; again contrasting textures and extremes of energy aligning in a fluid and clarity graced challenge to captivate ears and imagination alike. That rawness is there again to enhance sound and vocals as well as the song’s eventful atmosphere, offering a dirtier trespass to the technical prowess which intensifies alongside the nagging riffery and scything rhythmic persistence on offer.

coverresize_RingMasterReviewThrough the turbulent and at times almost spatial landscape of Self Destructive Haze and the mazy multi-textured Thread Of Life attention is tightly gripped, the second of the two a real seduction of ears with its invasive storm cored by melodic beauty, and latterly, dark stringed seducing while the exceptional Concentric Waves, with the ever compelling bass exploits of Kornelius Kiriakidis especially magnetic, mesmerises as it aggressively and technically swings to and fro.

As impressive as its first touch and listens are, Harmonic Confusion simply grows in strength and stature over time, tracks like Triangulation Through Impasse and Savior Complex laying highly persuasive seeds straight away which seem to blossom over time. The first of the pair twists and turns with increasing relish and grievance across its length whilst still bringing a variety of tones to vocals and intensity to its body. Another favourite and major highlight of the album it is matched and over shadowed by the mellower yet no less dramatic and dynamic exploits of its successor. As across the album, there are elements which maybe are less than unique than others but Tardive Dyskinesia embrace it in their own imaginative and technically riveting designs to fine and here mouth-watering effect with the noir lit call of the sax icing on the dramatic cake of the album’s greatest moment.

The album is completed by the infectious and hungrily resourceful Εchoes 213, its hooks and melodies alone as biting as they are romancing, and lastly the instrumental journey of Chronicity, a captivating epilogue to all before.

Harmonic Confusion is without doubt one of the year’s tech/prog metal treats and yet there is still a feeling that there is more to come from and creatively discover within Tardive Dyskinesia; a thought to add extra spice to one fine release.

Harmonic Confusion is out now on Playfalse Records and @ http://tardivedyskinesia.bandcamp.com

https://www.facebook.com/tardivedyskinesiaband

Pete RingMaster 22/09/2016

Copyright RingMaster: MyFreeCopyright

Welcome Back Delta – Sucker

WBD_RingMasterReview

As commandingly infectious as it is resourcefully muscular, Sucker is one of those propositions which just demands attention. The second album from British rockers Welcome Back Delta, the album is a spicy brew of classic and blues rock with a stoner/grunge scent to its captivating aroma. It embraces familiar flavours and textures but in a creative devilment and character all of the Welcome Back Delta making.

Hailing from Cheltenham, Gloucestershire, Welcome Back Delta emerged in 2011 and quickly made an impact on their local music scene. Since then they have toured the UK several times and supported the likes of Clutch, Nick Oliveri’s Death Acoustic Tour, And So I Watch You From Afar, Lionize, and Karma to Burn. 2014 saw the well-received release of debut album Shocker, a success sure to be eclipsed with style and strength by Sucker.

Band and album get straight down to business with opener Beast Mode where from an initial ear catching ear spun hook and a swiftly joining rally of beats attention is hooked, riveted as Clutch like grooves and great group vocals uncage their catchy and dirty exploits around the lead and enjoyable slightly grouchy tones of vocalist/guitarist Joe Kelly. With the brooding bassline of Phil Davies carrying its only steely nature to align with the potent lures of Rob Duncan’s grooves, the track is soon in command of ears and appetite with a rousing chorus to complete the persuasion.

The bluesy tendrils of the following Snake In The Grass keep the commanding start going, grooves a smouldering lure of classic and familiar blues infection luring the listener into another potent chorus of group vocals. Caged by the firm and magnetic rhythms of drummer Steve Roberts, the song strolls along with a swagger and melodic glint in an intoxicating combination sparking listener participation with ease before the heftier weight and growl of Thrones takes over. Again there is no lack of contagiousness to its boozy grooves and imposing presence as ears and imagination are ignited alike again.

cover_RingMasterReviewGood variety across Sucker is another potent attribute, the country blues drama of Arms Dealer, which features guest Damon T, providing a flavoursome turn in the album’s landscape while Dadgerous featuring Bison Steed wraps itself in a Kyuss meets Red Fang-esque roar. The track is outstanding, a virulent trespass of the senses which ignites the spirit and energies of those it touches.

Jeremy’s Iron rumbles and grumbles next, its heavy riffs and cracking rhythms colluding with more of the smouldering grooves and instinctive catchiness Welcome Back Delta conjures at will while The Magic Of Flight shows the band is as adept at serenading ears, the track a tantalising mix of darkly grained vocals and simple but suggestive melody courted by the shadowed air of bass. It is hard to say that either is overly unique but both tracks, as the album, simply tempt and persuade with a sublime touch and invention.

More of that country breeding infests the lively Black Tie next with the following Preacher entangling itself in a web of blues endeavour and though neither quite match up to songs before them, each leave satisfaction thick and ears hungry for more which the closing and fiery rock ‘n’ roll of Don’t Hold It Against Me, Unless It Gets Hard provides in fine style. With rampant rhythms and tangy grooves it leaves a lingering taste of the album and the inspiration of a swift return into the rousing triumph of Sucker.

Sucker might not be the most unique slab of rock ‘n roll heard this year but it is one of the most enjoyable so we dare you to take a punt on Welcome Back Delta.

Sucker is out now and available @ http://welcomebackdelta.bandcamp.com/

Upcoming Live Dates

11th November- HARD ROCK HELL Festival

26th November- The Exchange, Bristol (Supporting Planet of Zeus)

http://welcomebackdelta.co.uk/   https://www.facebook.com/Welcomebackdelta

Pete RingMaster 22/09/2016

Copyright RingMaster: MyFreeCopyright