Dog Days – Heat

Pic_Christophe Dutoit

Pic_Christophe Dutoit

From its first inflamed note, the debut album from Swiss stoners Dog Days is a sonic mutt in season; a furiously rocking body of insatiable intent sculpted with sexily invasive grooves and a collusion of heavy boned riffs and rhythms. Consisting of eight instrumentally fertile slices of rock ‘n’ roll, Heat is also loaded with severely addictive hooks and immersive textures ensuring, in our experience, that a mating between release and the passions is inevitable.

Heat swiftly stirs up body and emotions from the off, quickly showing why the Fribourg trio of bassist Marie Riley, guitarist Vincent Yerly, and drummer Julien Vonlanthen are kicking up a potent buzz around themselves. Recorded with Sacha Ruffieux over two sessions of 5 days each at the Studio de la Fonderie, the band’s first album comes fuelled by the band’s intent “…to create an instrumental stoner album that shows our love for the sound we can generate with our instrument.

It begins with Saluki which instantly soaks ears in the thick fuzz of guitar and bass whilst a spicy groove nags and rhythms punch. As a sign of things to come, the air is seriously muggy which just adds to the swift drama lacing the virulence of dirty riffs and splintered grooves sculpted with repetitious persuasion. In no time though, the song is really swinging with fully fledged, intoxicating grooves escaping the stomping rock ‘n’ roll incitement. Fair to say, the imagination and appetite are hastily involved and as greedy as ears as the song from start to finish unloads a rich catchy tempest with a hungry swagger.

Heat Cover_RingMaster ReviewThe excellent start is superbly continued by Shiba and its heavily bruising and similarly contagious intensive boogie. There are no escaping essences of bands like Kyuss and Queens Of The Stone Age as a flirtatiously salty scything of guitar streaks through the brooding invasion of cantankerous bass and swiping beats, but with its gripping atmospheric theatre and ravenous intensity the track is uniquely a Dog Days beast.

Malamute wraps ears in sultry and evocatively sonic tendrils next, that persistently dramatic lure soon joined by the dark rumble of beats and a gorgeously carnivorous bass tone; it all springing a punk infused splatter of temptation as much post punk and noise rock as it is heavy punk ‘n’ roll upon ears. The track is instant slavery, a magnetic fusion of gnarly and sweltering contrast with one thing in mine, to seduce the senses whilst twisting them inside out. The pinnacle of the album, it is closely matched by the dark tempestuous trespass of Broholmer. Straight away, its invasive challenge prowls with leaden grooves and abrasing riffs tempered by the stirring up of a thickly and imaginatively layered lava-esque swamp like temptation leaving the body breathless and enamoured before Hovawart sonically shudders into view with pungent beats for company. There is tribal scented enterprise to the new track’s rhythms which continues to blossom and grip as the guitar caustically resonates and the bass links its own slightly bestial bait to the brewing storm of raw and mercurial suggestiveness.

Throughout new breeds of sound and invention are explored within the volcanic stoner genus of the album, Lancashire Heeler an incendiary groove train with creative rabidity to its infectious fire and thunderous trespass whilst Kyi Apso raps keen attention with its opening rally from Vonlanthen before Yerly and Riley nets that perpetually incitement in their webs of roasting and feral prowess respectively. As all songs within Heat, it is pure rock ‘n’ roll caked in tar like energy, set afire with sonic acidity, and given an off the meter voltage of raw aural electricity.

The album is concluded by the almost eight minute flirtation of Komondor featuring guest guitarist Sacha Love. The song is an uncontrollably bewitching proposal merging mesmeric surf rock with rich intoxicating melodic smoulders and sultry grooves; an exhilarating end to a release destined to be one of the year’s big highlights. Heat is one of those jaw dropping treats which are unexpected but quickly rapaciously devoured. The Dog Days bio calls the band’s sound “Stoner with a boner”; that tells you all you need to know.

Heat is released January 15th on vinyl and as a name your price download @ https://dogdaysband.bandcamp.com/releases

http://www.dogdays.band/   https://www.facebook.com/dogdaysfuzz

Pete RingMaster 15/01/2016

Copyright RingMaster: MyFreeCopyright

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Third Sovereign – Perversion Swallowing Sanity

3rdS_RingMaster Review

The Asian metal scene is still a relatively untapped and certainly unrecognised landscape in the awareness of the majority on the outside, this despite the impressive bands and releases springing from it over the years. Through the fine efforts and passions of bands and labels/PR companies like Transcending Obscurity, a few things deservedly escape the shadows to earn strong attention and draw new ears and appetite to the region’s mighty underground scene. One such offering is the striking new album, Perversion Swallowing Sanity, from Indian death metallers Third Sovereign. It is an explosive thrash fuelled incitement bred from old school seeds of death metal blossomed into something as intensely fresh as it is enjoyably nostalgic, and another example of the potency within India’s metal scene as Third Sovereign back up to the legendary status they carry in their homeland and surrounding areas.

Formed in 2003 by a trio of musicians from Aizawl, the capital of the state of Mizoram, after they moved to Delhi “in order to expand their horizons”, Third Sovereign quickly earned a reputation for their bold and pungent take on death metal. Inspiration to their sound comes from the time bands such as Sepultura, Monstrosity, Cannibal Corpse, and Vader were the prime death metal driven scourges on the senses. 2006 saw the release of debut EP Horrified Visions with their acclaimed first album, Destined To Suffer uncaged the following year, as its predecessor upon Demonstealer Records. The Deprived Serenity EP continued the attention capturing success of the album with its release in 2008, whilst the single Sarcophaga was nominated in the Best Metal Song category at the Rolling Stones Metal Awards a year later. Leaping on to the now and the band is ready to unveil second album Perversion Swallowing Sanity, a release sure to ignite the most potent range of acclaim and spotlights on the band yet.

art_RingMaster ReviewAizawl based again, Third Sovereign intrigue the imagination with opening introduction Sakei Ai Hla, voices in threat or calling, hard to know, leading the listener towards and into the brewing tempest of Grave of Humanity and an irritable climate of intimidating riffs and towering intensity. A few moments more and the track is rampaging with thick spicy grooves entwining thumping rhythms and rabid riffs. As vocalist Vedant prowls proceedings with his grizzly guttural tones, thrash bred fuel flows to incite and power the increasingly gripping provocation masterly coloured by guitarist Benjamin and given compelling bulk by bassist Jonah within Reuben’s skeletal rhythmic frame.

Demonic and fiercely enticing, the excellent opener makes way for the incessant violation and nagging persuasion of Sarcophaga; the track a tempestuous onslaught as bestial as it is creatively endearing. Spiralling grooves and sonic imagination light the smothering weight of heavy riffs and brutal rhythms, their union a vicious contagion unafraid to spew toxically bracing tendrils of melodic enterprise.

Both Living This Hate and Slaughtered Mankind descend on the senses with nostril flared and muscles merciless; the first a barbarous consumption of ears littered with psyche gripping hooks and fiery grooves carrying as much venom as the bruising menacing around them. Addiction is as swift as an appetite for the quartet’s intrusive rabidity of sound and ideation, its successor showing this an achievement working across the board of Perversion Swallowing Sanity with its fierce animus of sound and hungry intensity.

From the waspish and predatory trespass of Devolution of Mortality and the more controlled predation guided prowl of Spawned with Guilt, band and album squeeze their grip on ears and thoughts tighter. Through their own individually truculent designs, the pair find a mutual savage beauty and character to threaten and enthral, theirs a murderous seduction emulated in the skilfully sculpted and emotionally untamed Holocaust of Preaching. The track is outstanding with its grooves, as in its predecessors, essential lures backed by the nimble and scorching prowess of the guitar and the merciless uncompromising tempting of rhythms and vocals.

There is no denying that Third Sovereign songs are as anthemic as they are vehemently hellacious; captivating incitements as ready to tear out your soul as incite an uprising. The insidiously hued Dark Black is crawling pervasive proof, working its way under the skin to ignite the passions into a greedy lusting for more before the military seeded rhythmic emergence of Burnt Epitome draws the listener into one final invigorating storm of raw malice and virulent death metal tenacity.

It is an immense end to an outstanding release from a band deserving the fullest attention. Third Sovereign is prime example of the depth within Indian metal alone; one of the leading forces we all need in our metal lives.

Perversion Swallowing Sanity is released January 15th via Transcending Obscurity India @ https://transcendingobscurityindia.bandcamp.com/album/perversion-swallowing-sanity-death-metal or http://tometal.com/

https://www.facebook.com/ThirdSovereign

Pete RingMaster 15/01/2016

Copyright RingMaster: MyFreeCopyright

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GET OUT. – Let Me In

photo by kim zangrando

photo by kim zangrando

Formed in 2014, GET OUT. is a Kingston, New York bred outfit showing a healthy appetite for a vast range of rock ‘n’ roll. Evidence comes with debut album Let Me In and its collection of tracks seeded in thick and varied essences from heavy rock, metal, punk, and plenty more. The result is a potent sound which gets straight to the point without distracting frills and a commandingly solid release providing increasingly thickening enjoyment.

With its members experiences in local, national, and international music scenes, GET OUT. has all the instincts and imagination to grab attention and get the body rocking. Scarab of Green quickly proves the point, the opener almost prowling ears with predation guided rhythms and fiery grooves before taking a lumbering stroll awash with spicy guitar coaxing from Ryan Rios and Jeremy Swift. Against more intensive and intimidating rhythms, it is an appealing start added to by the strong vocals of Morgan Y. Evans and blossoming further as the heavy rock enterprise of the song increasingly broadens in flavouring and aggression lined catchiness across its body.

Bloody Marys steps up next with sonic winds surrounding the rolling rhythms of drummer Greg Allen, this soon turning into an inviting mix of grouchy riffs and feverish grooves within a muscular frame stalked by an intimidating bassline. As its predecessor, the track has a hazy hard and blues rock air to its tone, the first of many hues spicing up the adventurous sounds within Let Me In, the metal fuelled Seven Heavens swift confirmation. From riff to rhythm, the song has a harsher intimidating edge to its body and attitude, nagging grooves and the thunderous bass of Colin Brown especially tasty against another strong lure of vocals. Sure to get anyone’s feet stomping and hips eager for the mosh pit, the track quickly hits the spot.

Album art by Chris Smith

Album art by Chris Smith

The melodically shimmering Master of Storms has similar success with its mellow croon and evocative melodies which lead to an alternative/melodic rock roar. As provocatively anthemic as anything on the album, it seduces and rouses the spirit with imagination before the sinew spun Chameleon strides in with a heavy rock swagger and bluesy climate. Carrying a rock pop scent to its infectious body too, the song stirs ears and appetite, though admittedly not quite as forcibly as the rampant rock ‘n’ roll of the album’s title track; Let Me In a robustly tenacious and energetically wilful stomp refusing to take no as an answer to its snarling infection.

The latter part of the album holds the strongest tracks, that particular highlight making way for another pair in the shape of the stoner-esque heated Moon Harvest and straight after, the great punk ‘n’ roll tearaway that is Faded. The first of the two is another slow gaited but intensively bodied proposition taking deliberately heavy steps across the senses whilst confronting ears with rapacious grooves and growling riffs aligned to scything rhythms. Its contagion drenched successor is simply a storming incitement of high octane riffs and attitude loaded rhythms guided by the ever impressing vocals of Evans and band. With the previous song to the pair, they make the best extensive moment within Let Me In, simultaneously revealing more of the diversity within the band’s sound.

The burning rock ‘n’ roll of Dagger Complex brings the album to a thumping close, its heavy rock a match for the offerings right before it with it’s in the face dynamics courted by virulent aggression and blood-pumping energy. It is a fine end to a release which, though for personal tastes Let Me In is a few flames short of the raging blaze it might have been, gives full enjoyment and you cannot be much greedier than that.

Let Me In is available from January 15th on iTunes and through the GET OUT. bandcamp.

https://www.facebook.com/getoutrock    http://getoutband.com

Pete RingMaster 15/01/2016

Copyright RingMaster: MyFreeCopyright

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Forever Still – Tied Down

Forever Still - Promo Shot_RingMaster Review

As for a great many, Danish rockers Forever Still has been a persistently impressing pleasure through the release of songs and EPs since emerging with their debut release Breaking Free in 2013. Their sound is a virulent fusion of rousing intensity and seductive melodies fuelled by an emotional exploration unafraid to get into the darkest, disturbing corners of life. The last twelve or so months has seen the band working towards the release of their debut album; the release of two of the three EPs making up its strikingly impressive body ripe with the rich qualities which has drawn strong attention the way of the band. With the third offering in the trilogy making its first entrance as part of the new ten track adventure, Tied Down is one thrilling roar of melodic rock from a band destined to major things.

Hailing from Copenhagen, Forever Still revolves around the creative and songwriting union of vocalist Maja Schønning and multi-instrumentalist Mikkel Haastrup. As mentioned, the band first hit ears with their potent debut Breaking Free, subsequently breaching a broader expanse of attention with the following pair of Scars late 2014 and Save Me last April. Those two EPs were the first in the journey to create the band’s first album, the tracks within the two releases making up the first part of Tied Down with that final unreleased EP providing a quartet of new songs to explore and as it turns out, get equally gripped by.

Forever Still Cover Artwork_RingMaster ReviewTied Down opens with the mighty roar and anthemic insistence of Scars which from the off is a pleasingly unpredictable and ferocious proposal. Additionally featuring Jens Berglid on drums and Dennis Post on guitar, the track immediately presents a grouchy and volatile incitement soaked in the gripping voice and delivery of Schønning. Even having devoured previous releases hungrily, her vocal prowess never fails to impress each and every time and especially shinning and exciting in the album opener backed by the equally dramatic tenacity of Haastrup. Continuing to create an enthralling web of spicy grooves, intensive energy, and a growling resourcefulness as potent as the raw emotion driving the song, the song makes for a formidable start to the album.

The pair of Once Upon A Nightmare and Miss Madness quickly and strongly back it up; the first of the two exploring a slightly mellower landscape but being no less imposing in its emotive flame amidst skilfully evocative textures. Post appears again as bass and guitar collude with a flavoursome electronic enterprise, Schønning standing magnetically astride the tempestuous melodies and dramatic climate escaping song and sound. Almost intrusively majestic, the thick and impassioned encounter makes way for its classically elegant, power balled seeded successor, the song a keys and vocal led beauty skilfully tempered but inflamed further by the moody bass and guitar suggestiveness of Haastrup and Anders Bo Jespersen.

Awake the Fire steps up next, instantly gripping ears and appetite with a tangy groove which in turn sparks an energetic swagger to a boisterous stroll of hefty rock ‘n’ roll cored by a great rolling rhythmic enticement. Post appears again alongside the craft of Haastrup, the pair stirring up air and ears with their almost toxic web of enterprise within a spicy tapestry of melodic incitement and bruising anthem building rhythms. Throughout the album it is easy to suggest Evanescence and Lacuna Coil as hints to what is overall the Forever Still uniqueness in sound, and here Poets Of the Fall also comes to mind briefly as a clue to the melody rich body of the song.

The following Breathe In leaps from a great electronic teasing into a more lively but controlled canter, that early pulsating coaxing still a pungent lure alongside the tempting tones of Schønning and around the tempestuous blazes of sound and energy which erupt to further reward ears. Those rugged squalls also lead to bracing moments of carnivorous aggression with Schønning and band flirting with an Otep like confrontation before the outstanding Save Me takes over. A striking mellow but expectantly inflamed seduction compared to the last song; it is also soaked in emotional turmoil with thunderous tempests of heart and intensity seeded in the poetic melodies and harmonies caressing the imagination. As all tracks, the kaleidoscope of emotion is open; melancholy and despair as ripe as loneliness and hope, love and darkness across Tied Down.

With Anders Bo Jespersen in addition, the first brand new song, Your Light, bounds from a sonic mist with muscular rhythms loaded with punchy beats and a raw edged line of riffs which spark spice heavy grooves and melodic drama. In no time attention and appetite are greedy, especially with the virulent prime hook which connects the calm and more climatic layers of the song. A quick want for more of the band’s new exploits is rife by its end and fed by Alone. Emotively intimate with its first breaths, epically cinematic in a few more, the track continues to impressively entwine both contrasts as an industrial air also invades the thick theatre and sonic beauty of the encounter; the outcome a metal bred Bond theme ready in the waiting.

Break The Glass boldly rumbles as it pulsates next, the bass offering a growling belly to a riveting blend of electronic and melodic expression soon walled by aggravated riffs and speared by whipping beats. Schønning owns the song, as all, from the first second, her tone and presence the puppeteer to the dancing piano crafted melodies and passion rich adventure shaping the increasingly thrilling temptation.

Tied Down is brought to a close by its title track; a song also revealing individual character through a weave of calmly reflective and rigorously forceful endeavour bred in increasingly inventive and infectious ingenuity. It is an epic close to a towering release which even with around half of it strongly familiar through the earlier EPs, makes a major impact reinforced by the creative might of the new tracks.

Forever Still is a giant in waiting with Tied Down the perfect key to force that lock.

Tied Down is available from January 15th through all stores and @ http://www.foreverstill.bigcartel.com/

http://foreverstill.dk/  https://www.facebook.com/Foreverstill  https://twitter.com/foreverstilldk

Pete RingMaster 14/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Hedfuzy – Self-Titled

Catching up on another release appearing towards the rear of 2015, we offer up the self-titled album from Hedfuzy as a proposition to seriously consider investigating, especially if progressive rock gets the juices flowing.

Hedfuzy is the solo project of Irish multi-instrumentalist Pat Byrne and its debut album a captivating progressive adventure of melody thick and magnetically tenacious rock ‘n’ roll with a rousing contagion to it. The musical history of the Limerick musician includes touring at the age of 17 with Celtic Fusion, followed by experience building exploits touring and recording with bands such as rockers Kraven and reggae outfit Jeffonesta as well as playing bass on some of Delorean Suite’s current release Two Lives. Now Byrne is ready to ignite attention and ears with his own solo proposal, recruiting additional talent from Shardborne’s Ben Wanders, Delorean Suite keyboardist Graham Conway, guitarist Graham Keane of The Vicious Head Society, and guitarists Mike Moriarty and Cameron Allen to bring his seriously engaging songs to life.

Mixed and mastered by Chris Collier (Prong, Lynch Mob, KXM), the Byrne produced album opens with Sing which quickly coaxes ears with an enticing lure of guitar. Settling into an energetic stroll as Byrne’s potent vocals sit invitingly upon his blend of melody fuelled guitar and keys, the song soon begins to swing with a gripping catchiness aligned to a darker shade of similarly lively and eager bass led rhythms. With eighties seeded air reminding nostalgically of Modern English and currently David J Caron veined by fiery progressive enterprise, the track is a rousing start to the album quickly backed by the muscular persuasion of Snakes. Melancholic keys offer the first suggestive caress, Byrne’s vocals swiftly adding to the alluring start and in turn followed by a thicker smothering of riffs and rhythmic theatre. It is a potent collusion of textures which again has infectiousness running through it as heavier and darker shadows envelop the senses.

Hedfuzy - Self-Titled_RingMaster ReviewThe creative and physical skills of the artist persistently ignites ears in the song and album but always without offering any indulgence to temper their strength or the organic creativity impresses in the likes of How To Tear Your World From My Head. As the third song begins to flows through ears, initially bass pulses the lone dark protagonist in a misty glaze of harmonic and melodic tempting, things quickly come to boil as rugged rhythms and gravelly riffs collude with wistful keys, provocative guitar, and jazzy bass. The result is an eventful and at times volatile landscape of stirring invention and compelling craft keeping the imagination as busy as ears whilst pushing the already impressing stature of the album to new heights.

Mine brightly shimmers with melodic and vocal expression next, it an alluring serenade of melodic rock with the flavoursome essence of UK band The Inner Road to it as it settles enjoyable between the more raucous and dynamic exploits of the previous roar and The Death which follows. Not as dark as expected, the new track is another beacon of resourceful composing and boisterous musicianship lined with a craft and imagination which has body and emotions eagerly engaged.

The emotive croon of When I Come Back Down is open evidence of that core prowess in songwriting and emotion, and diversity as with This Broken Throne, a grouchy but again wholly virulent roar of aggressive rhythms and sonic adventure laced with the impressing vocal tones of Byrne. A thrilling and fluid mix of Squidhead like cantankerous metal soaked in a warmly reflective exploration of melody and voice, the track is as absorbing as it is anthemic before a mellower proposition in Name comes in. With winy melodies and atmospheric drama within again an intensive proposal of bass and rhythmic confrontation, the song carries a touch of Johnny Wore Black to it, captivating and stirring the senses from start to finish before leaving the album’s outstanding title track to bring things to a ferociously dynamic close. The instrumental is glorious, a brawling seducing collage of sound and textures woven into an anthemically fiery and exhaustingly exhilarating tempest as virulently incendiary as it is dramatically provocative.

Hedfuzy is an album to light up any day and the band a project which, even with Byrne seemingly perpetually in demand, the man soon appearing on the debut album from Irish progressive metal band The Vicious Head Society alongside keyboardist Derek Sherinian (Dream Theater, Black Country Communion) and drummer Kevin Talley (Chimaira, Suffocation), we can only hope to hear a lot more from.

The self-released Hedfuzy is out now via Amazon.

https://www.facebook.com/Hedfuzy

Pete RingMaster 13/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Hole In The Head – Primitive Love

HITH 2015 line-up

HITH 2015 line-up

It is always a negative when someone says they need something like a hole in the head, but when it applies to the Finnish rockabilly band of the same name the want is completely different, especially if talking about the band’s debut album Primitive Love. It is a ten track stomp bred in a rockabilly heart but involving spicy rhythm ‘n’ blues and broader rock ‘n’ roll adventure to create something not exactly unique but predominantly individual to Hole In The Head.

The Kuopio hailing band began in 1997, founded by vocalist/guitarist Sasse Savolainen. Two 7” EPs, Tornado Ride (2000) and Trouble Cruiser (2003) were well-received successes for a band also experiencing a few line-up changes. The summer of 2012 saw the quartet of Sasse, Brother Andy Liukko (guitar, harmonica, sax), Turkka (upright bass), and Laasanen (drums) begin recording Primitive Love with Tomi Leino at Suprovox Studio, Ikkala. In the wake of the recording though Laasanen left the band with Turkka subsequently leaving too. The remaining pair decided to carry on performing as the Sasse & Andy Duo and work towards releasing the album. New impetus to Hole in the Head after its near demise came with the recruitment of Tony Lehto (upright bass) and Joonas Hiltunen (drums), the band hitting the live scene again with force further backed by the 2015 release of Primitive Love.

A strong start to the album is made by Out of Hands, the opener coaxing ears with scuzzy guitar and the winy charm of Andy’s harmonica incitement. With punchy rhythms and inviting vocals, the enjoyable encounter is an easy to climb on board canter with swinging hips and excitable energy that has feet bouncing and attention aroused. Increasingly more virulent as it stomps into its dynamic climax, the track passes an already keen appetite over to the following Bad Luck Driver. Straight away a sultry and siren-esque psychobilly tang wraps ears as the bass of Turkka gets the instincts going with its delicious dark stroll. With beats just as enticing, the track only blossoms further as blues lined tempting escapes through a flirtatious sax as the potent tones of Sasse strike up further pleasure and satisfaction, each adding to the excellent Frantic Flintstones meets Ray Campi with a touch of Roy Hawkins like song.

picture By Ville Angervuori

picture By Ville Angervuori

From one big treat to another as the dark noir mystique of The Night Walk takes over, its blues/surf blend of temptation a smouldering seduction of spicy air and sound. The resonating elegance of the guitar comes with a great sinister swell to its tone whilst the rhythms perfectly temper that intoxication with understated but pungent repetition. Already song by song, Primitive Love gets thicker and bolder in adventurous invention, a trend continuing with the swiftly magnetic Let Me Be Your Heartbeat. Imagine The Stray Cats in collusion with Tiger Army without the haunting and you have the anthemic prowess of a gripping track only broadening in varied sound with each passing minute.

Vintage Kind of Fever leaps in with tenacious rhythms and an energetic swagger next, its fifties nurtured and robustly delivered rockabilly weave littered with flaming sax, scything guitar, and a rhythmic rumble to lose the body too. Addiction is inevitable as also through the bluesabilly romp of Rude Boy Blues, a mix of rousing enterprise and fiery flavouring at times reminding of The Shakin’ Pyramids. Both tracks are superb incitements to lose inhibitions to and quickly backed by the jazzy canter of Lonely Wolf, the song a Parisian touched harmonica wielding vagabond of a song which simply leads hips into an eager sway.

Rhythmic jabs and swinging hooks are the order of the day within Knock Out Boogie, bass and guitar hooks hypnotic bait as masterful vocals and bodacious sax lead the listener on a rebellious yet controlled dance before having to make way for the sixties R&B hued blues devilry of Wolf Girl. Bounding around with the scent of The Living End and Johnny Burnette to its insatiable energy and feverish character, the song just entices and incites like a frisky temptress.

The album is closed by Bondage Love, a track living up to hopes inspired by its title with its exotic melodic landscape and addictively nagging rhythms. Like a rapture driven shindig on the banks of the River Nile, further accentuated by the Madness like smooch of the sax, the track is pure manna for ears and rock ‘n’ roll passions; a claim easy to attach to the whole of Primitive Love.

It may have taken time to see the light of day, but Primitive Love hits the sweet spot with persistent ease whilst suggesting to the world that Finland has a rockabilly/R&B band which deserves real attention.

Primitive Love is out now @ http://hith.net/wordpress/shop/

http://hith.net/   https://www.facebook.com/holeintheheadfin

Pete RingMaster 12/01/2016

Copyright RingMaster: MyFreeCopyright

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Cold Night For Alligators – Course Of Events

Bandphoto_RingMaster Review

Course Of Events has been a highly anticipated debut album for a great many fans and followers of Danish metallers Cold Night For Alligators, a release off the back of an impressive live presence and reputation which no doubt was also facing a lot of expectations. A mighty slab of inventive sound to get teeth and the imagination into, it is easy to suspect that those awaiting its arrival will now be basking in thick pleasure whilst newcomers to the Copenhagen quintet, well we will be eagerly exploring with intensive attention.

The Cold Night For Alligators is described as a fusion of progressive death metal with brutal technical hardcore. That is apt enough to some extent but ultimately does not come to close to really covering the rich adventure and thick diversity fuelling the album’s tracks. The release is a creative kaleidoscope of fierce and seductive textures aligned to fluid unpredictable twists and flavours as much seeded in djent animosity and atmospheric ventures as they are in that initial description and the broad expanse of melody honed progressive metal. At times the album simply ignites in an open inventive blaze and in other moments entices with a fascinating tapestry of sound and thought which benefits further from even closer attention, but from start to end it only lures ears into wanting more of the album’s striking exploration.

Artwork__RingMaster Review     Starting with Considering Catastrophy, the Daniel Braunstein [Volumes, Fall in Archaea] produced album swiftly entangles the senses in a web of djent spiked riffs and melodic psychosis, this surrounding the forceful and potent roar of the vocals. Straight away there is a heart fuelled mania to that vocal delivery which, whether clean, harsh, or gutturally spawned, comes as an outpouring of raw emotion. Musically the song lurches and flies at the senses or comes in an ambling coaxing with just as strong enterprise to it as metal and rock strains unite in an invigorating and intensely fascinating proposal. As becomes apparent across the rest of the album, a mere listen or two only deprives ears of the underlying depths and imagination building up the layers of the song, that intensive attention mentioned earlier only breeding potent rewards.

There is a familiarity to the album just as there is something uniquely fresh about it; the likes of Periphery and Opeth springing out at times and there is no escaping a Meshuggah spice or two nor moments of Mars Volta meets The Dillinger Escape Plan. As shown by latest single Followers though, Cold Night For Alligators weave it all into their own distinct design. The second track is a formidable blend of sonic contagion and vicious aural antagonism, evolving from one compelling beast into another exciting unforgiving brute veined with psyche invading grooves and avant-garde seeded imagination. The track scars and exhilarates the senses, igniting body and imagination with each raw and inventive moment before the just as thrilling Calculated Accident provides its own animus of metallic hardcore built sound infused with melodic enterprise.

That earlier mentioned vocal mania is emulated in sound across Course Of Events, each track a raging roar but able to skilfully slip into just as emotively fiery but mellower confrontations at will. Inconsistent is easy evidence, its opening hug of jazzy spiced guitar invention and harmonic vocals an engaging but volatile seducing which increasingly brews rousing animosity and fire to lead the song into just as magnetic new directions, subsequently fusing all its roads into a one drama of sound and persuasion.

Both Art and Retrogress keep ears and appetite greedy, the first with its skittish djent lined, progressively psychotic emprise and the second through a more barbarous and volatile bellow of emotion and sound led by the ever impressing array of vocals. Both tracks grow in the ear, each making a strong first impression but blossoming further over time, again something applying to the album as a whole and to be taken on board when checking out Course Of Events.

From the strong caress of short instrumental Eunoia, more flavours are woven into the proposition through Querencia where vocals are especially potent as melodic tendrils invade the body of uncompromising intensity and at times almost rancorous fury which steers the encounter. With exotic flirtations and jazzy smiles, the song is an enthralling and again increasingly powerful and enjoyable offering matched by the infectious rabidity of the exhausting Daydream; another creative maelstrom to bravely sink into.

Completed by Brother and its alluring and rousing emotion, Course Of Events is a powerful and so often beguiling encounter. It is unique yet recognisable, inventively ravenous but similarly melodically endearing, and when given time to make its persuasion helps get the metal year off to a great start.

Course Of Events is released January 11th through Prime Collective.

https://www.facebook.com/cnfadk   http://www.coldnightforalligators.com/

Pete RingMaster 11/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/