As he prepares and works on his new album, US singer songwriter David Alpha recently unveiled the Rockin’ Roulette EP, a retrospective compilation bringing together two of the most potent cuts of previous full-length Sacrilege 2.0. They are songs that highlight the punk and rock richness in his music whilst providing a strong tempting for what comes next from the Florida hailing artist.
Former lead singer and songwriter of The Fons, Alpha resumed his solo career in 2014 after time off studying and a short-lived part in a new band he formed. With tracks rattling around in his imagination, he soon released Sacrilege 2.0 which drew strong attention and praise.
As the EP opener, Scarilege casts its roar it is not hard to understand why. Seeing Alpha linking up with Dead Kennedys guitarist East Bay Ray, the song instantly bounces along on a lively riff. It is a lure which soon catches flame as Alpha’s vocals alongside scheming rhythms rise from a relative calm to fevered irritability. Instinctively catchy as it bites and hollers, the song is a slice of prime punk rock which maybe does not boldly surprise but is openly fresh and infectious around a taunting bassline which just as eagerly captivates.
The following Jeans grabbed ears here even more swiftly with punk ‘n’ roll carrying a broader flavouring than within its companion though if not providing the same snarling bite. That is replaced by richer imagination catching twists and turns as Alpha vocally and musically teases and taunts ears and the world. It is that adventurous trait though which elevates it from a strong to great song, its unpredictable moments ensuring it really stands out from the throng..
Together both songs make for a highly enjoyable outing and for newcomers introduction to David Alpha, each sharing potential which will surely flourish in his forthcoming releases.
The Rockin’ Roulette EP is available now @ https://davidalpha.bandcamp.com/album/rockin-roulette
Pete RingMaster 30/01/2019
Copyright RingMaster: MyFreeCopyright
The following Broken Morning is a just as skilful manipulator of ears and appetite even as it instantly reveals a much warmer and calmer nature. That is no chain to an instinctive catchiness and creative eagerness though, the song devilishly impossible to resist joining in with especially when faced with one contagion laded chorus and again a swinging energy which enlivens the body and spirit of song and listener alike. There is something, if right now indefinably, familiar to the track but a hue which only adds to its compelling design and persuasion.
Formed 2016, Worcestershire bred State Of Ember have been referenced to the likes of Alter Bridge, Shinedown, and INME but as Broken Horizons shows they have an individuality which is really beginning to mark them out from the crowd. True originality might still be awaiting their sound but it is hard to say there is nothing fresh or little which does not stand out about it either. From opener Time & Time, the EP sets out its rich stock of metal infused punk ‘n’ roll, flavouring just as welcoming to the spices of heavy and melodic rock. That first track swiftly springs wiry grooves which keenly wrapped ears, the guitar temptation laid out by Chris Tamburro an equal to his vocal prowess while the tenacious swings of drummer Chelsea McCammon alongside the infectious growl of Mike Landreth’s bass make for a matching lure.
It has moments which simply got under the skin and aroused the passions alongside other instances where expectations were fed even if enjoyment still courted those times. The EP opens with Anthurium and potent guitar bait which lures attention into a waiting tide of pop punk tenacity which takes little time to erupt. Settling down into a robust and busily infectious stroll, the track springs melodic hooks and vocal prowess with ease. Surprises are maybe less open yet the song has a tenacious catchiness and open enterprise which takes charge. With firm often heady rhythms bearing down on the senses, it is a strong and magnetic start to the release swiftly backed by the following Sombre.
The second song immediately shows a firmer hand but equally saunters along with a heavy, bordering on lumbering gait. Wiry blues nurtured tendrils of guitar illuminate word and voice as rhythms impose their thickly enticing bait; hues of punk and country rock colouring the brooding virulence which infested ears and imagination before Amorosa steals its own fair share of the album’s limelight with its unworldly cryptid bred romance.
The second track instantly had attention gripped with its opening rally of beats, a tempting soon fully ablaze as guitars and bass unleashed their lustful exploits. Similarly there is a hungry edge to the vocals which just adds to the captivation. As its grows, the track fuses instinctive ferocity with a Nine Inch Nails-esque tempting, easily twisting from a rousing trespass to a melodic seduction and back as it easily eclipses its predecessor.
With guitarist April Cox and bassist Rich Tomsett alongside Kerley and more of an indie pop/rock sound to its contents, Ditties 1 opens up with Fine Wine. It is a song which as soon as its initial bass lure is joined by a similarly enticing guitar hook has the body swaying, a bolder bounced incited by its lively and increasingly bold, defiant and tongue in cheek stroll. With a Queen-esque hue to its captivation and imagination, the track needed barely a play to get under the skin and have mutual participation involved.
