The Bastard Sons – Smoke

The Bastard Sons _RingMaster Review

There is no escaping the buzz which has powerfully brewed around The Bastard Sons since emerging in 2011 and especially over the past couple of years, and no evading the reason why, once losing yourself in the riotous depths of the band’s debut album Smoke. It is a bulging sack of pure rock ‘n’ roll cast in a maelstrom of flavours showing exactly why the broad term rock ‘n’ roll is the best way to describe the band’s tenacious sounds. At times it is southern rock led, in other moments hardcore driven, and very often metal sparked; to be honest it is constantly all of those and far more, a beast of a stomp sure to incite the passions of fans to everyone from Down to Cancer Bats, Ghost of a Thousand to Black Tusk, Bloodsimple to Hellyeah, and Stone Temple Pilots to Stone Sour.

Around and since the release of their second EP Roads in the March of 2014, the British quintet has been a blur of activity drawing increasing success at the same time. A US tour with Throw The Goat pushed the band’s growing reputation stateside whilst praised appearances at Hammerfest VI and Bloodstock, a tour supporting hardcore punks Snot, and shows alongside ’68, the new project of Josh Scogin from The Chariot, and also Cavorts amongst many others has taken care of the appetites of British fans and media. Earlier this year the York hailing five-piece dropped a potent and quickly devoured teaser for Smoke in the shape of the single Release The Hounds, a dynamic hint realised and taken to greater plateaus by the album itself.

The Bastard starts things off, southern fried chords the initial lure, though for barely a squeeze of seconds as quickly the band with sinew loaded riffs and rhythms bursting set up a riotous stomp of energy and sound. Vocals, as the music, come in varied styles, hardcore and cleaner rock ‘n’ roll tones colluding in a tempestuous incitement with anthem tattooed to its gripping walls. There is a touch of Pantera, Motorhead, and Every Time I Die to the storm, but as repeated song by song, it is just flavouring honed into something unique to The Bastard Sons.

TheBastardSonsSmokeFrontCover_RingMaster Review  The earlier single comes next, and quickly Release The Hounds shows why it had so many feisty for the album, its opening grooves and vocal scowling within a rugged landscape enough to get ears smiling and appetite drooling alone. The heart of the track is unfussy rock ‘n’ roll, a balls to the wall roar coloured and constantly reshaped by flirtatious sonic enterprise and sudden compelling twists of unpredictability, musically and vocally. It is the seed design to all tracks within Smoke in many ways, but persistently twisted and taken down new and individual avenues as swiftly shown by Sobre La Muer… and before it A Lie Is A Lie. The third track rages and croons with incendiary textures and addiction forming grooves whilst its successor casts a sultry air more in Seether/Shinedown territory than anything else, yet with a predatory dark bassline and a steely touch to the guitars, it carries a constant intimidation which strongly expels its fury from time to time. Nevertheless it and the previous song are inescapable anthemic traps; the lure somewhere between Them County Bastardz and The BossHoss, and fiercely contagious.

Bottom Of The Ladder growls and sonically grizzles with scuzzy magnetism next, guitars and vocals a dirty incitement stirring up ears and soul whilst the group calls work, along with the thumping rhythms, on the body and primal instincts. As anthemic in intensity and roar as it is, the track also unleashes an agitated and gripping web of aggressive twists and belligerence toned creativity, its presence ready to brawl at the drop of a hook or scything beat.

The southern drawl of guitars brings I’m Only A Call Away alive next, the song once standing tall writhing like a barroom temptress with inescapable grooves amidst a volatile fistfight of rhythms and the ever fiery and impressive mesh of vocals. As already shown by their live history, The Bastard Sons has a sound which works with, and appeals to, a vast expanse of rock and metal styles, that diversity in no finer and pungent shape than on this fascinating riot.

Through the brief and hellacious, as well as uncompromisingly emotive landscape of the fiercely angry U.S Against Them and the classic metal lined rock ‘n’ roll of Listen Here, band and album keep the thrilling storm blazing whilst Cardboard Walls saunters in on a rhythmic confrontation bound in more of the sludgy southern wrapping the band breeds so invitingly. A suggestive hint of Crowbar appears at times within the fire of sizzling grooves and snarling riffing, but as you may assume the track, whilst being one of the more restrained adventures on the album, it simply layers more flavours and varied textures into one enthralling mix.

Like a sandstorm, vocals shower and scar Scene(ic) Root(s) next to thick success, but equally they slip into cleaner gaits with ease and power to match the similarly volcanic and pleasingly exacting sounds. The track burns on the senses, simultaneously exciting and bruising before Stay True spreads its warmer balm. Featuring Glamour Of The Kill vocalist Davey Richmond, the track is a shadow brewed serenade as atmospherically and vocally haunting as it is emotionally and physically mercurial, and quite mesmeric.

Smoke finishes with the equally potent but far more capricious and intrusive Exist-Distance, a track which kind of sums up band and album with its constant weaving of different flavours and creative twists within a perfectly coherently cultured body, and another song which stands individual in the cast list of easy to recognise Bastard Sons songs.

We gave a list of bands at the start which sort of gives a hint at who might find thick pleasure from exploring one of the year’s real treats so far. To simplify it though, if raw and passionate, imaginative and ravenous rock ‘n’ roll hits the spot than Smoke is a must.

Smoke’ is available from 7th August 2015 via Kaiju Records @ https://thebastardsons.bandcamp.com/

http://www.thebastardsons.co.uk/    https://www.facebook.com/thebastardsonsuk

RingMaster 05/08/2015

Copyright RingMaster: MyFreeCopyright

 

Skellums – Clarion Call EP

Picture 11_RingMaster Review

Like a union between Weezer and Arctic Monkeys but sticking a middle finger up at any expectations that thought might breed, UK band Skellums quickly stir up ears and a greedy appetite with their new EP Clarion Call. A festival of alternative and indie rock ‘n’ roll across four mischievously captivating songs, the what we are assuming debut release from the band, marks the Liverpool quartet out as one potential soaked and new exciting adventure.

There is very little we can tell you about the foursome of Roberts, Watson, Crichton, and Courtney, except that, according to their press release and all forms of info for them , Skellums began because “there was nothing else left to do” and that the band formed their own record label, Rent & Debt Records to bring forth their flavoursome endeavours. Creatively fragrant their songs certainly are too on the evidence of Clarion Call, musically and lyrically where the band weaves tales of the streets, lives, and experiences most can relate to in some moment or form.

Picture 14_RingMaster ReviewThe EP opens with the outstanding We Are One, a song bounding in on a flood of gripping riffs and rolling rhythms, all weighty and dramatic, before slipping in to a mellower but no less compelling energy for the entrance of the expression loaded vocals. As the narrative spills word by word, guitars relax into a spicy, almost ska bred gait aligned to a great throaty bassline and crisp beats. Band vocals erupt as the chorus bears down on the passions, their anthemic call matched by the infectious swing of the song at that moment and the great lead vocal delivery. The track just grows and incites further with every passing minute of its magnetic rock ‘n’ roll, ending on a blaze of a finale and creating a storming start to the EP.

The Avenue comes next, an initial shimmer of melodies eventually leading to another catchy stroll around a vocal and lyrical social play. Brass shed rays of melodic sun across the song throughout too, their warmth matched by again great variety to the vocals and the inventive shuffle of flirtatious hooks and sparkling grooves. As its predecessor, the song is a riveting seduction, showing more of the diversity already obvious in the sound and songwriting of the band, whilst spellbinding ears and imagination with a success emulated by the irresistible Monsters right after. As the song gets into its virulent stride, it should be admitted that the thought of ‘if The Monkees had been scousers this is the sound they would have held the world with’ surfaced, both they and Skellums sharing a seemingly instinctive pop ingenuity equipped with great underlying shadows.

Clarion Call is completed by the gentle but open swagger of Growing Old, another song flirting with a ska/reggae seeded canter wrapped in melodic enterprise and unpredictable revelry. Though not quite matching the success of the first three songs, it is a fascinating and thoroughly enjoyable end to the EP whilst providing more provocative and mesmeric lyrical theatre.

Over time we will all come to learn and know more about Skellums, though their music does all the talking needed right now, and even if they stay a mystery no one will really care if they keep coming up with the kind of creative fun rippling brilliantly within Clarion Call.

The Clarion Call EP is available from August 10th on Rent & Debt Records.

https://www.facebook.com/skellums    http://www.skellums.com

Upcoming Skellums shows:

Friday 21st August – Zanzibar, Liverpool

Saturday 29th August – Eric’s, Liverpool

Sunday 30th August – The Corner Flag, Sunderland

RingMaster 05/08/2015

Copyright RingMaster: MyFreeCopyright

Hellrad – Things Never Change

FRONT COVER_Reputation Radio/RingMaster Review

The sound of US sludge metallers Hellrad is like toxic lava. It crawls over and consumes ears, blisters the senses, and devours all before it in an atmosphere of unbridled hostility. It also, with weighty persuasion and hellacious intensity, leaves the listener basking in a network of scorching, seductive grooves and intimidating rhythmic slavery, it all colluding for one fierce volcanic treat.

Hellrad began in the August of 2014; the Philadelphia quartet formed by guitarist Mike Hook (Eat The Turnbuckle, Bad Luck 13) and drummer Robert Lepor (Brian Candle). The pair swiftly enlisted bassist Herb Jowett (Javelina, Lick Golden Sky), and with an album’s worth of tracks emerging from their songwriting, completed the line-up with vocalist Dirty Dave Repenning (Off Duty Death, Warsaw). Their sound is as dirty as it is ugly, as angry as it is uncompromising, but aspects aligned to a violent creativity which emerges as wholly contagious. Recording Things Never Change at Permanent Hearing Damage Studios with Steve Roche, Hellrad have unleashed a proposal which is not quite a game changer but it is certainly an uncomfortable and uncompromising fresh breath to the sludge/stoner scene.

From the uncaging of its opener Street Zombies, the album reveals depths of sound and a cast of textures which are as much ravenously doomy as they are voraciously noise rock inspired, a blend perpetually brewing in a cauldron of sludge predation. The first track comes in as a warning siren, its portentous air sparking ears and imagination though their expectancy is soon engulfed in a lumbering and slowly brewing tempest of binding grooves and scything rhythms. It is a stalking rather than an onslaught, yet it has the intensity of a sonic tsunami smothering and stirring up everything in its path. The vocals of Repenning are just as rapaciously delivered, a squall of ire and emotion and as addictive as the roar growing around him. Lyrically little is given away by his raw delivery across the release but his psyche ripping presence is all about texture and emotion, and in that he, as the webbing of enterprise around him, is primal magnetism.

The following My Jihad’s Against My Mind keeps the impressive and intrusive start going, its rage and intent a much more urgent and volatile persecution of body and thoughts. Riffs and rhythms again create an unforgivingly caustic canvas for grooves and vocals to spread their almost rancorous bait, and once more the victim is blissfully immersed in echoes of a cancerous world and destruction. The closing tonic of stoner bred lures of guitar, rather than a respite to the torturous adventure seeding them, is the flowing link into another merciless ravaging. Dope Fiend Jesus manages to be even more raw and filth clad than its predecessor but also more seductive with its flirtatious melodic enticing and passages of mellow aggression. It is deliciously fearsome stuff carrying the whiffs of classic stoner and sludge bands but quickly corrupting and twisting them into something rabidly distinct to Hellrad.

Homegrown Terrorist is one of those sonic and social statements you do not ignore. Everything from its opening sample to the insidious sprawl of Repenning’s tones and the barbarous presence of the bass to the violent swings of Lepor, create an unshakeable trespass physically and emotionally. Its brutish incitement is only enhanced by the venomous sonic vines unleashed by Hook, their virulent enticement, rather than a temper to the existing savagery, an incitement to more threat. It is a template just as addictive in the hard-line predatory saunter of Fucked Up, another unrushed violation which waits until it is ready before unleashing a scourge of sizzling sonic enterprise and poisonous intent bred in an exacting embrace of intense rock ‘n’ roll.

The rhythmic nature of 15 Years and Counting is at times almost meditative, certainly hypnotic though there is no peace or calm to be found in the ruinous landscape of the song. The infectious and anthemic bait of Lepor is only reinforced by the carnivorous tones of Jowett’s strings, both forging the irresistible dark spine within the tightly entwined mix of melodic enticing and inhospitable noise pollution. The track enthrals and thrills before making way for the groove fest of Smoke More Crack. The salacious slab of rabid, dirt spawned rock ‘n’ roll is the final confirmation of the immense and addiction forging properties of band, album, and their severe concoction of sound.

Things Never Change is a punishing treat and Hellrad the nastiest, most vicious exponents of aural castigation, and we for one cannot get enough.

Things Never Change is available now digitally and on CD @ http://hellrad1.bandcamp.com/releases

https://www.facebook.com/Hellradphiladelphia666 

RingMaster 24/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Tess Of The Circle – Love Is The Drug That You Crave

Tess of the Circle pic 1_ Reputation Radio/RingMaster Review

Ahead of their new album Amplify due this coming September, UK band Tess Of The Circle release new single Love Is The Drug That You Crave, and a finer temptation to explore the band’s impending full-length you could not wish for. The song shows just why acclaim and potent attention has been given to the band through its previous releases but with a sound hinting at brand new adventures ahead.

Tess Of The Circle is a British Independent Collective based around the songs and music of singer/songwriter/guitarist Tess Jones and his circle of friends, a group of live and album musicians. The project began in 2013 and quickly released debut album Thorns, a collection of songs from Jones bred from a mix of 70’s electric rock with acoustic guitar riffs and enterprise around biographical lyrics. The release was quickly embraced and praised from fans and media alike, seven of its tracks played on BBC RADIO 2 amongst many national stations, leading to 11 BBC RADIO sessions last year. If the Gavin Monaghan produced Love Is The Drug That You Crave is an example of the wares within Amplify, the band can expect more of the same we suggest upon its release, certainly plenty of close and eager attention.

Tess of the Circle artwork_ Reputation Radio/RingMaster Review     Love Is The Drug That You Crave is themed by “how we often mistake temporary objects and fixations for love. It suggests that we just see these things for what they are; a wish to feel connected” and straight away the great tones of Jones are gripping ears within swathes of guitar and percussive coaxing. Swiftly though, the song twists into a blazing stroll of fiery rock, that seventies breeding a rampant essence within guitars and keys yet equally there is a feel of varied decades within its spicy grooves and flirtatious hooks. The bass of Ben Drummond is a great shadow and grounding to the roaring flames of guitar from Jones and Lee Clifton, but never dulls their incitement with his string’s resonating throaty tones; it all provoked and stirred up further by the rapier like swings of drummer Paul Stone and the potent vocal incitement of Jones.

Hints of bands like The Cars and The Motors nudge thoughts alongside those of Steve Miller Band and the John Butler Trio, but ultimately the roast of a hot rock ‘n’ roll is something pretty much distinct to Tess Of The Circle.

Love Is The Drug That You Crave is a song which simply rocks the listener with an irresistible swagger and passion to which you can only say roll on Amplify.

Love Is The Drug That You Crave is out now on most online stores with Amplify scheduled to be released September 2015.

Upcoming live dates:

June 19th – Acoustic Festival, Uttoxeter

June 25th – 28th – Glastonbury Festival.

July 11th – Bodfest, Horse & Jockey, Bodicote

August 14 – 16th – Pandora Festival, Buckinghamshire

http://www.tessofthecircle.com/   https://www.facebook.com/TessOfTheCircle

RingMaster 16/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

This Years Winner Is play a special acoustic session for The RingMaster Review.

Following and to celebrate the release of their impressive new single ‘When In Rome’, melodic punk band This Years Winner Is has recorded a special acoustic session for The RingMaster Review.

Watch the acoustic versions of the single When In Rome and Always Leaving below.

Formed in 2008, the Isle Of Man quintet of vocalist Elliot Kinrade, guitarists Ben Wilde and Dario Leonetti, bassist Ashley Hogg, and Darren Shields on drums, has been building an ardent and devoted fan base through their live shows and tours leading up to and beyond the release of their  debut EP on British record label Hang Tight Records. The single When In Rome taken from the EP, is the next fresh and eager  step in the impossible to curtail rise of This Years Winner Is and the unmistakable marker for a band and sound on the verge of exploding into wide acclaim in the UK and beyond.

The RingMaster Review would like to give deep thanks to This Years Winner Is for the session and their kind support.

Read the review of When In Rome @ https://ringmasterreviewintroduces.wordpress.com/2012/06/20/this-years-winner-is-when-in-rome- single/  and find out more about This Years Winner Ishttps://www.facebook.com/thisyearswinneris

Copyright RingMaster: MyFreeCopyright

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