Hot Moth – Small Fires EP

hot moth_RingMasterReview

Just passing their first year as band, UK rockers Hot Moth have just released debut EP Small Fires. It is an introduction which simply demands attention, three slices of alternative rock woven with just as potent essences of math and punk rock. A further progressive intent does songs and release no harm either, another vibrant texture in a sound which is yet to find its true individuality but has little problem, on the evidence of Small Fires, in making a memorable impression on ears and enjoyment.

Hailing from Brighton, Hot Moth is made up of vocalist/bassist Matt Sparkes also of The Farrah Joy Quartet, guitarist Matt Metcalfe, and drummer Freddie Hills who also hits the skins for another great band from the town, The Slytones. Formed March 2015, Hot Moth has drawn comparisons to the likes of Biffy Clyro, Oceansize, Reuben, and Mars Volta, which listening to Small Fires is often easily understandable. Creating captivating roars equipped with hungry riffs, anthemic rhythms, and strong vocal enticement, the band also has a subtlety to their sound which sees them able to almost serenade the imagination one moment and creatively bully it in the next.

cover_RingMasterReviewThe release opens with Rhino and an initial scaly lure of riffs which soon opens up into a formidable but inviting collusion of rowdy rhythms and sonic enterprise. The entrance of Sparkes’ excellent vocals and expression brings a momentary mellowing which quickly builds again into the same feisty proposal the song leaped in on. Ebbs and flows in intensity skilfully continue as the track provokes and entices with increasing prowess. There is a touch of Freeze the Atlantic to the song, a grittier snarl which works well with the melodically fiery textures that combine with Hills’ dynamic and addictive rhythms.

The impressive start continues with I Miss The Missed, a slightly less energetic proposal in many ways yet makes up for it with the emotive suggestiveness of vocals and melodies. There are plenty of dynamic crescendos involved in the track’s landscape though, evocative eruptions around the tenacious and agile enterprise of Hills and the melancholic tone of Sparkes’ bass. As with the first, there is an instinctive catchiness which permeates everything from the growly swing of the bass to the crisp beats and the potent weave of imagination shared by Metcalfe’s strings. Closing on a boisterous finale, the excellent track leaves a want for more as it makes way for EP closer Levelling The Tales.

A funk infested slice of metal aggravation and melodic infectiousness, the final track is a fiercely beguiling adventure playing like a blend of Reuben and I Plead Irony with the progressive touch of Porcupine Tree. Once more contagion soaks every unpredictable twist and rousing turn with a tapestry of flavours and energies in tow. It is a union of imagination and resourcefulness creating the EP’s best track as it completes a thrilling first listen to a band with the potential to make great strides within the UK rock scene. Available as a name your price download, Small Fires is one extremely easy proposition to recommend.

The Small Fires EP is out now @ https://hotmothmusic.bandcamp.com/album/small-fires-ep

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Pete RingMaster 13/04/2016

Copyright RingMaster: MyFreeCopyright

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Plutonium – Born Again Misanthrope

Plutonium_RingMasterReview

Born Again Misanthrope is one of those great releases which maybe initially leaves ears and thoughts unsure but with deserved attention works its way deep into the psyche whilst proving to be one highly magnetic proposition. The nine-track engagement, with a tone and character living up to its name, is the recently released third album from Plutonium, a one man project from Sweden and an encounter which crafts and in turn captivates with a voracious theatre of raw and dramatic shadows.

Carlsson, more often known as Mr J,. is the creator of Plutonium and a sound which imaginatively merges extreme industrial and black metal, though that over simplifies the sonic adventure within certainly Born Again Misanthrope. Hailing from Karlskoga, the project emerged in 2003 with an early demo appearing the following year. Three years on and debut album One Size Fits All was unveiled with successor Devilmentertainment appearing four years on. With hindsight investigation of those releases, it is easy to assume Plutonium has drawn potent attention and support over the years, even if yet to find itself breaking into the broader spotlights beyond its homeland. Born Again Misanthrope though, might be the key; certainly it is the most imaginatively accomplished and unique proposal from Plutonium yet and given the time a sizeable magnet for ears and eager attention.

The album opens with its title track and a militarist nagging of beats which subsequently sparks a similarly toned parade of riffs. From there blackened toxic grooves spring upon ears and appetite as the dark rasping tones of Mr J. almost crawl through the enveloping muggy landscape. It is a ravenous confrontation unafraid to allow a seduction of melodic calm to join its persuasive trespass of ears and imagination. The collusion of industrial and extreme metal is a hellacious tempting with post punk and progressive twists icing on the pestilential cake. As suggested earlier, it provides a thick challenge initially, taking body and thoughts aback with its unconventional design and aggravation but over plays the song really blossoms into one dramatically compelling affair.

It is a journey and achievement which pretty much applies speaks for the album too, and second song Cortex Vortex whose intrusive invasion is at first a boldly unsettling incitement. Taking time to acclimatise to its creative animus of rabid intensity and a ravenously tantalising sonic undercurrent though, the song emerges as another captivating protagonist of the senses. Its unpredictability is as enjoyably ripe as the diverse strains of styles woven into the corrosive theatre of sound and intent; a soundscape as prone to melodic and avant-garde intrigue as it is emotive despair.

For personal tastes it is when tracks venture into that wrong-footing and seriously diverse scenery that they truly come alive and remove themselves from more recognisable black metal dilemmas. The Inverted Panopticon Experience is such an offering; though instantly taking a hold of the appetite with its death march of debilitating rhythms and corrosively wiry riffs and grooves, it is the industrial and sonic imagination that elevates its stature and lure even though its dominant incessant stalking of the senses never abates.

Casque Strength has that same nagging quality too though this time with a warmer melodic hue to its worrisome nature. Straight away it is working the senses though it holds it back somewhat as a great industrially coloured atmospheric mist descends before returning to its unbridled niggle soon after as the vocals offer venomous predation through it all. Already a virulent strain of persuasion, the track only grows in potency as an enthralling, almost indie rock bred melody and accompanying hooks perpetually vein the venture whilst sparking a bold swing to the torrent of sonic tempting.

One of the clear pinnacles of the album it is followed by the shadow rich drama of The Masque of The Green Demon. A sweltering reflective ambience envelops ears as guitars slowly spread their sultry lures whilst drawing on stoner and sludge bred qualities as the song bracingly shimmers on the senses. Vocally Mr J. never veers from his black metal inspired delivery yet it works perfectly with the heavy rock ‘n’ roll of the fiercely enjoyable track for arguably the most unique moment on the album.

The harsh cold landscape of Renuntiationem comes next; the track a wasteland of warmth and hope that spawns a dark and sombre hued drone laced with just as melancholy rich elegant melodies. It is a provocative and mesmeric flight of sound and emotion that, as many, flourishes with every listen, though time the outstanding Electric Barbwire Crown of Thorns has no need of. From its first electronic/metal seeded assault, the song has ears and appetite enthralled with a web of sonic enterprise within an industrial tirade of noise. Swiftly though, the song twists and turns through inventive detours and imagination fuelled escapades as addictive and infectious as hey comes. Along with Casque Strength and The Masque of The Green Demon, it is reason enough to check out Born Again Misanthrope and Plutonium.

The short instrumental of Alice in Plutoniumland (Two Minute Hate Part III) sparks the imagination next, playing like the haunted soundtrack to a psychedelic kid’s tale set in dystopian X-Files spawned surroundings. It is an ever giving piece for the listener to play with before Confessions Of A Suicidal Cryptologist aggressively leaps on ears and emotions with its furious smog of intensity and cancerous animosity. Fair to say though, the album closer has its own enthralling moments of boisterous catchiness and brazen rock ‘n’ roll endeavour, not forgetting atmospheric synth woven incitement.

The track provides a formidable and potent end to a thoroughly enjoyable adventure which simply becomes more impressive over time. With certain moments of majestic ingenuity backed by further creatively rousing craft, Born Again Misanthrope is a proposal that extreme and industrial metal fans especially should definitely explore.

Born Again Misanthrope is out now @ http://thetrueplutonium.bandcamp.com/

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Pete RingMaster 13/04/2016

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Bask in Feathers: Introducing Rooster Cole

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If like us you have been impressed and excited by Brighton band Black Black Hills, you might just get a tingle, again just like us, at the thought of a solo project from the band’s frontman Mark S. Aaron. When the man in question got in touch telling us about his new solo project Rooster Cole, there was an immediate intrigue and excited eagerness to find out more and once we had embraced the first two songs from this new adventure, there was little option then to share. As expected from previous exploits there is an elegance and grandeur to the sound of Rooster Cole but equally it has an intimate presence skirted by wonderfully invasive shadows. Nick Cave springs to mind as a comparison in many ways but truly the project has a uniqueness which seduces from the first note and syllable.

As mentioned Mark S. Aaron was /is the frontman to Black Black Hills, not too sure on their state of being right now to be honest, a band which has supported the likes of Twin Shadow, Maps & Atlases, and The Vaccines. Their sound also found good acclaim from the likes of Edith Bowman, Nick Grimshaw, and Huw Stephens, with their single Far From My Arms chosen by Lauren Laverne as one of her show’s MPFrees of the Day and placed on the Radio 1 playlist. Rooster Cole sees Aaron step out alone with a pair of captivating tracks as his first temptation. Still to play live as he works on further songs with a single and video planned for later this year, Aaron is already brewing up some hungry attention and it is easy to see why with the magnetic charm of his first offerings.

The two songs marking Rooster Cole’s emergence are More Than You and The Waiting Place, two sultry evocative persuasions which simply entrance the imagination as potently as the ears. More Than You moves into view on a breeze of jangling guitars and a broody bass tone, all gentle and restrained in their gait but rich in their expressive hues. Once the distinctive tones of Aaron open up the narrative’s croon a thicker emotive embrace cradles thoughts immersing the listener into a smouldering climate of heat and incitingly suggestive seduction. The song is still tempered in its urgency yet has a sway and swing which makes feet submissive but once the epic voice of sound and vocals in their varied delivery clasp the chorus, new incendiary heights and tempting depths are opened up. The song is simply glorious, its broad shoulder of sound expansive yet intimately caressing with lyrical and vocal enterprise. With keys bringing further colour rich flavour to the song it alone sparks a hunger to keep Rooster Cole under close attention.

The Waiting Place is a slower bewitchment, a piano led walk through resourceful scenery of discord kissed melodies, percussive kisses, and the noble come sombre yet emotionally incendiary vocals of Aaron. The song is covered by a red skied emotive climate, its potent vivacity a tempering lure to the shadows unfolding within the irresistible tale. There is an essence of Helldorado and Saint Agnes to the track at times and of the Dennis Hopper Choppers too, but all mere comparative spices in the ingenious design of Rooster Cole.

Though not official releases the two songs are available from Rooster Cole as free downloads from https://soundcloud.com/roostercole, an offering it is easy to loudly recommend all treat themselves to. Using the pair as inspiration, the suggestion that Rooster Cole will be a name on the lips of the country and in the ears of a legion of feather enthusiasts on a future horizon is unavoidable. https://www.facebook.com/roostercolemusic

RingMaster 26/03/2014

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Australasia – Vertebra

Australasia - Vertebra - Cover

Lifting the listener’s thoughts and imagination into an expansive and emotional almost visual flight through an ever evolving soundscape broken up into smaller evocative sceneries, Vertebra the new album from Italian band Australasia is one of those absorbing emprises you just cannot pull away. Ten tracks of predominantly instrumental merging of post rock, shoegaze, classic electronica, and enthralling ambience, the release is a masterful and compelling adventure. There is though much more substance than that description suggests, flavours and styles bred elsewhere seamlessly employed in the melodic web cast, and when vocals are rarely used they are more another texture to the creative narrative than any lyrical storytelling. The album as skilful and magnetic as it is equally suggests this is a project still in evolution with greater glories waiting on its horizon, something which just adds to the pleasure bred by Australasia.

The band is the creation of multi-instrumentalist Gian Spalluto who has linked up with Mina Carlucci and Giuseppe Argentiero of fellow Italian band Vostok. Touched by influences which include the likes of Red Sparowes, At the Gates, Joy Division, This Will Destroy You, Angelo Badalamenti, Mogwai, Pelican, Ennio Morricone, Cult of Luna and more, the band provides emotive landscapes and mesmeric incites which never restrain themselves musically or imaginatively to any singular intent or limiting frame. Australasia’s debut release, the Sin4tr4 EP of 2012, opened up the gateway to the band and its invention which the Immortal Frost Productions released Vertebra continues with striking strides into the awakening imagination and aural world of the band.

The journey opens with Aorta and a guitar cast melody which as the album progresses is a regular protagonist if in varying guises and intent. It is a mellow coaxing of a start to the song which gathers intensity in its breath as it opens up its creatively sinewed arms and melodic armoury. Hitting full stride early there is a tempestuous union of post rock provocation and metallic sculpting which flows and moves towards a stretch of sonic beauty and evocative reserve. Impressive rhythms and drums steer the enterprising exploration superbly and the guitar play is quite riveting across the body of the song. In its final thirty seconds or so the track unveils a union of male and female vocal harmonies which provides a last wash of warmth and elegance to the impressively crafted flight.

The following Vostok immediately offers a vintage electronica sound to thoughts though it is soon smothered by a strong cloud of sonic shadows and blackened emotion. The song undulates thrillingly as it progresses, big mountainous rhythms and textures mingled fluidly with tender elegance and those returning electronic caresses before dissipating for a lone acoustic guitar to wave the dark climes away. It is a track which seems to pass so quickly in time and though almost four minutes in length its successor Zero is soon feeding the senses and providing another heady structure of melodic imagination and rhythmic incitement. Not for the first or last time, the music reminds a little of The Cure around the time of the Seventeen Seconds /Faith albums, a shadowed energy coating the air of the song but speared by a melodic beauty which only raises the spirit and light.

Next up Aura roams through a more electro pop /shoegaze realm with eighties synth pop flavouring, though yet again there are intimidating resonances and dark clad tempting which tempers the radiance enough to add wonderful doubt and menace to the calm. The track also sees the captivating voice of Carlucci swarm siren like over the senses. Lyrically the track is uncluttered with effective repetition whilst gentle soaring harmonies make the prime successful persuasion. Like all the tracks, the song seems simple but holds a real deception as everything is so precisely and imaginatively woven together. The closing vocal scat does not quite work for personal tastes but it does not deflect from the smouldering piece of enjoyment.

Both the melodically flamed but intensively blackened Antenna, one of two tracks on the album taken from the earlier EP, and the excellent towering bulgingly muscular Volume continue the impressive height and stature of the album whilst the title track provides a pleasing short Spring respite with expressive tones and soft weaves, even if it feels a little like an anti-climax from the immense and lofty force and heights carved previously.

The second track from Sin4tr4 steps forward next. Apnea provides a reflective blend of imposing density and melancholic beauty wrapped in another bewitching vocal wash from Carlucci and an electro courting which pokes light through the cloudier ambience. It is a delicious embrace which makes way for the bordering on corrosive presence of Deficit. Scuzzy and thickly bonded to the ears, the track thrillingly riles up the senses but then before they can accept the intimidation the piece twists in on itself to lay a beauteous glaze of melodic endeavour on the incitement. It is a short but scintillating piece of composing and realisation waking up the appetite even further for the closing seven minute plus epic of Cinema. Arguably the track is a shade too long but it is a mere quibble when it makes such a compelling temptation across its emotionally clad presence.

Vertebra is a spellbinding release though to temper that slightly maybe it does not ignite a fire in the belly of the passions as often as it arguably could or should have, though again to put that into context, it is fair and easy to say that Australasia has created an adventure which is impossible to resist or stay away from. The band has the potential to create their own legacy you feel as their album permeates through thoughts and emotions, Vertebra a very striking start.

www.australasiamusic.com

www.facebook.com/australasiamusic

8.5/10

RingMaster 08/01/2014

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Tapewyrm – House Of Cards

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Barely has the New Year had time to open its eyes and UK noise master Tapewyrm has crushed its arrival in a tempest of spiteful corrosive hostility with the House Of Cards EP. Consisting of five sonic scourges which fry the senses and obliterate the psyche, the release marks the closure of the first creative act of the project whilst possibly hinting at the new opening scene of its intensive imagination. It is vicious, merciless, and definitely not for everyone but for those finding beauty in aural destruction the release is a fascinating and riveting end of a chapter for a sonic protagonist who has already made a lingering deep scarring mark on noise and industrial provocation.

Tapewyrm is the studio project of Oxford musician Michael Drayven which from its emergence in 2010 took little time in drawing eager attention from the following year. Two digital demo EPs marked the cards of fans, media, and industry alike, before the release of debut CD Misanthropic Noize last year cemented and sparked new awareness for the presence of Drayven’s sonic infestations. The release was a masterful and disturbing intrusion which bred fear or rapture and House Of Cards is no different in effect, potency, and quality; just more demanding and punishing in many ways and if it ticks your boxes, ridiculously captivating.

The title track opens things up and instantly has the senses under a tsunami of sonic vitriol and industrial debris. The track intimidates and scores the ears within seconds but equally there is a haunting nightmarish temptation which partially distracts from or tempers the thick rasping tempest to seduce attention and imagination. Featuring the disturbed almost childlike vocals/utterings of Tiffanie Wells from Beinaheleidenschaftsgegenstand, the insidious coaxing is an unrelenting oppressive washing of the psyche which incites and scores thoughts and emotions into spellbound submission.

The following Chasing Ghosts is said to hint at the new direction of Tapewyrm in its second era and there is certainly a shift on the evidence of the piece which tantalises and catches the imagination. Like a moment from the soundtrack of Love Story if played out in the belly of a hell set industrial mixer, the excellent short sonic narrative is an emotive caress by inventive hands with the coarsest skin and hellishly intriguing. Its taunting is followed by the outstanding Careless, another permeating of the skin which infuriates like a sonic itch and seduces with a virulent addictiveness. The rhythmic stalking of the track niggles with an insatiable hunger whilst within the cloud of noise contagion melodies dance and blossom with a sexual wantonness and absorbing elegance. The impressive and enthralling encounter is like attempting to listen to a joyous carnival procession through the thickest swamp of tinnitus whilst a jackhammer nags mercilessly away face to face.

The release is completed by two remixes of tracks to be found on the previous Misanthropic Noize album. Firstly there is the Ruinizer remix of Save Yourself, a track which twists and rotates with a vibrant and understated presence but still licks potently with every repetitive note and electro clad sonic expression. It is succeeded by the Dirty K remix of Rebirth, a harsh caustic smothering of the ears which erodes and grates the senses to whimpering submission but holds back enough to create an addition forging aural treat.

From the Juggernaut Media Group released House Of Cards it is hard not to add a little impatience to the anticipation of what comes next from Tapewyrm as you sense it will be something to shake and disturb mind and emotions. This is a project which will leave a great many cowering and running but if noise is your masochistic treat than here is one raw and minimalistic fury which just has to be investigated.

https://www.facebook.com/Tapewyrmofficial

http://music.juggernautservices.com/album/house-of-cards

8.5/10

RingMaster 07/01/2014

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Escape The Justice – Abscond EP

Escape The Justice

We cannot claim that post hardcore band Escape The Justice is exposing yet anything startlingly new for the genre on their debut EP Abscond, there is something invigorating and fresh about the Manchester quintet which makes them stand out whilst entrenching a promise and expectation that they will evolve into something unique and intensely potent. The six track EP is a striking and passionate affair which captivates from start to finish as it explores the band’s creativity. It uses existing armoury for sure but strips it down and rebuilds it with a heart and aggression that slaps the listener strongly on the senses for a richly pleasing and dramatic confrontation.

The band was formed in January of this year by vocalist James Holman, guitarist Tom Crane, and drummer John ‘Jay Kay’ Kendrick, all three formerly in Our Innocence Lost. Bringing in bassist Abe Shimmin and guitarist Jonny Gill, the band took no time in attacking their passionate and aggressive intent with a sound which initially was suggested at in the latter part of the founding three’s last band but has now  been expanded and taken to new boundaries. Recorded at Patron Sound and produced by Elliot Middleton (guitarist of I’ll Stay in Memphis) and then mastered by Joey Sturgis of Foundation Recording Studio, Connersville, Indiana, Abscond makes no pretence of its will and hunger and takes no time in engaging, seducing, and then ravaging thoughts and emotions.

The release opens with warm but senses alerting atmospheres as first track Ascension brews into view. Once settled in the ear 400726_474142499317563_1163921761_nkeys and guitars gently place their narrative on the table as the mellow tones of Holman tenderly make their embrace. It is not long though before his tones turn to a rapacious squall within the still smouldering invitation, beats and bass adding melancholic resonance around him. Turning up their intensive heat the band unleash sinewy textures to provoke further emotion before simmering again into a magnetic melodic seduction. It is a strong start which it is hard to say if a full track or introduction; truly it is neither but a compelling beckoning somewhere in between.

The following Austerity is bred from a short sonic lancing before turning into a corrosive blaze of rhythmic tenderising from Kendrick and acidic guitar fire from Crane and Gill, both taking their bite at the senses with intrusive twisted riffs and flesh sculpting sonic searing. It is an imaginative and violent piece of inventive confrontation with the great blend of clean and scowling coarse vocals as enterprising and impacting as the maelstrom of sounds.

Aegis takes its turn on the senses next, the song a torrent of predatory vocal deliverance and malicious sonic artistry. Like its predecessors it is also a thoughtfully composed and deliciously delivered blend of melodic temptation and aggressive rabidity but takes things further in its inventive shifting and shuffling of ideas and directions. Unpredictable and continually riveting it is an outstanding track which alongside Austerity stands as best on the release whilst again sparking the expectation of even greater things ahead on the band’s horizon.

The next up Addicted also steals the march on most other genre released songs, certainly this year, with its esurient energy and hunger, not forgetting accomplished musicianship and craft. Though not a song which stands out on the release itself as much as others, it is a fluid and unrelenting grit fuelled fury with a djent tendency to its attack and ferocity to its passion.

From the short ambience soaked instrumental Abeyance, the Abscond EP ends with the brutal Anoesia, a track which tears at the senses and chews vigorously at thoughts from its opening seconds. Like the others though it is not one to settle in a single guise or stance and expands into an excellence tempest of outstanding varied vocals, barbed guttural scrubs, and melodic alchemy within caustic maliciousness. It is a scintillating finale to an impressively striking release.

You still feel there is a way to go before the band find their truly unique voice but Abscond suggests it is just a formality. For fans of the likes of Memphis May Fire, Heart of a Coward, and Of Mice and Men, Escape The Justice has all the potential and skills to become a major presence in UK rock, and with the Abscond EP being offered for free Download for just twenty four hours from 12 Noon on Saturday June 22nd it would be stupid no to join their rise from its very first steps. Find out more at http://www.escapethejustice.com

https://www.facebook.com/escapethejustice

8.5/10

RingMaster 21/06/2013

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From eager seeds to mighty sounds: the rise of Savage Henry

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The musical journey for Colorado band Savage Henry and its members has been long and undoubtedly exhausting for a group whose seeds began with a group of teenagers who started out on a musical quest in 1994 as the band On Second Thought. The musical exploration and venture of the Denver band is still an expanding and growing experience with already plenty of highlights but as 2013 opens its welcoming arms the feeling that Savage Henry is standing on the precipice of a deserved wider reaching recognition is a strong warm wind in their creative skies.

From that summer the original members of the band from the those first days and those who joined as Savage Henry emerged in 2004,  earned their musical spurs through releases and hard work leading up to the band’s introduction through the album All In the following year. With a line-up of vocalist Damon Guerrasio, guitarist Stu Miller, bassist Ryan Morrow, drummer Mike Rice, and keyboardist Jeremy Lawton, the band found the impressive record strongly received record upon its debut in July 2005 at the legendary Red Rocks Amphitheater (part of the Film on the Rocks series) and showed the creative prowess and imagination of the songwriting was back to its creative best with extra instinctive flourish and rock passion to the new songs, though less of the previous ska and reggae teasing, though it still whispered loudly at times. Constantly rippling with great tracks like the wonderfully engaging Daisy, the tantalising Alive & Kickin’ where the band switches feet and styles with consummate ease and skill, and the feisty Monkey, the biggest highlight of the album, the release incorporated many essences and flavours into its pulsating passage The last of the three mentioned offered a potent Squeeze like warm rock pop beauty, just one compelling example of the thoughtful diversity within the release. It is a record which re-ignited the emotions the first album of OST sparked and more, its varied and riveting array of ideas and sounds going a long way to helping the band find themselves with again plenty of radio attention which included performances at Denver rock stations 93.3 KTCL and 99.5 KQMT amongst a full on charge of gigs and shows, over 175 including sharing stages with the likes of Cowboy Mouth and Better than Ezra to name a couple.

Changes in personnel occurred in 2007 with bassist Morrow joining fellow Denver band, Black Blood Orchestra and drummer Rice turning to solo projects. Replaced by John Jeffers and Mike Boyd respectively and with the additional joining of second guitarist 2009 Savage HenryGlen Esparza, the band sculpted another striking evolution to their sound for next album Step Lively which was unveiled in 2009. Again the even stronger rock voice of the band ignited the passions whilst the pop and ska breezes added extra relish to their increasingly potent music. From its very start with the magnetic Shot In The Dark and the immense Broken, the album is a wonderful storm of sinewy riffs and thumping rhythms entwined with a heated melodic majesty as well as a seamlessly fused intelligent caress of emotive and golden elegance in songs like Melody and Call On Me. The release also found a rich vein of pop punk to ignite certain songs as in the excitable and brilliant Unrequited and the equally scintillating Vice. Without doubt the album is the band’s finest moment to date and the strongest of many reasons why you feel the band is standing on the verge of breaking into that worldwide recognition.

Since the album the band has continued to make an impression on the radio and live, as well as having their song 300 Miles which SH_1was inspired by a terrible bus accident with a Fed Ex truck during a tour of the mid-west, licensed by Eddie Bauer and First Ascent ski clothing company to use in a video to advertise their clothing around the world from 2010-2011.The past year was noted for a video produced by the band’s passionate P.R. Manager Hal Jester, for the track Hero which was written to honour fallen soldiers and those that have made the greatest sacrifice for us, as well as generally a growing intensity in the media through blogs and radio play with the likes of http://www.audioburger.com. Their increasing presence thanks to the online drive of Jester has put the band in a prime position to make 2013 a major landmark in the eighteen year history of the band whilst news of new songs in the works has already raised the appetite and anticipation of all those to have discovered the band and their great sounds so far.

Savage Henry is a band everyone should get acquainted with and surely will over the coming months.

http://www.savagehenry.net/

Pete RingMaster 02/02/2013

Copyright RingMaster: MyFreeCopyright