Altitudes and Attitude – Get It Out

Just the thought of two of metal’s finest most influential bassists linking up whets the appetite; indeed a potential pleasure which pretty much inflamed said optimism with the release of an EP five years back. That teaser though has just become a full on feast of hard rock ’n’ roll pleasure with the release of Get It Out the debut album from Altitudes & Attitude.

For those yet to discover the outfit, Altitudes & Attitude is the creative union of Anthrax’s Frank Bello and Megadeth’s David Ellefson. It was a partnership sparked when the pair started touring together to lead bass clinics for the amp manufacturer Hartke in 2010.To provide backing tracks to support their demonstrations the pair began writing songs, this leading four years later to the unveiling of a three track EP. Now the link-up has brought us Get It Out and thirteen tracks which pretty much rock the life of the majority of hard rock offerings of recent times. You might say that the album is not the most unique, it openly embracing assumedly some of the hues of the pair’s own musical likes and pleasures over time, yet it has a freshness and individual character which uses such flavours rather than relies on them. At times it has a definite John Bush led Anthrax meets Foo Fighters roar but from start to finish stomps with its own voice and gait to relentlessly thrill.

Produced by Jay Ruston (Anthrax, Steel Panther, Stone Sour) and with drummer Jeff Friedl (A Perfect Circle, Ashes Divide, Filter) unleashing the driving rhythms throughout, Get It Out sees a host of guitarists guesting alongside the bass and rhythm guitar sharing of Ellefson and Bello, the latter providing the vocals and lyrical prowess. Among them is the familiar craft of Ace Frehley, Gus G (Firewind), Jon Donais (Shadows Fall/Anthrax) and Christian Martucci (Stone Sour); with all musicians involved adding to its magnetic lure.

The album opens with its title track and swiftly and easily had attention gripped as guitar bred wires entangled ears; their nagging increasingly compelling before riffs and rhythms add their persistence to the baiting of the senses. Bello’s vocals are just as potent as the track erupts into that Foo Fighters tinged roar which sweeps across the album at times. It is an outstanding track and start quickly matched by the similarly stirring and vigorous Late. The second track is less forceful in its initial tempting, almost teasing ears before hitting its muscular stride with Friedl’s beats a crisp trespass alongside the melodic caress of guitar. With a Verni like hue to its infectiousness and controlled holler, the song also effortlessly hit the spot with its multi-flavoured rock ‘n’ roll.

Lyrically, the album sees Bello open up to personal experiences and the intimate turbulence which have been part of his life; explorations just as intriguing as the sounds around them and fuelling further quick success in the likes of Out Here and Part Of Me. The first shares a delicious groove aligned to mountainous rhythms, their captivating unity matched by the harmonic call of vocals and guitar while the second is pure incitement from its gnarly bassline to thumping beats and hook springing virulence. Both tracks leave little to be desired but the latter with its imposing but galvanic trespasses was rock ‘n’ roll manna to personal tastes with a guitar solo to lap up.

The irresistible Slip ventures into a more indie rock lined hard rock stroll, vocals and melodies as infectious and manipulative as a virus while next up Talk To Me provides a relatively calmer but no less persuasive canter draped with a great Julian Cope-esque feel in voice and sound. Both tracks add to the already lofty heights of the release with creative and hearty relish before Leviathan shares more classic and heavy/progressive metal strains of enterprise. The instrumental is a magnetic detour from the thrust of the album so far adding another aspect to its increasingly varied landscape.

Cold shares some of its predecessor’s colouring within its own heavily satisfying melodic rock ‘n’ rumble with Another Day returning to shades of Dave Grohl and co with its controlled yet fiery saunter.    It was a song which maybe did not have us bouncing as lustfully as others but its magnetism was inescapable as too its hungry hooks and lures; coaxing just as thick and even more compelling within the emotively atmospheric and revealing All There Is where melodic droning and vocal intimacy blossoms.

The album concludes with bonus cuts of the songs which made up that first EP; all three remixed and re-mastered. Booze And Cigarettes has a great feral edge to its rock clamour, Tell The World a melodic almost poppy instinct to its catchiness, while Here Again is as much punk as it is heavy and hard rock bred; all three showing why Altitudes & Attitude had so many excited a few years back and anticipation for the album, they now thrillingly end, so keen.

A record which will appeal to a vast array of metal and rock fans, Get It Out is rock ‘n’ roll at its hearty best, so no more words needed just your soon to be hungrily happy ears.

Get It Out is out now through Megaforce Records.

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

Pete RingMaster 12/02/2019

Copyright RingMaster: MyFreeCopyright

AM Taxi – Shiver by Me

As much as craft and imagination guides our choice of musical pleasures and favourites it is instinct and organic connections which truly steer reactions and loves, both fully behind our swift and unconditional ardour for Shiver by Me. Not that the creative invention and agility of AM Taxi and their release falls short, it all going to make for one rousing slab of punk ‘n’ roll, but quite simply it is an album which just knows what our personal wants and pleasures are and feed all with tenacity.

The successor to We Don’t Stand A Chance, the Chicago band’s well-received 2010 Virgin Records released debut, Shiver by Me provides a romping, stomping fusion of old school punk and alternative rock with modern pop instincts. It snarls as it bounces, reeking defiance as it unleashes virulent catchiness across eleven boisterous encounters, all the while leaving ears and appetite greedy for more. It bursts into life with a bang and never leaves a want for anything thereon in.

Saint Jane provides that explosive beginning, cavorting rhythms linking up with a teasing guitar jangle as vocals wait to add their lively energy. Hitting full swing as guitarist Adam Krier adds his lead tones, the track is an insatiable pop punk temptation springing seventies punk with indie pop feverishness. There was no escaping its manipulation of body and vocal chords nor the swift ardour sparked and carried on by the following Harpoon. Echoing its predecessor, the track is just as persuasive and irresistible vocally as it is musically, Krier and the band’s backing effortlessly getting under the skin just as the swinging beats of Chris Smith, the brooding but eager grumble of Jason Schultejann’s bass and the melodic shenanigans of Jay Marino’s guitar alongside those of Krier. With devious hooks at every twist and turn, the track is viral contagion to which personal hollering was inevitable.

Next up Movie About Your Life proved to be no less of a puppeteer either, its acoustic strum and persuasive handclaps teasing to the great vocal snaring quickly in tow with melodic intimations lining the captivation as it bubbles up while Swim Before You Sink (Short Time on Earth) straight after uncages bold imagination brewed rock ‘n’ roll which fed every want in the personal book. Both tracks are simply outstanding continuing the impressively rousing roar of the album already in full flow.

Fighting in Cars is relatively calmer but still a spirited proposition with its lithe rhythms and melodic web while L’ Patron provides an ear romancing saunter with a fire in its belly and passion in its heart. Each of the pair hit the spot with their openly individual proposals; success fully matched by the indie rock hued punk pop canter of Stuck Around. The hook springing and vocal prowess of the band, let alone an inexhaustible rhythmic agility, is persistent across each track within the release and no more tantalising than here.

Through the Clash kissed Brandy Don’t Let Me Down and the reflective and skilfully dramatic Minute Alone, the album is as compelling and striking as ever, both slices of pleasure matched in creative kind by the soul nurtured Shaken Over You. Sam Cooke is named by the band as one of their influences, an inspiration breeding this treat, a song elevated further by a Jam-esque whiff.

The album closes with Warsaw Blues, a gentle slice of melodic intimacy which maybe did not inflame the passions as those before but left a certain pleasure and appetite for more of its almost smouldering temptation.

Shiver by Me is one riveting adventure from start to finish and AM Taxi a band no punk or rock ‘n’ roll fan should skip by without giving at least a curious listen.

Shiver by Me is out now @ https://amtaximusic.bandcamp.com/album/shiver-by-me and also available on limited vinyl this April through Mutant League Records.

https://www.facebook.com/amtaxi/    https://www.amtaximusic.com/  https://twitter.com/AMTAXI

Pete RingMaster 11/02/2019

Copyright RingMaster: MyFreeCopyright

DeeVer – You Need This

If like us you were taken with Only Enemy, the recent single from UK rockers DeeVer, we can tell you and you will be excited to hear that it was only a mere teaser to the rousing goodness which makes up the band’s debut album. You Need This is a collection of contagion and imagination loaded tracks that burrowed under the skin in quick time; quite simply it is rock ‘n’ roll which more than backs up the title it roars under.

Formed by ex-Inglorious guitarist Wil ‘Billy’ Taylor in 2017, North East hailing DeeVer has bred a sound blending the rapacious essences of punk, metal, and hard rock. It is a mix of the familiar and hungrily fresh with the latter driving its enterprise and tenacity. Alongside the band’s frontman is the rhythmic prowess of bassist Phil Appleton and drummer Dan Higgins as well as the stirring exploits of fellow guitarist Stevie Stoker. Through previous singles they have garnered references to the likes of Foo Fighters, Shinedown, and The Senton Bombs; easy to understand comparisons even within what is an individual character and holler to the band’s, definitely in the case of You Need This, irresistible sound.

The album opens up with Fire At Will, a song which swiftly turns the tap to the ridiculously infectious virulence which flows through the DeeVer songwriting and album. Eager riffs lay the first lure, quickly joined by muscularly swinging rhythms and soon after the potent tones of Taylor. Already that instinctive catchiness is infesting song and ears, steering the twists and turns springing from the craft and voices of the quartet. It is a commanding start to the release casting the anthemic quality of the band’s sound quickly taken up by the following All Come Running.

The outstanding second song easily had ears gripped through the opening throaty throes of Appleton’s bass, the subsequent punk hued stabs and staggers escalating the persuasion. Soon finding a brooding groove, the song evolves into a bold and voracious croon built on wiry strands of guitar and mellower melodic coaxing; every second offering up new imaginative temptations before making way for the creative drama and exploits of Alright. Again riffs and grooves align as the track swiftly rises to its stomping feet, that organic catchiness once more flooding the blossoming adventure and hearty roar of the encounter to quickly seduce ears and appetite.

The subsequent creative manoeuvres of Back Down and Waves only back up the potent and captivating success of the album so far; the first a classic rock nurtured offering with steel in its touch and a snarl in its voice. Though not quite hitting the spot as those before it, the song effortlessly had us bouncing before its successor sparked a similar reaction with its poppier rock ‘n’ roll. There is something very familiar to the track especially within its chorus but an essence hard to pin down with its boisterous and at times rapacious deeds.

Parachute is next up bringing a blend of alternative metal and melodic rock which again had body and vocal chords quickly engaged while the voracious Only Enemy simply continued its thick persuasion as a single as another major highlight of the album. With a feral metal breeding to its punk attitude loaded roar, the track instantly gets down to business throwing rhythmic punches amidst predacious riffs. Again Taylor’s vocals draw keen involvement as easily as the whole band’s enterprise; it all bedding in the imagination and lusty appetite in quick time.

Through the equally hungry if relatively more restrained We Are and the rock pop canter of Jim, pleasure instinctively bubbled with the closing I Am The Cavalry sending the album out on another peak with its new wave meets pop/hard rock shuffle. With calm verses leading to crescendos of wolfish almost untamed sonic contagion, it is a glorious end to a similarly striking release.

When peaking at the band’s past singles we suggested that DeeVer “has all the armoury and daredevil to make a major dent on the British rock scene.” You Need This shows we may just have underestimated their impact in saying just a dent.

You Need This is out now across most online stores with hard copies available @ https://deever.bigcartel.com/products

https://www.deever.uk/     https://www.facebook.com/thisisdeever   https://twitter.com/thisisdeever

Pete RingMaster 11/02/2019

Copyright RingMaster: MyFreeCopyright

Malum Sky – Diatribe

Welsh progressive metallers Malum Sky have been coaxing attention for a fair while; from the 2015 release of their extremely well-received self-titled debut EP luring praise for their richly flavoured sound.  Now though they are done teasing it and are making real demands on acclaim and spotlights with their new mini-album, Diatribe. Offering five tracks which bound with energy and spirit whilst embroiling the imagination in their creative cunning and bold adventure, the encounter is a cauldron of fascination and pleasure.

Formed in 2014, the quintet as mentioned has earned high plaudits and support and equally through their live presence as their first release and a greedily devoured following single in Eye Above. It is easy to expect all success to date though to be majorly eclipsed by the surely to be eagerly welcomed Diatribe. The band’s sound has always been a multi-flavoured affair with its own notable stand out character but it has evolved and been honed into something truly individual and enthralling as evidenced by the band’s new offering. A collusion of progressive and tech metal with similarly bred melodic rock ferocity, it is a proposition which unapologetically arouses the imagination as like a fever it invades the body, making it inexcusable at the very least to not give it an eager check out.

There is a fresh darker feel to the band’s music from that first release, equally a heavier touch and intensity which seems to accentuate the melodic prowess already shown previously. With even more assured and adventurous songwriting going hand in hand with open individual craft it makes for a rather tasty proposition as proven immediately by opener Year Of The Rat. As it lays out its staggered bait the instantly compelling tones of vocalist Ben Honebone share their harmonic temptation, all the while guitars weaving and rhythms brewing their equally magnetic snares. Guitarists Michael Jensen Després and Jon Evans continue to entangle their enterprise and skills, setting out a web of melodic adventure around the track’s blossoming personality and imagination. A dark heady edge lines every strand set down as eagerly as it fuels the rousing trespass of drums and bass and with a great variety to the vocals around Honebone’s continuing to impress presence, it all makes for a striking and thrilling slice of creative incitement.

There is something of a TesseracT meets Karnivool spicing to the Malum Sky sound but indeed just a flavouring in something solitary to the band as confirmed just as easily by next up Borrower. Its gentle bordering teasing entrance comes with melodic intimation as keys add a melancholic yet radiant air. From the inescapable seductive caress warm vocals dawn but it is only the calm before a tempest of sound and enterprise. That though is equally the step to another twist and shade of emotional and physical dynamics, the track never afraid to revolve and evolve into another aspect of bold invention and initiative. As the first it is also an imposingly infectious affair in every way, its bite addictive and melodic lures delicious; a combination just as resourcefully exploited by next up The Coil. In fact from its first breath, the song has a catchy virulence which had body and spirit dancing like a puppet as ears and imagination succumbed to its brooding breath and increasingly rabid contagion. Després and Evans cast another riveting web of enterprise and technical prowess which alone compels attention but with fine vocals and a rhythmic manipulation to song and ears which directs reactions, the track is another major incitement within Diatribe.

All songs live up to that description though, the fiery and ridiculously infective Eye Above indisputable proof. Through the album the rhythmic incitement of bassist Athanasios ‘Saki’ Patsiouras and drummer Joe Wilkes is irresistible as it is dextrous but within the fourth track they simply seize instincts and appetite with their combined enterprise and drive. Their tenacious spine and leadership just sparks a matching hunger and endeavour from the rest of the band, every element of the track ambitious and ferocious, inventive and unpredictable.

The album’s title track brings things to a might close, the wiry net of enticement cast by the guitars around again voracious rhythms setting the tone of track and temptation. It is a carnivorous yet galvanic proposal grabbing easy attention and greed, a predator of a song again as virulently infectious as it is imaginatively gripping for a conclusion which alone makes the most rousing and memorable experience.

Across every single second, Diatribe was a major treat and adventure impossible to get enough of. Already 2019 has offered some truly striking and thrilling releases; Malum Sky has added another and one surely thrusting the band to the fore of the UK metal scene.

Diatribe is out now through Sliptrick Records across most stores.

http://www.malumsky.com/   https://www.facebook.com/malumsky   https://twitter.com/malumsky

Pete RingMaster 02/02/2019

Copyright RingMaster: MyFreeCopyright

Sofy Major – Total Dump

Sofy Major is a leviathan of sound and trespass which persistently erupts from a noise fuelled creative lair with releases which for us have pretty much left contemporaries in their tempest and turbulence. Three previous albums have as good as decimated the prowess and adventure of other ear rewarding encounters around at the time and with Total Dump, the French trio has done it again Their new full-length is in many ways their most accessible and flirtatious offering yet but equally their most voracious and imposing not forgetting irresistible slab of noise and hardcore infested, metal lined rock ‘n’ roll.

The successor to the outstanding Waste of 2015, which itself eclipsed the thrilling Idolize unleashed two years earlier, the Dave Curran (UNSANE, Big Business) produced Total Dump is a contagion of abusive yet flirtatious noise and bruising but virulently captivating force and imagination. It is predatory irritable rock ‘n’ roll from start to finish with an eager taste in contagious and invasive enterprise. Opening up with its title track, the album immediately reveals its bestial side, the track prowling the senses with the carnivorous claws of Mathieu Moulin’s bass locked onto the senses as his more welcoming vocals align with the raw flames and tendrils of Thomas Dantil’s guitar. It is a preying of ears and imagination which never diminishes in threat and temptation however it evolves, a trespass driven by the menacing swings of drummer Mathieu Desternes that equally escalate in infernal virulence and captivation as individual and united enterprise breeds fresh twists and sonic commination.

The compelling start is only accentuated, indeed built upon by next up Giant Car Crash; a collision with the senses which had us bouncing as much as cowering before its flirtatious and barbarous intent. Voraciously feral and inhumanly infectious, the track devoured body and passions with unquenchable hunger leading to lustful responses before Cream It uncages its rapacious crawl to trespass the senses and melodic irreverence to seduce an already greedy appetite. The kind of proposition which offers a warm welcome whilst ruining the foundations to your sanity, the glorious track is a manipulative mix of viral noise with an appetite for clamorous untamed pop.

As the ravenously viral rock punk ‘n roll throes of Strike and the post punk embracing devilry of The Jerk infested and seduced ears with unruly dexterity, Total Dump just stretched its landscape of esurient intent and fevered invention. Both tracks are as mercilessly catchy as they are unapologetically invasive, that greater accessibility to the band’s sound in full bloom just as much its acclaimed creative villainy is merciless, and traits just as thrilling within next up Shinny Happy Asshole, a venomously swinging, deviously contagious but inescapably corruptive slice of unscrupulous enterprise.

Through the slow hunt of the senses that is Franck Butthole; a cancer of sound which just ignites the imagination, and the unbroken antics of Tumor O Rama it is impossible to say attention and pleasure wavered, the total opposite in truth up against their combined sonic punk infection fuelled scourges while Kerosine Mike n turn just trapped and enslaved with ursine-esque power and intimidation whilst brewing up its own melodically toxic strain of bewitching rock ‘n’ roll.

Completed by the senses ravishing, violently bouncing exploits of Panamarama, it one the album’s most magnificent moments, and the sonically consumptive, caustically alluring tempest of The Longest Yard, there was and is no diminishing of the ardour we bred and hold for Total Dump. Without any doubt despite the glories of the past, it provides the greatest, most thrilling time with Sofy Major yet but also is set to send a shiver through the world of noise in any form as those within wonder how they can compete with its voracious triumph.

Total Dump is out now via Deadlight Records on CD and Antena/Corpse Flower on Vinyl.

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

Pete RingMaster 30/01/2019

Copyright RingMaster: MyFreeCopyright

Glorybots – Nomad

What can we reveal to you about Glorybots? Well background wise, very little except that it is a solo project, seemingly, of a musician hailing from Seattle creating a post punk/gothic pop sound which had very little trouble captivating our ears.

Our introduction to the “ Dark Alien Pop” of Glorybots comes through new single Nomad, a brand new track very quickly released after the unveiling of a debut album last November called Dark Alien Pop. A hindsight listen to the latter reveals that Nomad is a rich echo of the goodness to be found within the full-length but also it brings its own new adventure and prowess in sound and imagination.

Keys immediately entice and intrigue as the track’s realm and climate is soon an open intimation. The other-worldly landscape in turn swiftly welcomes equally alluring vocals and it is their arrival which soon sparks of the song into full bloom. Enjoyably proving hard to pin down, the song is something akin to a blend of Muse, early Human League, and Dalek I Love You with just a tint of Bowie at times.  That in itself is just a tease to the individuality of song and sound while hinting at why it’s swift captivation.

Nomad is a treat of a song and gateway into the music of Glorybots, a tantalising adventure band and listener can only prosper together from with its deserved attention.

Nomads is available now @ https://glorybots.bandcamp.com/track/nomad-radio-edit

https://glorybots.com/   https://www.facebook.com/DarkAlienPop/   https://twitter.com/gloryBots

Pete RingMaster 30/01/2019

Copyright RingMaster: MyFreeCopyright

David Alpha – Rockin’ Roulette EP

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

https://www.davidalpha.net

Pete RingMaster 30/01/2019

Copyright RingMaster: MyFreeCopyright