Chasing Ghosts – Everything Changes

Chasing Ghosts cover

Not even touching six months as a band, Chasing Ghosts is already stirring up the UK rock scene and online radio interest with their epic sounds and now new single Everything Changes. London based, the quartet create a melodic rock propositions which certainly on the evidence of their latest song is as imposing as it is seductive and as atmospherically provocative as it is creatively intensive. The buzz around is that Chasing Ghosts is a band on the march and there is nothing about Everything Changes to bring doubt to that claim.

Formed as 2014 became its successor, Chasing Ghosts draw on inspirations from the likes of Paradise Lost, Therapy, Metallica, Alice In Chains, Moonspell and more for their dark and adventurous evocative sounds. Bassist/keyboardist Lee Brueton and guitarist Harry Mitten had already played together for four years in the band Embersfire and once united again they proceeded to write a trio of songs before booking Chapel Studios in Lincolnshire to record them. Next step was to find the rest of the band, an unusual way round of doing things but with the addition of vocalist James Marsh and drummer John Watt, plus the impressive adventure of Everything Changes alone, the band obviously knew best. A three track demo recorded with Enter Shikari engineer Tim Morris resulted from the session and brings us the band’s new single, whilst the other songs This Fear and From Depravity show themselves to be both similarly impressive explorations.

The single opens on a dawning wave of dark shadows and sounds, their invitation swiftly erupting into a thick wave of melodic persuasion and earthy rhythms as immersive as they are imposing. You sense some of the essences of those earlier mentions influences as the song expands and evolves, but the one band which really comes forward as the rich endeavour of song and sound engulfs ears and imagination, is Johnny Wore Black. Both he and Chasing Ghosts are openly adept at aligning dark emotive shadows and fiery beauty into physically and mentally stimulating propositions. The flowering provocative sounds of the keys and guitars back this up, almost entwining around each other across the song with fluid and impacting enterprise whilst the vocals of Marsh become as transfixing as the emotionally tempestuous sounds around him.

    Everything Changes is an exciting introduction to Chasing Ghosts, a striking doorway into their sound and potential soaked presence. It is a promise already coming to fruition across the three songs making up their demo and most potently revealed in the single, but one hinting at even greater adventures ahead.

Everything Changes is out now.

http://www.chasingghosts.co.uk/     https://www.facebook.com/Cghostsmusic

RingMaster 20/04/2015

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

 

Soul Fire Saints – Smoke

Soul Fire Saints pic 4

It is fair to say taking inspirations from the likes of Alice in Chains, QOTSA, and Red Hot Chilli Peppers to NIN, Faith No More, and Rage Against The Machine will do no one’s creativity any harm, especially if they align it to fresh and distinctive, equally robust ideation. That is something UK rockers Soul Fire Saints do with captivating success in new single Smoke. The band has been accomplishing such inventive feats for a while now to be fair but this new offering, taken from their similarly impressive new EP Death in Technicolor, sees the band now ready to break into the fore of British rock ‘n’ roll.

With the seeds of the band being laid in boozy stag do celebrations in Prague in 2011, Soul Fire Saints took their time exploring and honing their prospective sound before hitting the live scene in 2013. Their debut came at the MAGNA centre in their home town of Sheffield and in front of a 2,000 strong exuberant audience. It was a first big leap which spring-boarded the band into swiftly descending new spotlights as they proceeded to add supporting Fallen Trees, playing venues such as O2 Academy, Corporation (both sold out shows), and the legendary Leadmill, as well as festival appearances at Tramlines, Mosborough Music Festival, Live at the Castle, and MBMF to their CV. Now the quintet of vocalist Taylor, guitarists Ol and Andy, bassist Jow, and drummer Lee are looking forward to making 2015 their biggest success yet, an intent off to a potent start with the release of Smoke.

Pungent beats rap at ears first, their opening bait accompanied by a spicy caress of guitar. It is a simple but inviting start soon empowered again by the potent vocals of Taylor and the wash of sultry sonic enterprise which swirls and teases in the song’s heated atmosphere. In no time the track is strolling with hefty rhythms and smouldering melodies across the senses, its snarl Rage Against The Machine like whilst it’s sonic adventure comes wrapped in blues rock expression. It is a virulently feisty encounter, raw and instinctive rock ‘n’ roll fuelled by impassioned energy and devilish tenacity, and though it never explodes as you might expect or occasionally want, it has ears happily on edge and satisfaction beaming with its wonderfully musty temptation.

Smoke is an irresistible doorway onto the adventure of Soul Fire Saints, an appetising lead into the Death in Technicolor EP, and a suggestive offering sparking expectations of even bigger exploits ahead.

Smoke is available now via Sneaky Balls Records with the Death in Technicolor EP out this month @ http://www.soulfiresaints.com/discography?id=10087

Upcoming Soul Fire Saints Gigs:

14th March – Heebie Jeebies – Liverpool

20th March – Dove and Rainbow, Sheffield

https://www.facebook.com/SoulFireSaintsUK   http://www.soulfiresaints.com/

RingMaster 11/10/2015

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://reputationradio.yooco.org/

Tigerpunch – Fight Of Your Life

Tigerpunch Online Promo shot

Colliding metal voracity with the ferocity of heavy rock and then binding it with salacious grooves, UK rockers Tigerpunch show themselves to be an attention seeking and immensely satisfying proposition through their debut release. Made up of five slabs of rock ‘n’ roll afraid to stomp and fling their attributes around with mischievous abandon, the Fight Of Your Life EP is an instant enjoyment, though at first it is more a “nice, but…” encounter than a “wow” moment. Over time though as open craft and invention shines through the surface alongside lyrical devilment, the release emerges as a potent and addictive romp which may not be a classic but certainly is an encounter drawing attention back time and time again.

Wolverhampton’s Tigerpunch was brought to life by brothers Rich Reynolds (guitar/ vocals) and Jay Wolfwood (bass), its name grabbed from the movie Kung Fu Panda and inspirations from the likes of The Foo Fighters, Audioslave, Rage Against the Machine, and Nirvana. The line-up, after a search, was completed by drummer Russell Latham and swiftly the trio set about audiences to earn a rich reputation for their live performances, shows which has seen them play with I Am Giant amongst many. Fight Of Your Life is their first swipe at national attention and such the formidable revelry and fiery energy within it, the EP is a sure fire focus stealing introduction to the raucous treats of the band.

The release erupts into thunderous life with My Pet, Hate, and a wall of heavy handed beats and caustic riffs entwined with an immediately spicy groove. The vocals of Reynolds are just as swift with their entrance and devilish character, tigerpuncha mischief fuelled tone soaking every syllable as guitars flirt with ears behind them. The song proceeds to thrust its rhythmic hips and bruising tenacity through ears whilst grooves and a flavoursome solo add to the riveting colour of the song. Is it, much as the EP, offering anything dramatically original, no not really, but does it emerge as a contagious and rather irresistible rampage, you bet.

The following Blonde, as its predecessor, is bred from heavy metal and groove rock seeds, and is soon brushing ears with raw and vivacious flames of sonic enterprise and rhythmic confrontation. Riffs abrase and guitar endeavour sizzles throughout the song, whilst the drums beat a submission from the senses as everything becomes entwined in addictive and richly hued grooves. The track has little difficulty in capturing imagination and neck muscles before making way for the more intensive but no less infectious examination of I Am Alive. Whereas the first pair of songs shows their melodic and heavy metal breeding, the third track moves into a grungier area. Employing essences found in Alice In Chains and Gruntruck, the song prowls around ears with acidic colouring to its melodies and grooved temptation. It is another side to the sound and intent of the band, seemingly a more serious and predacious edge coming into play, though inescapable hooks and those ever gripping grooves are just as prevalent in the tempestuous presence of the excellent song.

A sultry air immediately soaks the senses as a broody funk laced bassline hits ears with the entrance of next up Takedown The Bull. It is an instantly riveting start which soon evolves into a Rage Against The Machine stroll with a Pantera like southern grooving to its scenery. The track smoulders and shimmers rigorously within its unrelenting slow heavy crawl, brewing up a tasty boiling of sonic intrigue and melodic causticity. Once more it is hard to claim there is much new on display but for pleasure and accomplished enterprise the song lights the passions.

The EP is closed by Serve The Freakshow, a track opening on a vicious rally of rhythms before casting its own heavy grooving and rhythmic antagonism. It is brewed from the same vat of endeavour as the previous song but equally employs the more classic ingredients found in the opening pair of tracks. It is the weakest song on Fight For Your Life but still another thoroughly enjoyable and easy to engage with brawl to bring the release to a flavoursome close.

Fight For Your Life holds little in the way of surprises but everything about it and the adventure that is Tigerpunch, eventually leaves you wanting more. For the first jab from the band, this is one potent and highly likeable dust-up.

The self-released Fight Of Your Life EP is available from 20th October through all digital stores.

http://tigerpunchofficial.com/

RingMaster 20/10/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Lost Gravity – Self Titled

Lost Gravity Online Promo Shot

Though it would be wrong to claim that the self-titled debut album from UK based Lost Gravity set a fire in ears straight away, it certainly left a smouldering lure and attraction which over time has inspired a very healthy appetite for the band’s brand of heavy melodic rock. Consisting of ten skilfully accomplished and contagious tracks which make up for what they lack in originality with passion, the release is a potential fuelled introduction to a highly enjoyable proposition in the London based band.

Lost Gravity was formed in 2007 by Brazilian born vocalist/guitarist Breno Val. Taking influences from the likes of AC/DC, Megadeth, Ramones, Chroma Key, Metallica, Alice in Chains and more into their songwriting and sound, the band started out as a quartet but with a flux of line-up changes eventually emerged as a trio in 2012 with drummer Giuliano Kolling joining the band around the same time. Completed live by bassist Chris K, but not involved with the album, Lost Gravity now makes a powerful play for attention with their first full- length. It follows a trio of earlier well-received EPs in Anywhere But Home (2008), Selfish (2009), and Lost Gravity III (2012), all released as the album on Val’s own label Priston Records. The new release is a bold encounter openly wearing its inspirations which arguably defuses its originality, but for heart bred rock ‘n’ roll, the pair of Val and Kolling has unleashed a thoroughly satisfying incitement.

The album opens on the bulging presence and might of What Goes Around Comes Around, a melodic lure leading ears into a wall of vivacious riffs and thumping rhythms. It is an instantly potent persuasion of grunge and hard rock PromoImagewith spicy grooves and strong vocals combining to swiftly wake the imagination and appetite up for the rest of the album. The gnarly tone of the bass adds to the impressive bait of the song, as does the sonic enterprise of Val’s guitar which is as flavoursome in straight rock ‘n’ roll riffery as it is in sonic endeavour. It all adds up for an anthemic and magnetic start to the release soon matched by the bluesy laced Changes. There is not quite the striking touch and unique flame to the second song in comparison to the first, but again the duo provide a skilled and easily accessible slice of heavy melodic rock to convince body and emotions. An excellent relaxation into mellower scenery adds a welcome twist to the song too as Lost Gravity reveals more fluidity and invention to their songwriting.

Both Back Where You Belong and Alone keeps the thick lures and persuasion coming, the first a grooved flame of sonic and melodic intensity which seems bred in the fire of an Audioslave or Stone Temple Pilots. It is a song which evolves across its length, entwining stoner-esque grooves and alternative metal seeded ingenuity within a sultry climate. It is a riveting encounter, one of the peaks of the album which its successor does not quite rival in impact but with its sinew crafted balladry afloat with evocative melodies and vocal expression it is an endearing offering which grows in stature with every listen.

Anywhere But Home comes next and opens on a delicious transfixing hook which is arguably never matched in success by the rest of the song, though it pleasingly bristles and roars with fresh creativity not previously explored by the album. That initial lure is never far from the surface of the song either but somewhere there is a missing spark to push a certainly great song into sensational realms. To be fair though, it is hard to tear away from the track as you almost urge it to greater success and it certainly enslaves a hungry appetite over time.

The infectious swagger and flirtation of Friendly Fire sets up feet and ears for a sizeable pleasure next, its Foo Fighters like tenacity flirting with rock pop vivacity before the more heavyweight and moody presence of Selfish takes over to ignite the senses with sonic spicery and melodic intrigue. The track is structured similarly to Anywhere But Home, and also breeds an enthralling presence with a potential not quite realised. This applies to the whole of the album really, so many great things exploring and playing across its appealing body but not quite finding the missing piece to truly catch alight. Song and release though does breed real anticipation for when the band make that transition at some point ahead.

All the Same looks at an alternative/punk pop infused landscape for the placing of its skilled and bracing temptation whilst the following Venom In Vial parades a raw antagonistic breath and attitude in its muscular confrontation. The pair are further sides to the sound and invention of the band, each a firmly pleasing offering before the might of the closing Walk On. With a blues tinge to the opening groove and a ferociously rumbling torrent of rhythms, the track makes a dramatic and thrilling entrance which it subsequently accentuates with a punk rock agitation to its blues kissed charge of dirty rock ‘n’ roll. It is an impressive end to an attention grabbing encounter, an album which makes a hefty persuasion to the promise and skills of Lost Gravity and a feisty suggestion of even bigger and better things ahead.

Lost Gravity is available now digitally and on CD via Priston Records @ https://itunes.apple.com/gb/album/lost-gravity/id901847667

http://www.lostgravity.co.uk/

RingMaster 13/10/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

 

Melodic fire and raw passion: an interview with Kyle MacKenzie of 7stbaby

7stbaby - Promo Image

The turn of 2014 saw the unleashing of the debut album from UK rock band 7stbaby. Control swiftly announced a band to keep close attention on with their gripping blend of varied styles into a riveting stoner and grunge veined blast of heavy melodic rock. Garnering strong support and acclaim, the band’s album was a potent statement for 7stbaby and their emerging presence in the UK rock scene. Ahead of the band’s new single Horses, we grabbed the chance to talk with one of the band’s founders and vocalist/guitarist Kyle MacKenzie. Looking at the origins of the band, Control and the new single as well as his and his band members other project, Kyle led us to the heart of 7stbaby.

Hey Kyle welcome to the site and thanks for taking time to talk with us.

Thanks for having us

For those yet to discover the delights of your sound, introduce 7stbBaby to the readers for us.

7stbaby is a project Ben and I (Kyle) had decided we wanted to do several years ago while writing for the first Static Plan EP. There were lots of riffs and song ideas which were not fitting with SP’s style, but that we still really liked and wanted to use. In August 2013 we finally got round to doing something about it, Ben basically moved into my place for a couple of weeks and we wrote and recorded Control. We then asked Greg to join us on drums for the album, and he was happy to be involved. Although we didn’t want to pigeon-hole ourselves genre-wise, we are a project that is definitely coming from a stoner rock viewpoint, just with anything we like thrown in!

Can you give further background to the band too, exploits before and alongside the band for its members.

Hilariously, line up wise 7stbaby is basically Static Plan, so 7stbaby’s background for the members is pretty much exactly the same. Ben and I met years ago while we were studying at university, when I answered an advert for a rock band looking for a vocalist. That then became Static Plan with Jonno on guitar duties, and after several drummer changes we finally ended up with Greg, who changed the dynamic of the band for the better. We gigged our balls off for a couple of years while writing and recording as many demos as possible.

7stbaby then came to the forefront as Static Plan began to wane a bit. Member changes, money issues and health and personal problems stopped us from carrying on the great momentum we had built, but we still wanted to make music and get it out there. So Control was about creating without the pressures we had experienced over the last couple of years.

Your music as evidenced by debut album Control earlier this year, is unafraid to employ a wealth of styles and flavours in its roaring recipe. How would you describe your musical canvas?

7stbaby is about doing whatever we want to do musically. If people love it that’s great, but if people hate it, then so be it. We created a concept album in a very short space of time with the tools that were available to us at the time, and because there was an ‘anything goes’ attitude, we approached it with no fear. 7stbaby’s musical canvas is anything that we want it to be.

It suggests you guys have a wide range of inspirations personally too, what are some of the more potent influences on your sound and ideas?c

Yeah we have quite a diverse range between us I think. I love artists and bands such as Martin Grech, Jeff Buckley, Radiohead, Porcupine Tree, Karnivool, QOTSA, Alice In Chains etc. Honestly there are just too many to list! I am inspired by great songwriting and great musicianship. Ben has a slightly more ‘alternative’ influence list than I have, loving bands like Gorgoroth, Mortiis, Mayhem, Mondo Generator, Sonic Youth etc. By no means are we limited to these bands or genres, I think we both have a healthy appreciation of music and its influence over us.

I read that Control was written in just three weeks, was that the reality or were some songs already around in some form or idea before that?

There were some riffs and parts floating about from writing the SP EP a while before, but the vast majority of the album was written in three weeks

Control deservedly garnered eager praise and acclaim upon release, did that surprise you in some way the vocal support and enthusiasm it received?7stbaby - Horses Single Cover

Ha-ha it did a bit! I think I was expecting it to either get distinctly average reviews or none at all, I didn’t think anyone would understand what we were trying to do! But the reviews were great to read and made me realise that people did understand what the album was about. Some of the reviews were just emphatic, and really brought some joy to me after a difficult couple of years making music.

Give us some insight to its creation and how you fitted it in with your other projects like Static Plan.

Static Plan at the time had ground to a complete halt after a couple of line-up changes. Ben and I had some free time during the school holidays and we just decided to get it done. It was incredibly fun and made us really want to start work on the Static Plan album.

September 26th sees the release of your new single, Horses. Taken from Control, it is one of the album’s biggest highlights for us. Was it an obvious choice for a single?

I think it’s a heavy song on the album, and probably the kind of song that most people can respond to without hating it ha-ha! We debated for a while which song was going to be released actually, and Horses at first didn’t seem like the obvious choice to me, I thought Leave Me To Bleed would be the better single after releasing Somebody’s Bitch. After a while of debating I realised that Ben was absolutely right, Horses is just the right single; it’s much more immediate!

Have you tinkered with it for the single release?

We have not; it’s as pure as it was

Horses, as the album, is out on Got Wrong Records; your own label?

Yes it will be a pay what you want digital only release on my label Got Wrong Records on September 26th. Available at https://gotwrongrecords.bandcamp.com

Can you give us some insight to the inspiration and theme of the song?

Horses is about conquering the power someone can have over you, and breaking out of the cage you confine yourself to when you let them control you. It’s the climax of the album for me

Horses sparked thoughts of Life of Agony for us, its provocative nature and intimate energy reminding of the great US band. Is that something you can feel?

Yeah I can see that. They’re aggressive and melodic, and that’s what Horses is in its simplest form. We really wanted to get the emotion across in the vocals, so hopefully we have done that if you’re comparing Horses to Life of Agony :)

The song is accompanied by a great video, who was that filmed by?

The video was filmed with a lovely chap called Sam Sheridan. Ben and I wrote some music for a short film he made several years ago, and we lost contact afterwards. As we were hunting for a director to make the video for Somebody’s Bitch we got chatting and got him involved. He has done an amazing job with incredibly little budget and filming was an absolute riot. Our lead man Alex Netting absolutely smashed it as well, bringing some intensity and humour to the whole thing.

It looked like a fun day out ha-ha; I am imagining that the central character (Alex) drew plenty of attention from the passing throng during filming?

It was a hilarious day for sure! Amazingly every person that interacted with us on the day was very positive; they loved the idea, loved the make-up and loved the character. We definitely got a lot of attention that day.

You guys are in two bands to my knowledge ;) It is hard for any band to make an impression in the current state of music, so how have you found it juggling and driving forward with your projects?

Yep it’s hard, that’s just the way it is. I think it’s always been hard though. The key is to keep going and enjoy the small victories I think. It’s definitely possible to juggle everything and find the time if you are committed enough; you just have to want it bad enough.

How do you see the current state of music especially the catch 22 effect of the internet with its usefulness and detriment for bands.

I think that even though there are always things we can complain about, bands and artists are in a much better position nowadays for people to hear their music than say 20 years ago. It’s incredibly difficult to earn a living from it, but there’s no change there really. Hopefully in the years to come, with organisations like the Musicians Union working on behalf of musicians, fairer deals can be made on behalf of musicians on the likes of streaming royalties.

10505283_311135829045859_3576936077197922227_nIs it hard to hold your enthusiasm at times, or does the music always hold sway over the emotions?

Personally I go through high and lows on a daily basis. Sometime I can struggle to bring myself to pick up a guitar and other times I can’t tear myself away to go to bed.

What is ahead for 7stbaby?

Not a clue! We’ll have to have to have a chat about that at some point ha-ha

…And from your other projects?

I’m currently working on albums for Static Plan and Outpost Zeta, and Ben is working with Ventenner and Exquisite Ending.

Thanks again for sharing time with us. Any last words you wish to share?

Thanks very much Pete, we really appreciate the support! My last word shall be check out www.gotwrong.com for a free EP/Album from Static Plan, Outpost Zeta and 7stbaby, and spread the word ;)

https://www.facebook.com/7stbaby/

Read our review of Control @ https://ringmasterreviewintroduces.wordpress.com/2014/01/17/7stbaby-control/  and of Horses @ https://ringmasterreviewintroduces.wordpress.com/2014/09/23/7stbaby-horses/

Pete RingMaster

The Ringmaster Review 23/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

 

Pop Evil – Onyx

onyx

Though its veins are not exactly bursting with originality, Onyx the new album from US rockers Pop Evil is without doubt a rigorously compelling and invigorating slab of fiery melodic rock. Every shrug of its sinews and each melodic flame exhaled soak ears with an open familiarity whilst every muscular blaze of emotion and searing of sonic enterprise leaves thoughts and passions greedily content. It is may be not going to set the year on fire but the band’s third album is definitely bringing it a thoroughly enjoyable stomp of aural temptation.

Still under a keen spotlight after touring across Europe supporting Five Finger Death Punch, the band hits the European market and ears with a mighty slab of potent contagion. Released via Eleven Seven Records, the album has a voracity and tempestuous passion to its body which along with inciting melodies and perfectly barbed hooks, simple enthrals the senses and imagination. Having already established themselves on their side of The Pond with their rich tempting sound and albums War of Angels and even more so Lipstick on the Mirror, as well as a clutch of attention grabbing singles, the Michigan quintet are setting their sights on a wider audience and it is hard not to expect a healthy success through Onyx alone. Having also impressively shared stages with the likes of Three Doors Down, Papa Roach, Puddle Of Mudd, Theory of a Deadman, Buckcherry, Judas Priest, Black Stone Cherry, and Seether since forming, as well as going through the obstacles music throws up including line-up changes, Pop Evil have found a fresh and determined tenacity which shines across their new release as powerfully as the craft and passion soaking it. Produced by Johnny K (Disturbed, 3 Doors Down, Megadeth), Onyx is an encounter which does not herald a torrent of surprises but does ensure satisfaction is fat to bursting.

The album gets off to a flyer with opener Goodbye My Friend, an instant attention grabbing encounter which from its initial guitar and bass coaxing awakens a potent appetite for what is to come. Nick Fuelling and Dave Grahs take little time casting a web of riffs and grooves to snare the imagination whilst bassist Matt DiRito brings a predatory growl to the mix to accentuate the immediate potency of the song. It is an enthralling mix to which vocalist Leigh Kakaty adds his impressive tones as the rhythms of drummer Josh Marunde punctuate and frame the thrilling enticement. The track also offers the comparisons which stand across the whole album, its sounds like a mix of Seether and Sevendust with the metallic rapaciousness of Spineshank, the emotive angst of Three Days Grace, and the anthemic craft of Drowning Pool. To be fair though that still only gives part of the picture as shown by the second song on the album.

Bringing a rich colour of Alice In Chains to its striking canvas of sound and gripping narrative, Deal with the Devil prowls and strolls around the senses like a warrior, the guitars and bass crowding ears with forceful intensity and ravenous intent whilst rhythms punch with weighty persuasion. The latest single is a stirring and climactic incitement, ablaze at times with infection soaked melodies and senses entwining grooves for a thoroughly exciting temptation. One not quite matched but certainly thrillingly backed up by previous single Trenches. Holding a defiant air to its body of sound and lyrical call, there is an air of antagonism to the song which only urges the sonic warfare of the guitars to blaze with brighter flames and virulence as additional keys and electronic bait bring extra charm.

The riotous charge of the album takes a break with power ballad Torn To Pieces, a magnetic song which goes exactly where expectations assume but still leaves a lingering and increasingly potent lure in its wake. Kakaty is a powerful and controlled vocalist throughout the album and shows his depth of expression and emotional quality masterfully here to match the strengths of the sounds caressing and at times scorching his words. It is a glorious emotive encounter which leaves the following Divide looking a little pale in comparison. To be fair the song is a feisty and vivaciously striding suasion but lacks the extra guile of say its predecessor or the punchy invention of other songs on the release. Nevertheless it makes a pleasing play upon the ears as does its successor Beautiful, another song which just misses the potency and success of others, but still leaves a flavoursome offering for a hungry appetite to devour.

Things return to the opening plateau with the outstanding Silence & Scars, a song which seduces and pressurises thoughts and emotions simultaneously with imaginative and emotion driven invention. There is a touch of Bush to the song, its grunge spice and melodic weaves absorbing whilst a cathartic essence to its whole picture offers a magnetic radiance. The track is bewitching as is next up Sick Sense, a furnace of a song which is as raw as it is mesmeric, as caustically charged as it is a resourceful seducing. Again it is like an instant friend, that familiar seeding inescapable bait but with a voracious fuel to the backing vocal roars and a nu-metal menace to the ingenious twists within the song, again that Spineshank reference coming forth, the track is an exhilarating proposition.

Fly Away and Behind Closed Doors keep the album burning brightly and at times ferociously, the first an eagerly striding charge of pop rock urgency across evocative textures whilst the second steps into a more formula yet forcibly appealing canter of melodic fire and vocal enticement. Both songs leave a smoking long term bait working away even after their departure, their heat and passion enough to override a slightly predictable design, before the more aggressive and excellent Welcome To Reality has it moment to ignite the senses. It again confirms that Pop Evil are masters at creating songs which might not break away from existing trodden paths but bind the listener up in feverishly addictive and irresistible anthems.

The album closes with Flawed, a striking dramatic and impressive end to Onyx which simply underlines the quality and exciting presence of band and release. Pop Evil is not inventing the wheel, or arguably even redesigning it, but it is giving it a breath-taking and often scintillating soak of explosive colour.

Onyx is available now through Eleven Seven Music with the standard European version holding 3 additional tracks whilst the deluxe version features an extra 5.

www.popevil.com/

8.5/10

RingMaster 02/07/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Kodiak Jack – Alhambra

Kodiak Jack sky

Though UK rockers Kodiak Jack has not exactly been a secret it is fair to say that they have yet to ignite the widest attention across the country, something they will surely address as new album Alhambra starts its rampage. Built on eleven irrepressible inventive slabs of prime rock ‘n’ roll , the album is an incendiary fuse for the imagination and passions, undiluted heavy rock which thrusts the band to the fore of not only British but European rock music. With raging sonic endeavour around infection clad hooks and intensive riffs, all strapped to a rhythmic enticement which refuses to take no for an answer, the beast of a release is the kind of feast you can never stopping licking your lips to.

    Hailing from Portsmouth, the quintet first drew keen attention with debt album Your Death: My Glory in 2011, the release becoming no stranger to acclaim from fans and media alike. Strong radio play followed as well as the record having tracks featured on the cover mounted CD of an international edition of Metal Hammer, used on the closing credits of Eurosport’s British Superbikes coverage, and part of the States released Rumble Rides: Muscle Drag DVD . Their live reputation equally has earned the band a big reputation, shows with the likes of Kobra & The Lotus, Paul Gilbert (Mr. Big and Racer X), Everything Everything, Elvis Jackson and many more only confirming the emerging might and presence of Kodiak Jack. Recorded last year in Sacramento, California with Tesla bassist Brian Wheat who became a fan when the band sent him their debut back in 2011, Alhambra takes it all to the next level; actually up a  good few levels such its tremendous power and enterprise.

     Released via Angry Badger Records, and featuring three reworked tracks from their debut alongside seven voracious new Alhambraexploits, Alhambra takes no time in firing up the appetite with opener Get Out Alive, guitars dangling an initial temptation before thumping rhythms splinter their bait aside the vocals of frontman Bryn Roberts aided by those of guitarist Jon Karp. Into its stride the track brews up a rousing contagion which it accelerates further with storming riffs against melodic flames from Karp and Jeff Arnold, whilst the bass of Kev Farren stomps alongside the equally hungry beats of Keiran Bellinger. It is a roaring blaze of hard rock setting the release off in fine anthemic style, sparking an immediate greedy appetite.

     The first single from the album Brother steps up next, again no second wasted on lightweight beckoning as heavy riffs and crisp rhythms immediately set to work on the ears. A grunge feel emerges as the song expands its sonic narrative, a winding groove seducing the senses as the vocals of Roberts again impress with a Glenn Danzig essence coating some of his delivery. A strong acidic solo also spears the song towards its end to raise extra temptation before a dramatic finale makes way for the equally riveting and impressive Wasted Youth. Roving beats join scrapes of riffs alongside the opening narrative of Roberts as the song sets its irresistible toxicity in motion first, before hitting a similarly enthralling and magnetic passage of melodic passions pulling virulence. There is a blues flame to the guitars which only accentuates the swagger and addictiveness of the song too, it an early pinnacle in already a heady range of peaks.

     Both More Than This and Crossfire keep album and reactions sizzling, the first once again employing the greediest rhythms within an expansive wash of sonic causticity and expressive vocals whilst its successor has a broader rock wash to its earnest declaration. The pair stroll a level below what came before but with undeniable craft and the passion to inspire, neither leave anything but thrilled satisfaction behind before the outstanding THEM takes over. It almost nags at the ears from its first breath, riffs and beats a persistently probing trap beneath the wider rock delivery of Roberts, again perfectly assisted by Karp. A tinge of glam rock mischievously grins in their and the music’s incitement to tease just a little more and like so many of the tracks it secures a swift tempting for feet and voice which only the deaf and dead could resist.

     No Surrender is just as epidemically riotous and catchy, Karp and Arnold sculpting a sonic playground for the vocals and the more intimidating rhythmic section to prey and incite within, whilst the brilliant Waves with its heavier almost carnivorous presence stalks the senses with a predation which is dangerous and drenched in irresistibility. The compelling quality keeps coming on strong as firstly the masterful Live To Fight unveils a drama driven melodic rock pyre of emotive balladry and La Rue follows it up with a muscular impact of passion stirring energy and bordering on antagonistic craft, melodies and harmonies unafraid to seduce with every note and syllable.

     Completed by debatably the weakest song on the album, Coming Home, though that is down to the quality of the rest of the release than real short comings it may have, Alhambra is a rock album setting Kodiak Jack as one of Britain’s strongest and masterful rock bands but also declaring them as a new big noise in hard rock full stop. For those with a taste for Velvet Revolver and Guns N Roses, through Stone Temple Pilots and Alice In Chains, to Blackstone Cherry and Thousand Foot Krutch, and everything in between and around them, this album is your new best friend.

http://www.kodiakjackofficial.com/

9/10

RingMaster 24/02/2014

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