Two years after their acclaimed debut EP, Dancing for Money, UK rockers Molly Karloff have uncaged its successor in the fiery shape of Supernaturalation, a collection of songs which quite simply and hungrily demand attention.
Oxford based, the trio of vocalist/guitarist Simon Guilliard, bassist Dan Podbery, and drummer Jowie Adkins has bred and earned a strong reputation for their high-energy performances and a similarly energetic sound bred on hard rock, grunge, and punk ‘n’ roll inspiration. The Dancing for Money EP back in 2018 more than alerted the UK rock scene of their rousing presence and though it has taken a couple of years to follow that potent introduction, Supernaturalation not so much builds on the success of its predecessor than leaves it in its dynamic wake.
Unleashing a vocal dispute with the issues life endures, Supernaturalation swiftly rips into attention with its title track, the EP opener dangling an instant hook impossible not to bite on as bass and drums add further thick bait. It is an entrapment which continues to grip as Guilliard’s similarly potent and energetic tones erupt. Familiarity and individuality collude in the track’s rousing roar, boldness of imagination which only grows more fertile across the release adding greater drama to the enterprisingly crafted encounter.
It is a great start to the EP which She Said, its lead single only reinforces. With slightly less energy but just as magnetic intensity, the track builds its might and roar resulting in a chorus which explodes on the ears as a rich climax to appetite nagging verse and creative escalation.
As stirring and thickly enjoyable as both tracks are, the pinnacle of the release for these ears comes across the next pair of Do You Wanna? and Do It Again. The first of the pair is pure virulence, bursting upon the senses with insatiable hunger with its riffs as predacious as they are contagious. A ferocious fusion of grunge lined hard rock and primal punk rock, the track swiftly proved irresistible, hooks a passion scything lure and rhythms a ravenous incitement within an enterprise which only grew more adventurous by the twist while its successor in its own individual vein proved just as viral driven and shaped by the swinging beats of Adkins and Podberry’s brooding bassline. That rhythmic unity quickly got under the skin, an addiction which bound in the guitar wiring and coaxed by the vocal prowess of Guilliard only escalated.
The Other Side brings things to a close, its funk nurtured swing the seed to another individual slab of Molly Karloff hard rock as keen to get the body bouncing as challenging, in this situation, taboos. With a fire in its belly and roar in its throat, the track provides a powerful and thickly enjoyable conclusion to one impressive and equally thrilling release.
The best rock ‘n’ roll leaves an indelible mark and incites the rebel inside, both fiercely potent traits of the Supernaturalation EP
Supernaturalation is available now through Roulette Media; available on CD and vinyl @ https://mollykarloff.co.uk/super-ep/
https://mollykarloff.co.uk/ https://www.facebook.com/MollyKarloff/
Pete RingMaster 13/03/2020
Copyright RingMasterReview: MyFreeCopyright
Whether the EP reaches the same mountainous heights again is down to personal taste but the following Sit In Silence leaves little for ears and appetite to desire with its post punk clang and soulful vocals across another heavy verging on predatory rhythmic incitement which easily got under the skin. A more hard rock scented texture equally shapes a track which commanded swift and constant attention before Broken Record sets its own rhythmically intense and dynamic trespass upon the senses. Even so its body is all infection and vocal prowess an equally catchy enticement; it’s stalking of ears as arousing as it is imposing.
Embracing inspirations from the likes of 
It is Tight Jeans which opens up the EP, its instantly infectious presence shaped by the dark breath of bass and the flirtatious shuffle of keys and guitar. In its midst as Saint’s beats egg on the song’s controlled but eager boisterousness, Keenan’s vocals swing adding further catchiness to the track’s stroll. Across its thick contagion, a host of flavours unite; classic rock wires escaping the guitar as electro pop instincts line its earthy rock ‘n’ roll.
Two Margaritas at the Fifty Five opens with that previous single and fair to say that No One Cares instantly grabbed ears with its first lure of guitar, its melodic clang equipped with a swing which is soon equally embraced by rhythms and vocals as the track hits its catchy stride. The fuzzy grumble of Venturini’s bass in turn takes over the virulence, its lone coaxing delicious before Moro’s guitar returns with its own shade of the contagion as Gallato’s beats bounce. The song is an irresistible slice of garage pop ‘n roll, its repeated cycle all the more addictive, and itself as a whole as potent as when it graced ears alone to provide a great start to the release.
It is an outstanding start to the album quickly matched by the alt rock shenanigans of The Bean Song with its animated moves and virulent hookery. Darkly hued rhythms incite and entice from the first second, guitars and vocals casting a web of temptation which effortlessly worms itself into ears and body with the inevitable involvement achieved by its monkey tricks including exploiting the equally infectious lure of The Kinks with a big grin.
Both tracks revel in the multi-flavoured breeding of the band’s sound, the fresh and familiar once more making a highly appealing proposition and riven by a strong vein of imagination as proven again by Long Way Home. The band’s new single, it is a more even paced encounter lit by keys and a melodic sway in music and voice, emotive flames lighting its invigorated balladry.